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Live Nation Presents:
Jeremie Albino with Benjamin Dakota Rogers
Sun, Feb 25
Doors: 7:00 pm | Show: 8:00 pm
Tickets: $17.00 Buy Tickets
21 and up
For any event that is listed as 18 or 21 and over, ANY ticket holder unable to present valid identification indicating that they are of age will not be admitted to this event, and will not be eligible for a refund.  Any event listed as All Ages, means 6 years of age or older.  ALL tickets are standing room only unless otherwise specified.  If you need special accomidation, contact info@cafedunord.com. 

Support acts are subject to change without refund.

Professional Cameras are not allowed without prior approval.  Professional Camera defined as detachable lens or of professional grade as determined by the venue staff. When in doubt, just email us ahead of the show! We might be able to get you a Photo Pass depending on Artist’s approval.

Artists

Jeremie Albino


Jeremie Albino’s grainy ballads are inflected with a joyous tenor that has found him a distinct space in the world of Americana, folk, blues, and country. Reimagining the image of the lonesome wanderer, his music is rooted in the instant when everyone in a room experiences the same moment in a multitude of different ways—embodying solitude and connection all at once. Starting out playing late night gig slots, Jeremie’s rigour has landed him a blossoming touring career. Garnering attention from the community and press alike, he’s heralded as “a true resurgence of the most authentic blues brought to life through the eyes of a modern and young, but old-soul artist ” (American Songwriter) and “the next in line of emotive band leaders that project soul and directness atop a head turning sound” (Glide Magazine).

With his debut album, Hard Time (2019), released by New York-based label Cinematic Music Group to critical acclaim, Albino was a supporting act for JD Mcpherson and then St. Paul & The Broken Bones on his first round of US tours. In 2020, he accompanied Shovels & Rope on tour through the UK and Europe, later collaborating with Michael Trent who produced Albino’s EP, Past Dawn (2022). He’s performed alongside contemporary country trail-blazers Orville Peck and Cat Clyde. The nomadic lifestyle suits him and reverberates on stage. Strumming with abandon alongside an erupting vocal chorus, his magnetic spirit landed him as one of the best performers from AmericanaFest 2019 by Billboard.

During his time as a farmer in Prince Edward County, Albino experienced first hand the importance of a supportive and collaborative community, currents that carry his music. A testament to this is Blue Blue Blue (2021), a collaboration with vocal powerhouse Cat Clyde. In a cottage in rural Quebec, they recorded a collection of covers and originals over a weekend, paying homage to the great storytellers of the past. Yet encounters with loneliness led to the EP, Past Dawn (2022). Contemplative and experimental, Albino is a patient companion throughout, ready to lift spirits when need be and able to lower the tempo to rest when it feels right.

His latest album Tears You Hide (2023), produced by Albino’s long time collaborator and manager Crispin Day, is a memento to family, resilience, and the road ahead. Three years in the making, the rickety footstomping, and lilting stories remain, yet the narrative has shifted slightly. Tears You Hide troubles the romanticization of the past by cherishing the present, stringing a narrative where connection, resolve, and vulnerability are distilled in an unfiltered amount of gratitude.

Benjamin Dakota Rogers

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 most recent 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.