“Like the best country singers, Maki's voice is conversational yet somehow self-contained, as if it'd be quite happy talking to itself sitting on an open plain, or whistling to itself behind a wheel.”
“She can sell a song with only her voice and an acoustic guitar”
“The sweet-singing Sudbury school teacher, who deserves all the apples she gets, preaches and teaches with ragged country honesty and heart.”
- Globe and Mail
“In her own way, Maki rocks as hard as the fiercest metal band.”
KATE MAKI is a hardy country type of pioneer woman. Her guitar picking rhythm is like a drum, and she can belt out, even when she is quiet, like a storm. Her songs represent a real natural talent for writing tunes that feel like a friend you’ve never met, but that you’ve known forever. Born and raised in Sudbury, Ontario, Maki has released six records since quitting her day job as a grade school teacher in 2003. She has toured extensively in North America with folks like Giant Sand, Great Lake Swimmer, Cuff The Duke, and The Guthries. Her songs have been placed in several films and TV shows including Weirdsville, Hard Rock Medical, and Wilby Wonderful, and her voice can be heard on records by Howe Gelb, Sylvie Simmons, and Matt Mays.
Maki’s most recent release, Head In The Sand, was recorded predominately in the spring of 2015, at home in Copper Cliff, Ontario with her husband and audio scientist, Fred Squire. Despite small basement quarters, the couple managed to create a most compelling and expansive sounding record using a 70s eight track tape machine, an 80s mixing console, a few decent microphones, and a borrowed spring reverb unit. Friend and master timekeeper, Nathan Lawr, played drums on the majority of the record, steering the songs in new and engaging directions. Maki and Squire played the rest of the instruments themselves whenever they could afford the time between raising their two young children and Squire’s hectic university schedule. By keeping the arrangements sparse, and embracing a standard rock formation of guitars, bass, drums, and occasional organ or piano, they allowed Maki’s captivating vocals to become the focal point. Written mostly in 2009 during a tempestuous time for Maki, the songs examine prevailing matters of the human condition, including infidelity, defeat, loneliness, acceptance, and atonement.