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Crown Lands, London

16 may 7:00 pm 2:00 pm Crown Lands, London Omeara

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The amazing Crown Lands will play their first UK show at Omeara in London on 16 May 2022. The duo will also perform at Brighton’s Great Escape Festival. Support is from

The amazing Crown Lands will play their first UK show at Omeara in London on 16 May 2022. The duo will also perform at Brighton’s Great Escape Festival.

Support is from Haunt The Woods.

Tickets will be available from Friday, February 25 th  at 10am UK time

May 16, 2022 7:00 pm - 2:00 pm (GMT+01:00)

The Omeara, London

6 O'Meara St, London SE1 1TE

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Crown Lands

Hailing from Southwestern Ontario, powerhouse Canadian rock duo Crown Lands are a startling fresh jolt of energy, making music that brings together a more...

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Oshawa rock duo Crown Lands to support Kiss on the band's farewell tour

The duo will join the canadian leg of the tour from vancouver to quebec city in november.

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Oshawa, Ont., duo Crown Lands excitedly announced this week that they'd be opening for Kiss on the band's final tour, which kicked off in January 2019 and ends this December.

• Rock band Kiss promises 'unapologetic' final tour

"Stoked to be supporting the legendary Kiss on their final Canadian run! Let's rock n roll all nite!!" the duo posted on its Instagram page on Sept. 5. Crown Lands will be joining Kiss for nine dates, starting in Vancouver on Nov. 8 and ending in Toronto on Nov. 22.

The rock duo, which won the Juno for breakthrough group of the year in 2021, counts prog-rock band Rush as one of its most formative influences. As one astute commenter noted on the band's Instagram post: " Rush opened for Kiss , now the Rush-esque Crown Lands. Let's hope history repeats itself."

• Q with Tom Power Juno-winning band Crown Lands on the enduring influence of Rush

Cody Bowles and Kevin Comeau founded their duo in 2015, naming it Crown Lands as an act of reclamation of the government term. "Crown lands is what the reservations are built on,"  Bowles, who is Mi'kmaq, told CBC's  Day 6 . "It's also what the government uses for clear cutting and oil fracking and stuff. We really wanted to say something about that and to really reclaim it, just for Indigenous people and kind of reframe that." 

In April 2022, the duo tied to win Canada Listens, the musical cousin of Canada Reads, alongside Mustafa. Cree poet and activist Erica Violet Lee championed Crown Lands' self-titled album, and described the duo's music as "a mystical trip for the senses and a celebration of Indigenous resistance. Crown Lands' self-titled debut album is as necessary today as it is destined to become the stuff of rock 'n' roll legend."

• It's a tie! Crown Lands and Mustafa win Canada Listens 2022

At the end of 2022, the Crown Lands' cover of the Beatle's "Come Together" became the official anthem of the men's soccer team for the FIFA World Cup, which took place from November to December 2022 in Qatar. 

"There is no disputing the magic that the Beatles created together and it's nice for us to have 'Come Together' to add our little twist to it," the duo told TSN , which co-partnered with FIFA to release the song. "In other words, we cranked the vocals up an octave, added a metric-ton of Leslie guitars and threw in some fat Taurus synth-bass bombs into an already great song."

You can find all the details of Crown Lands' tour with Kiss via their official website .

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Music duo Crown Lands bends time, space and gender

Anthemic prog rockers unite Indigenous resilience with snarling guitars and lots of hair

Cody Bowles and Kevin Comeau. Credit: Travis Shinn

“It’s the classic story,” says Kevin Comeau of the band Crown Lands . “Most musicians and artists are usually the weird kids that don’t necessarily fit in. I was a big overachiever and worked really hard in school, but it wasn’t like I was interested in anything other than music.” As the only Jewish student at his Oshawa high school, Comeau found refuge in rock and roll and a kindred spirit in Cody Bowles, a Two-Spirit Mi’kmaw from the neighbouring community of Bowmanville.

“I was the only kid in my school who listened to the kind of music that I did,” Bowles says, listing off a series of  prog-rockers: Yes, King Crimson, Genesis and especially hometown heroes, Rush, whom both musicians idolize. “I grew up with a lot of racism, and it was a hard time,” Bowles adds. “We were like misfit kids,  and it was kind of fated for us to find each other.” 

