Musical Memories: The healing power of music

Music, in all different forms, has helped me cope with mental health struggles throughout my entire life. 

By Oliver Robbins

Trigger warning: this piece covers topics of mental health that may be triggering for some

When I’m in a stressful situation or I’m having a low day, an easy fix for me is to just breathe and listen to music (Image Courtesy of priyana)

Music has a unique ability to connect you with artists you have never met who are writing songs about experiences or feelings similar to your own. It can allow you to escape from your low feelings, or unhealthy situations and become closer with people in your life. For me, music in all different forms has helped me overcome my mental health struggles throughout my entire life. I don’t remember a time when music wasn’t what I turned to during my low points.

Being stuck in a very toxic home environment during the COVID-19 lockdown in 2020 and not being able to be with the people who helped me escape from this environment previously, was extremely difficult for me. Most days, I wouldn’t get out of bed, I would barely eat, and I didn’t have enough energy to do something as simple as responding to the messages from the people closest to me. 

During the summer of 2020, I discovered Phoebe Bridgers after coming across the song “Scott Street” from Bridgers’ first album Stranger in the Alps, and I was immediately hooked. I began listening to everything she had ever released and felt truly understood for the first time in my life. Bridgers has a way with her lyrics and production that makes you feel comforted and understood, and that is exactly what I needed during this time in my life; it felt as though I had found something to save me from this dark hole I was in. 

There was one time it really felt like she was saving me in some way. My family went camping with our trailer for a couple of days, being so close in proximity to them for this long was truly my worst nightmare. All I did for those couple of days was sit in the trailer alone or walk around the campground with my headphones on listening to Stranger in the Alps, specifically the songs “Demi Moore,” “Killer,” “Smoke Signals,” “Scott Street” and “Georgia.” These songs are all that got me through those couple of days, had I not discovered Bridgers’ music the week prior, I’m not sure I would have been able to cope even in the slightest. The experience and connection I have had with Bridgers’ music is unlike anything I have ever experienced, but there are still some other artists and bands who have been able to get me through hard times.

Concerts are some of the best cures for me when I’m at my lowest. I had the opportunity to see Bridgers in June of 2022 at the RBC Echo Beach venue in Toronto. That day changed my life. The anticipation that builds in the days leading up to the event, watching the countdown get smaller and smaller and feeling like you’re in a dream sitting on the GO train and standing in line outside of the venue; these are all things before the show even begins that makes you forget about your struggles. It felt like the world stopped for a second when I saw her walk onto the stage for the first time. Seeing your favourite artist in that space is an out-of-world feeling. Being able to feel the music and Bridgers’ voice through my body made my connection to her music even stronger. There is just truly no happier feeling than seeing your favourite artist right in front of you, singing the songs you have been listening to and connecting with for so long. For those couple of hours, I felt like nothing else mattered and I was the happiest I had ever been. 

I was also lucky enough to see Boygenius, a band that Bridgers is a part of along with Lucy Dacus and Julien Baker, at the Budweiser Stage in Toronto in June of 2023 with my girlfriend. They were touring for their most recent album The Record, which happened to come out the same day my girlfriend and I met for the first time. As sad as most of the songs on that album are, we really bonded through listening to it. Getting to see Boygenius live with my girlfriend was so special, and it made us both so happy to be able to experience music so personal and close to us, live. 

These shows made me feel like all my problems had gone away for a small period of time and that was exactly what I needed in those moments. Concerts are a great way to cope with mental health struggles and it’s also very helpful to have something so exciting to look forward to.

More recently, Radiohead has been a band I turn to when I’m struggling with my mental health. The distinct production of songs like “Weird Fishes/Arpeggi,” “Just,” “Jigsaw Falling Into Place,” “Exit Music (For A Film),” “Climbing Up the Walls” and “Spectre” encapsulate the low feelings I have. I’m able to connect with the music on a whole new level, focusing less on lyrics as the sound itself somehow makes me feel understood. 

As much as these depressing songs have helped me, there are times when I just need music to cheer me up and not to relate to. Tyler, the Creator is an artist whom I can always turn to when I need to switch my mood. I get excited every time I listen to any of his music because of how fun and experimental it is. His music allows me to escape from depressing feelings, and for a little while, I get to forget about all of my problems and just enjoy how good his music makes me feel.

Another musical outlet that has helped me when I am struggling with my mental health is playing guitar. Since I feel so connected to a lot of the songs I listen to, it is often very beneficial for me to learn these songs and be able to play them on the guitar. Playing music releases so many more emotions and allows me to connect even further with songs that hit me so deeply. I find distractions to be very helpful when struggling with my mental health and playing guitar is a great one. Choosing a song and putting all of my attention into learning it has been an incredible tool to help me at my lowest points; it allows me to close off from the world and feel like it is all that matters for a few moments. 

Playing guitar has also brought me much closer with my uncle which has been very important to me since I don’t have a very good relationship with most of my family members. Being able to have that relationship with him through playing guitar has made a lot of the mental struggles I face surrounding the lack of relationship with my family a little bit better, and when you’re feeling that low, a little goes a long way. The feeling of finally mastering a song that I’ve been practicing for a while can also improve my mood so much. Knowing that I’m capable of accomplishing something can mean so much to me when I’m not doing well mentally. 

Music is one of the most important aspects of my life and without it, I would not be able to cope with any of my struggles. It is always there to bring me out of darkness and it is comforting to know that it will always be there. While music is such a helpful resource when struggling with mental health, it is still incredibly important to engage in professional help and use any resources around you to help you get there. The impact that artists like Phoebe Bridgers, Radiohead and Tyler the Creator have had on my mental health is greater than words can explain and I will forever be grateful that I have music as my support through hard times.

If you're struggling with your mental health, you can find helpful resources on this City of Toronto page. You can also find Toronto Metropolitan University specific resources here. 

Earworm Extraction 101

The art of rebound relationships in music

By Melanie Nava Urribarri

Earworms, not to be mistaken for earwigs–who have a poor reputation from the old European myth where these creatures burrow into the ears of sleeping people and lay eggs in their brains–can be perhaps one of every day’s greatest nuisances. Though they aren’t literal creatures, these tunes can certainly feel like wiggling, persistent worms that won’t go away, making a home in your head and adding yet another voice to block out.

Luckily, there are ways to fix this problem. Like finding a good rebound to get over that pesky ex, here are some Canadian earworm remedies that will have you swooning for another song in no time.

The Classic

How many times have you had that song on replay? Have your family and friends already begun to give you the stink eye? Oh, what’s that? You just can’t get it out of your head? Well, have you tried the musical version of “Have you turned it on and off again” by simply playing a different song on repeat? This classic solution can be more effective than you think if you play your cards right. For example, if you’re stuck in 2012 with an infamous Canadian earworm like “Call Me Maybe” by Carly Rae Jepsen, there’s no need to change decades for the right counterattack. Stay in the year of the theorized apocalypse with Grimes’ promotional single “Oblivion”. A much more difficult Canadian song to hit the notes to, perfect for erasing numbers.

Change your environment

Just as being in a room for too long can suck away your energy and creativity, sometimes, the problem might not be you at all but your surroundings. How can you get over Avril Lavigne’s song “Girlfriend” if you’re stuck in the angry energy of your bedroom with all the memories of them? Get out and have some fun! Maybe go to your kitchen and treat yourself to something sweet with Nelly Furtado’s “Maneater”. Change your looping song from desiring to being desired and cure that earworm by switching locations and moods.

Chew

Stuck on 2010s Canadian heartthrobs like Justin Bieber or Shawn Mendes? According to the UK Counselling Directory, chewing gum or eating can create a new sensory experience, diverting your attention and possibly helping with a bad earworm. Instead of looping “As Long As You Love Me” with your young, hopeless romantic heart or “Treat You Better” –an earworm that peaked on the Billboard charts in 2016 and became a lovesick anthem–try eating the worm away like you might eat ice cream after a bad breakup.

Read a Book

Yes, reminiscing on the “best days of [your] life” with Canadian singer Bryan Adams and his recorded song “Summer of ‘69” can be all you need on a dreary day, but what happens when you simply can’t stop? Choosing a new distraction that requires new concentration can be just the way to do it.f you still want to do some nostalgic reflecting, maybe you can pick up Canadian author Lucy Maud Montgomery’s Anne of Green Gables for a heartwarming, coming-of-age other than your own.

Make a Playlist

Play games with your brain and battle the earworm with a combination move called “the playlist.” Much like simply playing a new song for your brain to catch, this strategic tip gives your mind something new to set its sights on– or many new somethings. Feel new adrenaline and satisfaction with a good playlist, such as one created by The Guardian with 30 of Toronto rapper Drake’s best songs. 

Embrace it

People are wired to look for patterns. Our brain likes consistent stimulation, and as stated by Harvard Medical School, some songs are created with specific musical intervals and tempos that are just more appealing to us subconsciously. Earworms can be harmless, and, sometimes it’s really not that serious. So if you can, embrace your earworm! Listen to that song on a loop and dance the annoyed glares away. The artists receiving a rush of streams on their songs might just thank you.

Valentine’s Day date ideas for music lovers

Whether you stay in or go out with your boo, let music take the lead.

