Thanks for the great times!
By Elisa Nguyen Local Journalism Initiative Reporter enguyen@fortfrances.com
The Arrogant Worms have spent over three decades of their career touring ceaselessly across Canada.
By Allan Bradbury Staff Writer
anthem, “Canada’s Really
Composed of Chris Patterson, Mike McCormick and Trevor Strong— friends who met through a student group at Queen’s University—today, the band still brings their comedy and music to audiences as part-time performers, completing around 20 shows a year.
On October 20, they will bring their all-inclusive comedy in at The Broom Factory in Kingston, Ontario. They will also be at The Festival of Small Halls in Spencerville and Russell, Ontario between October 21 and 22.
Strong recalls their visit to Fort Frances as the year of the great ice storm that knocked out power to most of eastern Ontario and western Quebec, the year his group decided to do a full tour, performing between six to eight shows in Northern Ontario, and also
there was some pizza place in town that made big giant pizzas.”
The Arrogant Worms have since then been featured on national television, radio, and several notable appearances include New York City Central Park, Lincoln Center, Phil Hartman Comedy Festival, Disney, Winnipeg Folk Festival, The Grey Cup and The Grand Canyon.
Throughout their career so far, Strong is most proud of two moments. The band performed with the Edmonton Symphony Orchestra and they played twice at Parliament Hill on Canada Day.
was the first time we’d ever played with a symphony. And we only really had one run-through with the symphony.”
The name “The Arrogant Worms” was formed when the trio wrote a list of adjectives and nouns and then crossed them off.
“Not very reasonable but that’s what we did,” Strong said.
All three band members write songs separately and find inspiration from different things. In particular, Strong loves writing funny anthems about Canada, taking what looks normal from a weird angle.
more,” he said. “I also put out a new song about cats every month on the internet. I got a bunch of things that I do.”
Music and comedy don’t always have to be intertwined, Strong says, although he always brings a light-hearted atmosphere to his classes.
ries performed at the former high school gym, the J.A. Mathieu Auditorium, for a crowd of almost 400 people, the trio kept the audience laughing with songs such as “Carrot Juice is Murder,” “the Last Saskatchewan Pirate,” and their version of the national
“I remember because we were making the jokes about how usually you wouldn’t want to be touring in northern Ontario with winter. But actually, it was way better [in the north] than it is back East,” he said.
“I don’t know if it’s still a thing there, apparently
“There was 100,000 people there,” Strong said. “Canada Day is easy, because you just say the word Canada and everyone yells.”
“But the symphony show we were nervous because it
Now, in addition to performing as one-third of The Arrogant Worms, Strong spends his time writing music and passing on his knowledge to others.
He holds a PhD in Education focusing on creativity, works as an adjunct professor at Queen’s University teaching music to future primary and junior teachers, and curriculum theory in the Professional Master of Education program, teaches comedy online through HAcademy and also teaches at various music schools.
“I really enjoy bringing music to everybody and that’s something you do at the elementary school level
“Comedy is always important,” he said. “Comedy does a lot of things. It’s a release, it’s a way of bringing up things that are a little uncomfortable, but you can bring them up and find a way to laugh about them, it can bring people together, and I think it’s always good to have some spaces in the world where you just get a break.”
“I mean, there’s gonna be some comedy that really makes you think or challenges you—we’re not doing that all the time. We’re mainly trying to have people have fun with our comedy. So that’s one thing we always try to do with our shows.”
of it as Fort Frances. We started figuring out how to get onto this circuit of artists who would be coming across the country.”
According to the meeting minutes it was with the help of a representative from the Ontario Arts Council that they figured out exactly what they needed to get going.
force as a notable feat of strength or ingenuity. ‘Tour de Fort is a notable concert series of artists with musical skill and comic strength and skill–and the idea is ingenious!!”
tunate to have a big name for our first concert.”
abradbury@fortfrances.com
In the spring of 1993 a community group came together to bring entertainment to Fort Frances and the Rainy River District. That effort has lasted the last 30 years and has brought countless high-quality entertainment acts to Fort Frances. According to a report on the first year of the group’s existence, the founding members of Tour de Fort were Dr. Ted Jablonski, Wayne Barron, Nancy Naylor, Betty Grynol and Dr. John Leishman.
Jablonski was a member of the Tour de Fort Committee from its inception until he left the area about five years later; he now resides in Calgary where he has a medical practice.