The pair met in university in 2015: Comeau studied classical music at Western University, while Bowles studied psychology and music at York University. The duo’s origin story reads like a real-life retelling of “Subdivisions,” the 1982 Rush song about alienated suburban teenagers. Comeau echoes that song’s lyric about learning to “conform or be cast out.” 

“We learned not to bring it up with certain people,” he says, referring to the intolerance the duo endured. “We knew if you meet someone and you hear them say a couple of weird things, you say ‘Great’ and just walk away.” 

“Being a band called ‘Crown Lands,’ we have to talk about what’s actually going on and the fact that Crown land is stolen land.”

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I spoke with Comeau and Bowles via Zoom from their homes in Toronto, just after they finished recording Crown Lands’ new live album, Odyssey Vol. 1 , and just before the band headed out on an eastern Canadian tour (they’re in Toronto on Dec. 1, Ottawa on Dec. 3 and finish up in Montreal on Dec. 4). 

Growing up, Comeau and Bowles were careful to mask their identities despite being able to blend in. But now, the two friends are using their musical platform to stand up, stand out, and shine a light on the plight of Indigenous people.

“Being a band called ‘Crown Lands,’   we have to talk about what’s actually going on and the fact that Crown land is stolen land,” says Comeau. “We have to talk about colonization, the ramifications that are still being felt every single day, and the fact that it’s not ancient history.” 

“It’s ongoing and something we wanted to bring attention to, being in Canada and being a Canadian band,” Bowles adds.

The duo didn’t start with a provocative name. “We were brainstorming all these terrible band name ideas,” Bowles says. “The Kevin and Cody Cool Guy Fun Time Hour,” Comeau jokes. When a friend suggested Crown Lands, the pair took a deep dive into Canada’s colonial past and present before deciding to take a stand. 

However, Bowles was initially uncomfortable with the idea of writing about issues that hit so close to home; they needed some convincing. Comeau recognized that taking on Indigenous themes struck at the core of his bandmate’s identity and didn’t press. But the pair had some frank discussions, and Bowles came around: “Given our platform and being able to talk about things, I felt a sense of honouring my path as a creative musician,” they say.

The pair have written  a trilogy of songs, “Mountain,” “End of the Road” and “White Buffalo,” that focus on the past, present and future of Indigenous people in Canada. Spanning four years, two EPs and a full-length album, the songs also track the band’s evolution from a punk-blues outfit reminiscent of The White Stripes to prog rockers who can compete with the likes of Primus, Tool and spiritual forebears Rush. 

Set against the backdrop of Comeau’s snarling slide guitar, “Mountain” recounts the arrival of European colonizers and the beginning of Indigenous resistance. “End of the Road” has Bowles singing about the plight of murdered and missing Indigenous women, girls, and Two-Spirit people in a voice that recalls Led Zeppelin’s Robert Plant (another major influence) and chords that echo Canadian new wave sensation Platinum Blonde. With its anthemic chorus, “White Buffalo,” the title track of the band’s most recent EP, uses the image of the creature as a call to reclaim ceded land, stand against the darkness and build a bright future: “Like a White Buffalo / Standing strong in the fading light / From deep in the shadows / Our spirits rise.”

The stark simplicity of these uplifting lyrics, combined with Bowles’ propulsive drumming and Comeau’s echo-soaked guitar solo—a tribute to Rush’s Alex Lifeson—showcase the band’s songwriting and performance skills. “White Buffalo” is a stadium-ready pop-prog gem that blends irresistible hooks, a powerful message and complex rhythmic and musical changes in a sub-four-minute song. 

“When we played a song like ‘Mountain ’ about the horrors of colonization, Cody did a quick spoken word about missing and murdered Indigenous women, children and Two-Spirit people. Back in the days we were on tour, Indigenous women came up to us at the merch table and said, ‘Thank you for representing us,’” Comeau says.

“That’s really fucking special, and that was when we realized we were absolutely doing the right thing.” 

