Masters of their trade, The Lonesome Ace Stringband brings grit, skill, and abandon to
Americana music, bridging old-time, bluegrass and folk traditions into a seamless hybrid of
original material that is at once fresh and timeless. The trio’s sound is anchored in the fiddle
and clawhammer banjo of John Showman and Chris Coole. With bassist, Max Malone,
the band moves freely between a sound so commanding it doesn’t seem like it should be
coming from a stringband, to a sparse fragility that draws the listener closer. Their spine-
tingling harmonies and interchanging lead vocals pair with with a level of instrumental interplay
and vocal blend uncommon in old-time music. The band has recorded 6 albums, and tours
internationally, playing at some of the largest festivals in North America and Europe, including
Merlefest, Rockygrass, Wintergrass, Winnipeg Folk Festival, Vancouver Folk Festival,
Gooikorts, and the John Hartford Memorial.
John Showman: fiddle, vocals
John is one of the most dynamic and soulful fiddlers in the bluegrass and old-time scene
today. He's won first place in the fiddle contest at the Appalachian Stringband Festival in
Clifftop, WV. He has been burning up the roads and spreading the love in bands such as
The Creaking Tree String Quartette, The Foggy Hogtown Boys, and New Country Rehab
for over 25 years!
Chris Coole: banjo, vocals
Throughout this musical journey, Chris Coole has become best known as one of the leading
purveyors of the modern clawhammer-style banjo. He has developed a highly personal style
that has often been described as instantly recognizable. This unique voice on the instrument
has not gone unnoticed by his fellow musicians and has led to playing as a collaborator (Ivan
Rosenberg, Erynn Marshall, Arnie Naiman), sideman (Jim Cuddy, Natalie McMaster, Justin
Rutledge, John Reischman, Sylvia Tyson), or producer (The Slocan Ramblers, David Francey)
on over 200 recordings.
Max Malone: bass, vocals
Max brings the depth of a lifetime in music to the stage each night. Max comes from a musical
family; his father was a noted Jazz saxophonist on the Toronto scene, and his mother was a
sought-after backup singer and vocal teacher. Somewhere along the line, Max channelled what
he learned from jazz, R&B, and soul his family played and brought all that to the bluegrass and
old-time stage. The result is a rare depth of feeling backed up by a solid foundation of technique
that needs to be heard to be believed.