Nestled on Elgin Street in Centretown, Ottawa, The Penguin was a small, but influential live music venue during the late 1980s and throughout the 1990s. Despite its modest size, it attracted a remarkable range of touring acts across rock, blues, jazz, and alternative music. Concert databases and historical accounts show that the club hosted artists such as Blue Öyster Cult, the Jim Rose Circus, Tori Amos, and Béla Fleck. The Penguin earned a reputation as a stop for touring musicians who wanted a more intimate connection with their audience, and for local music fans, it became a hub of discovery where every night promised something unexpected.
Part of the club’s charm lay in its atmosphere and attention to detail. Upper Canada beers flowed from the taps, including the rare dark ale that few other Ottawa venues offered on draft. Low ceilings, close seating, and proximity to the stage created a space where performances felt immediate, every note and improvisation amplified by the intimacy of the room.
I moved to Ottawa permanently in the early 1990s, having developed both professional and personal connections over the preceding years. Friends like Bruce, who knew all the city’s best bars, clubs, and restaurants, introduced me to the vibrant local music scene, and The Penguin quickly became a favourite of ours.
Some of my most vivid memories are of nights when artists I admired personally played there. Steve Hackett, the former Genesis guitarist, performed in August 1992. I remember him alternating between electric and acoustic guitars, and at one point he sat on the stage to play an extended classical acoustic passage that seemed to suspend time in the room.
A few years later, in October 1994, I saw The Jazz Passengers at The Penguin, joined by Debbie Harry. The combination of New York City avant-garde jazz and Harry’s iconic voice created a one-of-a-kind performance. The room was alive with energy and unpredictability, and the intimacy of the venue made every note feel immediate. The band started playing and Bruce and I looked at each other “Is that Blondie’s Rapture?” And sure enough Harry walks out onto the stage!
Cassandra Wilson’s performance during her 1994 tour supporting Blue Light ’til Dawn remains unforgettable. Walking onto the stage in a dark blue sheer dress, she filled the room with a smoky, folk-infused jazz sound that left the audience mesmerized. While I have not yet confirmed the exact date in archival newspapers, the memory of that evening, her voice, the hush in the crowd, the room’s energy remains vivid decades later. I did send Ms. Wilson a note requesting confirmation of the date, and she replied that she would check for me, so stay tuned.
The Penguin was more than just a club; it was a space where small details: a well-poured local ale, the room’s acoustics, the proximity to the stage, combined with talent to create nights that linger long in memory. For musicians and fans alike, it transformed ordinary evenings into stories worth telling, a testament to the intimate magic that only a club like The Penguin could produce.
Sources:
• Pollstar listings (1994 tour notices) showing Cassandra Wilson listed for Ottawa/Penguin dates and related dates.
• Crowd-sourced concert archives and venue listings for The Penguin, including setlists showing Steve Hackett at The Penguin, Aug 22, 1992, and Deborah (Debbie) Harry with The Jazz Passengers at The Penguin, Oct 11, 1994.
The Rowanwood Chronicles 