Taking a stand on Indigenous issues was a major step for the band in forging its unique identity. But expanding Crown Lands’ musical horizons was another way forward for Bowles and Comeau, one that meant embracing their prog-rock ambitions.  

“Kevin and I always loved prog,” says Bowles. “When we got together, we decided against going right there because it was so easy to do. But it was for a pragmatic reason, too. We thought that it would be better off to start with something easier to digest, easier to chew on.”

“It’s easier to write three-minute songs,” agrees Comeau, but the band had a change of heart.

“After our first record,” continues Bowles. “I was feeling more pulled to something more progressive, and we both felt that collectively. We were, like, fuck it! We’re just going to do this. We’re going to come together and really lean into what we were feeling this whole time.”

Embracing their roots and following in their heroes’ footsteps brought Comeau and Bowles into the orbit of three veteran producers who had worked with Rush. 

The duo recorded a demo of “Context: Fearless Pt. 1” in Toronto with Terry Brown, who helmed the first 10 Rush albums. In January 2020, they were headed to Nashville to cut a new version with producer Nick Raskulinecz, who had worked on the last two Rush albums, when they heard that Rush drummer Neil Peart had died. 

Devastated, Comeau and Bowles pondered cancelling the session, but the veteran producer urged them to carry the torch. When they started recording, he surprised them with Peart’s drum kit from Rush’s 2007-2008 Snakes & Arrows tour. It marked the beginning of a new chapter of Crown Lands’ existence and a return to their musical roots. 

“We went down there, and it was kind of like a rebirth of who we are musically. It was a high watermark for turning a new page and playing Neil’s kit was transcendent,” Bowles recalls. 

“It was like a return home because this was the music that Cody and I bonded over, and we were finally making music that sounded like the music we worshipped,” Comeau says. “With the people who actually made it,” interrupts Bowles. “It was absolutely surreal.”

The band also penned “Right Way Back,” a lyrical tribute to Peart, during their time in Tennessee.

But the duo couldn’t return to Nashville to complete the recording session due to the pandemic, leading Crown Lands to work with a third Rush collaborator, David Bottrill, who had remixed Rush’s 17th album, Vapour Trails . Bottrill recorded the vocals for Bowles on the April 2021 single “Context: Fearless Pt. 1” and produced the band’s September EP, White Buffalo , which includes “The Oracle,” a 13-minute sequel of sorts to that earlier track. 

Crown Lands’ new live album, Odyssey Vo1. 1 , was recorded at History , a new concert venue in Toronto’s East End, but without an audience. The show was captured on video, streamed on the Louder Sound network of websites ( Prog , Classic Rock , Metal Hammer , and One Louder ), and is currently available on the band’s YouTube page. The album itself will be released on Dec. 2 digitally and as a deluxe vinyl package. 

Inspired by the soundstage live performances of classic rock bands of the 1970s, Odyssey Vol. 1 captures the raw power of the Crown Lands concert experience. On stage, Comeau and Bowles reproduce their studio compositions without the benefit of sequencers and backing tracks. One can only marvel at two musicians producing so much sound.

In concert, the bearded Comeau stalks the stage, switching between acoustic and electric guitars, slinging a Rickenbacker double neck bass/guitar combo, kicking at Moog Taurus synthesizer pedals and even playing keys. The angelic Bowles seamlessly blends multi-octave vocals with frenetic polyrhythmic drumming and percussion, and has recently added traditional flutes and mandolin to their musical repertoire. Together, the pair is visually and aurally mesmerizing.

“Gender is ancient and fluid and unrestricted.”

Despite Comeau’s claims that they are rougher around the edges than their prog-rock progenitors, Crown Lands’ musicianship puts them on similar footing with their heroes. “We grew up loving prog bands from right before music videos blew up on MTV,” Comeau says . “You can find all these great live performances of bands on soundstages. Instead of miming to music, they were going in to play what they’d just finished in the studio. And a great example of that is the “ Villa Strangiato ” official music video [by Rush]. But it’s not the studio track. It’s one of my favourite live versions of the song. We kind of wanted to capture a bit of that as well. And obviously, you know, you can tell if a band is any good by going to watch their live stuff.”

