An amalgamation of synthetic drum machines, analog synths and the usual exquisite vocals obliterate the usual arguments about the authentic in favour of a belief in earnest artifice.

A celebration of life and all the good stuff that can be found on the other side.


Rae Spoon’s bodiesofwater comes out on the twentieth anniversary of the first show Spoon ever played, and ten years after the release of their break-out album superioryouareinferior. As a non-binary person, Rae is no stranger to having an identity that doesn’t fit societal and legal structures. Like bodies, water is regulated and increasingly commodified, despite being fundamental to life. On this, Spoon’s ninth album, they explore their common ground and connections with the ocean surrounding their Vancouver Island home.

Co-produced by Montreal’s Laurie-Anne Torres (Folly & the Hunter, Land of Talk), bodiesofwater was recorded with Torres, respectfulchild, and Terri Upton at The Noise Floor Recording Studio on Gabriola Island. Infectious arrangements of drums, ambient violin, synthesizers, and bass guitar carry the listener through ten new songs highlighted by Spoon’s characteristic layered songwriting. Expansive and hopeful, Spoon’s voice acknowledges the complications and complexity of despair while maintaining a genuine sense of hope and connection.

The album opens with “I Held My Breath,” a song emanating the strength and fragility in confronting sorrow and anxiety. The anthemic joy of “Do Whatever the Heck You Want” encourages listeners to challenge the limitations they put on both themselves and others. Other songs, such as “It’s Getting Close” and “Bioluminescent,” explore the apocalyptic possibilities in the current global climate, while the role of politicians in determining the future of the land and sea is confronted in “You Don’t Do Anything.” “Seascape” seeks to destigmatize the methods people use to survive a lack of social support, and the song “In My Town” challenges music and art scenes to better address allegations of sexual violence while supporting survivors. “Undertow” proclaims the advantages of embracing change and “It’s Not in My Body” is about longing for the space to simply exist as a body without constantly negotiating the questions of others. Finally, in “Beach Of Bones” Spoon finds connection with the water, air, and land by experiencing them as living parts of the world in which we are embodied.

Rae’s first book, First Spring Grass Fire, was published by Arsenal Pulp Press in 2012. The book was a finalist for a Lambda Award in the Transgender Fiction category and was shortlisted for an Expozine Alternative Press Award. In the spring of 2014, Rae was awarded a Honour of Distinction by the Dayne Ogilvie Prize, presented by the Writers’ Trust of Canada. Rae’s second book, co- written with Ivan E. Coyote and titled Gender Failure, was published in 2014. Gender Failure was on the 2015 Over The Rainbow Reading List and was translated into German. In 2017, Rae also published a manual in the How To Series called: How To (Hide) Be(hind) You Songs detailing their philosophies on music composition.



2018 bodiesofwater (Coax Records)
2016 Armour (Coax Records)
2013 My Prairie Home (Coax Records)
2012 I Can’t Keep All Of Our Secrets (Coax Records)
2010 Love Is A Hunter (Coax Records)
2008 superioryouareinferior (Coax Records)





23 Canadian tours (2002–2018)

12 American tours (2003–2018)

21 European tours: England, Scotland, Wales, Germany, France, Italy, Denmark, Poland, Czech Republic, Austria, Switzerland, The Netherlands, Ireland, Sweden, Norway, Hungary, Spain (2005–2018)

1 Australian tour (2006)

1 China Tour (2018)

See for details.




Out On Stage (Victoria), Huron Reads (London, ON), Lawnya Vawnya (St. John’s), East Town Get Down (Calgary), Tiny Lights (Ymir), Vancouver Island Music Festival (Comox), Stanfest (Canso, NS), Waynestock (Wayne, AB), The Works Festival (Edmonton)


Brandon Pride, SAMRU Pride (Calgary), Hillside Festival (Guelph), Midsummer Festival (Smithers), Arts Wells, Northern Lights Festival (Sudbury), Wordfest (Calgary), K-days Festival (Edmonton), Harbourfront: Beats, Breaks and Culture Festival (Toronto)


Magma Festival (Seattle), Human Rites (Calgary), Lilac Festival (Calgary), Tiny Lights Festival (Ymir), Fortnight Festival (Sault Ste. Marie), Skeleton Park Arts Festival (Kingston), Arts Wells, Ottawa Pride, Calgary Pride


Tour D’Lorraine (Berne), Westfest (Ottawa), MOSO Festival (Saskatoon), Pride Niagara, Edmonton Pride, Yellowknife Pride


Queerbeats Festival (Munich), Push Festival (Vancouver), Sundance Film Festival (Park City, USA), Theatron Festival (Munich), Spielwiese Festival (Austria), Cathedral Quarter Arts Festival (Belfast), BFI Flare Festival (London), Vancouver Poetry Festival, Ottawa Writer’s Festival, Outfest (Los Angeles), Sappyfest (Sackville)