“We heard there were groups in other towns that were hosting different concerts,” Jablonski said. “We figured we should be a part
This meant incorporating and creating a name and logo; the former voyageur logo was used for a long time.
The committee went to great lengths to drum up interest initially, including a flyer campaign and booths at July 1 Fun in the Sun celebrations, Emo Fair and the former Fort Frances air show.
In the early days Jablonski wrote a letter to the editor after he heard some folks were confused about the ‘French’ name of the series.
The letter reads, in part: “Dear editor: At the recent Fort Frances Chamber of Commerce Trade show I happened to overhear two elderly women upset over the name ‘Tour de Fort.’ They even went as far as saying they refused to buy tickets because of the ‘French’ connotation… To clear up the confusion, Tour de Fort is an upcoming Canadian concert series which derives its name from the term ‘tour de force.’ Webster’s English dictionary defines tour de
In the letter Jablonski went on to describe the “outstanding” support from the local business community in an effort to sell passports.
The idea to sell passports as Jablonski recalls came because they wanted it to be a series and to not feel like one-off concerts.
“It really took off,” Jablonski said, “The community really embraced it as something that was good for the community to be able to have top-quality concerts in a small town, and the rest is history, as it were, it’s been 30 years and it’s still going strong.”
The first concert was held in October of 1993 featuring the Sylvia Tyson Trio at the J.A. Mathieu Auditorium, the gym in the old Fort Frances High School. About two weeks before the show, the committee had to recall the outstanding passports for fear they would sell out and be over the 375-seat capacity of the venue.
They ended up with 400 people in attendance despite the fact that the Blue Jays were in the world series that year and a game was on that evening. The annual report notes: “we were for-
Traditionally the committee has looked to have at least one headline act on the program. Last year saw the Trews and this year’s big artist is Steven Page, formerly of the Barenaked Ladies. That first series consisted of just three acts. Following the Sylvia Tyson Trio show, was a comedy act, Canadian Content Theatre, in January, then Juno award winner Shari Ulrich performed in February.
At the time a passport cost $80 for a family for all three shows and individual general admission passports were $30, with students and seniors eligible for a $25 passport.
In November of 1993, founding committee member Dr. John Leishman passed away suddenly. In March, the committee put together a concert featuring the Thunder Bay Symphony Orchestra to raise funds for the John Leishman Memorial Scholarship fund. A clipping about the show said that Leishman wouldn’t really have been much for classical music, but the evening was to feature popular and familiar music as opposed to “high brow classical.” The scholarship fund was created to help send local students heading to medical or dental school.
In the years since, Tour de Fort has created its own
Several Sylvia Tyson fans, like Anne Zucchiatti, waited after last Wednesday night’s show at the J.A. Mathieu Auditorium for an autograph from the Canadian singer/songwriter. The Sylvia Tyson Trio performed here as the first act brought in by the “Tour de Fort” concert series.
scholarship which goes to students at Fort Frances High School who excel in the performing arts.
Jablonski recalls that despite being a small rural town Fort Frances did very well to cater to and grow his family’s interest in the arts.
“That’s always the worry, living in a rural area, can you have access to high quality artistic things,” he said. “Sometimes you can, you just have to know how to tap into a bigger picture. I would say in the time that we lived there, we had access to great artistic pursuits whether that was community theatre or or the concert series there was always something going on. My kids are both adults now and I think a lot of their artistic foundation or love of the arts was planted during the time we were in Fort Frances.”
What is the value of music?
Let’s not talk about monetary value. The monetary value of music can be as low as a 99 cent single on iTunes or the cost of a second mortgage to land a ticket to the Eras Tour. Some fans have one pristine digital copy of their favourite song from their favourite artist, while others have bought a copy of every album on every format they’ve been able to find, from 8-track to 2023 re-issued custom stamped vinyl and everything in between. We already know people pay for music, but what is its real, true value?
Let’s look at it another way. Take the upcoming Tour de Fort season in Fort Frances, six shows across seven months. Doing the math, a $150 passport (since, in this rhetorical situation, we’ve missed the pre-sale discount,) getting you into each show comes out of the number cruncher as $25 per show. So, would we stop and say that the value of each of those shows is $25 dollars? That’s a pretty top-notch burger, or a sub-standard set of bass guitar strings. Not bad, but also, not entirely relevant. When we look at each show Tour de Fort has brought to Fort Frances in terms of simple monetary value, we miss out on the bigger picture. What is the value of music?