As performers and individuals, Comeau and Bowles effortlessly blur the gender binary. Comeau, who describes both of them as feminine, bristles at traditional notions of masculinity. “There’s this weird expectation to play up to the rules that you were born into, and I think it’s kind of strange.” Adopting a cartoonish Tarzan voice, he adds: “You don’t have to subscribe to the societal notion, ‘Me man. Me must carry girl.’” 

“There’s no rulebook,” Bowles concludes. “It’s funny that people buy into it like it’s the law. But it’s fairly new in the timescale of the Americas that this rigid dichotomy between male and female has been in force.

“Gender is ancient and fluid and unrestricted,” Bowles says “It’s only these things that we put upon ourselves and these limitations that we force upon ourselves that really confine our spirit. The more we let go and detach from this thought of what should be and the perception you were born like this, therefore you must be like this… if we can detach ourselves from thoughts like that, I feel like the world will be better, and people’s mental health will be way better than it is currently.

“Everyone’s different in different ways, and there’s different modalities of being. I feel like there’s a real shift in young people’s awareness of this. I feel like in the future, it’s going to be brighter, more colourful, and people are going to be more themselves than ever.”

Christos Tsirbas lives in Toronto and writes about movies, music, comics books and technology. His writing has appeared in  The Hollywood Reporter, Xtra, Instinct, fab, CBR, CBC Radio and the Lambda Award-nominated anthology  Charmed Lives: Gay Spirit.  He is a two-time finalist in the National Film Board of Canada’s Tremplin  competition for emerging francophone filmmakers, a grand-prize winner at the  Toronto Urban Film Fest  and a photographer whose work has been featured in the  Contact Photography Festival, Canadian Cinematographer  and  Playback.

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The Juno Award-winning duo’s latest will be issued on March 31 through Spinefarm/Universal Music Canada.

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Juno Award-winning, powerhouse rock duo Crown Lands – Cody Bowles (vocals and drums) and Kevin Comeau (guitar, bass, and keys)—share details of their sophomore studio album Fearless set to release on March 31 through Spinefarm Records/Universal Music Canada.

Alongside the album announcement, Crown Lands release the 18-minute composition “Starlifter: Fearless Pt. II,” the first track on the record which throws down the gauntlet and introduces the whole Fearless experience. “This is truly our crowning achievement.The best song we have written so far. An 18-minute opus. A testament to the power of prog. A document of just how much noise two people can create,” exclaims Comeau.

The nine-track album follows Crown Lands’ self-titled debut from 2020. It was recorded in 80A Studio at Universal studio in Toronto with producer David Bottrill ( Rush , Muse, Tool, Mastodon) and came together over a six-month period, in short, intense bursts between tours.

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Where the debut record showcased Crown Lands’ aptitude for raw blues rock, Fearless embraces more of the band’s earliest passions in prog-rock. The album is an unapologetically rich, ambitious work yet easily accessible, plus fans will notice some previously released tracks “Context: Fearless Pt. I” and “Right Way Back” that act as familiar touchpoints framing in the new soundscape.

“I mean, let’s be honest here, there’s a little bit of cleverness for cleverness’ sake in there too,” Comeau chuckles. “But it is really fun. We had so much fun tracking this music. I think we were both able to do what we wanted to do as artists for so long.”

Rather than clobber its audience with complexity, Fearless creates a world you want to spend time in. Bowles anticipates, “I hope that our playing on this record inspires people to kind of take up playing in that way. It’s something that’s not so common now, but when you get into it, it’s just so beautiful.”

The lead single, “Starlifter: Fearless Pt. II,” embodies otherworldly, Vangelis -esque qualities offset by juicy rock solos, sci-fi mystique, a captivating 11/8 section, gentle chimes and gauzy synths. It also builds on the same protagonist, the same universe that Crown Lands have been cultivating. Bowles explains the premise, “this epic story spans hundreds of years following our titular hero: Fearless after the events of (2021 single) “The Oracle.”

He stands against the colonization of outer space and the decimation of his people to reclaim what was stolen by capitalistic greed and bloodshed.” Bowles, who also writes science-fiction continues, “These are themes that may sound like a mere fantastic tale to some, but we wanted to marry sci-fi elements with very real issues Indigenous people have gone through time and time again. I guess that would be called Indigenous futurism. I have always loved songs that give you more the more you lean into them, and there is a deeper meaning to this story if you look for it.”