Umea Feminist Festival (Sweden), Mile End Poet’s Festival (Montreal), London Lesbian and Gay Film Festival, Blue Metropolis Literary Festival (Montreal), Translations Film Festival (Seattle), Bumbershoot Festival (Seattle), Mount Royal University Pride Week (Calgary), Arts Wells, Great Bruce Pride (Owen Sound), Edmonton Pride, Seattle Transgender Pride, Brandon Folk Festival, Toronto Pride, Peterborough Folk Festival, Outburst Festival (Belfast), Emerging Music Festival (Quebec)


South Country Fair, Arts Wells, Pop Montreal, Calgary Folk Festival, Toronto Pride, Kaserne Festival (Switzerland), Toronto Bike Festival


In The Dead Of Winter (Halifax), Outspoken (Lethbridge), Lawnya Vawnya (St. John’s), Jasper Pride, Trans-Canada Alberta Music Series (Calgary), Sled Island (Calgary), Folk On The Rocks (Yellowknife), Maynooth Pride, Pembina River Nights (Edson), Strathmore Gay Rodeo, Cathedral Village Arts Festival (Regina), Thunder Bay Pride, Winnipeg Pride, Blue Bird Festival (Vienna), Pervercite (Montreal), Reeperbahn Festival (Hamburg)


Rhubarb Festival (Toronto), Canadian Music Week (Toronto), Pop Etc (Winnipeg)


Rampenfiber (Vienna), Arts Wells, Radical Queer Semaine (Montreal), Netherlands Trans Film Festival (Amsterdam), Trento LGBT Festival, Philedelphia Trans Health Conference, Suoni Per Popolo (Montreal), Halifax Pride


Hillside Festival (Guelph), Pembina River Nights, Ladyfest Ottawa, Ladyfest Toronto, Ladyfest Mulheim, Ladyfest Cork


Canada Winter Games, Ladyfest Leeds, Dublin Lesbian Arts Festival, Netherlands Transgender Film Festival (Amsterdam), Vancouver Folk Festival, Ladyfest Toronto, Hysteria Festival (Toronto), Port Alberni Forest Festival, Pembina River Nights, Robson Valley Music Festival, Littlefest (Nelson), Toronto Pride Festival


Cobargo Folk Festival (Australia), Blue Mountains Folk Festival (Australia), Yakandandah Folk Festival (Australia), Brandon Folk Festival, Arts Wells


Frostbite Festival (Whitehorse), CKUA Alberta Songwriter’s Series, Winnipeg Folk Festival, Dawson City Music Festival, Alberta Scene Music Festival


North Country Fair, Toronto Pride Festival, Calgary Folk Festival, Regina Folk Festival, Edmonton Folk Festival, Ottawa Folk Festival, Ladyfest Toronto, Ladyfest Ottawa


Vancouver Pride Festival, Victoria Pride Festival, South Country Fair, Tulip Festival (Ottawa), Ladyfest Halifax, Ladyfest Denver


Northwest Folk Life Seattle, San Francisco Pride Festival


North Country Fair, Vancouver Folk Festival, Vancouver Pride Festival


Try Again At Everything


I Hear Them Calling

Ocean Blue

There Is A Light



bodiesofwater released nationally and internationally.


Rae Spoon and director Chelsea Mcmullan win the Grand Prize from Storyhive for the music video for song “I Hear Them Calling”

Rae Spoon published Instructional booklet How To (Hide) Be(hind) Your Songs


Album Armour released and Rae Spoon called “one of Canada’s most important working musicians” by Now Magazine.

Armour is nominated for a Western Canadian Music Award.


Rae Spoon and Ivan Coyote’s book Gender Failure is translated into and published in Germany.


My Prairie Home long-listed for Polaris Prize.

Sundance Film Festival Features My Prairie Home


Rae Spoon on the Cover Of Now Magazine September 2013.

Rae Spoon book nominated for a Lambda Literary Award.


Rae Spoon releases I Can’t Keep All Of Our Secrets and tours internationally.


Rae Spoon composed the score for CBC documentary Transforming Family.


Rae Spoon album Love Is A Hunter is released


superioryouareinferior long-listed for Polaris Prize.


superioryouareinferior released to rave reviews and called Rae Spoon’s breakout album.


Rae Spoon tours continental Europe for the first time.


Rae Spoon tours Australia for the first time.


Rae Spoon tours the United Kingdom for the first time.


Rae Spoon plays almost all major folk festivals in western Canada sharing stages with acts like Emmy Lou Harris, Earl Scruggs, Lucinda Wiliams, Steve Earle.


Rae Spoon first full-length album released with Canadian tours.


Rae Spoon tour the USA for the first time.


Rae Spoon performs at many major festivals at the age of 20


Armour finds Spoon returning to the electronic textures and soundscapes that their music has been incorporating, rather than the organic folk-tinged instrumentation found on Polaris Prize-nominated My Prairie Home, the soundtrack album for the documentary. The album also skews a little louder and a little more upbeat, with the audience in mind.


Spoon’s poignant, raw musicality paired with their evocative, powerful vocals have spoken to Canadians across the nation, especially within the queer community.


Montreal-based indie/pop singer-songwriter Rae Spoon is gathering a lot of attention for their eighth album Armour


The new album, Armour, which has been about two years in the making, is a sonic fusion of electronic and singer-songwriter elements.


