Donovan Woods & Breagh Isabel

$929.46 ( $154.91 Per Person)

Donovan Woods & Breagh Isabel

Join us on Saturday, July 30th for Dinner & A Show featuring Donovan Woods & Breagh Isabel in the Vineyard Marquee Tent at Lightfoot & Wolfville!

Please note that given the nature of this event, tickets are sold by the table ($154.91 per person including taxes, service fees and gratuity). Tickets include a multi-course, family-style dinner, a welcome can (250 mL) of Bubbly Rosé and entry to the concert. Tables for groups of 4, 6 or 10 guests are available as per the seat map.


Olives & Almonds
Marinated Castelvetrano olives & Marcona almonds

 Two Lightfoot Farms x Ratinaud cured meats, fruit, pickles, honey, preserves, Ciro's asiago & stracciatella

Green Salad
Organic mixed greens, Honeycrisp apple, roasted pepitas, Ciro's asiago, L&W Rosé & Valley honey vinaigrette 

 Wood-Fired Pizza 
 Margherita - marinara, mozzarella, basil 
Garlic Fingers - Garlic butter, mozzarella, Ciro's asiago, chive & donair sauce 

Rousseau Chocolates 

Please note that this is a set menu style of event. Vegetarian options, dietary restrictions and allergies can be accommodated with advance notice. Please contact us at or 902-542-7774 to notify of any dietary restrictions.




  • This event is produced within Nova Scotia Public Health's COVID-19 health and safety guidelines, which are subject to change. For the safety of everyone in attendance, prior to arrival, you and each member of your group should complete a COVID-19 self assessment. By entering the venue, you are confirming that you are not exhibiting any COVID-19 symptoms. 
  • Food and beverage service will be provided at your table. The above family-style menu is included in the ticket price. Additional beverages, including non-alcoholic options, will be available for purchase. Please note that this is a set menu style of event. Vegetarian options, dietary restrictions and allergies can be accommodated with advance notice. Please contact us at or 902-542-7774 to notify of any dietary restrictions.
  • Please note that each table is pre-assigned an arrival time between 6-7 PM as per the drop down menu. The guests for each table must enter together. It is important that you arrive at your assigned time to keep gathering and contact at a minimum. The table purchaser is the point of contact for the group and as such is required to relay all information to each of their guests. The show starts at 7:30 PM sharp. 
    • You will not receive physical tickets but should receive an order confirmation email which confirms we have added your information to our guest list for the evening. 
    • This event is open to all ages and licensed for those over 19 years of age who present valid ID.
    • Cancellation Policy: All ticket sales for this show are final. In the event that you are unable to attend the event, you may transfer the name of your table to another party.

    Please contact us at or 902-542-7774 with any questions. 


    Breagh Isabel 

    Breagh Isabel is a Canadian songwriter, producer, and recording artist. Born and raised on Cape Breton Island in Nova Scotia, she grew up in a musical family and trained as a jazz pianist. As a songwriter and producer, Breagh has a growing list of cuts including singles by Jocelyn Alice, BANNERS, and Donovan Woods. Her studio work ranges from singer-songwriter to pop. Most recently, her foray into composing and writing for film and television has landed her featured tracks on CW’s Batwoman and Grey’s Anatomy. 

    A talented performer in her own right, Breagh’s voice has been likened to “strong medicine." Her signature smoky delivery quietly features on the records of some of Canada’s most treasured artists — most recently Classified’s Billboard top 40 hit “Good News”. Breagh’s years spent working behind the scenes have inspired an artist project of her own. Her debut single, “Girlfriends," was released in 2021 with an EP to follow. 

    Donovan Woods

    Donovan Woods was in on the joke when he named his latest release. Riffing on a lyric from a Martin Simpson song (“Never Any Good”), Big Hurt Bois a six-song exploration of how our failures — and our fixations on them — not only shape but enlighten us.

