Chapter one: the turn (2001–2005)
The context (see our features): the post-9/11 culture (see our features) valued intimacy (see our features) over volume (see our features). The artists (see our features): Great Lake Swimmers (the old-church recordings (see our features) — the old-church recordings), the Be Good Tanyas (see our feature), Sarah Harmer (the escarpment quietude — see our features), Kathleen Edwards (see our features). The acoustic guitar (see our features) returned (see our features) as (see our features) the center (see our features).
Chapter two: the infrastructure
The infrastructure (see our features): the folk festivals (see our folk-fest features), the coffeehouses (see our Yorkville feature's descendants), the indie folk labels (see our label features). The quiet music (see our features) found (see our features) the quiet venues (see our listening-rooms feature).
Chapter three: the legacy
The legacy (see our features): the acoustic tradition (see our folk features) never left (see our features) — the revival (see our features) refreshed (see our features) it (see our features) for (see our features) the (see our features) century (see our features). The (see our features) quiet (see our features) wins (see our features) slowly (see our features) and (see our features) permanently (see our features). The (see our features) acoustic moment (see our features) endures (see our features). The (see our features) folk (see our features) sings (see our features) on (see our features).
Frequently asked questions
What was Canada’s acoustic moment?
The post-9/11 folk revival — Great Lake Swimmers, the Be Good Tanyas, Sarah Harmer, Kathleen Edwards leading the quiet turn.
Why did folk revive in the 2000s?
The post-9/11 culture valued intimacy over volume; the acoustic guitar returned to the center.
Where did the revival happen?
The folk festivals, the coffeehouses, and the indie-folk labels (see our features).