Don't get too excited. It's already over, and I was too busy to write anything about it while it was happening, except for maybe a few tweets that only myself and maybe two other people might have found funny.
The Canadian Country Music Awards were held in Edmonton this year, a city with some real country music fans and real country music bars for them to get wasted in. In other words, the four days that comprise Canadian Country Music Week were a lot of fun -- there was some really great music (The Heartbroken were amazing; Deric Ruttan's band kicked some serious ass), great parties, and as always great hangs with music industry friends I cross paths with over the course of the year.
Unlike previous CCMAs, my official duties were minimal. I played a three-song set with AJ Woodworth at the Universal Music showcase at Oil City Roadhouse (it went great, AJ nailed it), and other than that I was just hanging out with AJ, Jesse, Kylee, and Melissa-Rae Barrie, trying to get into the various galas, showcases and parties without really having tickets for anything. Pretty good. I was nominated again for Bass Player Of The Year, which is actually amazing -- there are a great many talented bass players on the country scene so I felt quite honoured, again, to be recognized.
In mid-October were the British Columbia Country Music Association Awards, and the best part about that, aside from being nominated for BCCMA Bass Player Of The Year, was opening the show with my buddies in Jessie Farrell's band doing an acoustic-y, bluegrassy (bluegrassish?) version of her single "Heart Of Gold". I borrowed an upright bass from The Daver and had a lot of fun with it, not including the blister on my middle finger the size of a garbanzo bean. I had forgotten about that part of playing the upright. Electric bass players are wusses, I'll admit it. Not as wussy as oboists though. Most oboists.