Morgan Toney: A Mi’kmaq fiddler’s journey of reconnection and unity through music
31 Jan 2025
At this year’s East Coast Music Awards, a musician stepped onto the stage, not only to accept two prestigious awards—Indigenous Artist of the Year and Traditional Recording of the Year—but as a proud representative of his community and marking a significant milestone in his musical journey.
Morgan Toney, a Mi’kmaq fiddler and singer, has crafted a sound that is uniquely his own, blending the power of ancestral Mi’kmaw songs with traditional Cape Breton Celtic fiddle music. His music is more than just a fusion of styles—it’s a bridge between cultures, a testament to his roots, and a celebration of the two worlds that have shaped his journey.
Born and raised in the small Mi’kmaw community of We’koqma’q, Morgan grew up in a home where the Mi’kmaw language was not spoken, as a direct result of the Canadian Indian residential school system. His mother’s generation attended Indian Day Schools, and the generation before that experienced the Indian Residential Schools, which had the mandate to strip away the Mi’kmaw language and cultural practices.
After he moved to the community of Wagmatcook, Morgan started a new school. On the first day he walked through the front doors and saw the principal leading a smudging ceremony. There was a line of students, teachers, and staff—everyone was waiting to be smudged. Morgan was 15 at the time and had no idea what it was, but he joined the line and participated; intrigued, he knew he wanted to learn more.
That day marked the beginning of a journey of reconnection. Through the principal, Morgan learned more about his Mi’kmaw heritage—songs, prayers, ceremonies, and traditions he had not been exposed to before due to the lasting impacts of the residential school system.
Around that same time, Morgan found himself stepping into an entirely different world—one he had never imagined being a part of. It all started with a friend who introduced him to Cape Breton Fiddle music of both legendary and contemporary players. He had never thought about playing an instrument, but as he got more swept up in the music, he decided to pick up the fiddle one day and started to learn through a few different instructors during his high school years.
By the time he was in Grade 12, Morgan was trying to decide what he was going to do next. Carefully filling out each question on an aptitude test in his final year, the results couldn’t have been clearer: the top recommendation was for him to pursue a career in music. It felt like everything had come full circle—reconnecting to his cultural roots through ceremonies and songs, exploring the world of Cape Breton fiddle music, and realizing that this could be his future. Music would be his calling, though he did not know yet what it would look like or where it would take him.
After graduation, Morgan enrolled in a jazz program that ended up not being the right fit for where he was in learning music, so he returned to Wagmatcook, unsure of what he would do next. Then he heard of a new program at Cape Breton University, which was a traditional music program. He started that following September, where he honed his fiddling techniques and connected him with established artists in the local music scene.
“The fiddling community, especially in Cape Breton, is so supportive,” Morgan said. “I got to sit down with all of these idols that I always listened to when I was in high school… to learn their techniques and just getting to know them on a personal level was just an amazing thing to see and to be a part of.”
While Morgan knows that mastering the fiddle is a lifelong journey, he takes pride in the deep connections he’s built with fellow musicians and in being part of a long-standing tradition of dedication and learning.
Another turning point came through a chance meeting with Keith Mullins, a musician Morgan connected with through his cousin Sebastian. Keith quickly recognized Morgan’s talent and invited him to collaborate. Their partnership began with informal jam sessions, learning fiddle tunes from Cape Breton, Scotland, and Ireland.
During one of their early performances together, Morgan surprised Keith by singing a traditional social dance song called the Ko’jua while playing the fiddle. Keith and the audience’s enthusiastic response encouraged them to record the song, which quickly gained attention.
“It was the start of this whole new style that nobody has really heard before because these two different cultures and these two different sounds always remain separate,” Morgan says. “So, when we added all of those Celtic instruments and those Celtic sounds of Cape Breton Island to a traditional Mi’kmaw song, people were amazed.”
