Born on the Isle of Man, Manx spent his childhood in Canada and left in his teens to live in Europe, Japan, India and Brazil. He honed his hypnotic live show on street corners, in cafes, bars and at festivals. But it was Indian music that captured his attention and in the mid 80s he began a five-year tutelage with Rajasthani Indian musician Vishwa Mohan Bhatt (Grammy winner with Ry Cooder for A Meeting by the River). Receiving the gift of Bhatt’s custom-made, self-designed mohan veena (a 20-stringed sitar/guitar hybrid) was the catalyst for Harry to forge a new path with his now signature east-meets-west style of music.  While the mohan veena itself is beyond exotic, Manx uses it within traditional Western sound structures.

A successful touring performer, Manx has brought his “breathtaking” solo shows across Canada and into the USA, Australia, and Europe. He has appeared at many prestigious festivals, world-class theatres, concert halls and infamous Blues clubs around the globe. Playing the Mohan Veena, lap steel, harmonica, stomp box, and banjo, Manx quickly envelops the audience into what has been dubbed “the Harry Zone” with his warm vocals and the hauntingly beautiful melodies of his original songs.

It’s in the live setting, Manx says, that the bridge between “heavenly” India and “earthy” American blues is most effectively built. “Indian music moves inward,” he explains. “It’s traditionally used in religious ceremonies and meditation, because it puts you into this whole other place. But Western music has the ability to move out, into celebration and dance. So when we play the Indian stuff on stage, it has the tendency to draw people into something really deep; they’ll get kind of quiet and spacey. Then we’ll play some more Western music, and it grounds them once more, they sort of come out of the mood the Indian music had put them in and get into the performance. I love to see that working — that effect on the audience. My goal has always been to draw the audience as deep as possible into the music.”

Manx is a prolific artist, releasing seven albums in a six-year span with no signs of stopping. His first album Dog My Cat (2001, Northern Blues Music) captured the attention of new fans, musical peers, and the media with favourable reviews and awards, including Best Blues Album of the Year from the Canadian Independent Music Association. The Juno-nominated follow-up Wise and Otherwise (2002) garnered nods from the American media with excellent reviews in The Chicago Sun Times and The Washington Post. Jubilee (2003), Harry’s collaboration with famed Canadian guitarist Kevin Breit (Norah Jones), has become a critical favourite, receiving both Juno and Maple Blues Award nominations. Road Ragas (2003), a collection of Manx’s live performances recorded around the globe, captures the essence of his mesmerizing solo shows and cemented a solid reputation for this artist amongst fans and musical peers.

Harry Manx’s fifth album West Eats Meet (2004) signalled the launch of his independent label Dog My Cat Records. Produced by Jordy Sharp (Dog My Cat, Wise and Otherwise, Road Ragas) Harry’s serene solo sound was enhanced with decorative elements of tabla, dholak, keys and strong female backing vocals. This release generated his third Juno nomination, this time in the Roots and Traditional Album of the Year (Solo) category and accolades across Canada.

His most recent solo release, Mantras for Madmen (2005), is blindingly unapologetic when it comes to even greater use of instrumentation. The groove level is kicked up a notch with the addition of base, drums, and gospel-laden backing vocals with killer harmonies that enrich the ten original tunes. Indian instruments for the two ragas are also thrown into the mix. 

Manx’s latest CD, another collaboration with Canadian guitar wonder Kevin Breit called “In Good We Trust”, was released on Stony Plain Records in the spring of 2007 to glowing reviews.

Harry has received three Maple Blues Awards and his mantel shelf also holds honours from the Canadian Folk Music Awards, Vancouver magazine Georgia Straight, and the South Australia Blues Society. Most recently he was the recipient of CBC Radio’s Great Canadian Blues Awards for 2007. Other accolades in 2007 include two Maple Blues awards (for Acoustic Act of the Year with Kevin Breit and Songwriter of the Year) and two Canadian Folk Music Award nominations (with Kevin Breit), for "Best Ensemble" and "Pushing the Boundaries". In addition, "In Good We Trust" was nominated for a Western Canada Music Award for Outstanding Roots Recording (duo). 

Blend Indian folk melodies with slide guitar blues, add a sprinkle of gospel and some compelling grooves and you’ll get Manx’s unique “mysticssippi” flavour. It’s hard to resist, easy to digest and keeps audiences coming back for more.

“Canada’s most versatile and expressive blues player” - Billboard Magazine

 "Canadian guitarist Harry Manx knows his instrument the way most men know their television remote controls."   Time Out, New York City

“Like a lot of top singer songwriters Harry projects an intimacy & old friend quality from artist to listener … Harry Manx still produces top drawer music to chill out with that is well capable of soothing body, mind & soul.” - Billy Hutchinson, Blues Matters!

“While most musicians are content to work within the accepted boundaries of their chosen style, lap-slide guitarist Harry Manx likes to colour way outside the lines. His crayons? Soulful, raspy vocals, poetic lyrics, and the whining drones and mysterious melisma of Indian music … Manx conjures songs that are as bewitching as they are unique.” 
- Andy Ellis, Guitar Player Magazine

“At this point, it’s practically impossible to add anything new to the blues. But you can still wring a new tear out of the good ol’ twelve-bar onion by adding something even older than the blues - Indian classical music… Manx’s mix of folksy Americana and trance-inducing traditional ragas truly pushes the boundaries of a genre long thought past innovation.”
– Eric K. Arnold & Kelly Vance, East Bay Express
 
Harry Manx is the master of your chilled-out oriental vibe, thanks to his proficiency on instruments like the mohan veena; and that smoky voice of his is akin to getting a relaxing massage without skin contact. - Gary Tate, JazzReview.com, June 2007

“The making of an artist is as abstract as the canvas that he or she paints. Words pale in grey tones when attempting to describe this aspect of brilliance. No, one has to listen with eyes closed gently, as if in meditation, concentrating on the algorithmic patterns that emerge. The ability to create such a living work comes from the desire to transcend, to go far beyond the reaches of the imaginable universe. For Harry Manx, bluesy guitarist and singer, this meant going to the far side of the earth in search of his musical identity. It was in Europe that he discovered his own blues. In Japan he discovered his soon-to-be guru of the slide guitar: Vishwa Mohan Bhatt who played the veena. He went to live in Rajasthan at the feet of this guru, learning the complexities of the Mohan veena, eventually learning how to blend his Canadian blues with the slide of the desert. And now he's doing something totally unique and original, yet accessible. He's quickly become a driving force on the Canadian music scene.”
- Steve Fruitman, CIUT FM, 2003 (Harry was honoured with the Lenny Breau  “ultimate musicianship” award by the Porcupine Hall of Fame Awards in 2003)