Hugh’s Room Live is Toronto’s cozy nest for singer/songwriters, especially of the rootsy/folkie bent. Its new Songwriter Sessions series explores songcraft in a round robin format with players peeling back the stories behind their work. Crossing genres and tapping into the natural Canadian gift of open, honest lyrics and tunes, the artists get to delve deeper as they share their songs and bond with each other. This week’s Songwriter Session features Tony Quarrington, Andrea Ramolo, David Leask and Melanie Peterson, and happens Tues. Oct. 9, 8.30 start.

Veteran musician Quarrington has been a formidable and thriving presence on the Toronto music scene for more than 40 years. He first appeared at the Mariposa Folk Festival in 1966, and played at many renowned Yorkville nightclubs and coffee houses in the late ‘60s, performing ballads, blues and his own original tunes. Quarrington’s relentless career as a sideman and studio musician has seen him appear on literally hundreds of other artists’ recordings, playing guitar, banjo, mandolin, piano and dobro, and lending his voice as a singer.

Listening to Honyock feels like walking through a post-war home that hasn’t been redecorated since 1975. Here, smoke-stained curtains obscure a hazy sun and a floral couch faces a stern stone fireplace. And, here, a dusty electric organ rests against a wood-paneled wall where, in any other house, a flat screen might sit. But while sitting at the Formica table beside a rattling, honey-colored Frigidaire, this home feels familiar, comfortable. This transportive power of Honyock’s music, though, is no serendipitous accident. Indeed, their first full-length El Castillo, produced by David Vandervelde (Father John Misty, Jay Bennett), seems like the outcome of some cosmic strategy—of fate, or something similar.

Like the best bands that take cues from the past—Wilco and Dr. Dog, Whitney and Kevin Morby, The Sacramento four piece combines the aesthetic of this era with songwriting that’s as distinctive as it is memorable. “Patron” features a dusty, retro aesthetic—a sun-faded roadside hotel, a cactus’s long shadow. It’s hard not to hear Elvis Costello or Roy Orbison in this opening track.