john k samson tour 2022

John K. Samson

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DO NOT WORRY , by Vivat Virtute from Christine Fellows/Vivat Virtute on Vimeo .

Vivat Virtute presents “Do Not Worry,” from the otherwise instrumental album , “Hold Music.”

February 23rd, 2023 #

Vivat Virtute , the Samson Fellows Family Store, is open now at www.vivatvirtute.com

March 7th, 2021 #

New Single “Fantasy Baseball at the End of the World” out now.

LISTEN NOW : Spotify | Apple Music | Amazon | YouTube

July 23rd, 2020 #

John K. Samson’s new song, Millennium for All, protests the underfunding and over-securitization of his favourite library

On February 25, 2019, Winnipeg’s Millennium Library installed intrusive airport-style security and began physical searches of everyone entering the library. They did so despite overwhelming evidence that such measures hurt vulnerable and marginalized people and don’t make anyone safer, and without consulting any community groups, experts, elected officials or library patrons. These measures, unprecedented in Canada, have led to a massive drop in attendance. Many no longer feel welcome at their library.

“I wanted to write a song about the Millennium Library, which I visited and worked at weekly for most of my life until the security was installed a year ago,” says Samson, who with his partner Christine Fellows was the 2016-17 Winnipeg Public Library’s Writer-in-Residence. “I wanted to demonstrate how the Millennium is so much more than a building full of books. It’s the heart of my community and I miss it.”

Samson is accompanied on Millennium for All by Winnipeg musicians Ashley Au, Christine Fellows, Scott Nolan and Jason Tait. Christine also made the remarkable cut and paste stop motion video that accompanies the song, and local artist Jonathan Dyck drew the birds.

The song is named after activist group Millennium for All, which was formed to resist securitization and advocate for a fully funded, decolonial, accessible and welcoming library. Over the last year they’ve held protests and zine-making parties, have done research, written reports, letters and op-eds, made presentations at info sessions and city hall, and engaged with other concerned Winnipeg residents and communities.

The song and video also have a practical purpose. “I want to help promote the upcoming week of events being organized by Millennium for All and Budget for All Winnipeg. We need to make it clear to the city and library management that we don’t accept exclusionary security in our library, and also remind politicians that libraries require committed investment. All Winnipeg’s libraries are underfunded and understaffed, yet the mayor and councillors are threatening to cut funding even further to these and other essential services in their proposed city budget next month. We can’t let that happen.”

Samson believes libraries are at the centre of the struggle for social justice. “I’ve been really inspired by people acting on behalf of libraries, from community resistance to transphobia at the Toronto Public Library to Winnipegger’s protests against the racist and exclusionary security at the Millennium. We need our libraries to be truly welcoming and fully funded.”

For more info on Millennium for All’s week of events, see budgetforall.org, and follow millennium4all and budgetforallwpg

JOIN US FOR A RALLY IN THE LOBBY OF MILLENNIUM LIBRARY , TUESDAY , FEB 25, 4:30 PM, TO OBSERVE THE ANNIVERSARY OF INVASIVE SECURITY AND TO PROTEST THE PROPOSED CITY BUDGET CUTS TO LIBRARIES AND OTHER LIFE - SUSTAINING SERVICES !

AND GET READY FOR BUDGET FOR ALL WINNIPEG’S DAY OF ACTION , MARCH 14!

February 22nd, 2020 #

Spring JKS solo shows with Kevin Devine and Worriers!

January 21st, 2020 #

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John K. Samson

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There's nothing I do not like about John K Samson!

I first became a fan of his when I heard his song 'When I write my masters thesis' being a university student, every lyric of this song was completely realatable, from when he mentioned 'Grand Theft Auto San Andreas' I knew that this was an artist prepared to be so down to Earth that anybody would be able to relate to him!

There are few like him, the honest Canadian punk, rock musician, not afraid to put his memories, feelings and honest intentions to that of the acoustic guitar or any other instrument he deems fit!

