Behind The Curtain: Wayne DeAdder
- Erin McCallum
- 2 hours ago
- 5 min read
Photo Credit: Milton Young
Every edition of “Behind The Curtain” begins with an explanation for readers of the article’s purpose process, and intent. Putting the content found here into context helps readers understand - the information found here examines what lies beyond the press release and bio of the featured artist. The artists featured in this column have established and accessible careers, making them both identifiable and searchable beyond this content. The biographical information included in this feature is to offer context, and to substantiate the curiosities for this particular investigation. It’s always encouraged for readers to discover more about the artist via independent investigation; the information is available - and it is impossible to offer a full biographical account within the confines of this piece. Each investigation is inspired by curiosities that emerge after researching and studying the biographies of the artist in question – finding answers by going directly to the source offers readers exclusive insight into both the artist and the Canadian Blues Collective.
For this instalment of “Behind The Curtain”, attention focuses on a diverse musician who has been deeply immersed in the Canadian Blues Collective for decades: multi-instrumentalist, vocalist, and self-described sideman, Wayne DeAdder. Equally known as a bassist and guitarist, DeAdder can be identified with his work in projects such as Brooks & Bowskill, The Last Waltz, The Beat Heathens, and countless others - and has a JUNO award nomination included in his list of professional recognitions. DeAdder has been a professional musician for more than a generation (typically defined as 20-30 years), and continues to be a sought-after player in both live and studio settings in the Canadian music scene today. There’s merit in learning DeAdder’s thoughts about the changes in the music landscape in the past few decades, the difference in his approaches to bass and guitar, and what advice he might offer to aspiring musicians looking to follow a path similar to his. Looking between the highlights of his professional record will offer more about DeAdder and the music scene concurrently, bringing readers ‘behind the curtain’…
DeAdder’s professional record is the substantiating evidence that he’s established himself as both a guitarist and bassist, equally. Understanding that the two roles are quite different from a listener/s perspective, it makes sense to find out the differences in DeAdder’s approach:
“With respect to my approach on the guitar, I think about feel and note choice, and how it fits melodically. When I play bass, I think about what the song needs. If it’s original music, for example, I listen to what the singer is doing; I take my phrasing cues, my melodic cues, and dynamic cues from what the singer is doing. Whether I’m playing bass or guitar, I like playing in context. With original music especially, a lot what I’m doing is based on listening; thinking about what the song needs, and serving the song in proper context.”
Another curiosity that stems from understanding the longevity of DeAdder’s professional record. There’s merit in discovering whether an ever-changing music landscape has had an impact on his career or changed its trajectory in substantial ways:
“With respect to the changes in the music industry over the years, my career evolved with the industry, which helped me in some ways. CDs were around for a long time, so it worked for me to get the call to do a CD release party. I’ve been fortunate enough to work with a spectrum of projects – young, and mainstream, and established acts – and that versatility keeps the options versatile. Being able to work with projects that include a variety of age groups, genres, and experience has been something that has allowed me to grow as the music scene evolves as well.”
In learning from DeAdder what he thinks the contributing factors are with respect to the longevity of this professional record, there’s value in finding out what advice he has for aspiring artists looking to follow a path similar to his:
“As far as giving advice to someone who is looking to become a professional musician, regardless of the instrument they choose, I would say it’s important to keep your ears open, and at all times, listen. You will learn from every musician you take the stage with. I would also say that getting a gig – any gig – is 40 percent ability and 60 percent personality/professionalism; no manager, presenter, venue, or bandmate wants to work with someone who is hard to get along with. Of course, you have to be prepared and know the material and do a good job musically, but how well you work with others is probably the greatest factor in whether or not you will get the call to work with them again.”
One final quote from DeAdder provides readers with a truth that has, perhaps, been omnipresent throughout every aspect of his career that makes him a notable member of the Canadian music Collective. When asked what people should know about him as a musician, DeAdder offers:
“Musically, I’m 100% committed to what I am doing in the moment.”
In learning more from Wayne DeAdder, readers gain insight into his personal approach and philosophy - and the Canadian music Collective - as he takes people beyond the press release, and within his bio.
As this edition of “Behind the Curtain” draws to a close, I trust that readers of all varieties have gained something more about the artist of mention, and it inspires further investigation. Every artist featured in this column has a biographical foundation that cannot be covered here, so it is always encouraged to find out about the music and career that substantiates these conversations. In Wayne DeAdder’s case, what’s been added exclusively to the record here is reinforced by taking a deeper look at his longevous and versatile career, both live and in his recorded works. This article is a regular monthly contribution, published exclusively in the Sound Café magazine with the intention of providing a deeper insight into the Canadian artists who are at the core of the Blues music Collective.
Touring blues musician, Erin McCallum's formal post-secondary education was in media studies (news, radio), graduating from Humber College in Ontario, she went on to be mentored by Canadian News Hall of Fame inductee, Robert Holiday, and she is a regularly published writer in music and investigative journalism, having focused on music for the last six years. Erin has an exclusive monthly column in The Sound Cafe featuring musicians and industry professionals from across Canada who work predominantly in the Blues & Roots genres.
Erin McCallum. Big Voice. Big Sound.
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