From the Bench to the Busker: A Former Nelson Judge Thrives in Canada’s Vibrant Street Performance Scene

Philip Seagram stands on a chilly November day in Toronto, guitar in hand, as a hailstorm drives most indoors. Yet, he braves the elements on Yonge Street, determined to share his songs, though he wonders if anyone is listening.

“Music is vulnerable,” he reflects. “It’s like a poet sharing their heart. You hope someone will connect with it.”

Seagram’s journey into busking began during a family trip in 2021, which was a clumsy start but didn’t deter his adventurous spirit. The following year, he embarked on an eight-week journey across Canada to busk, narrating his experiences in his book, No Judgment, And Other Busking Stories. The memoir sheds light on how people engage with music and the complexities of giving and receiving charity in Canada.

Just months before his Toronto gig, Seagram retired early from his role as a provincial court judge. He felt a sense of urgency about life passing him by and chose to follow his passion for music. “When you lose loved ones, you realize how precious time is,” he explains, noting that tragedy can push us toward living more fully.

Seagram’s musical journey started back when his wife encouraged him to join a choir. He fell in love with it, then began learning multiple instruments, eventually writing his own songs. With the onset of the pandemic, he recognized a gap in his life – one that music could fill.

In May 2022, he loaded his 2008 Honda Fit and set off for Victoria, planning to busk across both bustling cities and quiet towns. Each location offered unique challenges. For instance, tourists on Granville Island welcomed his performances, while a quiet street in Lethbridge left him with only a curbside construction worker for company.

What surprised Seagram was how much listeners preferred familiar tunes. In a moment of revelation, he found himself covering the well-known song “Wagon Wheel,” initially hesitant but gradually appreciating the joy it brought to his audience.

At its core, busking is not just about money. For Seagram, the real reward was in the connections made – even a brief moment of eye contact felt significant. He also used his performances as a chance to raise funds for the Red Cross during the Russia-Ukraine conflict. He invited passersby to take what they needed, which led to some awkward but meaningful exchanges—a reflection of the nuances around asking for help in Canadian culture.

Interestingly, busking has seen a resurgence in popularity. A recent survey from the University of British Columbia found that live street performances have increased by over 20% in urban areas post-pandemic. Musicians are reclaiming public spaces, while fans are craving that intimate live experience.

Seagram, now stepping back from busking, has developed a deeper respect for those who pursue it for a living. “Buskers enhance our streets. They offer something unique, and it’s voluntary – listeners can engage (or not) as they choose.”

Through his journey, Seagram not only found his voice but also discovered the importance of pursuing passions, connecting with others, and embracing vulnerability in art.

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