Seeing him live is a whole new experience, he has a perfect relationship with the audience not afraid to converse and have a bit of cheeky banter, the interaction is special and i'm sure alongside the amazing music, it is what keeps his fanbase returning to his concerts. Everybody loved him and he was so friendly and had a good aura, a sense of fun and incredible talent!

John K Samson has a never ending sense of humour and this is only made even more incredible my his timeless music!

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Wow. Amazing show, John Sampson what a performer. Played a ton of weakerthans songs, really good oerformance. The openers "the worriers" were a pleasant surprise as well. Highly recommend will see again. Brighton music hall continues bringing in some greats

Fantastic show. I was not expecting to hear Weakerthans songs but it was such a wonderful surprise. Somehow he managed to play all of my favorite songs, the Virtute trilogy, Pamphleteer, Left & Leaving, Aside, and Anchorless, along with several newer tracks.

Great show in Victoria at the Sugar Club. They played songs from the John K Sampson's solo material and songs from the Weakerthan's. The Weakerthan's songs were a nice surprise.

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If John K. Samson gets overlooked as one of his generation’s finest songwriters, it might be thanks to the unconventional road he took to get there. The Winnipeg-born musician joined Canadian punk outfit Propagandhi as a bassist while he was still a teenager. He began honing his own voice as a songwriter in his twenties with his own band, The Weakerthans , which would release four albums from 1997 to 2007. Over the course of that decade, Samson—who wrote smart, catchy songs—shed his tendency for verbose or overtly political material in favor of deeply moving vignettes, often portraying characters living on the fringes of society. In 2012, with The Weakerthans on indefinite hiatus, he released Provincial —a sprawling portrait of his native Manitoba that included both urgent, impressionistic rock songs and ambitious works of historical fiction—under his own name. His follow-up, Winter Wheat , is comparably stripped-down and focused, but it finds Samson experimenting with various songwriting approaches that feel totally fresh, including a handful of songs that are responses to tracks from Neil Young’s On The Beach . It’s a more personal album than Samson devotees are accustomed to, but like all of his songwriting endeavors, Winter Wheat slowly reveals interconnected themes and characters with each new listen. It also expands on at least one storyline—involving a cat named Virtute—that Samson has been working on for nearly two decades. He spoke to Bandcamp via phone from his home in Winnipeg.

We talked the last time you went out on a large-scale tour, in 2012, and you said that you could see yourself walking away from playing music altogether. Do you still consider that?

I don’t think about walking away from writing. I feel like this album is a bit of a side-step for me—a comfortable side-step. It’s a much smaller-sounding record, and it was a much more intimate and direct record to create. I feel like that was important for me: to be able to kind of step away from a larger machine that was pushing the industry side of my life. Performing makes me very anxious, but it’s also, I recognize, one of the greatest things I have ever experienced. It’s a kind of communion for me—performing can be really profound and wonderful. So I don’t think I would ever walk away entirely from that, either.

Did you have that same sort of anxiety around playing live when you were playing in Propagandhi or The Weakerthans?

Oh yeah, absolutely. I’ve had it since I was a kid. I’ve been performing since I was a kid—I was in choirs when I was a kid and in bands starting around 16 or so—and it’s always been a struggle for me. I don’t think my feelings have changed towards it, but I’ve come to understand my limitations. Playing to a smaller room of people is just better for me as a human being. In a small space, suddenly there’s more air in the room somehow. When I get past a certain number of people in a room, it changes from a collective experience to a kind of separated experience.

So how did this album come together differently than the others?

It came together in a surprising way to me. I had some of the songs, and I didn’t see how they fit together, and then this idea of responding to Neil Young songs came around—there are four or five songs on this record that are responding directly to Young’s record, On The Beach , which is a wonderful and curious record—and that provided a spine to the album, in a way. I had these signposts that I could build a record around, and it gave me room to wander a bit more than I had on the previous project, Provincial , which was very research-based. Weirdly, I feel like that allowed me to write really personally again—to swing back to a direct and personal lived experience, as opposed to a sort of detached and distant kind of writing.

And that happened by way of Neil Young? What was your fan relationship with Neil Young before you started writing these songs?