By Isabella Soares

A romantic occasion made special with a curated playlist. (Isabella Soares/CanCulture)

February is here, meaning that the clock is ticking when it comes to planning a romantic hangout with your partner for Valentine’s Day. Although going to the movies or eating a three-course meal at a bougie restaurant seems like the way to go, there is more in store for couples that want to add music to this special occasion. From pairs that want to keep it casual to love birds that want to enjoy an epic night out, the list below has several music-centred ideas to help you find the perfect way to celebrate.

Go Record Shopping

If there is one place that music lovers can’t help but swing by from time to time, it’s a record store. There is something about roaming through the aisles filled with albums from a variety of genres that is appealing to any music enthusiast. In the case you and your significant other share the same desire to purchase vinyl or CDs, what better way to enjoy Valentine’s Day than shopping together? Maybe once you get past the cashier, you can give each other a record as a gift.

See a musical at a local theatre

Musicals aren’t for everybody, since they often have more singing and dancing than wordy dialogues. Yet, for those couples that do enjoy a dramatic story accompanied by upbeat tunes, attending a musical production at a local theatre is a must. You’ll laugh at the occasional jokes, hold hands when the characters fall in love, and will surely have a new repertoire to sing together after the curtains close.

Attend a Candlelight concert

You have probably seen ads promoting a Candlelight concert on your Instagram feed, but never actually purchased a ticket to experience one in person. Well, Valentine’s Day seems like an ideal occasion to give it a try. After all, there is nothing more romantic than being in a dimly lit room next to your soulmate, listening to orchestral versions of your favourite songs.

Enjoy a meal to the sound of a curated playlist

With so many people making reservations in advance to eat out, enjoying a meal together at home might be a cozy way to go. To make the night even more intimate, come up with a playlist filled with tunes that you both enjoy—or remind you of each other—and listen to it while having dinner. Once a ballad begins to play, you can always seize the opportunity to slow dance with your partner in the living room.

Sing at a karaoke bar

Listening to music 24/7 means you probably know several songs by heart and sing them in the shower. Why not get out of your comfort zone and belt out the lyrics with your significant other at a karaoke bar? The whole point of karaoke is to have fun and let go of the pressure of sounding good to a picky crowd. Putting your names on the list and hitting the stage will make the night nothing short of exciting!

Watch an artist or band perform live

If an artist or band that you and your partner love is planning a concert on Valentine’s Day (or maybe during that week), then purchasing a ticket to see them live should be a given. Yet, in the case that they aren’t performing in your hometown anytime soon, why not see a local band or a cover group instead. They might not seem as exciting as the person on your concert bucket list, but you might leave their show with a new local talent to add to your playlist afterward.

No matter the date idea you and your boo settle on, the truth is that music has the power to make a special occasion even more significant. After all, songs can evoke emotions and remind us of a moment in our lives better than words can. When the right tune plays at the right time, magic happens and a simple get-together with the person that you love becomes an everlasting memory.

Musical Memories: The Good, the Bad and the Ugly

Music is inseparable from memory, so you better hope it’s good music you’re listening to!

By Sam Santos   

Human memory works in strange ways, none more intriguing than how music can impact it. There are certain moments in our lives that we attach to a song, even if insignificant or seemingly mundane. 

As I write this intro while waiting for my international literature lecture to start, a girl I don’t know got up and played Ghost by Justin Bieber on the piano, much to everyone’s surprise. I’m not the biggest “Belieber,“ but I know the next time I hear the song I’ll remember this particular moment.

Music has the power to transcend time and space. It manifests itself in our memory, sometimes subconsciously. For me personally, there are certain moments in my life that are inseparable from a particular song or artist. 

Imagine a collection of songs you despise greatly. Now imagine listening to them on repeat during the course of a 10-hour shift at the Canadian National Exhibition (CNE), a fair that takes place over 18 days in August and September every year in Toronto, in the sweltering heat of August. Unfortunately, I don’t have to imagine!. 

I ran a carnival game by myself with no coworkers nearby, so taking in the sights and sounds was the majority of the job. There were rare positives in this regard, like when an Amy Winehouse tribute concert was held within earshot. Most of the time though, I was subject to a loop of the same songs over and over. I don’t remember all of them, but here are some notable examples. 

Girls Like You (feat. Cardi B) by Maroon 5 

Some people like it when a Maroon 5 song includes a random rap verse for help on the Billboard charts. I am not one of those people. I thought I didn’t like Cardi B before, but after hearing this track on repeat, that disdain has grown to heights I didn’t think were possible. 

I Gotta Feeling by Black Eyed Peas 

I admit I am biased enough to give this song a pass. One of my earliest memories of music is dancing to I Gotta Feeling at my friend’s 4th birthday party in 2010. No complaints here. 

bad guy by Billie Eilish 

Eilish’s vocal technique is very unique and I happen to really enjoy some of her stuff. When it comes to bad guy, something about the xylophone-like refrain throughout the song just makes me want to fill my ears with cement. 

Cha Cha Slide by Mr. C The Slide Man

This is another musical memory within a musical memory, because most Ontario Gen-Z kids will recall hearing this song at some point in their journey through the public school system.

However, by no means do I ever want to listen to it on repeat again, no matter how sweet it was to hear as a kid. Hearing this song upwards of 10 times a day was truly akin to being waterboarded with Kool-Aid. 

Cold Heart - PNAU Remix by Elton John, Dua Lipa, PNAU 

I will not stand for this crude bastardization of Rocketman... enough said. 

Baby Shark by Pinkfong 

The most egregious inclusion on this list by a wide margin has to be this children’s hit. There are very few songs that could even dream of competing with the repetitive abhorrence of Baby Shark. The fact that it was even included in the playlist boggles my mind. 

Sonic Boom Records is basically a candy store for someone like me (Sam Santos/CanCulture)

I have much more positive memories of songs that I listened to willingly. The Morning by The Weeknd, from his 2011 mixtape House Of Balloons, has an ironically misleading title. The dark synths and cold lyrics are more reminiscent of a drunken Friday night bleeding into Saturday, certainly not anything bright or cheery. At some point during the summer of 2022 though, I began listening to The Morning to start my day. 

I’m not sure if someone put the idea in my head or not, but that was my wake-up soundtrack for quite a while. That song, and by extension, the entire mixtape, contains themes of heavy partying, self-destruction and regret. I think that in addition to those main themes, it symbolizes the breaking down of walls and having to confront reality eventually. Something about the brutal honesty of that has always been appealing to me. 

I bought a House Of Balloons vinyl from Sonic Boom Records on Spadina Avenue that same summer. It was the only copy in the bin and I felt like I had just won the lottery. The two friends who were with me that day didn’t quite grasp the magnitude of me randomly finding that record, but it was one of the highlights of my summer. That day was extremely hot, into the high 30s, and we explored the dimly-lit malls of Chinatown to escape the heat. 

Record collecting is an expensive but rewarding hobby. Not only do you get to physically own music you love, but you get to tell the stories associated with acquiring that music. 

The folks at Sonic Boom Records were kind enough to let me take some pictures in the store for the thumbnail of this story. While I was there, I found a signed copy of Kendrick Lamar’s Untitled Unmastered. Turns out, even writing about musical memories can lead to making more of them. 

The last memory I want to share also relates to the CNE (and Kendrick Lamar), but thankfully is more positive than the previous story. Before the fair itself, my job interview took place at the Exhibition grounds. I was, admittedly, quite nervous. 

The interview went well and I was hired on the spot. I remember walking away with a silent fist pump before popping in my AirPods and shuffling my playlist. No More Parties In LA by Kanye

West and Kendrick Lamar was the song that came up first. An unconventional celebratory song? Absolutely. But sometimes unconventional is exactly what you’re in the mood for. 

When it comes down to it, you can’t avoid some less-favourable songs from seeping into your mental hard drive every once in a while. I’m thankful for that, though. It makes the good musical memories all the more enjoyable.

Canadian Artists to Look Out For At Coachella 2024

 Could this be the start of a Canadian Invasion?

By Rebecca Draper

Seeing Canadian artists take on big stages around the globe always warms my heart. There’s no doubt that they are leaving an international impact with their talents, and Coachella 2024 is no exception. The lineup was released recently, with plenty of prominent names, some newbies and some expected regulars.

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The annual festival is taking place from April 12-14 and 19-21 in the desert city of Indio, California. Headlining this year: Lana Del Rey, Tyler, The Creator and Doja Cat along with a special reunion from No Doubt. The festival showcases some of the music industry’s biggest artists of all genres, creating the ultimate live music experience. Canadian artists such as Kaytranada, Testpilot (Deadmau5) and Chromeo were some of the big names featured last year. Here are some artists repping Canada on the lineup this year.

Nav

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Nav is a rapper, singer, songwriter and producer born and raised in Toronto to a Punjabi Jat Sikh family. He first came onto the music scene in 2015 co-producing Drakes’ hit single “Back to Black”. In 2016, his song “Myself” went viral on Soundcloud and he was later signed to XO, a record label founded by The Weeknd. He’s no stranger to the Coachella stage, with his first-ever solo public performance being at Coachella 2017—also guest performing alongside The Weeknd and Travis Scott.

AP Dhillon

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AP Dhillon is a singer, rapper, songwriter and record producer originally from Punjab, India, he later moved to British Columbia to continue his studies while pursuing music in 2015. AP Dhillon became a significant new artist in the Punjabi-Canadian community when he was the first artist to sing a song fully in Punjabi at the 2023 Juno Awards, putting Punjabi music on the international map. He later released his first single “Fake” in 2019 under the Canadian independent record label Run-Up Records. "I moved here with two suitcases and one dream, and that was just to do something that can inspire people back home," Dhillon told CBC News at the Juno Awards. This will be his first time performing at Coachella.