I remember my grandmother telling me about the time Johnny Cash came through Fort Frances. If I remember the story correctly, he played at the arena. This was pre-Man in Black, so before John R. Cash had achieved legend status, but the point remains that Fort Frances can say that Johnny Cash was here. We can say the same about countless others who have been through town on their way to stardom. We can
say it far more often thanks to the efforts of Tour de Fort through the years. When Tour de Fort first began, I don’t know if there was any inclination to the kind of musical talent that would come through this small northwestern Ontario town. (This is not to ignore the other types of talent that have been part of Tour de Fort seasons, it’s not fair to say it has only ever dabbled in music, but it is the most prevalent type of show.) But since those early days in the 90s when this little concert series first got its legs under it, we’ve seen world-renowned fiddler Natalie McMaster (a member of the Orders of Canada and Nova Scotia), Canadian comedy musicians The Arrogant Worms, multi-award winning bluegrass musician J.P. Cormier, noted blues guitarist Matt Andersen and even Serena Ryder, and if I have to tell you who Serena Ryder is, you haven’t been paying attention.
Tour de Fort has captured artists who have been mid-journey on their road to the top, such as Ms. Ryder was when she stopped in Fort Frances in 2012, only a few months before her November 2012 album Harmony would catapult her to national acclaim and renown, but it has also captured storied performers who had decades of history behind them, for what felt almost like the last time, such as it must have when Jeff Healey brought his Jazz Wizards to town in October of 2005. Healey, one of Canada’s great musicians and guitarists, was gone less than three years later. We’ve also seen strange, interstitial types of shows, one featuring artists with years of performing under their belts now trying out something new, like when award-winning radio journalist Stuart MacLean brought a little show called The Vinyl Cafe to town in April of 1999, then only a few years removed
from its initial premier date of 1994 and when the CBC picked it up as part of its permanent regular-season schedule in 1997.
I’ve listed only a handful of artists from across Tour de Fort’s 30 year history. To list them all and discuss their many achievements would take more ink than we can afford and more paper than we have, but the point I’m trying to make is that the value in music, and in Tour de Fort, has never been the price you pay for a ticket or a passport, nor even getting to see an artist that explodes in popularity even the year after they’ve played here in town.
No, I believe the value in music is the way it makes you feel. I believe the greatest value in Tour de Fort hasn’t been the many, many stars that have passed through town on the way to, or continuing along the way of, greatness. Instead, the value lies in every person who has attended a show, maybe even against their better judgement, and walked away from that show with a new favourite song, favourite artist, favourite genre, or some combination of all three.
Think of it this way: without Tour de Fort, how different would be our lives? What songs would we, collectively and individually, have missed out on? There are people out there in Fort Frances who have played a song they first heard and fell in love with at a Tour de Fort show for the most important moments of their lives, or simply just for that cozy moment during a rainy spring day. There are fans of Tour de Fort performers who have proudly gone on to see those artists they learned about in countless shows since. There are people from Fort Frances out there in the wider world who have run into that artist from a season in the wild and got a photo with them that echoes the photo they first got in the auditorium
of the Townshend Theatre. Speaking only personally, attending the shows of Matt Andersen, The Slocan Ramblers and The Once have opened up new roads in terms of music styles and substance than I think I ever would have encountered without seeing them live at the Townshend Theatre. The value of music is in how it makes us feel, how it reaches inside and changes us, maybe only a little, or maybe completely. The value of Tour de Fort lies in how it has served to enrich the lives of people living here in Fort Frances who have gone out to the shows and experienced something new, something real, something greater than we can really express. Thanks to the efforts of Tour de Fort we’ve had thirty years of incredible performers and new favourites. Here’s to many, many more.
The Tour de Fort voyageur (Eric Jablonski) sold Chickie Gibson a passport to the 1994-95 concert series Saturday morning at Safeway. The season, which gets underway Oct. 1 with Rawlins Cross, also features A Closer Walk with Patsy Cline, Shuffle Demons and Valdy. Passports will be on sale at the Tour de Fort booth at Trade Show ‘94, which runs Thursday through Saturday at Memorial Arena.
