Kaïa Kater at the St. Lawrence Acoustic Stage

MORRISBURG — JUNO Award-winning artist Kaïa Kater took to the St. Lawrence Acoustic Stage April 11 and wrapped the audience with her blend of contemporary and traditional roots music, combined with blues, hints of jazz, and folk.

Often the word eclectic is used to try to make sense of an artist’s use of many musical styles in a way that does not seem to make sense. In Montréal-based Kater’s case, her eclectic style reinforces a polished individualism in the singer-songwriter genre. Rather than sticking to her classically trained roots, she led the audience through a traditional and contemporary musical journey.

Traditional Appalachian folk songs like Little Pink — a tale of a man trying to woo a woman he loves and being repeatedly rejected — were balanced with contemporary songs of her own like The Internet. That song focused on connection and what happens when it is lost. It was inspired by how she felt after an incident near the start of the pandemic lock down in 2020, when the computer she had been using to livestream performances at home was inadvertently damaged, cutting that last connection.

Kater won the JUNO for Contemporary Roots Album of the Year in 2025, and it is easy to hear why. Those looking for traditional roots music would have heard it more as a foundation, not at the forefront, which may have surprised audience members expecting a more traditional set.

Between songs, she added insightful stories explaining her inspiration and approach. The storytelling added depth, but the concert felt like it was just getting started when it ended. Given the breadth of her catalogue, more songs would have strengthened the performance — ideally by extending the concert without compromising the storytelling.

Of note was her a cappella performance of La Misère, a song from the island of Grenada — from where her father immigrated to Canada — and “In Montréal,” which she said reminded her of both the past and the future, always drawing her back to that city.

Kater deftly switched between clawhammer banjo and acoustic guitar. She was joined on stage by Andrew Ryan (double bass, vocals) and Allison Burik (saxophone, clarinet, vocals), whose performances added to Kater’s skilled and technical playing.

Haunting songs like Canyonland and Often as the Autumn were balanced with upbeat songs such as Meridian Ground. Kater’s blues influences shone in her performance of Dinah Washington’s Trouble in Mind during the encore. The audience responded warmly throughout the evening.

Overall, Kater’s performance was a thoroughly enjoyable evening at the Acoustic Stage. Her polished performance highlighted her range more than any strict genre boundaries. It is a testament to the SLAS board that artists of such calibre continue to perform in Morrisburg. Those who did not attend missed a powerful performance.

Up next, the stage closes out its 2025–26 season with Cape Breton roots artist Morgan Toney and special guest Graham Lindsey on May 2.