I bought my first electric guitar the day after I saw the movie Dead Man , the Jim Jarmusch film that Neil Young did the score for. He did a live, almost entirely guitar-based score for it, and it’s incredible. I was so overwhelmed and moved by it—that was in 1995 or something—and before that I had never really thought of playing electric guitar. So the next day I went to the local music store here, and I said, ‘I want to sound like Neil Young.’

Did they laugh at you?

Well, they did. It was classic Winnipeg. The guitar store guy said, ‘Why would you want to sound like that?’ I was kind of bewildered, but not surprised, because it’s this classic small-town, tallest-poppy thing, where you cut down the favorite son. But that led me to starting the Weakerthans a few years later. I started writing on this guitar that sounded nothing like Neil Young. It was a, like, three-hundred-dollar Ibanez Talman guitar. But Neil Young has been certainly a great influence on me. A profound influence. I don’t really write like him, but I have always been inspired by him. I love his imagistic, kind of reflexive lyrics. They seem really direct and abstract at the same time, and they’re generous. They give a lot to the listener, and I think that’s why he’s so admired and why his fans are so serious about his music: because there’s some real work to be done by the listener. That’s a nice gift that he gives them.

Sometimes the album’s Neil Young nods are subtle, and sometimes—like the melody line and some of the lyrics in “Vampire Alberta Blues”—they’re really direct responses.

Yeah, and there are others. “Select All Delete” is responding to “Walk On,” which is one of his great songs. I think a lot of his work still seems really prescient. His concerns are really easy to transpose, because songs he wrote 45 years ago seem really relevant now.

I am really interested in “Quiz Night at Looky Lou’s.” It’s a largely spoken-word song, and there’s more than a touch of paranoia to it. The protagonist believes he can communicate with his mind, and that secret messages are being communicated to him at the quiz night at his local bar.

This whole record, in a way, is about coming to terms with and living with our delusions—and about being able to accept who we are and where we come from. The Internet is an example of a delusion, in a way. It makes us feel less alone but it doesn’t technically make us less alone. To be less alone you have to be with someone. I’m not saying delusions are always bad things. Trying to accept them and function within them might be more feasible than medicalizing them or resisting them—or punishing people for having them.

So I was writing about delusions metaphorically, in a lot of cases, but then I wanted to write something that was directly about actual delusions: someone having a mental health crisis. In “Quiz Night at Looky Lou’s,” I feel like there’s some danger with the character. Then I felt bad about leaving them in the middle of nowhere, so I wrote the next song, “Alpha Adept,” as a redemption of that character. It gives them a happier ending, where they find a secluded place where they can actually function with all their issues.

There’s a lot of escaping, too: running away, finding a clean slate somehow. And that’s a theme in a lot of Neil Young songs, as well.

I think you’re right, there’s a longing for something simpler, you know?

Most of your catalog is in some ways the opposite. You write about a lot of people who are stuck in small places and can’t get out. You’ve written really elaborately about a couple of regions and cities. So is it kind of a relief to you to be writing songs about escaping?

Yeah, absolutely, I did feel like I wanted to wander a little bit and step outside of my regular touchstones. I wanted to push myself a little bit. There’s a song set in London, England on this album. I was really excited about it, and did a lot of research. It felt really liberating to immerse myself in this idea of London in 1979.

That research instinct is hard to shake.

Yeah! For me it’s just fun. There are still a couple of those songs on this album where I turn to books, and I really love that. It’s one of the great things about songwriting, that it’s really limitless. The form will hold so much.

And yet so many people don’t explore that side of songwriting.

Yeah, I wonder about that. It’s interesting, my wife Christine and I have been teaching some creative writing courses, and we teach some community workshops where we do songwriting with people who have never written songs before. It’s pretty remarkable what they want to write about. They don’t want to write about what they hear on the radio, they want to write about their lives, and the unusually specific things about their lives. I find that super inspiring: If you can get past the idea of an audience—because these are writers who are writing for their friends and families and not for a broad audience—there’s something really powerful there.

So how do you navigate that line of writing for yourself or your audience? For example, you have written a series of songs about the same cat, Virtute. You return to Virtute again on this album. Clearly that cat is a fan favorite—are you writing for your listeners?

