The Great St. John's Music Divide: How Cover Bands Came to Rule the Bar Scene

My previous post about musician pay struck a nerve, but the response revealed something deeper—a cultural divide that's been simmering in St. John's for decades. The controversy between original music and cover bands isn't just about artistic merit. It's about economics, class, generational identity, and who gets to decide what "real" music is.

So how did we get here? Were there really fewer cover bands 40 years ago? Did more people write original music then? And will this generational divide outlast the boomers, or has bar culture created something more permanent?

The answer involves American soldiers, a fishing disaster, and a surprising musical revival most people haven't noticed.

The Origins: WWII Created Newfoundland's First Cover Bands (1940s)

During World War Two, US troops populated military bases in Newfoundland bringing country and western and swing music with them. The Americans established VOUS radio to entertain soldiers at bases in Goose Bay, Stephenville, St. John's and Argentia, and local listeners picked up the signal as well. Civilians and soldiers mingled at clubs and dances, and local musicians formed several dance bands to provide the music.

These were Newfoundland's first "cover bands"—local musicians playing American hits for mixed audiences.

Jazz and swing reached new levels of popularity through groups lead by Ed Goff in Gander and Ralph Walker in St. John's (Walker was one of several American musicians who settled in Newfoundland after a military posting on the island). Ralph Walker—an American who stayed after military service—established the template of professional musicians making their living playing recognizable hits.

First Rock Cover Bands (1960s): St. John's television programs such as High Teens and Art Andrew's Dance Party featured early local groups like the Ravens and the Ducats—among the province's first rock cover bands appearing on local TV.

The Golden Age: When Original Music Ruled (1970s-80s)

Here's the crucial shift: Many musicians continued playing in the late 1960s and early '70s, forming groups like the Philadelphia Cream Cheese Band, Garrison Hill, and Lukey's Boat... Other bands of the 1970s played contemporary pop and rock styles, with original songs dominating the set lists more than ever before.

In the late 1970s and early 1980s, a roots revival led by the bands Ryan's Fancy, Figgy Duff and The Wonderful Grand Band achieved mainstream success in Newfoundland.

The proof? "All the Best: Folk Music of St. John's", remains Fred's Records' best-selling album of all time. This 1988 album featuring local original artists like Ron Hynes, Anita Best, and Jim Payne outsold Van Halen, Def Leppard, and George Michael that year.

The Catastrophe: How the Cod Moratorium Ended Everything (1992)

On July 2, 1992, federal fisheries minister John Crosbie made a televised announcement from a hotel in St. John's: commercial cod fishing was banned on the East Coast for at least two years. In that instant, the province's fishers, many with parents, grand-parents and great-grandparents who had fished the seas, were told to find something else to do.

This was the largest industrial mass layoff in Canadian history—over 30,000 people put out of work overnight.

But here's the musical impact most people miss: Musicians used to tour the fishing towns, playing multiple nights in each town, staying in band houses owned by venues, going across the island and hitting the same towns on the way back. This circuit sustained traveling musicians for generations.

All of that stopped when the economy in these towns dried up and people left. Today, there are 58,000 fewer people in the province than in 1992. Seven towns have resettled since 1992. The moratorium didn't just end fishing—it ended the cultural infrastructure that supported original music touring.

Why Cover Bands Fill the Void: Economics and Identity

With the traditional touring circuit gone, musicians faced brutal economics. Classic rock is "a lesson in economics, outperforming other music genres" with "serious money to be made" as legacy headliners are "a cash cow right now".

But there's a deeper cultural factor: Thanks to bands like Black Sabbath and Led Zeppelin, metal initially came out of working-class communities experiencing economic decline. The genre has often been played and listened to by kids who likely felt outside the norm in some way: socially, culturally, economically.

Cover bands offer something powerful: they let working-class audiences own music that reflects their identity. When a local band plays classic cover songs they're not just performing songs—they're affirming cultural belonging.

The Boomer Lock and Generational Transfer

The Baby Boomers froze popular culture, at least when it came to music, in their own image... Smells Like Teen Spirit came out in 1991. That same year Whole Lotta Love was in the top songs on the radio and it was 22 years old. In February 2025 Whole Lotta Love was No. 9 on the billboard charts, it's fourth time being in the TOP 10. Smells like Teen Spirit did not make the charts in 2025.