On Armour, Spoon takes on many battles from depression to appropriation, always weighing the good and the bad with even consideration. Ultimately, though, listeners will leave the album with a sense of hope. Most importantly, it promotes optimism, empowerment and the idea that you write your own story.

CBC Music Track by Track Guide


The album, Spoon’s eighth solo release, is another stellar electro-based offering of dreamy, rounded and sweetly pleasing pop with, as always, an aftertaste of pretty melancholia.

Calgary Herald


Spoon’s new album, Armour, just dropped, with an upbeat message of conquest and strength yet also highlighting the vulnerability they first became known for.


With Armour, Rae Spoon has recorded one of the best albums of the year, and made a very h1 case that they’re one of best, and most important, songwriters in Canada. Perfect electronic pop songs that groove, tear at your heart, and seek to create real change.


Armour, their new album, the most Rae Spoon has ever sounded like Rae Spoon. Wearing all those layers at once–acoustic instruments, electronic programming; poppy dance rhythms and hymn-like balladry; that unmistakable voice–Spoon sounds settled in their own skin, allowing these new songs to soar with confidence and clarity.


The album perfectly blends the dark and light into something that is honest and hopeful. They were conscious of writing for other people who have also experienced difficulties.


Steeped in personal themes and experience, Spoon’s body of work is truly singular


On Armour, Spoon also explores the idea of creating meaning for oneself, ultimately


No longer bound by extramusical restraints, Spoon looked back over their record collection, as well as their own deep discography, and asked “what is it that makes a Rae Spoon record?” The answer is somewhere in these Essential Albums.


Spoon’s new work is an organic mix of acoustic drums and electronic production leaning in an indie-dance direction, amongst a loose collective of queer artists and writers working in that realm of sound.


this album is their most mature yet


Armour is their slickest, most upbeat sounding album yet.


Much hangs in a fine balance in the 10 songs the transgender artist presents on new LP Armour: synths and electronic percussion alongside guitars and Spoon’s evergreen vocals, melodic pop and sharply drawn verses, hope and despair. It’s not so much a turning away from the more agrarian approach of much-admired My Prairie Home as it is a return to a career arc of uncommon conviction and variety that 2013 multimedia project interrupted and amplified.
The latest album from the gifted Canadian singer-songwriter Rae Spoon is Armour, an album recognizable by its armadillo artwork and lean electro-dance arrangements. It’s a reaction to the 2013 LP My Prairie Home, a deeply personal opening up to her audience that left the musician questioning the need for boundaries and protection. Intensely human but still hummable, the songs of Armour are thoughtful reflections on the fortresses we all need, sung by an artist who knows that “we are not made to be broken, even by our own hands.


Spoon is an ever-evolving, distinctive experimental artist.



Rae Spoon is one of the most important musicians working in Canada today.


The mark of a gifted songwriter is the ability to create the most emotion with the fewest notes. Rae Spoon is a master of restraint, conveying both hope and hurt at once through simple melodies, a skill that led to their Polaris Music Prize nomination for 2013’s My Prairie Home.


Rae Spoon’s performance exceeded and built upon the original studio-recorded material, especially during the second half of the performance. The second half of their set drove head first into bellowing electronica that got the concert hall shaking, a h1 increase in tempo from the more soft-rock inspired first half. Their performance made me see the value in coming to see a live performance of the album material that I had grown to enjoy in the weeks prior to the concert. Rae’s voice enveloped the audience in a dreamlike defiance of the sexual constraints that I feel comfortable in saying that many people in the room had experienced at least once in their lives before. It was the type of subtle rebellion that is refreshing in the vast ocean of name-calling and shouting matches that populates much of social politics today.


Few people can hold a room’s attention like Rae Spoon did upstairs at the Rocket Room on Thursday. Sure, it’s a sit down kinda spot, but Spoon’s natural knack for storytelling had the crowd hanging off their every word. Just a few of the topics touched on: our broken justice system, ending your day as a musician and “scaring the s$$# out of yourself” by playing a show, loving getting the “retirement time slot” on a bill, getting a driver’s license after two decades of having a learner’s permit, and convincing their friend to lick slugs.
Not to mention the tunes were raw and affecting. Opener “Lighthouse,” from all the way back in 2010, started the set on a powerful, stripped-down note, but the rest of it was adorned with some bells and whistles, as loop pedals and drum machines and even the crowd backed them up.
 The atmosphere was laid back, friendly, and warm, and touched by a revitalizing amount of laughter. Plus, the dirty version of a new single ended the whole thing on a beautifully defiant note, as the crowd gently sang along: “Do whatever the heck you waaaant, do whatever the heck you want.




Bookings and Record Label coaxrecords(Replace this parenthesis with the @ sign)
Publicity kb(Replace this parenthesis with the @ sign)
Label Website


One Sheet For Media and Promoters: Here


Solo: Backline Rae Spoon Solo Stage Plot 2018

With band on request at coaxrecords(Replace this parenthesis with the @ sign)