Blond:ish

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Vivie-ann Bakos, known by her stage name Blond:ish, is a Montreal-based producer and DJ. Alongside being a praised house/techno artist, she is also an environmental activist and founded Bye Bye Plastics, a grassroots organization aimed towards eliminating single-use plastic from music venues and events. The artist recently released a lively single called “Sorry” featuring none other than the “Queen of Pop”, Madonna. She will be returning to the festival after making her debut in 2019. 

Grimes

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This acclaimed Montreal native is familiar with performing on big global stages. Her musical style is a blend of several genres, including electronica, synth-pop, and hip-hop. Her most recent release is the upbeat single “I Wanna Be Software”, produced by Calgary native IIIangelo who is also known for his frequent collaborations with The Weeknd. She last performed at Coachella in 2016, featuring guest appearances from Janelle Monae and Aristophanes for an eclectic performance. 

This lineup offers some of the best talent Canada has to offer, and the diverse range of music exemplifies the country’s multiculturalism. Hopefully, this growing exposure in the global music scene will leave a lasting imprint on future music stars and give Canadian artists the recognition they deserve.

Masthead Wrapped: CanCulture’s top Canadian songs of 2023

13 Canadian tracks encapsulating our year 

By Nalyn Tindall

With Spotify wrapped, making waves once again, and exposing the most vulnerable for their fascinating taste in music, the masthead decided to do them a favour and compile our favourite songs. Who cares if your top artist of 2023 was “Brown Noise,” tell your friends you listened to these Canadian hits instead. Here are our top picks for our favourite Canadian songs this year. 

Anna-Giselle Funes-Eng, Multimedia Editor

“I’d Have to Think About It” by Leith Ross

I love Leith Ross with all my heart! I got to see them play live in June and they are majestic. I love how romantically dramatic this song is. I listen to it whenever I feel like screaming in a soft indie-folk way.

Caelan Monkman, Managing Editor

“Gigafire” by Half Moon Run 

Half Moon Run is a band that continuously impresses me. The Montreal trio is consistently reinventing itself, with their latest album, Salt, being no exception. While the album is full of solid tracks from start to finish, “Gigafire” is a personal favourite of mine. The deep growls of the electric guitar paired with a lush arrangement of strings and piano make for a truly cathartic listening experience, not to mention frontman Devon Portielje’s stellar vocal performance on the song. 

Talia Saley, Food Editor

“Sk8er Boi” by Avril Lavigne 

I grew up listening to Avril Lavigne and she has been an iconic Canadian artist in my life. Whenever I hear her songs on the radio, or in public, I’m transported back to my childhood. It makes me feel rebellious whenever it listen to her!

Vanessa Tiberio, Social Media Manager

“Fever Pitch” by Hotel Mira

This song is by Vancouver-based Indie-rock band Hotel Mira, one of my favourite bands for the past six or so years. “Fever Pitch” catapults listeners into the sunny embrace of summer vibes with upbeat melodies and a strong, boppy chorus. I can’t help but nod my head along to the beat of this song while a smile inevitably forms across my face when I listen to it.

Mariana Schuetze, Editor In Chief

“Edge of the Earth” by The Beaches

One of my top songs from this year is “Edge of the Earth” by The Beaches. In 2023 I started working at TMU’s radio station, Met Radio, so I’ve been slowly getting introduced to a variety of new songs. The Beaches’ latest album, Blame My Ex, has been charting on Met Radio’s charts for a bit now, so I came across their songs a couple of times. Ever since I listened to “Edge of the Earth,” it hasn’t really come out of my mind. It’s a really fun song, I really like the beats and their vocals on this song, really makes me want to get up and dance.

Grace Henkel, Arts Editor

“A Case of You” by Joni Mitchell

I love it because the lyrics and guitar strumming are so raw. Joni’s vocals tell a painful and beautiful story that feels timeless. I have so much nostalgia attached to that song. 

John Vo, Managing Editor

“Say it Right” by Nelly Furtado 

In the plethora of proclaimed quintessential“pop princess” albums, Nelly Furtado’s Loose remains a classic on 2000s playlists and in any trashy club wanting to appeal to the masses. For me, “Say It Right” is the perfect representation of the album: sensual, confident and catchy as heck.

Khushy Vashisht, Features Editor

"i wanna be your right hand" by Nemahsis

This has been my favourite Canadian song of the year because of the imagery it sets and how it perfectly captures feelings of turmoil, inferiority and determination fuelled by said turmoil.

Sarah Grishpul, Film Editor

“You Ain’t Seen Nothing Yet” by Bachman-Turner Overdrive

This song brings me back to memories of my dad and my weekly driving trips. We would blast “You Ain’t Seen Nothing Yet” on the radio along with several other classic hits from the '70s, '80s, and '90s. During these trips, we'd often break out in rhythmic headbanging and off-pitch singing while tearing down the road to the public library. Since moving away from home and adopting a public transit commuter lifestyle, those small memories of carpool karaoke feel utterly nostalgic.

Tara Khoo, Social Media & Graphics Director

“Music Box” by Leith Ross 

I saw them live this year and it was the most beautiful experience ever. I love listening to this song after a long day.

Sena Law, Fashion Editor

“glo up +” by dci. and damn drone

Featured briefly in Spotify’s Rap Caviar playlist, “Glo Up +” is featured on Different Dimensions 1.5, a summer collaborative project by Toronto artist damn drone and dci. from Montreal. This energetic track features dynamic vocals over an enchanting instrumental, taking influences from genres of hip-hop, pop and plug-n-b. The two artists compliment each other in their vocal deliveries and range, giving us this summer (and frankly, year-round) bop. 

Khadijah Ghauri, Graphic Design Manager

“Virginia Beach” by Drake 

This is my favourite song because I’m a huge fan of Drake, and he’s truly my Canadian legend! 

Nalyn Tindall, Music Editor

“In Too Deep” by Sum 41 

Whenever I feel the need to dive back into childhood nostalgia, this song does the trick. The raw intro instantly transports me to the back of my parent's 2005 Ford Focus, driving to elementary school and listening to the local radio station playing rock hits from “the 80s, 90s and now.” To me, Sum 41 is the epitome of early 2000s Canadian rock. I can turn on this hit any time throughout the year to gain an instant burst of energy. From the epic guitar riffs to the catchy chorus, this song will always be a masterpiece in my books.  

What was your top Canadian song of 2023? If you’re having trouble deciding, listen to the playlist of our favourite Canadian songs here on Spotify. 

Concert Not-iquette: A helpful guide for your next concert

Have you experienced the epic highs and lows of concert etiquette yet?

By Vihaan Bhatnagar

It’s November 2024. You’ve never been to a concert before, but when Taylor Swift announced that she was going to be performing in Toronto, you knew that you had to go. I know what you’re thinking: How do I know what I’m supposed to do and what I’m not? There are thousands of people here, how do I avoid being that one person that they all go home and sneer about?

Well, fear not my dear Swiftie. Because you can find everything you need right here. Here’s a list of everything that you should definitely do. These tips are going to help you beyond the Eras Tour, and you should keep them close for the rest of your life (or at least your 40s, which will probably be the last time you go to a concert).

Record the entire thing

I think the big question here is; why wouldn't you record the entire concert on your phone? Do you really think people don’t watch the videos of concerts they take? It’s the same way with baseball games and fireworks. Lord knows I always watch every video of these events at least 500 times before I inevitably forget and it falls down into the never-ending abyss that some call the cloud to be forgotten forever.

Make sure to hold your phone as high as you can and for as long as you can. Sure, your arm may hurt after a while. Sure, it might block the view of everyone behind you. But what’s truly important is to have physical proof so you can tell your 150 followers on Instagram that you spent $2000 on a ticket instead of paying half your rent, and then proceeded to be on your phone and watch it through a relatively tiny screen the entire time.

Whoever said “live in the moment” obviously never used an iPhone.

Sing along as loud as you can

Not just loud enough that only you can hear it and so it feels like you and Taylor have transcended all physical boundaries and become one with each other. Sing so loud that by the time you’re out of the venue, your throat hurts and your diet for the next few days needs to be of warm oatmeal and honey tea.

You don’t need to have sold millions of records, or even a singular record, to be allowed to screech at the top of your lungs and drown out the $13 million AV system at Rogers Centre.

You’re not just there to just watch and listen to the concert. The concert is there to listen to you. Each person who paid the price, however overpriced Ticketmaster may have made it, knew what they were getting into when they went into credit card debt.

Dance like your life depends on it

Because someday, it might. Remember not to wear elbow pads so everyone around you can feel the sting of your dancing. It needs to be clear that you’re the biggest and baddest fan there, and if you have to step on a few toes and break a couple of noses, well, that’s just the price of greatness, isn’t it?

I mean, it’s basically physical proof for them to remember the one true legend that they were in the presence of, who danced like there was no tomorrow.

Push everyone around looking for a better spot

It’s very possible and likely even that you’re going to end up in a spot that just isn’t the best. If that happens, you’re well within your rights to push and fight so you can find a better spot, even if it takes half the concert.

