And the coverage of Ottawa Bluesfest continues
[Once again, Ross MacDonald, Melody Maloney, and Zachary Resnick were on the case for us. – AC]
After a couple of days away, I was back at the Hard Rock Stage for Ottawa Bluesfest 2026. This was the night that (at this stage in particular) put the blues in Bluesfest.
The afternoon sun was pleasant, and a cool breeze kept everyone comfortable as the day’s first group took the stage. Known as ‘the Jimi Hendrix of the sacred steel guitar,’ Nikki “D” (the ‘D’ stands for dynamite) and family strode out to entertain.
They opened with a medley of old-school gospel blues at its finest, which included a sultry snippet of ‘Everybody Needs Somebody to Love’ of Blues Brothers fame.
We then got an introduction to the band – all members of Nikki’s family from Toledo, Ohio – with a quick drum solo by Christian Brown.
This led into ‘Don’t Let the Devil Ride,’ a soulful prayer for everyone in attendance. There was even a little Tina Turner, courtesy of an interlude of ‘Proud Mary.’
Next up was ‘Long Time Comin.’ Slower sure, but still soulful and very danceable, as the audience could attest to. Mid song we were instructed to take some selfies with the stage as the background, to commemorate the group’s first Bluesfest.
‘I Found the Love’ featured some of that powerful sacred steel guitar work Nikki “D” is so well-known for.
‘If I Couldn’t Say a Word, I Just Wave My Hands’ called for maximum crowd participation, and this request was transgressed with finesse.
Next up was an original song – ‘We Made It’ – a track of power and positivity.
The group closed out their set with a pitch-perfect version of ‘Shout’ by the Isley Brothers which got everyone dancing along.
My favorite act of the night was up next. Under purple lights, Black Joe Lewis and the Honeybears started off strong with the rollicking ‘It’s Alright.’
As smoke poured forth from the stage, the Texas band launched into the funky ‘PTP.’
A fan-favorite in ‘I’m Broke’ came a few numbers later, and was straight up blues with some nice modern touches.
It should be said that Lewis’ skill with the guitar is phenomenal, not just what he plays, but how entertaining it is to watch him play. He gets so into it, fingers moving like lightning bolts.
There was a brief pause before we got an older selection from the catalogue – the gritty ‘Bitch, I Love You,’ complete with extra-long vocal cord-tearing scream.
They went right into ‘She’s So Scandalous,’ which by comparison was smooth as silk. These guys seriously play so tight.
While the newer ‘Roadbusting Disgusting’ was a little more mellow, things sped way back up for the breakneck pace of the funky ‘Sugarfoot.’
Speaking of funky, what could be funkier than the meaty riffs of ‘Booty City?’ Next up was a brand new one. ‘I Don’t Mean a Damn Thing to You’ was raw and visceral.
The band closed their set with ‘You Better Not Bring No Man Around My Kids’ – chosen over ‘I Don’t Wanna Be Rich and Famous’ by audience vote. Lewis and the band left the stage to a huge pop, and fans begging for just one more song.
It looked like a who’s who of modern blues talent as the All-Star Women’s Blues Showcase set up for the night’s final performance. Bassist Angelique Francis led the charge as the full band leapt into ‘Let the Good Times Roll.’
The Ottawa-born Francis then switched to an upright bass for a version of her own ‘Soul Train Line,’ which got the crowd up and moving.
Montreal’s Dawn Tyler Watson emerged, lit by red lights, for the next number: ‘You Can’t be True,’ a true-blue blues lament for the broken-hearted everywhere.
Next up from Watson, from all the way back in 1926, a huge performance of Minnie the Moocher with a scat session that would have made Cab Calloway himself blush.
Proving again that Quebec has blues chops, Angel Forrest next took lead vocals for a smash performance of ‘Lovin’ Me All the Way.’
She continued into a slow ‘n’ sexy version of Janis Joplin’s ‘Turtle Blues.’
Special credit should be given to the 8-piece backing band, led through the entire show by band leader and tenor saxophonist Elena Kapeleris. Just stunning players all around.
And the hits just kept on coming. Strong, powerful artists the likes of Crystal Shawanda, Tanika Charles, and Dana Fuchs all took their turn at center stage, leading us through the past, present, and future of blues-rock.
Like I said at the start, if there was one night that really and truly put the blues in Bluesfest, this was it. And that’s nothing to feel sad about.
The AJOMT team also covered one band on the smaller side stage. Canadian group Reuben and the Dark took to the Lebreton Stage on the fifth night of Ottawa Bluesfest.
At first, lead singer Reuben Bullock said hello to the audience and alluded to some special guests joining. After playing two songs the special guests revealed themselves. The Bullhorn Singers from the Kainai Bloodtribe, appeared onstage.
The smallest stage at the festival was full. Full of art, creativity, storytelling, culture, and healing. The Bullhorn Singers joined Reuben and the Dark to create what is a joint effort between the two musical groups. Audiences got a two-in-one performance of musical acts coming together. A coming together that was described as a collective group.
Bullock went on to explain how he was in the studio one night and just could not get the sound he was looking for. He was trying to find the missing component to the song he was recording. Going on to say how he called up The Bullhorn Singers who were also in town and they came within a few hours to provide Reuben with that missing piece.
This experience grew into a beautiful connection and mission to spread Indigenous music, culture, and experiences into Reuben and the Dark’s music. We got to see, on this little Lebreton Stage, the major impact of this collaboration. A very special guest indeed.
