“Keeping it fresh, keeping the passion alive, is best viewed as the waxing and waning of the moon. Consistently strong performances are a challenge, subject to any number of variable conditions: illness, fatigue and misadventure on the highways.”

René Huard:

Gently Used (Brand New Blues & Roots)

Fort Erie, Ontario blues and roots rocker René Huard has released his new single "Tail Waggin'," out now and giving fans their first taste of his forthcoming album 'Gently Used', arriving November 5, 2026. The song traces back to an old bit of guitar-world folklore. "Tail Waggin'" leads into 'Gently Used', an eleven-track collection written and performed by René Huard on vocals, guitar and harmonica, produced by longtime collaborator Rick Taylor, who also contributes guitar and vocals. The record follows with two additional singles: "Brand New Low," and the title track, "Gently Used." On the road, and recording studio, Huard is backed by the Project band, featuring Rick Taylor on guitar and vocals, Jeff Muir on bass and Peter Griffin on drums, with special guest contributions to the record from: Chris Airyes and Thomas Nelson on vocals, Alistair Robertson on saxophone and Ed Roth on keys. The band has built solid grassroots following across the Niagara Region, playing summer festivals including the Canal Bank Blues Shuffle in Thorold and Donnelly's.

(Photo: René Huard)

Huard's musical roots run four decades deep from his early days fronting the Meteors, who opened for blues heavyweights James Cotton, Long John Baldry and the Downchild Blues Band, and appeared at the first-ever Ottawa Blues Festival. He's also known to Canadian audiences as the former host of the television series Antique Hunter and Antique Style. With 'Gently Used', René Huard adds another chapter to a career built on the road, in the clubs, and among the musicians who shaped him, proof that four decades in, the songs are still coming, and the guitar case is staying open for more than just steak.

Interview by Michael Limnios                    Archive: René Huard, 2023 Interview

Special Thanks: Eric Alper

The story behind "Tail Waggin'": Your new single is inspired by a delightful quote from Wes Montgomery about tossing a "chunk steak" into his guitar case. How does this urban legend translate to your own relationship with the guitar after four decades in music?

My guitar, the ol' git-box. My first was a KENT acoustic, a gift from my Uncle Larry Carrol (referenced as a "Red Silvertone" in the lyrics of 2024's "Blues Calling"). The first of many, it kept me company over the years. You might say those guitars "accompanied" me. (Laughs.)

Bad pun aside, the instrument has always been there for me in the most unconditional way, allowing me to explore undiscovered sounds. On my best days, immersed in the mystery of the creative journey, I might write a song if I tried. And my first attempts were just that: very trying! Later, the songs got better. I could always pick it up, start strumming and search for the lost chord, like having a conversation with a trusted friend. I took a vacation once, with no room for the guitar in the car. Got down to Florida, and songs were percolating in my notebook. I had to rent a guitar for the week. It satisfied me in a way local citrus and sunburn could not. Four decades later, I am still intrigued, fascinated and mystified. Unschooled in theory, I rather enjoy not knowing exactly where I'm going.

In the music video for "Tail Waggin'," you use humour to address the wearisome and tedious reality of touring. How do you manage to keep your performance fresh and your passion alive after all these years on the road?

Keeping it fresh, keeping the passion alive, is best viewed as the waxing and waning of the moon. Consistently strong performances are a challenge, subject to any number of variable conditions: illness, fatigue and misadventure on the highways. I've learned to trust that, no matter how crappy I may feel on the first song of the night, the more I lean into the music, the more it gives back to me. The longer I do this thing, the more nuanced my performances get. It's still a passion project. I have had to rein in some bad habits, things I could get away with in my reckless youth, but this does not feel like a sacrifice. It's more like an "I get to" moment, stepping onto the stage. Having a good laugh is as good as, or better than, any mood-altering substance. I keep my antenna up, scanning for potential levity I can inject into a song or introduction. Who you play with can be more important than what or where you play. Quality hang time can get one through a rough gig.

“In my early attempts at songwriting, I was way less discerning and less informed by living this life. Flush with inspiration and light on content, I wrote many forgettable songs. These days, I write fewer songs, but I write creatively every day (journal or stream-of-consciousness stuff).” (René Huard, Ontario blues and roots rocker /  Photo by Vinnie Pellegrini)

The creation of 'Gently Used': The title of the album has a beautiful, soulful blues resonance. What does 'Gently Used' represent for you at this specific stage of your life and career?

Some of the best things in life have aged well: fine wine, the patina on a brass candlestick, crackled varnish in just the right places on antique armour. The roots of American music are the well we go to: gospel, blues, country, rock and soul, sounds derived from the African American experience. There are no bubble-wrapped plastic gadgets in our trick bag. That said, we are not predisposed to speaking only to our own seasoned demographic. I'm a big believer in cross-generational possibilities.