It shouldn’t matter that you’re making everyone uncomfortable and their experience unpleasant. You must fight everyone in attendance in a battle royale so you can find a spot that is going to end up never living up to your expectations.

Throw stuff at the stage

Try your best to bring objects just to throw at the performer so they remember you. Stuff like t-shirts, bras, leis, a pigeon, or your grandma’s ashes.

Earlier this year, P!nk was given an enormous wheel of cheese at a concert, followed by a fan’s mother’s ashes. She was clearly delighted by the cheese, less so by the ashes. But it’s the thought that counts. It might be different for every performer, but that’s a risk you’ll have to take. If you really want to commit, you can tailor your gift to the artist, and you could even spend between 12-20 hours creating a replica of Taylor Swift’s dress from The Eras Tour movie and throw it at her if you can get close enough to the stage. You never know; some people might appreciate having something chucked at them at point-blank range by a random person.

Why would anyone not want to get stuff thrown at them and be given random things that mean nothing to them? It’s not like they would want to just sing and have fun. Why would they want to just be doing their job of entertaining in peace?

There’s an entire list of things acceptable to throw on stage somewhere. I can’t remember where, but I’m sure it includes roses, phones, your wallet, hotel keys, a frisbee, a ship in a bottle, a wax statue of Dwayne “The Rock” Johnson, and the Declaration of Independence.

All of these tips will be so helpful to you for your first concert ever, and for all the shows you attend after, for the rest of your life. These might be the best and most serious set of a definite guide of what to do at concerts you’ve ever seen.

This advice is so everlasting, it could be passed down to your children and to their children like an old family recipe. So make sure you definitely do all of this to ensure you and everyone around you have the most memorable concert of their life.

Reminder: CanCulture actually doesn't want you to do any of this. Please remember concerts are a shared collective experience. This is a satirical piece and we hope you've enjoyed it.

Tiger Balme unites solo artists

A unique band formed in the city of Toronto with a mesmerizing and captivating sound. 

By Rienne Mendoza

Tiger Balme, a four-member alt-indie Asian-identifying, female and non-binary band based in Toronto, released their self-titled debut album, produced by Paul Chin, almost one year ago on Nov. 29, 2022. The band consists of Yang Chen (they/them), Esther "Estyr" Phua (she/her), Danielle Sum (she/her) and Anda Zeng (she/her). The four of them are individual artists who came together “to sing songs they could only sing once they found each other.”

Tiger Balme will have their headline debut for the relaunch of Hugh’s Room on Nov. 29. The band members are thrilled and excited to have the opportunity to showcase their talents at the iconic venue, marking a significant milestone in their musical journey. They look forward to creating a memorable experience for the audience on this special night.

From left to right, Estyr, Danielle Sum, Anda Zeng and Yang Chen. (Photo Courtesy of Felice Trinidad)

Regarding their instrumental roles, Chen is on the drums, Estyr plays the guitar, Sum takes charge of the vibraphone and Zeng plays the harp. 

Both Sum and Chen are well-versed in their assigned instrumental roles. Chen is classically trained in percussion, primarily performing in contemporary classical music, orchestral and free improv spaces. On the other hand, Sum played the piano and guitar prior to being a part of the band, which makes it more comfortable to play the vibraphone. Sum is also classically trained in percussion (she and Chen actually met while going through the same program), with a focus on mallet percussion, such as marimba and vibraphone.

Estyr and Zeng faced a unique challenge when it came to using unfamiliar instruments in their music and performances.

“I'm not really a harpist. First and foremost, I'm much more comfortable on the piano. So in Tiger Balme, that's really like a fun challenge to try to push my skills as a harpist when I'm accompanying other people in their songs,” says Zeng.

As for Estyr, “I don't really identify as an instrumentalist because I can just barely play the guitar, but I would say that I've been very influenced by the instrumentation of the band[…] The instruments in the band have allowed the songs that I've brought to the band to find a more tender voicing.”

Photo Courtesy of Fio Yang

As an Asian-identifying women and non-binary band, the group hopes to influence that there’s no need to filter a personality for the public and that demonstrations of Asian artists are done right in the music industry. 

Chen clarifies that, on a personal level, they don’t have a public performance persona; everything that the public sees is an authentic representation of how they actually are. 

“Who I am on stage is simply an amplified version of who I am off stage: queer, Asian, cheesy, non-binary with a dash of gender confusion, dad jokes and all. There is a stereotypical trope that East Asian people are stoic, repressed even. I am a trans crybaby Pisces bursting with love at all moments. My existence is a challenge to harmful reductive stereotypes. I hope to encourage a wider, more nuanced perspective of Asian artists as we gain visibility.”

“The more diversity we have in representation, the better,” Estyr explains. 

At the top is Estyr. In the bottom row, from left to right, Yang Chen, Anda Zeng and Danielle Sum. Photo Courtesy of Felice Trinidad

When it comes to songwriting and the sound of Tiger Balme’s music, “the themes are really around self-acceptance and community and belonging,” says Estyr. Each band member brings their own sound to the group and they work around it.

Sum didn’t start songwriting until she joined the band. “My songwriting career started because of Tiger Balme.” She didn’t have a strong connection with songwriting until she found inspiration from her bandmates. “The people in the band would always be accepting and give me space to write and to create until I was eventually happy with something that I found.”

Zeng stated that the band engages in free-form writing exercises with their writing process. Recently, they attended a residency at Raging Asian Women Taiko Drummers where they did exercises including activities like blackout poetry, free writing and morning page. 

Blackout poetry is taking an already existing text and selectively “blacking out” or covering words to create a poem. Free writing is a creative writing technique that generates ideas and content without worrying about grammar, spelling and structure. Morning pages involve writing three longhand pages of any thoughts first thing in the morning daily. 

Photo Courtesy of Felice Trinidad

With the one-year anniversary of their debut album approaching this month, CanCulture asked the band what their favourite songs off the album are.

Angelo is a favourite of Sum and Zeng. Additionally, another pick from Zeng is Welcome Back. Estyr’s choice is Short Fuse, which is written by Sum, and Estyr describes the song as a “math rock song”. Chen found it challenging to settle on a single song, considering that the  album as a whole “was such a monumental undertaking for us!”

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In the midst of their upcoming headlining show, Sum explained that she did a grad paper during the pandemic and how it affected live performances and venues, including Hugh’s Room. “I’m really looking forward to it personally because of the legacy it has in the Toronto live music scene, and for us to be a part of that, I think it's just very cool.”

Tickets for the relaunch of Hugh’s Room can be found on Showpass, with prices ranging from  $16 to $38.

For now, the band is working on releasing four news songs from their residency. You can find more on Tiger Balme on their social media accounts. 

Strumming Through Stillness: Noah Bajec's Intimate Connection with Music and Meaning

From humming tunes while assembling legos to writing and producing his own music, Bajec continues to shape the musical landscape around him. 

By Sia Shete

Musician Noah Bajec has found a voice and way of expression through songwriting (Courtesy of Jessi Priestley).

Noah Bajec, a 19-year-old singer-songwriter and music producer based in Toronto, says creativity of any form was a significant part of his life, even before getting serious about making his own music. “I’ve always liked the idea of creating something. I started as a visual artist,” says Bajec. With both of his parents being artists, there was always support and encouragement to “pursue the creative,” he says. Bajec reflects on a distinct childhood memory: “No boredom allowed! That’s what my mom painted in the treehouse. It helped me recognize that there is no such thing as boredom.” Boredom was never a bad thing because it led to creativity, he says.

Bajec is currently studying at Recording Arts Canada in Toronto. His sound is built upon authentic songwriting, backed by what Bajec calls “nomadic tendencies in instrumentation and production.” Inspired by the many artists and musicians surrounding him throughout an itinerant upbringing, Bajec gathered inspiration from popular soft-rock and r&b/soul artists by diving deep into their style of songs and immersing himself in their music. “It started as listening,” he says. Before he began making his own music, he enjoyed being a part of their world and the stories they painted with their songs.

The first song Bajec ever wrote was called ‘The Brink.’ “A lot of people listen back to their first music and are really critical about it,” says Bajec. “But when I listen back to it, I can hear the creative force and something really pure about early works.”

Bajec’s style of making music is a careful amalgamation of folk-singer songwriter and a profusion of processed sound. He gathers inspiration from known songwriters such as Sufjan Stevens, John Martyn, Fleetwood Mac and D’Angelo. “Their songwriting and fingerstyle, open, lush and alternate tunings, paired with an infusion of afrobeats and Latin jazz styles is something I love,” says Bajec. A year into playing the guitar, he really connected with the sound of the electric guitar and played around with an array of electric effects and sounds. “Then, as I started to write, I stripped it down a bit more and focused on more acoustic sounds.”

Bajec’s self-produced and self-written track ‘Empty House’ is a song he wrote while living in British Columbia during the summer of 2020. “I tucked it away and forgot about it until January of the following year when I revisited and recorded it in Ontario.” According to Bajec, ‘Empty House’ explores the idea of “home,” — what it is and how to feel it, accompanied by the distress from the inconclusiveness of believing and searching for it in a physical form. 

While discussing his process of writing music and how sometimes the “lines are blurry,” Bajec says, “some people write it fully then go into production.” Bajec talks about how the songwriting finishes itself, during the process of recording. He says there’s always something left to chance during the production of a piece, and having a certain “stamp” of the moment he records is something that makes it even more special. 

