There was a time, shortly after the turn of the century, when Patrick Watson‘s story was written in relation to others: The successor to Rufus Wainwright? The singer-songwriter who won the Polaris Music Prize for best Canadian album of the year over Arcade Fire and Feist with Close to Paradise? The friend of The Cinematic Orchestra? But there came another moment, not much later, when his theatrical folk storytelling became so vast that it began to be his alone. And what was even better: other people’s stories began to be written in relation to his. Are we not all romanticising an ordinary walk just because “Lighthouse”, “Je te laisserai des mots” or “The Great Escape” was playing in their headphones? A highly recommendable experience.