The duo’s success led to the addition of Ryan Roberts, an exceptional mandolin player, completing the trio. The trio’s music resonated deeply with audiences, bringing people together and bridging generational and cultural divides. “I remember when I first got started, I had two audiences…people still wanted to hear fiddle music but there was also another audience that just wanted to hear Mi’kmaw songs.”
Together, they developed a unique sound that blends traditional Mi’kmaw songs with Cape Breton Celtic music. Their collaborative songwriting process often began with deep conversations, allowing them to create music that felt intentional and reflective. Morgan drew inspiration from his community and the teachings of Mi’kmaq elders. He wanted to share these universal teachings with audiences through song with the help of a fiddle.
Morgan’s journey hasn’t been without challenges, but he’s learned to trust the process and rely on the support of his team, fans, and community. After shows Morgan has often heard, “I bought this ticket and saw your name on a poster, I thought I was just going to hear fiddle music because on the posters you held a fiddle, but I got to hear something else!” Morgan goes on to say, “It’s a really cool thing we have, a really unique relationship with our audience and we’re really proud of that. We’re really proud of everything that we’ve done to create this connection and it’s just only getting stronger right now with everybody’s support behind us.” Morgan is very grateful for the support and for the enthusiasm with which his music has been embraced locally and beyond.
Morgan explained that nature has always been a big influence on his songwriting, even from the beginning. In their earlier songs, like “Msit No’kmaq,” he celebrated the beauty of Mother Earth and the importance of respecting her because she gives us everything we need.
A concept that has shaped Morgan’s approach is Netukulimk, a term he’s learned to understand more deeply over time. Although the term has a broad and somewhat flexible definition, it speaks to the connection between humans and the natural world.
Nature plays a major role in his music, both thematically and philosophically. Morgan emphasized that these teachings aren’t just a part of the songs themselves but also the way he lives and creates music, always mindful of the environment and community.
Ultimately, their performance and song ordering are all about telling a meaningful, evolving story, one that invites listeners to explore difficult conversations while still holding space for healing, connection, and community. Morgan explained that their setlists are always tailored to the audience and the environment they’re performing in. Before each show, he thinks about who they’re playing for and what message he wants to share. For example, when they’re performing for an environmental group like the Nature Trust, songs that connect with nature like “Netukulimk” are sure to make the list.
Morgan also shared some exciting updates about the band’s upcoming album, due to be released on March 7, 2024, through Ishkōdé Records. In the lead-up, he’s already dropped two singles:”Pjila’si Piskwa” and “Golden Regalia,” available wherever you stream music. “Pjila’si Piskwa” translates to “welcome and come in,” and the fiddle set paired with the song is challenging to play but fun, reflecting the band’s connection to Morgan’s younger cousin, Makayla and the community. The song was inspired by her beautiful golden regalia, which she wears proudly on the Powwow Trail. When the full album comes out, listeners will be able to see the personal connections behind the songs. One standout track, “Heal the Divide,” was inspired by conversations about social injustices, including racism and discrimination faced by the Mi’kmaq Nation. The song serves as a call for unity, urging listeners to come together to address societal divisions. It also pays homage to the legacy of Donald Marshall Jr., whose wrongful conviction in the 1970s exposed systemic racism within the justice system in Nova Scotia.
Morgan closed with a powerful message about connection—not just to the music, but to the community and the stories that need to be told. For him and his band, this journey is about more than entertainment; it’s about preserving culture, sharing teachings, and creating moments that resonate.
With deep gratitude for the support, he has received—especially from his home community—Morgan made it clear that there’s so much more to come, and he can’t wait to keep sharing his music with the world.
Morgan Toney will be playing at our upcoming Inspired By Nature 30th Anniversary Gala, happening on April 16th 2025. Join us for an unforgettable evening of immersive experiences, wild wonder, art, music, food, and natural inspiration. Together, let’s ensure that our province’s beauty and biodiversity are preserved for generations to come. Get your tickets today!