Benjamin Dakota Rogers wields one of those distinct, immediate, and truly wild voices. With a studied nod to old-time and bluegrass rhythms, his unvarnished sound effectively smashes the barrier between past and present. Delivering songs from a deep well of passion for storytelling, Rogers’ lyric sensibility is rare among young artists. His single, John Came Home, is a haunting take on the murder ballad. “I’d had the riff for about six months,” he says. “I tend to write short stories and convert them into songs.” John Came Home is full of upbeat boldness and ghostly ire that culminates in a direct hit to the chest. Rogers finds a way to match his instrument to the guttural twang of the voice. “I inherited my great-grandfather’s violin when I was young,” he says. “So I grew up playing that.” After a few years on six-string, Rogers began tuning his tenor guitar like a fiddle. “Tenors are neat because they were only popular for a short time in the 1920s. I’ve played about two-hundred shows on mine. It’s beautiful, and unreliable,” he laughs. The unconventional nature of such a classic piece shines on Charlie Boy, where precise picking builds to a dramatic peak. With sturdy backing by a sparse rhythm section, Rogers offers a fresh and authentic contribution to the traditions of string-band sound.

Zachary Lucky is unapologetically old-school country, armed with a husky, baritone voice. The Grandson of Canadian Country Music pioneer Smilin' Johnnie Lucky, he often receives comparisons to songwriters such as Gordon Lightfoot and Kris Kristofferson. He sings of Canadian places and people as knowingly as he might Townes Van Zandt or the Rio Grande. It's a relatable show on many levels, and conjures universal feelings that have passed through our collective timelines. Already hailed as a master storyteller by outlets ranging from No Depression to The Globe and Mail, Zachary is becoming a legend in his own right and has safely reserved his spot at the table of Canadian roots royalty.