Crown Lands continue to introduce themselves to the rest of the world through their high energy live shows. Last year, they joined Greta Van Fleet on the final leg of their “Dreams In Gold” world tour in the U.S. Starting March 10, they head out with fellow Canadian rock outfit, July Talk, playing iconic venues across their home country on “The Never Remember Tour,” plus some headlining shows. See tour dates below, buy tickets on the band’s official website.

Pre-order Fearless .

Fearless Track Listing:

“Starlifter: Fearless Pt. II” “Dreamer Of The Dawn” “The Shadow” “Right Way Back” “Context: Fearless Pt. I” “Reflections” “Penny” “Lady Of The Lake” “Citadel”

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“THE BIG WAVE” 2021 TOUR DATES

Tickets on sale july 16.

• Friday, October 15, 2021 - Winnipeg, MB - Pyramid Cabaret
• Saturday, October 16, 2021 - Saskatoon, SK - The Roxy
• Tuesday, October 19, 2021 - Red Deer, AB - Bo’s Bar & Grill
• Wednesday, October 20, 2021 - Edmonton, AB - The Starlite Room
• Thursday, October 21, 2021 - Calgary, AB - Commonwealth Bar & Stage
• Saturday, October 23, 2021 - Vancouver, BC - Biltmore Cabaret
• Friday, November 26, 2021 - Waterloo, ON - Maxwell’s Music Hall
• Saturday, November 27, 2021 - Oshawa, ON -Biltmore Theatre
• Sunday, November 28, 2021 - Hamilton, ON - Bridgeworks
• Tuesday, November 30, 2021 - London, ON - Rum Runners
• Wednesday, December 1, 2021 - Toronto, ON - The Axis Club
• Friday, December 3, 2021 - Ottawa, ON - Bronson Centre
• Saturday, December 4, 2021 - Montreal, QC - Petit Campus

Coming Soon

Crown Lands are born storytellers, with eyes on this world and others. Painters of strange, absorbing universes. Advocates for the LGBTQ+ and indigenous communities. Counter-culturalists for the 21st century, informed by a cocktail of old-world thinking, science-fiction, and musical narrators from Rush to Paul Simon, Led Zeppelin to John Prine. It’s prog rock, but not as you know it – or as you thought it could be.

Though still in their twenties, Crown Lands have profound ties to history. The enigmatic brainchild of singer/drummer Cody Bowles (a reconnecting Mi’kmaq Two Spirit, who grew up learning from the elders of Canada’s Alderville First Nation reserve) and guitarist/keyboardist Kevin Comeau (a Jewish-born bassist from Whitby, Ontario, whose ancestors made it through the Holocaust), the band channels ancient spirits into fantastical stories. All of it tempered with current issues, and all of it as a duo.

“I think the wow factor of Cody and I pulling this shit off, as two people, is something we have to maintain in the live show,” Comeau reasons. “We can still pull a lot of this shit off live with no tracks, no trickery and no additional members.”

Since meeting in 2015 at a band audition – where they bonded over a love of prog icons Rush – the leonine-haired pair have thrived on a diverse mix of ideas and activity. Sprawling conversations over walks in the woods. Urgent odes to the mistreatment of their country’s Indigenous peoples (captured in 2020 single “End Of The Road”). Slapstick jokes over movies and Indian food. Cultural touchstones that include the worlds of J.R.R. Tolkien, Dune author Frank Herbert, Buddhist meditation master Chögyam Trungpa and the Flash Gordon and Terminator soundtracks. All the while, heaps of riffs were amassed.

“We don't really do a lot in solitude for this band,” Comeau says. “When I'm alone and making music, it's synth music, kind of like Vangelis or Tangerine Dream or John Carpenter. And when Cody's on their own, Cody's playing all these amazing flutes these days, and that's a whole other world. But when we come together, it's like, what would Pink Floyd do if they jammed with Rush? It's a different kind of headspace.”

