Acclaimed Canadian singer-songwriter Jerry Leger has received praise in Rolling Stone, Pop Matters, Globe & Mail, The Toronto Star, No Depression, Americana UK, Paste, Exclaim! and from fellow songwriters such as Ron Sexsmith, Doug Paisley and Michael Timmins (of Cowboy Junkies, who is also Leger’s producer/label head at Latent Recordings), yet he’s remained somewhat under-the-radar. I’m sure he wouldn’t mind commercial success but perhaps the career as a cult artist suits him better, as in the same fashion as songwriters like John Prine and Tom Waits. Both sold modestly but were highly-regarded artists for half of their careers before becoming musical legends; and like these writers, Leger is prolific, uncompromising and fixated on artistic success. The examples are throughout the new Too Broke To Die: Retrospective 2005-2019 and promote further listening of his already large and impressive body of work. The examples are throughout his already large and impressive body of work.
The compilation will be available physically (limited edition) at all of Jerry Leger’s April & May run of shows in Europe and digitally worldwide March 29th. Leger has toured Canada and the States multiple times playing shows with The Sadies, Justin Townes Earle, Doug Paisley, Deer Tick, Jill Barber, labelmates Skydiggers, Ron Sexsmith, the late great Jesse Winchester, Tift Merritt and Dawes, among others. In 2018, he made his European debut with two tours in support of his acclaimed (Polaris considered) double LP Nonsense and Heartache (Latent/Warner/Proper). They included dates with Trampled By Turtles, Sarah Shook & The Disarmers and the Take Root Fest, sharing the bill with artists such as Neko Case, Kurt Vile, Father John Misty, Shakey Graves, Alejandro Escovedo and more.
“One of the best songwriters I’ve heard in quite some time.” – Ron Sexsmith
“One of the best Canadian songwriters.” – Maik Bruggemeyer, Rolling Stone
“Nonsense and Heartache, an unjustly overlooked magnum opus that devotes one two sides apiece to his “folk” and “rock” sides, is finally finding an audience somewhere.” – Ben Rayner, The Toronto Star