Last Dance at the E Room

A Tribute to Loss, Legacy, and the Power of Music

John Borra, a respected figure in the Canadian music scene, is set to release Last Dance at the E Room, a deeply personal album exploring themes of loss, love, and reflection. Drawing from the final days of the legendary E Room recording studio where Borra worked closely with his mentor Peter J. Moore, the album not only marks the end of an era but captures Borra’s growth as an artist. While the album is named after the E Room, it is not a direct tribute to Moore but rather a continuation of the creative spirit Moore fostered, reflecting Borra’s artistic journey and evolution. “The E Room wasn’t just a physical space for recording; it was a mindset,” Borra reflects. “It was where art was made for art’s sake, not business. Peter’s influence runs deep in this record, and I feel proud to carry that forward.”

Blending elements of punk, Americana, folk, and country, Last Dance at the E Room showcases Borra’s enduring commitment to honest, genre-defying music. Featuring a stellar lineup of musicians, including Cleave Anderson (Blue Rodeo), Derrick Brady (Skydiggers), and Michael Boguski (Blue Rodeo), the album also features guest guitarists Michael Timmins (Cowboy Junkies), Steve Koch (Handsome Neds), and Paul Rigby (Neko Case). The album’s bed tracks were recorded by George Guerra at the E Room, with additional recording taking place at Johnny MacLeod’s Place in Toronto. “The process was a bit more challenging than usual without Peter here to guide me,” Borra admits. “But it also allowed me to take full creative control, and I couldn’t be more proud of how it turned out.”

One standout track, “Did What I Could,” sums up Borra’s life philosophy, encapsulating his approach to both his music and his journey: “I put my feet on the ground, and I did what I could,” he says. Another track, “Here in My Heart,” emerged from a period of personal loss, capturing both grief and healing. Despite the weight of these themes, Last Dance at the E Room is not a melancholy record. “It’s actually quite upbeat,” Borra explains. “Even though there’s a sense of grief running through the lyrics, the overall feel of the album is positive and energizing. I want people to dance, feel motivated, and connect with the joy that can still be found in life, even through tough times.”

The album also includes two covers, “Magnolia Bloom” by Pat Madden and ‘I Think The World Is Coming True” by the late Steve Banks, adding layers of tribute and remembrance to the project. Last Dance at the E Room stands as a testament to John Borra’s unwavering commitment to authenticity, his legacy in the Canadian music scene, and his ability to create art that resonates deeply with listeners.

Last Dance at the E Room will be released on October 24, 2025, and Borra will embark on a Canadian tour to support the album, with full tour dates to be announced shortly.

ABOUT JOHN BORRA

For over four decades, John Borra has been an uncompromising force within the Toronto alternative music scene, from his early days immersed in the raw energy of punk to his later explorations in roots and alt-country. His career has unfolded alongside the city’s ever-shifting music landscape, yet one constant remains: Borra has always stayed true to his musical roots, consistently delivering honest, passionate songwriting that resonates with listeners on a deep, emotional level.

Borra’s early musical journey was shaped by the rebellious energy of punk rock, where artists like Iggy Pop, Lou Reed, and Patti Smith taught him the importance of staying authentic in a world full of compromises. As a teenager, Borra was drawn to Toronto’s underground scene and soon found himself playing in bands that contributed to the city’s growing alternative movement. “I’ve always believed in doing music for the sake of music, not for fame or money,” Borra reflects. “That ethos has guided me through my entire career.”

In the 1980s and early 90s, Borra was an integral part of several bands in Toronto’s burgeoning alt-rock scene (A Neon Rome, Groovy Religion, Change Of Heart), each one an opportunity to explore his musical voice. However, it wasn’t until the mid 1990s, with the rise of the roots music renaissance, that he found his true calling as a solo artist. He blended punk’s energy with the storytelling traditions of folk, country, and Americana, finding his artistic voice as a solo performer. From his 1997 self-titled debut through to 2020’s Blue Wine, all of his records have showcased this fusion, earning him critical acclaim for his genre-defying approach. His canon also includes two records with his John Borra Band and three with Rattlesnake Choir with whom he was the singer and principal songwriter. He’s also never stopped playing bass – having played with a plethora of artists such as Ron Sexsmith, Serena Ryder, Viletones, Cheetah Crome (Dead Boys) and many more.

Borra’s discography reflects his evolution as an artist, constantly merging genres while staying true to his authentic voice. Blue Wine was hailed as a perfect balance of poetic honky-tonk and punk-infused barnburners, capturing the raw energy of his punk influences while showcasing his mastery of heartfelt, roots-driven storytelling. Cassettes In Common, a tribute to the Canadian singer-songwriters who shaped his musical journey, brought a new dimension to his artistry, featuring reimagined songs by Ron Sexsmith, Kyp Harness, Bob Snider, and Frank Nevada. The album reveals Borra’s deep personal connection to each track, particularly in his tribute to Nevada and his rendition of Art Bergmann’s “Sleep”. His latest project, Last Dance at the E Room, is both a personal reflection and a tribute to his late mentor, Peter J. Moore, and the E Room studio that played a pivotal role in his creative development. With every record, Borra continues to break down musical boundaries, proving his dedication to creating songs that resonate emotionally, while maintaining his place as one of the most authentic voices in Canadian music.

As he moves forward, John Borra remains an artist unafraid to embrace the unknown, yet deeply grounded in the values that have always guided him. “I’ve always done it for the love of music and stayed true to that for my entire career” he says. “And that’s never going to change.”

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