General Admission Standing Room Only

BILLY RAFFOUL

Nothing travels quite like music does. No spaceship, airplane, or automobile will ever match the speed of a song’s seeming hyper-jump from one place to the next. It might hop from the speakers of a pub in Germany to an outdoor gathering in Africa and back to a party in Ontario, Canada. Telling universal stories soundtracked by unshakable melodies, Billy Raffoul strikes an intimate chord, tapping into the feelings and experiences we all share no matter where we call home. This relatability has consistently engaged listeners, yielding hundreds of millions of streams and sold-out shows around the globe for the award-winning Ontario singer, songwriter, and producer.

Now, he makes his closest connection yet on his forthcoming self-titled album, Billy Raffoul [Nettwerk Music Group].

“This is a very intentional record,” he says. “I went on tour to South Africa last year, and it was amazing to see how some love songs resonated with people on the other side of the world. Afterward, I was thinking, ‘I want to make an album full of these songs that have resonated with people on the other side of the world.’ Musically, I wanted to explore more of the planet. I’ve been able to showcase every part of myself in each song.”

Billy naturally absorbed a lifelong passion for music from his old man, Jody Raffoul, who shined as a singer-songwriter himself. Perfecting his songcraft and voice, he dropped music at a prolific pace, including the 1975 EP, The Running Wild EP, Live in June, and the full-length LP, A Few More Hours at YYZ. Among many highlights, “Acoustic” eclipsed 87.3 million-plus Spotify streams, and “Easy Tiger” reeled in 25.7 million Spotify streams. He continued to progress with For All These Years, featuring “Better,” “I Wish You Were Here,” and “Bliss.” The album received acclaim from Philthy Mag, The Bluegrass Situation, Fifteen Questions, and The Indy Review, who raved, “Let your brain and heart take the journey that is For All These Years.” He notably performed alongside Kings of Leon, Phoenix, Kaleo, X Ambassadors, American Authors, and NEEDTOBREATHE, in addition to collaborating with Amistat, Katelyn Tarver, and JJ Wilde. Plus, he garnered the 2021 SOCAN Songwriting Prize for “Western Skies” and the 2023 INDIES “Song of the Year” for “We Could Get High.”

Concluding 2023, Billy canvased South Africa on tour. The experience affirmed the boundary-breaking power of music. Upon his return, he initially penned ideas at home before decamping to Los Angeles, where he worked with producer Davis Naish. “The music happened naturally,” he notes. “I was definitely following my instincts.”

The opener and single “Homebody” hinges on this organic approach. Delicately plucked acoustic guitar tiptoes beneath his breathy vocals. Out of the stillness, he offers up an invitation, “Why don’t we stay put?”

“It’s the idea of staying home and having a house party alone with your significant other,” he reveals. “It’s really all you need. I was in my basement, and the idea finally clicked for me.”

Loose strumming underlines “Slow” as blissful harmonies take hold, and he assures, “Baby, all I want to do is take it slow.” He elaborates, “It’s another simple love song. I mentioned my old Jetta and anyone who has seen me live over the last 10 years has heard about my first car. I recently sold it for parts but referenced the car in the chorus. It’s a love song about literally taking it slow and driving around the country in my car.”

Then, there’s “How About A Drink.” Piano resounds over airy chords as he asks, “How about a drink? Would that be alright?”

“I wrote that one with my brother in the basement,” he recalls. “He helped me finish it, and it’s one of the songs I’m most excited about.”

Nimbly picked acoustic guitar brushes up against Billy’s staggering high register on “Never Be Without Love.” Stretching his range, Billy flaunts his sky-high falsetto. “It’s about someone who has found the right thing after going through a bunch of the wrong things,” he reveals. “It’s a happy turn on a sad subject.”

On “Forever Yours,” his airy vocals practically glide over a bed of strings. He didn’t hide his ambition with this tender ballad. “I knew I wanted to write a wedding song,” he proclaims. “I’ve heard stories of my other songs being played at weddings, even though that wasn’t the intention. So, I wanted to write a song exactly for weddings.”

Sunny whistling matches the playful intonation of “Something New,” uplifted even higher by an upbeat rhythm. He flexes his soulful side on the refrain, “I can't dance, but I’ll dance with you.”

“I actually wrote it on ukulele in Hawaii,” he reminisces. “I always try to travel with an instrument. It’s just purely fun and happy.”

Then, there’s “The Woman Who Raised Me.” He pays homage to Mom by recounting childhood memories with true reverence. He graciously marvels at her impact, “When you’re gone, you will never leave,” going on to say, “For as long as I’m here, you’ll be the woman who raised me.”

“This one is directly for my mother,” he smiles. “I just wanted a tribute for her. It has a bunch of snapshots of memories from growing up. I wanted to give this to her now. She loves the song, which is all that matters.”

“Fit Together” depicts an unconventional love story set to a mellow drumbeat and head-nodding riff. It culminates on a clever chorus, “If I wasn’t broke, how would we fit together?”

“It's the idea you’re only able to find the right person or right thing because of what you’ve gone through,” he says. “The concept is really just two busted-up people kind of filling in each other’s cracks.”

He composed “Spare Parts” as the first cut for the record. Once again, he explores how the best relationship will be greater than the sum of its parts. He sings, “I got spare parts that you can use, and maybe we don't have to be alone for any longer.”

“It’s definitely more rocking,” he exclaims. “It’s about another relationship or something you’ve been through, but it’s a little more anthemic.”

In the end, you can always count on Billy to wear his heart on his sleeve.

“At the heart of it, this record is a bunch of love songs,” he concludes. “Paul McCartney once sang, ‘Some people want to fill the world with silly love songs and what’s wrong with that?’ I’m still just trying to write the next best song. I really pushed myself as a writer more than ever. I’m so proud of it.”

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