The young Australian virtuoso recently described as ‘the finest guitar player of this generation’ brings his tour back to Canada for the first time in three years, including a stop right here in Tweed at the Marble Arts Centre presented by The Tweed & Area Arts Council!
One reviewer recently wrote “Daniel Champagne exudes a natural ease on stage, as he sings poignant lyrics and beautifully crafted melodies that invariably whisk the heart up with grand romanticism. Coupled with an exhilarating guitar talent that transcends mere acoustic playing to replicate a whole band, Champagne is just magical”
The story goes that the young singer-songwriter and one of a kind guitar virtuoso first picked up his instrument of choice as a 5-year-old following in the footsteps of a musical father. He began writing songs at 12, training classically throughout his teens and performing wherever he could, honing his craft and developing the dynamite live show that he is renowned for today. At 18 he left school, turned professional and hit the road without looking back.
The following decade has seen him release 5 studio albums, tour relentlessly around the globe with upwards of 300 shows per year, play some of the biggest festivals under the sun and share stages with the likes of Tommy Emmanuel, INXS, John Butler, Lucinda Williams, Ani DiFranco, Judy Collins and Rodrigo y Gabriela.
Daniel is now regarded as a leading light in acoustic music, with a firm reputation for dropping jaws, making crowds buzz and breaking guitars wherever he goes!
“The word Prodigy seems to entirely fall short of this soft-spoken young man’s skills, he coaxes sounds and melodies out of his instrument that literally drop jaws.” The Calgary Herald, CANADA
“Today I saw the future of Folk – Festival goers flocking in the thousands towards the main stage to witness a young musical phenomenon from Australia dish out an absolute show-stopper.” The Firefly Column, USA
“Watching Daniel Champagne perform is a once in a lifetime experience. He is a true prodigy that plays like no one else could possibly play unless they spent at least two lifetimes studying the art.” BW Review, NEW ZEALAND
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