I try not to. “Virtute at Rest” came to me kind of as a gift. It was a weird one. It came to me when I really needed it. I’m not really sure how to describe it.

There’s a theme that runs through all of my work, this idea of the disappeared. Where the dead go, what we do with the departed, and the fact that they do live on within us. I couldn’t really envision a way of that cat returning until I encountered a time in my life when I really needed the comfort of the company of that voice in my brain, telling me that it’s going to be difficult, but… [long silence] but you need to continue. That song arrived when I needed it. I wasn’t sure if I wanted to share it, frankly. Part of me now is worried that maybe people won’t like it.

The cat songs sort of started with a song on [The Weakerthans’ 1997 album] Fallow called “Confessions of a Futon Revolutionist.” I never really made that clear, but there’s this line, “enlist the cat in the impending class war.” When I later wrote the first song from the point of view of the cat, it was about that guy. So it started really loud and fast, and then it was still loud [on the song “Plea From a Cat Named Virtute,” on The Weakerthans’ 2003 album, Reconstruction Site ], and then on “Virtute the Cat Explains Her Departure” [from The Weakerthans’ 2007 album, Reunion Tour ] it got quieter. And then it winnows down to this one solitary kind of voice and guitar. There’s this winnowing down to almost nothing that the human character also goes through too, right? This isolation. I think of it as a long story that I’ve been telling over almost twenty years—and that I was sort of surprised by.

— Casey Jarman

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John K. Samson

Upcoming john k. samson festivals appearances, upcoming john k. samson concerts near me.

Top 20 Rock 'n' Roll Solo Albums

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September 6, 2017

John K. Samson readies second EP in roadways of Manitoba series

FYI: Roads and street traffic can be cool enough to be sung about.

August 21, 2010

The Weakerthans arrive on DVD

The Weakerthans live and in color. On your TV.

February 12, 2010

The Weakerthans' Samson set to release series of solo EPs

And another...

November 5, 2009

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The Weakerthans: Reunion Tour

John K. Samson seems to have figured out what his band, the Weakerthans, are all about. After leaving politi-punk outfit Propaghandi, Samson formed the Weakerthans and released their first album, Fallow . Unfortunately, that album suffered from a pop-punk hangover that dragged down more songs than it propped up. But since then, with albums Left and Leaving and Reconstruction Site , Samson and his band have settled into a brand of heartfelt guitar pop that works for them. The music is straightforward and full of power chords, but it is also smart enough to get away with simplicity.

On Reunion Tour , their first new record in four years, not much has changed in the Weakerthans’ approach. The music is still direct while the songs often depict people trudging through a life that is anything but simple. Reunion Tour is heavy with the snowy Canadian landscape, with people who fill the dark, fleeting winter days with brown liquor and existential conversations with their pets. Loneliness and disconnection run deep through these songs, and most of the time Samson is great at assembling the minutiae of a day into a melancholy laundry list that invites you to belly up to the bar with these solitary creatures and feel what they’re feeling.

“I can’t stop finding your face in their faces all rearranged” Samson sings about passing commuters on album opener “Civil Twilight”. It’s a fitting start to the record, as the narrator sings from the side of the road while the rush hour traffic passes by. This is one of many instances on Reunion Tour where someone is on the outside looking in, left alone to brood over their heavy thoughts. “Hymn of the Medical Oddity” finds a child wishing to be remembered as “more than just a queer experiment” and wishing he didn’t know all the medical terms the doctors keep using to define him. The scant, falling guitar notes accent the patient’s isolation until the song rises at the end, the child finding all its strength in a plea to be remembered as a human being and not a footnote.