Originally, Crown Lands got their foot in the door with punchy, straight up rock’n’roll, compiled on their Juno-nominated, self-titled record, Crown Lands LP (2020), recorded at RCA Studio A in Nashville and produced by six-time Grammy winner Dave Cobb (Rival Sons, Chris Stapleton). Raw blues rock songs like “Spit It Out” and “Howlin’ Back” gave them a gateway into the live scene and grabbed the attention of listeners the world over. This paved the way for an introduction to three of Crown Lands heroes: Terry Brown, Nick Raskulinecz, and David Bottrill – all prolific producers that worked with them on their breakthrough track “Context: Fearless Pt. 1,” which premiered on Rolling Stone. After a steady stream of new music, the band’s fresh approach and mission-driven catalogue garnered them the 2021 Juno Award for “Breakthrough Group of the Year.” Now, following the success of long, conceptual singles they’ve made a modern-day progressive opus – second studio album, Fearless.

“Whenever we've toured and reached out to our fans on social media, like 'what do you want to hear in the set?' it's always the longer songs,” says Bowles, who threw themself into vocal lessons over the pandemic, “which is great, because that's what we always wanted to do.”

The blood of Rush runs deep in Fearless’s veins, swirled with flavours of Yes, Pink Floyd and the wealth of artists that have shaped Crown Lands. Synthesiser sequences take them to new, daring places. Electric sitar can be heard in “Starlifter,” along with Indigenous flutes and riffy rock guitars. Classic qualities are stirred into fresh themes and issues close to their hearts. It’s a virtuosic hybrid that reveals a treasure chest of progressive, rock, troubadour and electronic strains. Folk songs and fantasies in luxurious prog packages.

Recorded at Universal’s studio in Toronto with producer David Bottrill (Rush, Muse, Tool, Mastodon) Fearless came together over a six-month period, in short, intense bursts between tours. It’s an unashamedly rich, ambitious work – in an era of quick fixes and clickbait. And yet it’s not a ‘hard’ listen. Rather than clobber its audience with complexity, Fearless creates a world you want to spend time in. Lavish epics married with concise pop song ideals. Sonic landscapes imbued with feeling and focus, each one flowing into the next.

“I really want some kid getting goosebumps listening to the music,” Bowles agrees. “That would be a dream come true, because that was me as a kid listening to Rush’s 2112. And I hope that our playing inspires people to kind of take up playing in that way. It's something that's not so common now, but when you get into it, it's just so beautiful.”

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Crown Lands release new live video of Neil Peart tribute Right Way Back

Canadian prog duo Crown Lands sign new deal with Spinefarm Records and release two live tracks today

Juno-nominated Canadian prog rock duo Crown Lands have released a new video for a live run through Right Way Back . You can watch the video in full below.

The track is a heartfelt tribute to the late Rush drummer Neil Peart . “It’s about the feeling of trying to carry on from where your heroes left off,” says guitarist, bassist and keyboard player Kevin Comeau.

The duo, completed by drummer and vocalist Cody Bowles, have also signed to Spinefarm Records and alongside the new video the band have released two brand new live versions of Crown Lands previously released, acclaimed tracks  Context: Fearless Pt. 1  and Right Way Back today.

The connections with fellow countrymen Rush are further strengthened by the fact that Crown Lands have worked with three celebrated Rush producers. Terry Brown worked on the duo's early demos, while latter-day Rush producer Nick Raskulinecz helped producer the band's epic Context: Fearless Pt. 1 , while Dave Bottril, who remixed Rush's 2002 album Vapor Trails produced the vocals.

“He’s the mythical third Rush-associated producer,” says Comeau. “This one fucking song had the triad of Rush producers!”

Get Context: Fearless Pt. 1 / Right Way Back .

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Writer and broadcaster Jerry Ewing is the Editor of Prog Magazine which he founded for Future Publishing in 2009. He grew up in Sydney and began his writing career in London for Metal Forces magazine in 1989. He has since written for Metal Hammer, Maxim, Vox, Stuff and Bizarre magazines, among others. He created and edited Classic Rock Magazine for Dennis Publishing in 1998 and is the author of a variety of books on both music and sport, including Wonderous Stories; A Journey Through The Landscape Of Progressive Rock.

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