Vancouver-based musician Pennan Brae returns with Paint, a 7-track album that captures the timeless spirit of 1970s and 80s rock while injecting it with modern vitality. It’s a record that feels both nostalgic and fresh — a vibrant canvas of bluesy riffs, soulful grooves, and heartfelt storytelling. With legendary drummer Steve Ferrone (Tom Petty, Eric Clapton) anchoring every track, Paint isn’t just another retro-inspired rock release; it’s a carefully crafted homage to an era defined by authenticity, grit, and groove.
From the opening track, Brae’s reverence for classic rock is unmistakable. Songs like Slide and Do What You Do echo the swagger and looseness of The Rolling Stones, channeling that unmistakable Keith Richards-style guitar grit. There’s a smoky, barroom charm to Brae’s delivery — confident but unpretentious — the kind of sound that feels lived-in. Then there’s Girl In The City, a warm country-rock ballad that shifts the album’s tone toward introspection. It’s the kind of track you imagine playing while driving down a quiet highway at dusk — tender, reflective, and beautifully cinematic.
The heart of Paint lies in its rhythmic foundation. Having Steve Ferrone behind the kit gives the album an undeniable pulse. His drumming doesn’t just keep time; it drives the emotion. Whether it’s the funky strut of It Ain’t Perfect But It’s Free or the crisp backbeat of Take Me Back, Ferrone’s presence elevates each song. Brae, who grew up admiring Ferrone’s work with Eric Clapton’s 21 Nights at the Royal Albert Hall, describes working with him as an honor — and that admiration translates directly into the record’s energy.
Musically, Paint is a genre-blending journey. While steeped in classic rock, it flirts with funk and country in just the right measure. It Ain’t Perfect But It’s Free is a standout — a horn-driven, 70s-style funk-rock anthem complete with wah-pedal guitar and infectious rhythm. Tracks like Synergy (With Horns) push further into that funk territory, featuring a brass trio from Vancouver’s local scene: trumpeter Jocelyn Waugh, saxophonist Kaylar Chan, and trombonist Nebyu Yohannes. Their presence adds color and texture, reinforcing the album’s title concept — every track a stroke on Brae’s sonic canvas.
Supporting musicians like violinist Cameron Wilson from the Vancouver Symphony Orchestra and harmony vocalist Alison Jenkins add a refined touch, proving Brae’s commitment to both musicianship and collaboration. Guitarist Vinay Lobo also shines on It Ain’t Perfect But It’s Free, while Brae handles much of the guitar and organ work himself, tying everything together with grounded confidence.
Visually, Paint is anchored by its East Vancouver-inspired artwork — a historic neon sign captured by artist Nathan Gowsell. It’s a fitting image for an album rooted in the old-meets-new philosophy: vintage glow meeting modern expression.
Recorded at Blue Light Studio in Vancouver with producer Kaj Falch-Nielsen, Paint is polished without losing its human touch. The production feels analog — you can almost feel the room, the air between instruments. The remote collaboration with Ferrone, recorded in Los Angeles, surprisingly adds to that authenticity rather than diminishing it.
In Paint, Pennan Brae manages to distill decades of rock history into a collection that feels distinctly his own. It’s a love letter to the music that shaped him — from the swagger of the Stones to the melodic heart of Bryan Adams — yet it stands proudly as a 2025 release, bridging generations through sound.
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