“Tournament of Hearts” is the best track on the album. It is pure Weakerthans, Samson using verses to get to a chorus that sounds anthemic but never really comes out of its narrator’s head. The guy in this song is a former athlete, stranded at a bar by his old teammates, and now he’s alone and surrounded by a group of farmers. He takes stock of the thing he forgets the more he drinks (“All the championship banners, going yellow on the wall / And my name as it gets closer to last call”), and wishes all the while that he could, just once, “stop where he wants to stay”. By the end of the song, team pictures are staring at him from their frames behind the bar, and he’s not going home to someone waiting by a silent phone, and while all this could come off as sad-bastard and romantically defeatist, Samson’s lyrics are too well-wrought and honest in the way that these characters almost break out of their mold, almost remember what they drunkenly figured out when they awake hungover the next day. Almost, but not quite.

For most of the record, the Weakerthans play to their strengths. Even “Virtue the Cat Explains her Departure”, narrated by a cat (first introduced to Weakerthan fans on Reconstruction Site ), works because the cat becomes anthropomorphized, something for the owner to hang his troubles on. “Sun in an Empty Room” drops the distortion and fully embraces guitar pop, starting off the second half of the record on the perfect foot. However, the end of the record has a handful of missed opportunities.

Chief among them could be the title track. With its military-march drums and Samson’s syncopated cadence, it lends itself to stretching out and sustaining its built-in tension. But Samson and company bail out on the track at just over two minutes, and it sounds rushed. If they gave it the time it needed, it’d be one of the great tracks they’d done to date, but instead the tension of the song is wasted when they arbitrarily cut the song short. The same problem pops up with “Big Foot!”. At first, it is just Samson and his acoustic guitar, waiting for the day where “the visions that I see believe in me”. It is a simple enough song to get in and out as a shorter vignette than some of the other tracks. But, at the end Samson brings some trumpets in and the song rises and expands in its sadness and opens up some space. But, instead of taking advantage of that space, the song fades out, making it feel as rushed as “Reunion Tour” does. Luckily, closer “Utilities” finds the ghostly winter atmosphere the whole album has been chasing down, and uses it to make the album’s biggest sound, full of wisps of noise and guitar solos all used with perfect restraint. When Samson sings “Make me something somebody can use”, he doesn’t make his nasally vocals plaintiff and strained. Instead, his delivery is fragile, even a little beaten down.

By the end of the record, these people seem at the end of their rope, begging some benevolent force to help them out and it provides enough movement to Reunion Tour to make it a cohesive, solid album. Excluding the spoken-word “Elegy for Gump Worsley” — which sounds like an arch attempt to be taken seriously — the Weakerthans do what they do best, and the result are solid. Could they perhaps be faulted for a lack of ambition? Sure. But they know what sound they want to make, and they make it here without re-treading their previous albums, and have given us something long-time fans and newcomers alike can enjoy.

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John K. Samson Concert Setlists & Tour Dates

John k. samson at high noon saloon, madison, wi, usa.

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John K. Samson at Beat Kitchen, Chicago, IL, USA

• One Great City!
• Postdoc Blues
• Reconstruction Site
• Alpha Adept
• Pamphleteer
• Vampire Alberta Blues
• (Hospital Vespers)
• Left and Leaving
• Fantasy Baseball at the End of the World
• 17th Street Treatment Centre
• Plea From a Cat Named Virtute
• Virtute the Cat Explains Her Departure

John K. Samson at Turf Club, St. Paul, MN, USA

• Virtute at Rest
• Winter Wheat

John K. Samson at Old Market Square, Winnipeg, MB, Canada

• Sun in an Empty Room
• Confessions of a Futon-Revolutionist
• Don't Be Denied

John K. Samson at Lost Evenings 2019

John k. samson at white eagle hall, jersey city, nj, usa, john k. samson at private venue, brooklyn, ny, usa, john k. samson at 3s artspace, portsmouth, nh, usa, john k. samson at colony, woodstock, ny, usa, john k. samson at boot and saddle, philadelphia, pa, usa.

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• One Great City! ( 59 )
• Reconstruction Site ( 58 )
• Plea From a Cat Named Virtute ( 56 )
• Pamphleteer ( 51 )
• Left and Leaving ( 41 )

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175 people have seen John K. Samson live.

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John K. Samson

John K. Samson is the singer-songwriter for critically lauded indie rock band The Weakerthans, who now also performs solo. He creates hymns for the more...

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