“Two days, two worlds – one unforgettable weekend,” was the tagline for the Fireside Music Festival, which celebrated its 11th year at BNA Brewing Co. last Saturday and Sunday. For a city that often feels like it’s hibernating, this event is something to wake us all up.
Sunday marked my first Fireside experience, and I’d been looking forward to seeing BNA done up for the occasion. The restaurateurs behind Bernie’s and Skinny Dukes always nail it aesthetically, and the decor didn’t disappoint. The usual hunting lodge feel softened into something like a dimly lit ’70s living room. Local artists were invited to decorate the walls, crocheted blankets draped many a surface, and a large mirror ball hung stage-left, a sign of grooves to come.
@kelownanow.com Some sights & sounds from Fireside Festival this past weekend! 🔥🪕 Article coming soon. @Fireside Festival @BNA BREWING CO ♬ Hide & Seek – Josh + Bex
Upstairs, known for its bowling alley, was transformed into an improvised flea market: thrift shopping, tarot readings, and the standard flash tattoo studio. Standouts included a tunnel made from old CDs catching the light like a low-budget disco relic and blacklight-activated hand-looped shag rugs, which I’m sure the EDM crowd adored. Observed as a whole, with music lofting up from the stage below, the place evoked Camden Town-eclectic, unassuming, alive.
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Photo credit: NowMedia
Photo credit: Contributed
BNA is sometimes dismissed these days by millennials as “full of babies” when they are seeking a night out on the town, but the crowd here was refreshingly well-rounded; there were even some actual babies in the mix. If anything, the college crowd felt underrepresented.
Over-represented were Kelowna’s fashion-conscious crowd, the usual Lululemon/Patagonia/Arcteryx softened to more palatable levels. Fringe jackets, lots of blue denim, and patterned dresses mingled with elevated motorcycle silhouettes. Seventies disco style gives way to sixties Woodstock vibes. I’m calling it now: Ringo Starr is going to be the haircut inspo for trendy men this year. Also present were plenty of people straight from Big White. I’m always a sucker for apres-ski chalet style. Mary Samsonite, anyone?
As for the bands:
You discover a new favourite act at every festival, and the ascot-clad lad was mine. I’d slept on Windmills despite many friends recommending him over the years. He’s a local artist and a Fireside vet. We were treated to the first live showcase of his upcoming album, which is dropping later this year. He was visibly nervous showcasing the new material, but had no need to be; the performance was one worthy of a much larger stage. His rhythmically versatile vocals harken back to the golden age of indie music, and his stage presence was self-effacing in the charming way of someone genuinely talented. I’ll be perusing his entire discography after that performance.
Photo credit: ContributedWindmills
JP Maurice and the Sweet Angel Boys
Another Fireside veteran, JP Maurice and his crew, the Sweet Angel Boys, delivered a set that felt polished when contrasted to the raw emotion of a new material showcase. Long, infectious instrumentals had the room swaying. A conga line even snaked through at one point.
Their cover of Fontaines D.C.’s “Boys in the Better Land,” swiftly followed by Kings of Leon’s “Molly’s Chambers,” was the day’s highlight for me. Two songs that felt like old friends, simpler times and sunnier days.
Photo credit: KelownaNow
If the venue channelled Camden, Bella Cat evoked Amy Winehouse, boasting the same raspy, powerful voice, and embodying the late singer’s style in an exposed black bralette coupled with winged mascara.
She bantered with the crowd, led sing-alongs, and the set stretched into long, funky keyboard riffs that had the crowd moving. Her voice flexed hard on a dynamic Missy Elliott cover. The backing band rocked white beekeeper onesies (hats and all)—though the headgear quickly came off, no doubt it was hot under the lights, especially with the energy they put into that performance.
Photo credit: ContributedBella Cat
The local band made their Fireside debut this year, introduced by the organizer as “better than Radiohead—I’ll die on this hill.” And yes, their experimental edge and layered vocals did echo the band, though a little more psychedelic. They’re a fluid unit: members trading lead vocals and roles seamlessly, clearly comfortable and well rehearsed. You can tell they’ve put in their reps—they were tight, inventive, and authentically captivating.
They closed with a typical call to action: something like “fuck the man, fuck the patriarchy, fuck whoever’s in the Epstein files.” It drew the expected cheer, though it made me wonder, who’s “the man” these days? Corporate overlords? The patriarchy? In Canada, I’d argue it’s the bureaucracy and institutions screwing us over, but that’s less sexy to chant about.
Photo credit: ContributedNightshades
Walking out, I felt lucky to catch these acts on such a small stage. Live music needs champions in this growing city, which is known more for outdoor activities than its nightlife. I hope Fireside continues fuelling Kelowna’s scene and that more festivals and concerts pop up year-round to give local talent the spotlight it deserves. An upside of the weak Canadian dollar is that fewer international acts mean bigger chances for homegrown acts to break through. Windmills, especially, has main-stage headliner written all over him.