When Serena Ryder came to Fort Frances, she was only months away from breaking through to the big time. While she was already a Juno Award winner several times over, it was the strength of her November 2012 album Harmony, and its lead single “Stompa,” that catapulted her to the top of the Canadian music scene. It helped that Stompa was used in an episode of Grey’s Anatomy, but her
single also had wide market appeal, being played on Modern Rock, Hot AC, Top 40 and Adult Contemporary radio stations across Canada. Ryder also became the first Canadian artist to top CBC Radio 2’s Top 20 chart. Since her smash hit record, Ryder and her music have been chosen to represent the 2018 Arctic Winter Games, performed at the Canadian Country Music Association Awards,
ByKen Kellar Staff writer kkellar@fortfrances.com
Tour de Fort is celebrating its 30th anniversary this year with another excellent line-up of fantastic musicians. Headlining this year’s lineup is Steven Page, the co-founder and onetime singer of Canadian rock band The Barenaked Ladies. While Page is well-established outside of the group he helped start at this point in his career, there have been many performers come through Fort Frances thanks to the work of Tour de Fort who have been on the other side of their journey, just starting out and gaining attention, or even starting out for a second or third time. In celebration of Tour de Fort’s milestone anniversary, we’ve collected a few notable performers from throughout the show series’ history and taking a look at where they are now.
taken home even more Juno awards, and performed a concert from the ocean floor during low tide at Fundy National Park in New Brunswick, and in 2021 Ryder joined the Canada Walk of Fame as the recipient of the 2021 Allan Slaight Music Impact Honor “for her benevolence in the music industry and mental wellness.”
Fort Frances has been blessed by blues royalty not once, but several times throughout the run of Tour de Fort’s concert shows.
Canadian blues guitarist Matt Andersen is a Juno award nominee who also holds the title of International Blues Challenge Champion for his 2010 victory, becoming the first Canadian
artist to win the challenge. Since that historic win, Andersen has also gone on to be a multi-Maple Blues Award winner, a multi-East Coast Music Association award winner, and win a European Blues Award. Andersen tours Canada, the U.S. and Europe regularly with his 8-piece band The Big Bottle of Joy, and has recently completed a 2022 European tour alongside Great Big Sea co-founder and singer Alan Doyle. Apart from Doyle, Andersen has also shared stages with Bo Diddley, Buddy Guy, Gregg Allman, Randy Bachman, April Wine, Loverboy and Serena Ryder.
Call him a poet, a story teller, or guy who just gets a kick out of old records, audience members will tell you Stuart McLean ended the 1998/99 “tour de fort” series in style.
Standing in front of the motto, “We may not be big, but we are small,” McLean and his touring companions, guitarist Kevin Barrett and singer Lisa Lindo, set the stage in a very casual atmosphere, first of all joking about the popularity of McLean’s show, “The Vinyl Café.”
“The reason you haven’t heard of the Vinyl Café is because it’s on the radio,”
McLean said, getting a chuckle and a round of applause from the audience.
“That’s not the only strike against it,” he added. “It’s on CBC radio.”
At that point, the audience gave a thunderous round of applause, to which McLean responded, “Now I know you’re lying.”
That pretty much set the mood of the evening as McLean and his companions went through a combination of stories and musical numbers, moving at the slow steady pace of a waltz yet never getting boring.
For those unfamiliar with the Vinyl Café, it’s a record store in which McLean bases his story on. The owner’s
name is Dave, his wife is Morley, and their two kids.
Funny enough, most of his stories aren’t about the antiquated vinyl records Dave sells in his store. It’s more about daily life. Such as the time when Morley was horrified to discover she had to buy a jock-strap for her son, Sam, during his first year of hockey.
First of all, McLean · mused, Morley had to discover whether or not the word “jock-strap” was an actual word or just slang Wee “fart.” Then came the several attempts, failures and re-attempts to find a jock-strap in the right size for Sam until finally, Morley had succeeded and gave Sam the jock-strap-which
he promptly put on over his pants and ran across the street to show his best friend Allan.
“And then Morley, watching from the window, saw Allan swing his leg through and kick her son right between the legs,” McLean said, getting howls of laughter. “She watched Sam topple over then get up, screaming, ‘Again!”’ Between stories, Barrett’s fingers would fly over his guitar as Lindo laid down some smooth, jazz lyrics. At times, it was hard to tell what the audience appreciated more-Linda’s singing or McLean’s stories.
