Melwood Cutlery is a characterful folk/roots singer-songwriter whose blues country music is both at home performed on guitar, piano, harmonica and quirky vocals. He has six studio records of songs that range from the melancholy of romance to unforgettable ballads about uniquely Canadian stories. His newest release is “A Complete Display of Tackle” (Little Bighorn Studios, Ottawa, 2024). Be a part of the movement of his musical adventures on Thursday, February 19, 2026 from 6-9pm. Details and reservations here. 

Seamus Cowan: As a songwriter, do you ever feel like life is too short to write a song that doesn’t completely move you? Getting inside yourself and exploring that world seems almost necessary. Can you tell us a little bit about your songwriting process?

Melwood Cutlery: I was driving back from Toronto with bass player violinist, Michael Ball, when he asked me a similar question, I mumbled something about lying on a park bench when a tune with lyrics would come to me through the muse or chorus line which usually comes first in that I write about subject matter that is of some importance to me personally.

Q: Performing music has clearly become your persona. Is there an inspiration in your life of a young age that made you realize that performing music is more than just singing and playing amusement but a way of life?

Melwood: Ironically, there is a decal fastened to the beat-up guitar case of my first good guitar that I purchased at the Toronto Folklore Centre at the age of 18 or 19. It reads, “NO MUSIC NO LIFE”. That says it all for me but actually I think life is too long in a way in that the longer you stay around the more is expected of you not by others but by yourself. My philosophy anyway.

Q: The last time I saw you was at local luthier Oskar Graf’s funeral. Can you tell us about your connection to him and the instruments that he made?

Melwood: My connection to Oskar Graf was made at Blue Skies after I’d moved to Toronto in the late 80's. My pop outfit at the time, The Fashion Plates (Toronto Chapter), was hired to headline the festival’s Saturday night on at least two occasions and Oskar of course is the founder/land supplier for the Festival. The last time I saw Oskar was in Westport when we bumped into each other by accident. Dave Tiltson a local player has one that he swears by. I've never owned one but Jason Fowler has five. From what I've heard, they are uniquely crafted, beautifully toned, customized instruments. Someday I hope to acquire one. Also, my sister Barbara was acquainted with Oskar, although I can't remember why.

Q: It’s clearly a very different world out there for songwriting, but there is still a way forward with a lot of of the similar tools and forms of the past. What makes you most excited about songwriting in today’s musical climate, including the pop world?

Melwood: Songwriting in the modern age. Sounds like a how-to manual. Eventually I'll write one of those but for now, you know it's just your friends and fans who keep you interested in putting out music. My latest release, "A Complete Display OF Tackle" went to Vinyl as well as CD format, whereas many releases these days are simply streamed. My audience has aged along with me like a fine cheddar or a cheesy organ part in a song that never ends. In my early years, I played six nights a week at Willy's Wine Bar in Ottawa on an old upright piano with no PA. Then I played Palisades Park three times a night at the owner’s request, so forgive me for saying songwriting in the pop world today is a fool’s errand at best. Although I think the song, "Where'd You Go Summer" from my latest release is a pop song in the best sense of the word. It’s also the sole piano track.

Q: I’m sure there are many artists that you would love to see you again as there are so many greats who have passed on. If there was one new artist out there that you could work with or perform with, who would it be? If so, does that maybe you tell a story about your future outlook in music?

Melwood: Aside from the music and my hopeless Spanish, Bad Bunny had good messages to send to the world via the miracle of football, not to mention the steaming platforms that have catapulted his career into the limelight. Not that she is cutting edge anymore, but I always wanted Dolly Parton to hear and cover my song "I'll Be With You Someday" from the album Overstepping the Boundaries, recorded in Toronto circa 1995. However, and with grace. I'd just as soon focus on the musicians I already know and respect from Ottawa and Toronto for the most part. That way, I can find ways of utilizing their talents, as much as I have been doing for fifty years. Jody Benjamin from Ottawa has covered two of my songs, "Big City" and "Loon On A Lake". If I get to wish for anything, it would be for more covers of my songs to be created and performed live. Oh, and I wish I had an acoustic piano to play at the Cove on the 19th. I also wish that Jason Fowler and Miss Emily will be at the show. Incidentally, Miss Emily can be heard accompanying me on "Dewy Eyed Honey" from my album "Home In The Country" or HITC as I call it. Thanks for the interview Seamus, I love The Cove Inn.