Listening has always been at the core of MEGGO’s work. The Montreal-based alternative-folk artist and producer Megan Ennenberg (also of indie-rock band FLEECE) builds songs like collages: scraps of overheard voices, sounds gathered like lucky litter, and jagged samples woven together. Her music sits at the crossroads of folk tradition and digital experimentation, creating a glitched-out world where acoustic textures brush shoulders with modern manipulations. The pieces shouldn’t fit together, but they do, stitched by her intimate lyricism into a wild sonic quilt. The result is music that is fragile and forceful at the same time, flowers growing through cracks in the pavement. 

 

Her current obsession is the eavesdropper trilogy, a body of work across three short albums that traces the process of finding a voice across shifting roles, as artist, producer, and gal with opinions and taste. Each chapter inhabits a distinct emotional and creative phase: Chapter 1 , eavesdropper ;; death stories (2024) was rooted in grief and the tender act of witnessing life in moments of loss. Chapter 2, eavesdropper ;; impact (coming so soon, omg) explores rupture, the messy aftermath, and the uneasy path to forgiveness; walking away from a car crash where someone else was at the wheel (check to see if you still have all your fingers and toes after listening). Chapter 3, now in development, will turn her chest towards transformation: what remains after death and rupture, and what happens when you remember to write songs while you’re happy, for goodness sake. 

 

So far, the eavesdropper series has featured some epic collaborations with fantastic people: Jameson Daniel (Fleece), Ethan Soil (Fleece), Austin Tufts (Braids), Quin Bachand (Diamond Day), Owen Chow, Rose Angeline Chisholm, Gabie Che Allain, Hanzo da Bullfrog, Ben Michel, Douglas Ennenberg, Dylan Mitro, Flavie Lemée, and more. While the first two chapters emerged from years of close listening and spontaneous collaborations, the trilogy’s final instalment will push MEGGO further into experimentation, searching for new voices (her own and others'), new ways of listening, and new creative ecosystems. With a voice that been compared to Adrianne Lenker and Julien Baker, and music that suddenly glitches sideways into a Bon Iver fever-dream or a Saya Gray detour, think folk colliding with digital debris.

 

Across her work, MEGGO nurtures a paradox. Her songs are deeply personal yet strangely communal. They ask the listener to eavesdrop on private moments in a world she builds while jogging their own attention within their own. While you listen, you might notice that sounds around you in your own environment are blending into the music - was that the song or did someone just start their car beside me? The music is not neat, not polite - it’s alive and mobile. It says ‘made you look.’ With each release, MEGGO continues to carve out space in the Canadian Music landscape for a sound that is timeless and futuristic, grounded in folk roots yet unafraid to take some risks and endlessly rearrange itself. Let’s go.