Jully Black was no stranger to fame when she graced the Townshend Theatre in 2011. Black began her career at the age of 19 and had received her first Juno nomination in 1997, with consistent nominations in the years since. Her 2007 single “Seven Day Fool” became her first Top 10 hit in Canada, and her second album Revival, released in October of 2007, earned her a Juno Award for R&B/ Soul Recording of the Year. Following her performance in Fort Frances, Black was again nominated for a Juno Award for Best R&B/Soul Recording at the 2012 Juno Awards, and has also since
branched out into acting, appearing on an episode of Canadian sitcom Run the Burbs as herself. Outside of three-camera comedies, however, Black has also been a correspondent for several television reality shows including The Amazing Race Canada, etalk and Canadian Idol.
Congratulations on 30 Years!
The Beyak Automotive Group is proud to be a sponsor for Tour de Fort. Thank you to the many volunteers, performers and organizers! We look forward to the amazing and talented artists that grace our community
In today’s day and age, it’s almost absurd to think of a world without The Vinyl Cafe, especially if you’ve spent any time listening to CBC Radio on the weekend, but in those pre-Y2K days of 1999, that was almost the situation. By 1999, the CBC radio show had only been a part of the broadcaster’s regular lineup for two years, since 1997. Before that, the show had served as a CBC Radio summer special in 1994 and 1995, so it had only just become established by the time MacLean strode onstage in 1999. The arti-
cle that ran in the April 21, 1999 issue of the Fort Frances Times takes the time to introduce the format of the show to readers who, at that time, had maybe not ever even listened to the show.
Of course, The Vinyl Cafe would go on to be a permanent fixture on CBC Radio right up until MacLean was diagnosed with melanoma in 2015, though repeats of older episodes would air weekly until January 2017, only a month before MacLean was to pass away from cancer. Following MacLean’s death, The Vinyl
Cafe eventually returned to the airwaves in podcast format as MacLean’s Vinyl Cafe producer Jess Milton now hosts the show “Backstage at The Vinyl Cafe” where she shares stories of decades spent on the road and working alongside one of Canada’s favourite storytellers, as well as reruns of MacLean’s beloved Dave and Morley Stories. For an impressive list, head to vinylcafe.com and check out the list of towns and cities in which MacLean and The Vinyl Cafe made stops over the years during their tours.
A band still solidly in their ascent phase, My Son the Hurricane have become the darlings of Tour de Fort, returning time and again to Fort Frances to sold out crowds itching to once more take in their high-energy performances. My Son the Hurricane is the 12-piece multi-instrumental, multi-genre dance band that have garnered rave
reviews almost everywhere they’ve performed, from New Brunswick to British Columbia and everywhere in between and beyond. The band has toured across the world, including the United States and Europe, and is currently in the midst of a tour that will bring them across Canada once more, and then down into Mexico for the Isla Got Soul Festival
in Isla Mujeres. According to the band, they have also shared the stage with the Foo Fighters, Jason Isbell and Colin James. These world-class performers may not have all the accolades of other Tour de Fort alumni, but to anyone who’s been to one of their shows, it’s clear to see that won’t be the case for much longer.
Congratulations to the Tour de Fort Board and all present and past volunteers for your dedication to the performing arts for the past 30 years.
By Elisa Nguyen Local Journalism Initiative Reporter enguyen@fortfrances.com
Former 2016 Tour de Fort performer Alysha Brilla recently had the opportunity to compose the score for her first feature film, “The Queen of My Dreams,” which premiered at the Toronto Film Festival (TIFF) this year.
The Canadian-comedy drama film was written and directed by Fawzia Mirza and has been described by Variety as a love-letter to mothers and daughters. The idea for the film began when Mirza first started opening up about her struggle with being queer, Muslim and in love with Bollywood romance.
Calling from Toronto during the TIFF premier week, the 3x Juno Award nominated composer and music producer says the film’s reception has been magical.
“Everyone seems to really resonate with the film because it has such a timely and honest message,” Brilla said. “And I think a lot of people will relate to it. It makes you laugh and cry. It’s one of those really heartwarming films. I feel very, very grateful.”
John Payne, former programming and hospitality director, said in a story published by the Times in 2017 that Brilla left a memorable impression on the Tour de Fort concert series. She kicked off the show by performing with a six-piece band.
“Alysha Brilla was an amazing start to the season [in September 2016], and her delivery and story-telling from the stage was incredible,” he said.
Brilla says she remembers Fort Frances fondly despite it being many years that have passed, and shared a bit about what she’s been up to since then.