His song ‘Human Dude’ is a ballad and a “rumination on the voices of the human condition.” It was written and recorded during the cold of November at Bajec’s old home studio in his childhood home in Muskoka.

“I love the moments of stillness. I might be sitting down somewhere and listening to the silence or birds singing or the leaves or the wind. There's something that starts off a dance with your instrument,” says Bajec. He emphasizes a sense of intimacy that arises with his guitar, feeling it wholly and “making space” for the voice, if needed. He also mentions how he is extremely “attentive” to the fact that he is playing an instrument, which opens the gateway for lyrics to just start flowing out followed by the melody. “Sometimes I am making a sample and playing around different soundscapes and I find inspiration in that. Songwriting comes out while I'm producing.”

Bajec discusses how it can be a real struggle to set goals for the future, saying, “I can get tired or hypercritical of the music sometimes. I'll hold myself from seeing the initial magic in a song that I would have seen before, and it makes me struggle.” He says the songs “come and go” with regard to what is happening in his life at a certain moment. “Sometimes it's hard to promote something or share something you have written in a prior period. As that song could be a snapshot of a time in the past, a you in the past.”

Bajec plans to release a body of work, independent of the oeuvre that he is proud of, in the future. His newest piece, called ‘Don’t Look At Me’ will be released on all streaming platforms on Dec. 1. Bajec says he doesn’t wish to say anything about the song’s meaning. “I'd rather someone listen, hear it themselves. The track is smooth and airy, flow is contagious. The shimmering guitars, the visceral imagery in the songwriting, this one’s good.”

Indie music thrives at Grounders Music Festival

From sunlit stages to twilight tones, the Grounders all-day experience was one to remember. 

By Nalyn Tindall 

Emma Beckett Takes the stage at Grounders Music Festival (Nalyn Tindall/Canculture)

Grounders Music Festival brought life to OBJX Studio, showcasing the talent of nine artists from across the Greater Toronto Area (GTA). Conceived by two Toronto Metropolitan University students, the festival seamlessly blended various genres, ranging from indie to synth-pop, creating a dynamic and inclusive atmosphere that resonated with both attendees and artists.

As the festival kicked off, the venue was bathed in sunlight streaming through the floor-to-ceiling windows, casting a warm and inviting glow upon the bustling crowd of students, community members, and artists. The festival's commitment to community building and inclusivity was evident throughout the event, reflecting the passion and dedication of its student creators.

Shoshana Glory set the tone for the festival with her ethereal voice, accompanied by strong guitar skills, creating a mesmerizing atmosphere that reverberated with indie charm. The seamless cohesion of her bedroom pop sound conveyed both finesse and power, with each note flowing effortlessly into the next. Glory’s performance not only showcased her technical proficiency but also created a tranquil ambiance, leaving attendees immersed in the soothing embrace of her music.

Sofia Aedon emerged onto the Grounders Music Festival stage with a magnetic presence, infusing the atmosphere with a bold and assertive energy that demanded attention. Her performance was characterized by deep, resonant vocals that seemed to echo through the venue, leaving an indelible impression on the audience. What set Aedon apart was not just her vocal prowess but also her remarkable versatility as a musician. In a display of skill, she effortlessly swapped instruments, showcasing a level of artistry that added an intriguing layer to her set.

Sofia Aedon shines at Grounders (Nalyn Tindall/CanCulture)

Emma Beckett's performance was nothing short of mesmerizing and stood out as my personal favourite. With her skillful use of a looping pedal, she crafted intricate layers of sound that enveloped the audience in a dreamy and soulful atmosphere. Her authentic sound, a refreshing departure from the mainstream, resonated with a genuine and heartfelt quality that elevated the entire festival experience. The dynamic highs and lows of her music created a sonic journey, guiding the audience through peaks of emotion and valleys of introspection. What truly set Beckett apart was not just her technical prowess but also her lyrical authenticity. Each word she sang felt like a personal revelation, weaving a narrative that resonated with the collective experiences of the audience.  Including the lyrics in the song “Little Ways,” which tell the story of sacrificial love with impactful lines like “I hate to lose but you can beat me if you want.” 

Curt James, featuring an eclectic three-piece setup, delivered a mellow and smooth performance, complemented by the venue bathed in a purple sunset. The combination of soothing harmonies and driving rhythms not only showcased musical richness but also seamlessly transitioned the atmosphere into a nighttime mood, adding an extra layer of beauty to an already impressive performance.

Curt James ushers in the sunset during his set (Nalyn Tindall/CanCulture)

Nia Nadurata fearlessly embraced intensity and authenticity throughout her performance. With unbridled passion, she navigated the realms of raw and authentic rock. The powerful instrumentation served as a driving force, complementing Nadurata's emotive vocals. In a particularly noteworthy rendition, their cover of Amy Winehouse’s "Valerie" not only paid homage to the original but also showcased their ability to infuse a classic with their own unique flair. Nadurata's vocal prowess, coupled with the band's adept instrumentation, created an emotionally charged rock performance. 

City Builders brought an EDM flair to the festival, featuring airy vocals and a drum pad. The duo's stage presence was palpable, creating an electric atmosphere that resonated with the crowd and, much like a couple deeply in love, their synergy elevated the performance, making it a standout moment in the vibrant lineup.

Jules Auckland commanded the stage with undeniable charisma, boasting a great stage presence that captivated the audience from the first note. Her beautiful voice resonated throughout the venue, adding a melodic and enchanting quality to her performance. The fusion of fun indie pop and rock elements in her sound created an energy that was both invigorating and infectious, making it impossible for the crowd to resist moving to the rhythm. 

The Beans took the stage with an infectious blend of funky grooves and rock rhythms, channelling the spirit of the 70s with a brashy, retro vibe. Their performance resonated with a distinct energy that reverberated through the venue, creating an atmosphere reminiscent of the golden era of rock. As a collective, The Beans showcased remarkable strength, seamlessly intertwining their individual talents into a cohesive and dynamic sound. The audience was treated to a musical journey that not only paid homage to the past but also injected a fresh and invigorating new spirit into their music. 

Heavenly Blue closed the festival on a high note, leaving attendees with a memorable musical experience. The band's indie rock charm infused the closing moments with an irresistible energy, uniting the audience in dance and high-energy music that added the perfect final touch to the vibrant atmosphere of Grounders Music Festival.

Nia Nadurata ushers in the nighttime set (Nalyn Tindall/CanCulture)

The festival not only delighted the senses with its eclectic musical lineup but also provided a shopping haven for attendees. There were multiple vendors offering an array of handcrafted goods, vintage clothing, and even a booth equipped to apply tooth gems. As festival-goers explored the diverse offerings, they were treated not only to the sounds of the live performances but also to the visual and tactile delights of unique, locally crafted items. There were also free refreshments as well as a bar offering a variety of locally crafted drinks, further enhancing the communal and celebratory atmosphere of the festival.

The meticulous recording throughout the festival ensures that the artists' performances can be enjoyed beyond the live event. This thoughtful approach aligns with the festival's goal of creating a lasting impact on the community and providing a platform for underrepresented voices in the music industry. Overall, Grounders Music Festival succeeded in bringing together a rich tapestry of impressive musical talent, creating a memorable and inclusive event for all. The nine artists showcased during the festival were able to bring their own charm and sound to what was overall a very cohesive line-up of spectacular local talent.

The Beaches rock Massey Hall in sold-out hometown show

After “Blame Brett” went viral on TikTok, Toronto’s own indie rock band returns cooler than ever.

By Isabella Soares

The Beaches performing at Massey Hall on Nov. 1, 2023 (Isabella Soares/CanCulture)

The Beaches have come a long way from playing smaller venues such as The Opera House and The Danforth Music Hall. The band originally named Done With Dolls is now formed by sisters Jordan (vocals) and Kylie Miller (lead guitar, backing vocals), Leandra Earl (keyboards, guitar, backing vocals), and Eliza Enman-McDaniel (drums). The indie rock group has two Junos up their sleeves for Breakthrough Artist in 2018 and Rock Album of the Year in 2022. Although the two awards are major achievements, the successful turnaround of post-breakup anthem “Blame Brett” is their greatest accomplishment thus far. The lead single to the band’s latest album, Blame My Ex, has blown up on TikTok and has accumulated more than 21 million streams on Spotify, getting the attention of Nelly Furtado and the Jonas Brothers. After performing in the U.S., The Beaches returned to Toronto playing two sold-out shows at Massey Hall. 

The first of their two concerts had the band jamming on stage, exuding cool and carefree energy throughout their 20-song setlist. Like their catchy album, the indie-rock group seemed like they were in their comfort zone, playing for fans who have known them for more time than the rest of the world and with their family cheering in the crowd. 

As the cheeky banger “Kismet” began to play, Jordan Millerlet loose, dancing and playing around with her white sunglasses and silk dress. The song eased into a set that combined tracks from Blame My Ex and their early hits, including “T-Shirt” and “Desdemona.” 

Although all of the songs were engaging live, there were a few that stuck out as most crowd-pleasing. The first being “My Body ft. Your Lips”, featuring a guest appearance from Beach Weather's frontman Nick Santino singing and flirting with the lead singer on stage. The performance was chemistry-filled and had the audience blushing, almost forgetting that most of the follow-up anthems are about heartbreak and angst.