Why is this interesting? Spotify plays for Whole Lotta Love is 721,891,551; while Smells Like Teen Spirit Spotify plays are 2,546,879,263.

The twist: Younger generations are also clinging to classic rock, sporting T-shirts with the likes of The Who, Journey, The Grateful Dead, The Rolling Stones and Led Zeppelin. A good number of boomer parents raised their small children on the music, taking them to concerts they attended. The music is being passed down, not aging out.

The Surprising Revival: Young Traditional Musicians (2010-2025)

Here's what most people haven't noticed: between 2010 and 2025, there are now a lot more younger bands in the traditional scene.

The Dardanelles - A high-energy Celtic rock band that brings driving rhythms to traditional tunes, proving that Trad music can pack dance floors as effectively as any cover band.

Rum Ragged - Known for their tight harmonies and authentic approach to sea shanties and traditional Newfoundland songs, they've become fixtures at folk festivals across Canada.

KitchenParti - Their name says it all—they capture the intimate, celebratory spirit of traditional kitchen parties while bringing professional musicianship and arrangement skills.

Salt Beef Junkies - A younger group that tackles both traditional and contemporary Newfoundland material with infectious enthusiasm and skilled musicianship.

These are young people genuinely proud to play and share traditional music, updating it with contemporary energy and production values while respecting its roots.

Educational Support: Memorial University's School of Music introduced courses in traditional Newfoundland and Labrador fiddling, accordion playing and singing. Young Folk at the Hall provides a crucial platform for emerging traditional musicians, offering regular performance opportunities and mentorship connections between established and upcoming artists. Multiple radio stations now feature dedicated traditional programming.

This revival is different—it's happening in a post-digital world where young musicians can access traditional repertoire online, learn from global communities, while bringing fresh approaches that keep the tradition vibrant and relevant.

Current Venues: What's Actually Open (2025)

George Street venues are primarily either cover bars or traditional bars. There's not much room for original music. The Rock House and The Black Sheep are two George Street venues that do support original live music.

Off George Street there's much more support for original music at places like The Ship Pub, The Battery Cafe, Spirit Bar, Bannerman Brewery, Peter Easton Pub, and Slainte just to name a few.

Major Venues: Mary Brown's Centre, Arts and Culture Centre, and Holy Heart Theatre often have touring acts with local artists as openers. This gives original local musicians valuable exposure and stage experience with professional productions.

Festivals: George Street Festival, NL Folk Festival, Churchill Park Festival, and Iceberg Alley typically feature touring acts with local acts as openers, except for traditional nights where local music takes center stage as the main event. The Folk Festival has the most local content of any of these festivals, although it's been trying to branch out lately with acts like Emmy-Lou Harris and Steve Earle.

What This Means for Musicians Today

The divide isn't going anywhere because it serves different essential functions:

Cover bands provide community bonding, cultural continuity, and economic survival. They're not killing culture—they're preserving and transmitting it under economic pressure.

Original music drives innovation, reflects contemporary experience, and creates new possibilities. It's essential for a living music scene.

Traditional revival bands are finding new ways to keep cultural heritage alive while making it relevant to younger audiences.

The Real Problem: Economic Structures, Not Musical Choices

The issue isn't which is "better"—it's the economic structures that make them feel mutually exclusive. Musicians shouldn't have to choose between artistic integrity and paying rent.

What we need:

1. Venues that schedule both - Cover Saturday, original Wednesday

2. Cross-pollination - Cover bands including local originals

3. New economic models - Making original music more viable

4. Cultural bridge-building - Helping audiences value both approaches

Your Move

Musicians: Stop fighting each other and start fighting the system. Share your rates openly. Support venues that support both cover and original acts. Create new models that work.

Audience: Ask venues how much of your cover charge goes to the band. Support original music when you can afford to take a chance. Understand that cover bands serve an important cultural function too.

Venue Owners: Experiment with mixed programming. Your community needs both familiarity and innovation to thrive.

The controversy will outlast the boomers because it reflects deeper tensions about comfort vs. challenge, preservation vs. innovation. But maybe that's healthy—maybe a thriving music scene needs both the security of familiar songs and the excitement of new ones.

What's your experience? Have you seen the traditional music revival among younger musicians? Are you tired of choosing between artistic integrity and economic survival? Share your story.