“That was such a special performance,” she said. “It’s been seven years. And during that time, I’ve done a lot of touring internationally. I’ve worked on a few more albums that I’ve written and produced for myself, as well as produced albums and music for other artists.”
Regarding her most recent accomplishment composing the film score for “The Queen of My Dreams,” Brilla says became involved around two years ago. Film director Mirza had been curious about a female composer who was South Asian and queer—a specific qualifier that thankfully aligned
with Brilla.
for “The Queen of My Dreams” reflecting South Asian and queer representation
“I happen to fit that bill, as well as having a depth of experience with discography under my belt and things that I’ve written and produced. And so that’s how she came across me and that’s how we began working together on this project.”
The two initially connected via Zoom where Brilla first met the film producers and Mirza. Brilla later submitted a piece of music that she wrote for the script and then was soon accepted to undertake the role.
“A lot of the story in this film is relatable to me personally, as someone who comes from a South Asian background, who is a first generation Canadian on my father’s side, and who has experienced that bridging of two worlds when you are from a diaspora,” Brilla said.
“Musically, I drew from my kind of musical anthology. And then emotionally, it was very easy for me to relate to Fawzia’s story. And not only because of my own personal connection to these themes, but also because the film connects to anyone who’s ever had a relationship with tension between them. It’s a very cathartic film to watch in that sense.”
“The Queen of My Dreams” is set in three distinct time periods—1969, 1989, and 1999—and also takes place in two locations—Halifax, Canada, and Karachi, Pakistan.
This results in about six different musical palettes that appear in the film, tied together by threads of South Asian instruments such as the tabla percussion, classical indian violin, and vocals.
“Music is a huge part of this film and it really helps paint the different eras,” Brilla said. “When you’re in the 60s, you really feel like you’re in the 60s. When you’re in the 90s, you really feel like you’re in the 90s.”
Brilla collaborated closely with Mirza, who had a “strong and beautiful vision” for the emotionality she wanted to offer the audiences. Many conversations looked at whether a particular scene should have a piece with a slightly more optimistic tone or a more melancholic one, to pull the whole story together.
Video editing and music timecoding is highly interlinked, so Brilla also worked closely with award-winning film editor Simone Smith to ensure that the music would correlate emotionally when scenes switched.
A majority of what is
heard on the film score were instruments played or programmed by Brilla herself, although she also hired several string players that were important to soundscaping and creating the sonic backdrop for the film.
From the entire film score, the most memorable piece she composed relates to a scene in the storyline about grief.
“I’ve also heard from people who’ve seen the film that it brings up a lot of emotion and even tears,” she said. “And there is a specific song in there that I actually was able to sing on. And so you’ll hear my vocals. It’s not words that I’m singing, it’s just sounds, but it really draws a lot of emotion to that scene.”
“For me, knowing the importance of this film in terms of the things that it speaks to, and knowing that there’s really not many other films out there right now that offer this type of representation—that kept everyone pouring their entire hearts into this project for the duration of its creation.”
Brilla says she once dreamed very hard of the day when she would see BIPOC representation, queer representation, female and non-binary production and directing teams in film.
“If they are looking for some really heartwarming nostalgia for a film that helps them connect dots of their identity and span time and space, this is a film that most people would say leaves them with a warm feeling in their heart,” she said. “I would never have imagined this was possible, even 10 years ago.”
Brilla sees herself continuing to create works and produce for other artists that come from marginalized backgrounds. “That’s been my work for the past many years. And I just love to be able to offer my gifts and skills in that area specifically.”
Speaking to those who may be facing feelings of isolation or who dream of seeing themselves represented in film, Brilla reminds them that they have the power to be the ones to create that space.
“I think that we haven’t seen anything like this film, and now that something like this exists, it is really special,” she said. “I would just encourage anyone if they have a vision, and if they’re not seeing their story represented, I can guarantee you that other people would love to hear their story. So share it, keep making your art, and keep telling your stories.”
Congratulations and Thank You
to the many people involved with Tour de Fort over the last 30 years. We are very proud to be a sponsor of Tour de Fort and appreciate the amazing entertainment they have continued to bring to our community year after year. We look forward to proudly sponsoring and enjoying the entertainment over the next 30 years!
The team at Copper River Inn would like to congratulate Tour de Fort on the past 30 years and on their continued success to come.
We look forward to hosting more of the incredible artists this organization brings to Fort Frances.
www.copperriverinn.com @copperriverinn #seeyouatthecopper
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