It is important to note that Santino had come on stage prior to the show with his band to open for The Beaches, which allowed the audience to familiarize themselves with Beach Weather’s groovy tunes before the electrifying duet.

 Kylie Miller and Earl playing their guitar riff for “Want What You Got” was another highlight. With their backs to each other, the two musicians took centre stage and grooved while Jordan played her bass near Enman-McDaniel’s drum set. At the end of the song, Jordan Miller even told the crowd, “It is so great to play in your hometown.” This particular track from the band’s earlier work showcased their signature sound, with catchy indie guitar parts and bold vocal delivery similar to bands like Franz Ferdinand. Despite their latest tunes still holding onto to the group’s sonoric style, they have adopted more of a pop approach with short verses and anthemic choruses. 

While there were a lot of rock’n’roll moments (with Earl even getting underwear thrown her way), there were also some intimate ones. A special shout out to the acoustic version of “If A Tree Falls”, a song off of their new album that was written with Valley's Karah James. 

Yet, nothing on the setlist prepared the audience for the enthusiasm that filled Massey Hall when “Blame Brett” began to play. Needless to say many people already had the song stuck in their heads throughout the summer, but getting to jump and scream the lyrics at a fan-filled concert was unmatched. 

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The band left the stage after the lead single finished, but only for a few minutes until they returned for the encore. Even though the show would’ve already ended on a high note with “Blame Brett”, “Edge of the Earth” and “Money” were an additional treat.

After saying goodbye to the full venue, The Beaches left the crowd in high spirits on an otherwise wet Wednesday evening.

The Toronto band finished their Canadian tour leg on November 13 and will play several sold-out shows in Europe for the rest of the month. 

Musical Memories: My journey to the Black Parade

I took my unassuming uncle to see My Chemical Romance *not clickbait* 

By Ella Miller

Milton Keynes was never the same after the boys from Outer Jersey attacked on May 19, 2022. Neither was my psyche. (Image courtesy of my uncle, Dennis Flood)

Just over a year ago I went to see My Chemical Romance on their reunion tour. My Chem is my favourite band and one of the only bands, as a non-music-listener, that I can put on for hours straight and love every minute of.

I had taken a gap year and had been living with my family in London, England, for a few months. I was working at a Whole Foods to pay off my visa and plane tickets and realized with a little cash on my hands, I could maybe treat myself to going to a live show.

At the time, My Chemical Romance’s fabled return tour had been in the works for almost three years, the band having reunited in 2019 after a six-year hiatus. They had planned to go on tour beginning in 2020, but a certain worldwide pandemic got in the way of that.

For once in those black hole years of the pandemic, the stars aligned, and thanks to these delays, I was in the right place at the right time. That place being Milton Keynes, on the eve of May 19, 2022.

The Milton Keynes show was only the third on the tour and took place months before the band set foot in Canada for their Toronto and Montreal dates. If I went, I would be among the first Canadians, first North Americans even, to see the band perform since their hiatus.

I excitedly told my uncle that I was hoping to go to this show and that the public transit options were promising, so I should have no issues getting there. He explained it would probably be better to drive there, and if I got him a ticket, he would play chauffeur.

I agreed. I spent a few days biting my nails to nubs as I puzzled over which seats to pick before handing over a grossly large sum of money for a massive cheapskate like myself to the Dark Lord.

My entry from April 25, 2022. Oh how naive I was…

Once Ticketmaster had my money, there was no going back. I was really going to see My Chemical Romance. I only had one crushing thought: How am I going to explain this to my uncle?

For those unacquainted with the cult of My Chemical Romance, the fanbase can be intense. The band is truly for the weirdos by the weirdos, and because of that, the fans are fiercely protective of the musicians who give them a place to call home. The MyChem lore is dense and accessible only through geriatric LiveJournal pages and 144p Much Music rips from the early-2000s.

I knew that there was really no way to indoctrinate my uncle into the cult in a timely fashion. All I could do was focus on myself, and making this experience as seamless as possible.

The day of the concert, despite my efforts to manifest a clean bill of health, I was, in fact, sick.

An entry from May 18, 2023. I didn’t get a canker actually (Ella Miller/CanCulture).

Nothing was going to prevent me from seeing this show, however. My uncle and I made the agonizing crawl through rush hour London traffic that nearly doubled the length of the trip. Our commute to the venue was not helped by the parking situation.

Unlike in Canada and the United States, where developers will gladly bulldoze a nature reserve to build a behemoth parking lot, England does not have the space for such luxury. The parking we got was over a 40-minute walk from the actual venue. We then stood in a line that spanned the length of the stadium. It was pop-punk purgatory – I get sweaty just thinking about it.

The first (of many) entries from May 19, 2022. The British take queuing very seriously (Ella Miller/CanCulture).

It was during this time that I could see my uncle start to truly reflect on his life decisions. There he was, in a fleece zip-up sweater, surrounded by punks with their eyebrows pierced with unsterilized safety pins.

I would not call him entirely out of place, though.

Despite the concert acting as a homecoming for the emo community, the community is diverse. I was delighted to see an elderly woman on a mobility scooter there, supported by her family and absolutely killing it in black lipstick.

When we finally got to our seats, and after I fought tooth and chipped black nail for some merch, it got real.

Yes. On the fateful day of May 19, 2022, I got the Boy Zone shirt (Ella Miller/CanCulture).

The opening acts finished and the stadium went electric, an energy flickering through the crowd spreading from person to person. We were a tinderbox ready to ignite, hungering for that spark. We wanted to be engulfed and transformed.

The unease of the crowd was not entirely self-perpetuated. The band’s sound crew had begun to play a low radio static buzzing over the speakers. The entire stadium was in a plague of locusts simulation, which did nothing to calm my already fraying nerves.

A journal entry from May 19, 2022 detailing the absolute torture MyChem must have inflicted on people with tinnitus (Ella Miller/CanCulture).

The band appeared onstage to no fanfare. They simply walked on, radio static still pulsing through the air. The crowd more than made up for the band’s lack of bombast. We became living haunted houses, racked with screams and jolts, entirely unable to contain spectres within.

This jacket-shaming remark wasn’t out of nowhere–it’s a reference to an old Fuse interview from 2006 (judging by Gerard’s hair). May 19, 2022 (Ella Miller/CanCulture).

Okay, maybe I lied a little when I said that there was no fanfare.

To understand, I must delve into the My Chemical Romance lore. My Chem, pre-hiatus, was known as a very theatrical band. Their manifesto, in fact, was to be as dangerous as possible. At the helm of it all was their lead singer, Gerard Way.

Over the course of the band’s hiatus, though, this theatricality seemed to have bled away. The now-older Way, in his few media appearances, would be spotted in mottled green army jackets and jeans. Cozy, yes, but a far cry from the skeleton onesies and candy apple mop tops of the past. I didn’t really care about this transformation and had accepted this as our new reality.

I was wrong. I was so wrong.

Hi, I just want to take this time to appreciate the other members of the band who I don’t mention, but Ray, Mikey and Frank were also there on May 19, 2022 and they slayed (Ella Miller/CanCulture).

The night of the concert, Way shed his skin as a mild-mannered father and emerged onstage as a contorted bloody creature somewhere between the White Violin, 90s David Bowie and Carrie. He stalked the stage with meandering paces, occasionally falling to his knees and writhing like a person possessed. He screamed and moaned, ranting about rats, before waxing poetic about the one-eyed stray cat he had adopted.

They were still the same band.

The first song, ‘Foundations of Decay’, began, and there was no going back. The concert itself was transcendent. The overwhelming bass drum and walls of sound present in ‘Mama’ and ‘Destroya’ ripped me apart from the inside, chattering my teeth and shaking me damn near out of my shirt; the nostalgic Smashing Pumpkins-esque ‘Summertime’ played as the sun set; my uncle left to go to the washroom just as the G note from ‘Welcome to the Black Parade’ hit – he returned to 20,000 people on their feet scream-crying the words to the centrepiece of a generation-defining rock opera and he had no idea. I cannot emphasize how perfect it all was.

Seeing ‘It’s Not a Fashion Statement’ played live for the first time in 15 years on May 19, 2022 was one of the most raucous moments (Ella Miller/CanCulture).

The show concluded with two encores, one of which was dedicated to the people who should have been at that concert but had passed away over the course of the pandemic. The tribute was set to ‘Skylines and Turnstiles’, the song that founded My Chemical Romance.

For me, that was evidence that after all these years, the connection between the band and the fans that made them was still there. We had grown and changed, but maybe not so much that we had forgotten.

A little addition to my May 19, 2022 entry: Mikey didn’t get to the mic in time to do the intro. One day maybe (Ella Miller/CanCulture).

When the lights came up and everybody hissed like vampires (these are My Chemical Romance fans, after all) we knew it was time to leave. Nothing can last forever, and the Great Emo Convergence of ‘22 was no exception. My uncle and I began the trek back to the parking lot.

The final entry from May 19, 2022, though my processing of the events of that day would continue for much longer than the last page of my journal (Ella Miller/CanCulture).

I was in a daze, not entirely believing the evening that I had experienced. I thought to myself, “I did not just see the disembodied voices that make the music in my headphones for real. They aren’t real. They can’t be.”

The next few weeks – weeks! – would be me coming to terms with the fact that the experience happened. The diary entries seen throughout this piece became my tether, reminding me that I had gone and it wasn’t an elaborate fever dream brought about by my sickness.