As my age does inform, to some extent, the content of my writing, I am consciously trying to achieve universality in the themes I explore. Broken down into two categories, there are two kinds of music: good music and all the rest. I do prefer my music, and vintage stage wear, gently used.

Four decades of blues: You started out fronting The Meteors, opening for blues heavyweights like James Cotton and Long John Baldry. What is the most valuable lesson you learned from sharing the stage with those legendary figures?

That is the most difficult question, parsed down to one "most valuable" lesson amidst the many lessons. I'll have to go with a slight deviation here and say each legendary performing artist has shown me something I might imagine being useful. But it's not the obvious guitar or harmonica riff, or vocal technique. To be completely honest, all the greats have that magic element: stage presence.

They handle pressure with apparent ease, lead by example, and display supreme confidence and professionalism. They are cordial with most everybody but don't suffer fools. Though they may not actively mentor, they accept being role models, often sharing their stage with those aspiring to greater heights. By doing what they do best, they inadvertently inspire others to greatness. Ah, there it is. The number one lesson: Work towards being an inspiration to others!

Looking from your highly successful previous album 'Blues Calling' (produced by Jack de Keyzer) to the upcoming 'Gently Used,' how do you feel your songwriting and approach to roots music have matured?

Well, we are all evolving, I at my own pace, which at times feels snail-like. If I mature anymore, I'll be fossilized. The 11 final tracks (of 16 demoed) are, to some degree, divergent from 'Blues Calling,' though still firmly in the roots realm. Starting from a rich bouillon base of traditional sounds and folklore, tapping into the colloquial wisdom of the Deep South on "Clean House," it's a solid leap into a wry perspective.

Certainly, the reggae-ish "Salt 'n' Peppa," coming from the Buddhist "die before you die" perspective, is mature-ish. "Old Flame" has old-world romanticism. Don't see the kids dancing to that one. "Tail Waggin'" and "Brand New Low" offer unfettered electric blues and danceable funk fun. The soul ballad in waltz time, "All Night," is a fine excuse to dance close enough to keep a playing card from falling to the ground. Perhaps "mature-themed." Yeah, let's roll with that.

“On my best days, immersed in the mystery of the creative journey, I might write a song if I tried. And my first attempts were just that: very trying! Later, the songs got better. I could always pick it up, start strumming and search for the lost chord, like having a conversation with a trusted friend.” (Photo: René Huard, his musical roots run four decades deep from his early days fronting the Meteors”

You have built a remarkably solid, dedicated grassroots following across the Niagara Region. How important to you is the support of the local community and homegrown summer festivals like the Canal Bank Blues Shuffle?

As most folks are aware, these days, in the new music business, live performances are the mainstay of earnings for musicians. Gigs can be difficult to find and keep. It's fiercely competitive out there, with solid-gold heritage bands ruling the casino stages and tribute acts aplenty. It's tough stringing together sufficient bookings to keep a local band unified, especially one committed to performing original music, as is our mandate, now with two LPs of self-penned material to perform. We have been well supported by Niagara Region venues since 2024, building a solid grassroots following. We enjoyed playing the Canal Bank Blues Shuffle (will they have another?) and Rattlesnake Blues in summer 2026. Big fun!

2027, who can say? It seems we have reached a high-water mark playing exclusively in our own community. It's probably time we spread our wings and travel a bit, expanding our fan base. It's convenient to play close to home, but how can they miss us if we won't go away?

Canadian audiences also know you as the former host of the television series Antique Hunter and Antique Style. Do you see a common philosophy between hunting for rare, historic antiques and crafting an authentic blues song?

Sure, there is some common ground there. Both pursuits involve a manner of hunting, searching and researching.

Songwriting: you've got to know where you have been to know where you are going. Write about what you know. Always best.

Antiques: one must become a student of the past.

The other shared X-factor is trusting one's intuitive instincts. I've been told, "You have a good eye" for rarities and the unusual. One must have that to pull a silk purse from a field of sows' ears. A songwriter leans into his gut knowledge that a turn of phrase, a passing comment, a euphemism, a storm cloud brewing or a "Tequila Sunrise" contains the seed of a lyric worth pursuing. There is more, of course. The rest will cost ya. LOL.

The press release notes that "four decades in, the songs are still coming." When you sit down to write music today, does the inspiration flow easier compared to your early days, or have you become more critical of your own work?

Hmm. In my early attempts at songwriting, I was way less discerning and less informed by living this life. Flush with inspiration and light on content, I wrote many forgettable songs. These days, I write fewer songs, but I write creatively every day (journal or stream-of-consciousness stuff). It's like priming an old well-water pump. It takes a bit of work to build up sufficient pressure, so I do a little every day, preparing to receive that inspired insight, that gush of cool, sweet water worthy of filling the bucket. Do I consistently commit every work to completion? Is it demo-worthy? Sometimes. Yes, I'm way more critical of my work, and editing is where the magic happens for me. That extra bit, a freebie.

(René Huard / Photo by Vinnie Pellegrini)