Ottawa Bluesfest 2025 – July 11: A Tapestry of Sound and Soul Feat: Hozier, Amigo The Devil, Charlotte Day Wilson, Claudettes, Sarah Harmer, Claude Munson & Kristine St. Pierre
Review and pictures by Cole Lewis of The Photo Roadies (www.thephotoroadies.ca)
Night two of Bluesfest unfolded with a palpable buzz as fans gathered in anticipation of Hozier’s headlining set. VIP pass holders staked out their exclusive viewing zones, while the general admission crowd filled the festival bowl and spilled onto Wellington Street, creating a vibrant sea of music lovers.
With four stages running simultaneously, the festival offered a rich palette of performances from light shows and large crowds to intimate showcases. The RBC Stage, the festival’s main hub, opened with Claude Munson, whose melodic set gently eased the crowd into the evening. Charlotte Day Wilson took the stage, radiating gratitude for Ottawa’s warm welcome. Her soulful voice didn’t just fill the space it wrapped around the audience like a familiar embrace, echoing the sincerity of her words.
When Hozier finally emerged, the energy shifted. His performance was both cinematic and deeply human, with a light show that added visual poetry to his already evocative lyrics. At moments, the set leaned into the political, using imagery and song to reflect on broader social themes, never heavy-handed, always resonant. With early songs “Nobody’s Soldier” and “Eat Your Young” bringing the crowd in and then later top hits of “Someone New” and “Take Me to Church” keeping the energy up all night.
Over at the River Stage, Vikki Gilmore opened with a brief “human error” delay, met not with impatience but with encouragement. Her vulnerability only deepened the connection with the crowd, who quickly settled into the rhythm of her set. Amigo the Devil followed, weaving darkly humorous storytelling with raw emotional honesty. Between songs, he shared personal anecdotes and jokes that had the audience laughing one moment and reflecting the next; a standout performance that likely earned him a host of new fans. Unfortunately, due to scheduling conflicts, we missed The Dead South’s closing set on this stage, though the crowd’s size hinted at a strong finish.
The often-overlooked LeBreton Stage delivered its own gems. Kristine St-Pierre, a locally based musician opened with a bilingual set that honored her roots and immediately drew in early festival goers. Later, The Claudettes exploded onto the stage with a cabaret-rock energy that was impossible to ignore. Their set was a whirlwind of movement, rhythm, and theatrical flair pure joy in motion, as could be seen by the large crowd gathering in full dance. Sarah Harmer closed the stage with a more introspective tone, beginning solo before her band joined in, offering a grounded, heartfelt end to the night.
For those seeking a quieter experience, the Barney Danson Theatre provided a cozy retreat. Here, earlier performers from LeBreton reappear in more intimate sets, offering a rare chance to see them up close and personal