Every time I could get it through my head that I had been there, I was filled with overwhelming ecstasy. In my mind, I was part of history: a fantasy world had become real for the first time. I had entered Narnia and returned armed with an assault on the senses that I remain grateful for every time I remember it.

How did Drake become the star we know today?

We know Drake as a rapper, entrepreneur, and celebrity personality, but it didn’t happen overnight 

By Jillian Gonzales

Drake performing on stage in July 2016 for The Come Up Show. (Image from: The Come Up Show via Openverse / Licensed under CC BY 2.5. Graphic by Caelan Monkman)

It’s no secret that Drake is among the biggest stars in the world today. From his extensive music career — which continues to excel — to his entrepreneurial ventures, he is a mastermind celebrity who knows how to keep his audience entertained. He has also been a pipeline for many other successful artists and celebrities to help them advance to where they are now, thanks to his own work and accumulated fame. With his new album, For All the Dogs, which was released last month alongside his sold-out It’s All A Blur Tour, Drake has come a long way. Being in the spotlight for over a decade, we can’t help but wonder: How has he managed to stay relevant for so long? 

Started From The Bottom

Drake’s career most notably began when he starred in the television series Degrassi: The Next Generation from 2001 to 2009. His character, Jimmy Brooks, became a prominent figure on the show, allowing Drake to build an image. During this time, he started making music. His music ventures are what ultimately led to his exit from the hit Canadian series in 2009. This is due to producers finding out he was making music, and as he gained traction from this “side” venture, Drake was given the choice between continuing the show or music. Clearly, he made the right decision. 

In 2006, he released his first mixtape, Room for Improvement, which fit right into the trending era of mixtapes where many of the rap and hip-hop artists we now know started their careers. Room for Improvement led Drake to work with R&B artist Trey Songz on “Replacement Girl,” the leading single on his sophomore mixtape, Comeback Season, which caught the attention of Lil Wayne. Who knew Lil Wayne’s shout-out to Drake when he said, "Drizzy Drake, I love you boy!" would have such an impact on Drake’s career – which we see evident in the success of his next mixtape, So Far Gone, which, to date, has accumulated 1.1 billion Spotify streams. 

A New Era 

So Far Gone was the start of a new era for Drake. Alongside Thank Me Later, these two releases helped establish his presence as an artist. The two sound like extensions of his mixtape era but prominently showcase his vocal ability and improved production. This era sounds very retro and hip-hop-focused, with Drake exclusively rapping. He utilizes an orchestral sound to open many of his tracks with rhythmic percussive beats to help his rap flow evolve. 

Between the release of these albums, Drake officially founded OVO Sound, his independent record label established in 2012, which has signed artists including PARTYNEXTDOOR, Majid Jordan, Smiley and many more. Drake’s previous albums are under this label, but it was not until 2012 that it was finally established and founded. This comes after Drake established himself, not just in the music industry but also as a celebrity personality. OVO Clothing was created a year prior, marking the dawn of the production of his clothing line (not to be confused with merch) and OVO as a whole. 

2011 also marked the release of Drake’s Take Care, showcasing his R&B range. This album set him apart from other rappers at the time as he incorporated not only rapping but his melodic vocals as well. Hits like “Marvin’s Room” and the album’s title track, “Take Care” featuring Rihanna, both gained over 555 million Spotify streams. This was a turning point in Drake’s music career when he was able to explore a new sound and showcase his versatility. We hear this new sound in his following albums If You’re Reading This It’s Too Late (IYRTITL) and What A Time To Be Alive, where he returned to his rap roots with fast-paced beats contrasted with slower, relaxed percussion, evoking different emotions through lyrics and backtracks. 

During this era, Drake collaborated with many notable artists, including Future, PARTYNEXTDOOR, Majid Jordan and Lil Wayne, intermingling audiences and bringing one another to even higher levels of fame. As well, Drake became closely associated with the Toronto Raptors; so much so that he was named “Global Ambassador” for the NBA team in 2013. 

Superstar Status

By 2016, Drake’s sound was established and showcased his versatility through his lyricism, vocals, and production, as well as his overall storytelling ability. Views is a notable album that broke records. Songs like “One Dance” (his most streamed song), “Controlla,” and “Hotline Bling” allowed him to rise to superstar status. The album as a whole feels like a story where Drake takes listeners to Toronto to experience the four distinct seasons felt here. The Ringer debates different views of the album and points out the theme to the tracklist, where T.C. Kane says, “It’s supposed to start in winter and then go through summer and back to winter, which is meant to showcase the ‘two extreme moods’ the seasons cause in Toronto.”

“Keep the Family Close,” “Weston Road Flows,” “Controlla,” and “Fire and Desire” mark the beginning of each season of the year, making the album an all-year-round listen. Arguably, this is among his best albums, thanks to his attention to detail and authenticity, creating an album that feels like a love letter to Toronto. 

In More Life, Scorpion, Dark Lane Tape Demos and Certified Lover Boy, Drake’s sound changes while still infusing rap and R&B seamlessly, paying homage to the groovy old-school Drake but moving away from the percussion that was so heavily present in his earlier work. Speaking of old-school, Care Package, an archive album, compiles Drake songs from 2010 to 2016, debuting as a hit. In this era, Drake took his talents to the television and film industry as a producer on a number of projects starting in 2017. Euphoria and Top Boy are his biggest projects, with more to come. 

Drake is not only a superstar artist but also a personality on social media. If you have seen his presence online, he plays along with the jokes –  he seems like a fun guy who doesn’t take life too seriously. He shows love to his fans and stays active on his social media, keeping people coming back to see what he’s up to. Memes of Drake consistently find ways to blow up, like the “Drake the type of guy” trend or even his song with Central Cee, “On the Radar Freestyle,” in which his intro went viral on TikTok. 

The Drake We Know Today

By 2021, Drake was the definition of a household name with the hit release of Certified Lover Boy. The release of Honestly, Nevermind in 2022, however, marks another major shift in Drake’s musical style as he explores the dance and house genres. Sadly, the album was not well received. The piece is consistently upbeat, with his voice melting into the changing tempos. The bright synths and stabbing drums are prominent and definitely unique to his discography but not appreciated in the way Drake had likely hoped. 

Later that year Drake released the collaborative album Her Loss, which allowed Drake to redeem himself. His partnership with 21 Savage brought back the Drake people missed. Heavily rap dominated with some great features such as Travis Scott and production from Earl on that Beat and Metro Boomin, so many elements did the trick to bring him his credit.

Now, in 2023, we have the latest Drake album, For All The Dogs, which has received mixed reviews. The record includes notable features from SZA, J Cole, Yeat, even his son Adonis, and many more. This album acts as a great summary of his music career thanks to the lyrics and authenticity of this piece of work. The authenticity is demonstrated in the album art, created by Adonis, and Drake’s vulnerability in songs like “Slime You Out” and “What Would Pluto Do.” 

The new album opens with “Virginia Beach” which includes a Frank Ocean sample and transitions into a soft kickdrum and melody combo with the sample continuing to play in the background. The song encapsulates a full circle moment for Drake, as he once performed in Virginia Beach with Lil Wayne in 2014. In the song, Drake reminisces on his career. This opens the album perfectly, paying homage to his humble beginnings. For All The Dogs's release aligned with the last weekend of his It’s All A Blur Tour, adding an increased sentiment to the release while cementing Drake’s career. 

Throughout Drake’s professional life, he has grown exponentially. From making mixtapes in his friends’ basement to owning a record label, clothing brand, and much more, Drake has certainly established himself as an all-time great. He continues to stay relevant through his content and interactions on social media and makes big efforts to give back to his community. He also never fails to pay tribute to his roots in the city of Toronto. All in all, he is an inspiration and his story is truly one that could not have been possible without the immense hard work and dedication he puts into his craft.

Ticketmaster: the survival of the fittest

Avid fans dive into the all-too-real highs and lows of scoring event tickets

By: Atiya Malik

Rising tensions during ticket sales have fans on edge (Nalyn Tindall/CanCulture)

From outrageous fees that seem to multiply with every click, to the battle against scalpers and bots, the path to securing coveted event tickets can be a hair-pulling journey. 

If you have shown any interest in attending an event, you may have encountered the undeniable struggles that come with using Ticketmaster. The entertainment site where fans can buy verified tickets for concerts, sports, theatre and more, is both a blessing and a curse. But most importantly, not for the faint of heart.

Act I: The (sort of) Calm Before the Storm

The process of securing event tickets can be broken down into three crucial stages. The first is pre-sale, a limited time period where fans can register to receive a unique code that will then give them access to participate in ticket sales before it is opened to the general public. This means there are generally fewer people competing for tickets and often lower prices. However, not everyone who signs up is guaranteed to receive a code. According to fans, preparations begin days and even weeks before the day tickets are actually available. Pre-sale quite literally requires a game plan. 

“When I buy tickets for concerts, I think of it strategically. I don't base it off of luck. I'm gonna go in at a certain time, and I'm going to do this at a certain time. I know what it takes. I have to plan ahead to get the seats I want, and that includes using backup accounts,” said Nanthana Balachandran, an avid concert enthusiast and first-year student at Toronto Metropolitan University. 

Fans emphasize that even after signing up for pre-sale with multiple accounts and taking the necessary steps in hopes of getting those beautiful and shiny tickets, nothing is guaranteed. 