    I write about them again and again, just hoping people will still be interested,” the acclaimed Canadian singer-songwriter says. “So the title is poking fun of myself, that I’m theoretically this big sad guy who keeps getting dumped and writing fucking songs about it.” 

    Or you could think of it this way: Woods’ deep curiosity about the human condition is why we so clearly hear our own stories in his. The details differ, the characters change, but at their core, Donovan Woods songs are for and about everyone. 

    That’s particularly apparent on his new EP, which will be released March 18, 2022. Trying tcapture more of an “undone” quality, Woods wanted his latest songs to “get back to the feeling that my early recordings had.” You hear that in the spare, subtle ache of “No Time Soon,” an acoustic monologue Woods describes as “the story of my whole life."

    I am a frightened rabbit 
    Running off a map 
    Only loved you out of habit 
    I ain’t proud of that 
    But while I do the dishes I hum a little tune 
    Someday, no time soon

    "These are smaller, less polished songs than the ones I’ve been putting out recently,” says Woods, winner of the 2019 Juno Award for contemporary roots album (for Both Ways) and whose global streams have surpassed 210 million. 

    Still, Big Hurt Bobrims with some of the luminous production touches Woods has been adding to this repertoire lately. He wrote the album opener, “I Won’t Mention It Again,” on banjowhich fades into a spectral backdrop of electronic textures and layers of lush harmonies. 

    A co-write with Peter Groenwald, “Leave When You Go” simmers with an R&B vibe backed bsensuous vocals from indie-pop artist Ralph. “A Picture of Us Smiling at a Party Five Years Ago,” which reunites Woods with Katie Pruitt (who co-wrote and sang on Woods’ “She Waits for Me to Come Back Down”), untangles how our memories are often preserved by photos. “It’s about nostalgia, which is just a memory that doesn’t have any of the stress or dread or anxiety thathe real-time experience had,” Woods says. 

    “I Hope You Change Your Mind,” co-written with David Hodges, is such an understated tearjerker that you don’t even realize the relationship is over until the last line. “That song is about that back-end portion of a relationship when everyone knows the score but no one wants to say it,” Woods says. “It’s loving someone so much that you’re not sure how to be mad athem, so you twist yourself into knots.

    Big Hurt Bois the follow-up to 2020’Without PeopleWoods’ celebrated album he made in isolation at the height of the pandemic. Whereas those songs were recorded in a makeshift studio at his Toronto home, with collaborators working remotely, his latest release harnesses the electricity of a roomful of musicians laying down tracks live in the studio, a first for Woods. 

    Released on Wood’s Meant Well label, Without People was acclaimed as “a nuanced experience” (American Songwriter) and a thoughtful exploration of “fleeting interpersonal moments now under the microscope” (NPR/KUTX). So much of that album’s allure was rooted in how Woods connected with his collaborators and imparted the intimacy so many of us craved during a global health crisis. It was so successful, in fact, that it led to a deluxe edition of Without People in 2021. 
    As an in-demand songwriter whose work has been recorded by the likes of Tim McGraw (“Portland, Maine”) and Lady A’s Charles Kelley (“Leaving Nashville”), Woods has been venturing beyond the singer-songwriter scene where he first cut his teeth. Equally at home in folk and country, he has worked with songwriters such as Tom Douglas, Lori McKenna, Brandy Clark,Ashley Monroe, Dustin Christensen, Femke Weidema, Steve Robson, and Ed Robertson(Barenaked Ladies). 

    Woods' featured vocals on Dabin & Nurko’s “When This Is Over” veered into anthemic dance pop, and yet Woods still sounded right at home. On “IOWA,” Woods found a kindred spirit in Grammy Award winning singer-songwriter Aoife O’Donovan for a pastoral meditation on dreaming of a place you know doesn’t exist.

    Each of these collaborations has highlighted a budding truth about Woods: As respected as he isas a solo artist, he’s evolving and upending our expectations of how his music sounds. His songs have grown more dimensional, emboldened by new sonic landscapes, reminding us that classic songwriting transcends genres.