Photo of Tim Brady

Bradyworks / Instruments of Happiness

Prochain(s) concert(s)

For Masked Singers, Four Guitars (webdiffusion)

/ Amphitheatre | Gesù

Of Sound, Mind and Body: Concert #7 (live webdiffusion)

/ Amphitheatre | Gesù

Prochain(s) concert(s)

For Masked Singers, Four Guitars (webdiffusion)

/ Amphitheatre | Gesù

Of Sound, Mind and Body: Concert #7 (live webdiffusion)

/ Amphitheatre | Gesù

“Bradyworks” was created in 1989 as the production team for composer and guitarts Tim Brady. In 2014 brady created the electric guitar collective “Instruments of Happiness” , which includes a quartet, and ensembles of 20 and 100 guitars, the latter used for large-scale spatialized performance. Their first CD - Instruments of Happiness - was released on the American label Starkland Records in March 2016, to excellent reviews. Their 100 and 20 guitar projects continue to play to sold-out houses across Canada, with concerts in Montreal and St. John's, a 100-guitar concert in Vancouver at the Modulus Festival in November 2016, and a new creation (homage to Jimi Hendrix) presented in Montreal in April 2017. Their first Canadian tour, with the IoH quartet, presented 8 concerts across the country in late March/early April 2017. 2018 saw a feature performance for 100 guitars at Toronto's Luminato, and a Canadian tour with singer Marie-Annick Béliveau. 2019 pulled out all the stops with their 2nd CD - The Happiness Handbook, a US tour and a massive 150-guitar event in Montréal to an audience of 3,200 people at the Festival MNM. Their CD "The Happiness Handbook" was awarded a Gold Medal by the Global Music Awards In the United States in August 2019, as well as a Prix Opus in Québec in January 2020.

Artistic director / Electric guitar

Multimedias and news

Uncertain Impact / Instruments of Happiness
Tim Brady - Instruments of Happiness: 150 guitars, Symphony #9
Tim Brady - Instruments of Happiness 100 guitars - Concerto for George Harrison

In the press

"Brady'a ambitious composition (Désir: concerto for electric guitar and large ensemble) works very well, in part because his arrangements are anchored in his own playing, translating the agile volubility of the solo instrument into viable orchestral voicings and flexible forms.

- Juian Cowley, The Wire (2019)

"The very first track, a movement of Symphony 5.0, titled Riff...quickly moves into an ear-capturing riff that grows and spreads through the ensemble, into a mesmerizing blur of sound that is part minimalist trance, part rock solo, and all original. Since I can't quite describe this CD, I will just say: Find it. Buy it. Listen to it. I can promise that you will find it full of surprises."

- Peter Alexander, www.sharpandflatirons.com, June 2016

"One comes away with an appreciation of Brady's determination to shape the concept of symphony to his own desire as both composer and performer. As is the case with the memorable symphonists of the past, the attentive listener gradually begins to appreciate Brady's personal charcteristic take on what he wants the symphony to be."

- Stephen Smoliar - San Francisco Examiner - June 2016