The Bedlam Mythology
THE MYTHOS — The Bedlam Boys Origin Legend
We live in a world filled with noise, where childhood repressions leave scars and systems crush spirits. A group of wanderers emerged from their separate storms and gather in Montreal, where the land meets the mighty St. Lawrence River that flows to the sea. Each carried a story of oppression, a heart forged in rebellion, a hunger for truth and transcendence, and instruments handed down from mentors wanting to share the old Celtic and Romani ways.
Before language carved borders into the world dividing people into us and them, and souls learned to lie to themselves, the sounds of the wind in the trees and waves on the shores united us in awe — raw, luminous, and true. From that ancient spark rises The Bedlam Boys, a Montréal Celtic-folk-punk band who play not just to entertain, but to resurrect what is sleeping in all of us.
Drawing from Irish and Scottish tradition, Roma fire, Québécois foot-rhythm, and punk’s rebellious heart, the band creates performances that feel less like concerts and more like rituals of rebirth.
At the center stands Jonathan Moorman, a tall, phoenix-like presence whose fiddle seems to rise as flame — tender to fiery, always alchemic. His instrument carries the scorch marks of many lives lived — times of exile, loss, longing, love and the eternal return to joy. When he plays, it’s like he steps through the flames once more, rising renewed in a burst of ecstatic sound.
The Bedlam Boys aren’t bound by a single cultural heritage. Their members descend from French, Scottish, Irish, and British lineages, a tapestry that mirrors Montréal itself — a city shaped by migrations, converging rivers and intermingling cultures.
Though their roots vary, they share a deep kinship with the Celtic historical experience of oppression, displacement, and the fierce determination to transform suffering into art. The Irish taught the world how to endure loss through poetry, rebellion, humour, music, and the drink — uplifting one another through song when their world was dark. The Bedlam Boys uphold that tradition, honouring the countless voices who sang before them, the ancestral pulse that carried people through famine, war, and colonization. Every reel, lament, and ballad is a thread connecting them to those who survived.
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Every performance is a promise not to forget.
The band’s mythos draws from the Welsh Cauldron of Awen – vessel of awe – truth as divine inspiration that birthed the bard Taliesin himself. The cauldron, a symbol of profound alchemy, teaches that our bodies are vessels of immense power and potential, carrying the wisdom of our ancestors and the strength of our lineage within us.
By honouring our sacred self, we break free from the chains of patriarchal conditioning and step into our wholeness. Music becomes an act of truth-telling — a way to shed the ashes of old selves and step into joy. Once associated with lunacy, the word Bedlam is reclaimed: not as pathology, but the wild freedom found when one’s masks fall away. Rage becomes rhythm. Pain becomes purity. Grief becomes grail. Community is where we heal one another by gathering.
In Bedlam Boys’ concerts, audiences become part of the rite — a Collective of voices lifted together, feet pounding the floor, strangers becoming kin. The air crackles with the sense that something is burning off: fear, sorrow, constraint. In its place rises connection, catharsis, and shared elation. Each performance becomes a ritual of transformation, where the band channels their own histories of heartbreak, rage and rebellion into something luminous and fiercely alive. For fans it’s inspiring, cathartic and highly addictive. The Bedlam Boys’ mission is simple and ancient, dispensing music as healing in a mad world.


The Wheel of the Year

Rediscovering the “Old Ways”
The Wheel of the Year is a calendar that marks the ancient seasonal festivals of
European pagan cultures:
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Celtic (originating in Germany and Austria, preserved by Irish, Scottish, Welsh cultures)
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Norse (Scandanavian/Viking)
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and Slavic/Romani (eastern Europe, especially Hungary and Romania).
Paganism is not a religion. It existed long before organized religions like Christianity as a collection of place-based, earth-centred, spiritual traditions. The “Old Ways” of pagan cultures see us humans as a part of the natural world and the Cosmos. Called the Great Mother, we should respect nature for the many gifts She bestows to all of us who walk planet Earth. Evidence of this connectivity rests with the sacred cycles of life – birth, growth, death and rebirth – as mirrored by the changing seasons.
Spirituality is experiential. There is no one holy book or authority, as pagans see divinity expressed through human experience and the majesty of nature, sometimes personified through gods and goddesses. Some pagans work with intention to tap into the energy and natural forces of the world around us (what some call magic). Land-based customs like bonfires and dancing, bardic poetry and music, and oral storytelling kept the knowledge and traditions alive. Pagan spirituality is not a path of
fear, but of belonging.
The Wheel of the Year contains 8 Sabbats or festivals that mark the seasonal cycles of the Earth and Sun, notably the Vernal (Ostara) and Autumnal Equinoxes (Mabon), and the Summer (Litha) and Winter (Yule) Solstices. The Sabbats matter because they create meaning through ritual. They ground us in cyclical, natural rhythms, and provide ways to process change, grief and growth with community. Four great Fire Festivals honour our place in nature through the seasons and our relationships to each other, our communities and our ancestors. These are Imbolc (spring return of light and St Brigid), Beltane (fertility, life force and joy), Lughnasadh (First harvest, gratitude, god Lugh) and Samhain (end of harvest, ancestors and the thinning veil – Halloween).
Celtic paganism survived in Europe despite the Christian crusades and witch hunts that sought to eradicate it. Pagan traditions made their way across the Atlantic Ocean. It is said that Celts were born along rivers but remembered themselves on islands. The same can be said here in Montreal, where Celtic and Romani culture can be rediscovered through story and music, with a reverence for the lands we live on. The Music is Medicine – it helps us reconnect with our rhythm, our communities and our histories, in this modern world that seems so in need of grounding and healing.