Balachandran tried to get pre-sale tickets for the highly anticipated Taylor Swift Eras Tour in Toronto but was one of the millions of unsuccessful fans. According to iHeartRadio, an estimated 31 million people signed up for The Eras Tour tickets in Toronto. That is nearly as many people as Canada’s total population of 38 million. To top it all off, according to The Globe and Mail, fans only really had a one in 400 chance of getting that prized email.

the fact literally no one I know got pre sale tickets to taylor swifts toronto shows is messed up… I swear they didn’t actually send out any codes

— Eric (@eric_vcu) August 8, 2023

So, if you didn't get that code, odds are your friends didn’t either. Unless you know about 400 people.

Act II: The Heart-Pounding Moment of Truth

If you missed out on pre-sale, rest assured because you might still be able to scoop up some tickets on the official release day. However, whether it's through pre-sale or on release day, the emotions experienced during this process can be similar and rather dystopian. 

Once the countdown to ticket sales begins, panic sets in, and you ponder the profound questions of the universe: Am I going to make it? How many people are ahead of me? Do I have to solve a puzzle to prove I'm human? 

When attempting to secure tickets for Olivia Rodrigo, “I was waiting for ages in the queue, and I suddenly got in, but there were literally no tickets available except for nosebleeds reaching closer to $1000,” said Laleh Haidary, an experienced Ticketmaster user and third-year student at the University of Toronto. “So I'm here refreshing and refreshing, nothing's working, my brother's playing Drivers License in the back to taunt me, it was so upsetting. But I kept on refreshing and somehow one ticket popped up that was around $500 and I was able to get it!” 

Instead of worrying about other fans getting tickets before you, the real opponents on Ticketmaster are bots and scalpers.

Bots run through automatic software programs that are able to purchase large amounts of tickets in only seconds. This leaves true fans in a heart-pounding race against robots. Scalpers, on the other hand, are individuals or groups who also buy large amounts of tickets at rapid speeds. Both then resell these tickets at extremely inflated prices.

“It’s horrible! There's so many people out there that want to see their favourite artists and are willing to pay the money, but they literally can't because there's others benefiting and profiting off of it,” said Haidary.

““So I’m here refreshing and refreshing, nothing’s working, my brother’s playing Drivers License in the back to taunt me, it was so upsetting. ”

— Laleh Haidary

With tickets vanishing and time ticking, it's truly a race against the clock. 

Act III: Mind Over Matter

With sweat beads rolling down your face, hands shaking, and eyes strained from staring at the loading circle on your screen, the Squid Games are now over. You have proven your adversity to withstand this Hollywood thriller-like process, even if it left you with scars and no ticket in hand.

“Convince yourself into thinking that even if you don't get tickets, it's not a big deal because you have a lot of other opportunities. It's not a make or break,” said Haidary. In other words, don't beat yourself up about it and focus on the future. 

Balachandran emphasizes that if you’re buying tickets, plan ahead and know your audience to anticipate how intense it might be and prepare for surprises. 

Though some surprises are unavoidable, such as bots, scalpers, or the never-ending puzzles identifying traffic lights, cars and other various mechanical objects, optimism is key to take you through this process… or delusion. Just remember you're never alone during this Shakespearean journey. 

And to all those who await future ticket sales, may the odds be ever in your favour. 

Kip James might just have a fighting chance

The Toronto busker is making his mark one song at a time 

By Nalyn Tindall 

Kip James playing guitar on a beach in Algarve, Portugal. (Photo assets courtesy of sot.d_ / Instagram, graphic by Nalyn Tindall/CanCulture)

If you attended a concert at Budweiser Stage this summer or ventured outside the Rogers Centre after a Blue Jays game, chances are you’ve likely encountered the vibrant musical force that is James Flannagan, better known as Kip James. “Kip,” being the name he was almost given as a child, one he feels holds more star power.

Amplifier humming with live drum backing tracks boasting and his guitar and vocals soaring above it all, he’s hard to miss, and that’s exactly what he’s aiming for. 

Kip James, a self-described entertainer, is on a mission to inject positivity into a world that often feels chaotic and divided, uniting people through the power of music. His performances go beyond mere entertainment; they generate a profound sense of unity that transcends the boundaries of spoken language in a way only music can. 

Busking, the activity of playing music in the street or another public place for voluntary donations, is a testament to the unity art can inspire, even amid chaos. As James speaks of protests and counter-protests, he contrasts the harsh, divisive scenes with the harmonious interactions he fosters through his performances. "I'm doing the exact opposite,” he says. “The unity of it is so beautiful.” 

Audiences can be found dancing together and singing along to his covers, a reminder that music has the power to bring people together in spontaneous ways. He hopes his music can remind people to come together, share their love for music and enjoy a moment of unity, no matter how different they may be.

His "make it happen" attitude is reflected in every aspect of his musical career, demonstrating his steadfast dedication to his craft. During the summer, he diligently tracked the major events unfolding throughout the city's core, recognizing the prime opportunities to connect with his audience. This led him to perform before and after every baseball game this season and for the crowds ushering out of the concerts of notable stars who played in Toronto this summer. James could always be found gracing the streets with his music and fostering a communal ambiance, riding on the good vibes generated by these events.

Among the memories etched in James' mind, one moment stands out. An older man, possibly in his late 70s or early 80s, approached with his daughter. "Can you play 'Pretty Woman' by Roy Orbison?" the man requested. James enthusiastically obliged, and the music profoundly impacted the man. Unbeknownst to James, this outing to watch a ballgame marked the older gentleman's first venture outdoors in a year, following the loss of his wife. James' performance had allowed him to hear his favourite songs and, for a brief moment, ease the pain of his loss.

Inspired by his dad’s classic rock CDs which made up the soundtrack of his childhood, James picked up the acoustic guitar at the age of 12. With determination and passion as his only guides, he taught himself the songs that formed the core of his musical upbringing. Many of these songs make up his busking repertoire today. 

Kip James' journey would not be complete without mentioning his band, Fighting Chance!, which he formed during his university years. Acting as headman and bass player of the indie band, he has joined forces with his younger brother Joe on the drums. 

The band members, including guitarists Dylan Duthie and Ryan Walsh, have diverse influences, each bringing their unique styles to the table. According to James, the band chooses not to subscribe to a particular genre; their repertoire spans classic rock to modern indie, allowing them to craft an eclectic sonic identity that resonates with a diverse audience. Their Spotify describes their sound as “90's radio rock with early 70’s powerpop,” while their Instagram bio identifies the group as “college radio rock revival.” 

Their most recent single, “Spin Me Round,” has been warmly received by the many fans James has acquired throughout his busking endeavours. The band aims to release a single every month and plans to tour next year. 

Kip James' journey isn't tethered to Toronto, however. Fleeing the cold weather, James has taken his act international. He recently made his way to New York City, busking in iconic spots such as Times Square and Madison Square Garden. He then headed overseas to play the streets of Portugal, serenading folks across the world. But true to his roots, he’s returned to Toronto, reuniting with Fighting Chance! to play a small tour throughout Ontario this month. 

The path Kip James treads is marked by sheer dedication and unwavering persistence. He is far from content with standing still, instead tirelessly working to turn his dreams into a tangible reality. His performances, whether they be on the streets of Toronto, NYC, or Lisbon, are a whirlwind of good vibes, beginning with the first strum of his electric guitar and gaining momentum with each passing note. Keep an eye, or rather an ear, out for the eclectic busker the next time you find yourself at a major event downtown Toronto, and don’t be afraid to sing and dance along. 

From class to concerts: Grounders Music Festival spotlights on local talent

From class to concerts: How two students turned their project into a performance festival

By: Anastasia Blosser

Attendees can purchase full-day tickets or choose only to attend the day or night portions. (Courtesy of groundersmusicfestival/ Instagram)

Sofia Shahbazzadeh and Helen Chen aren’t submitting the average practicum project. The two Toronto Metropolitan University (TMU) students transformed their in-class pitch into a live music festival that will showcase the talent of local artists. Complete with vendors, an intimate venue and a high-tech video production, the Grounders Music Festival will occur on Nov. 4 and will be streamable afterwards. 

Grounders began as a final project during Shahbazzadeh and Chen's third year. The pair had known each other since high school and decided to combine their shared passion for audio, music and multi-camera production to pitch the music festival. They not only wanted to create a unique live experience for the community, but a fully produced concert video as well. 

Shahbazzadeh and Chen said that the support they received from their professors and peers helped move the festival forward. “It is a student-run project and there's a lot of love and energy that goes into it,” said Shahbazzadeh. “There's always people out there that want to help you and that believe in your project and your passion.” 

The festival is being put on by a group of women and non-binary creatives who wanted the lineup to reflect their diverse identities. They said they want to foster a sense of community among attendees and artists alike through the event. 

“It became a community building initiative and a place where the [Greater Toronto Area’s] community of arts can come together,” Shahbazzadeh said. 

Chen said that while casting performers, she considered obvious factors like the quality of the music and how the artists would contribute to the vibe of the festival, but also wanted to spotlight marginalized communities. “We were focused on finding musicians of colour, female and non-binary musicians, musicians that belong to the 2SLGBTQ+ community.”

Grounders embraces the concept of time as a driving force behind its curation. Separated into daytime and nighttime portions, the festival will feature nine artists and bands ranging from acoustic folk to experimental pop. The genres of music are intended to change throughout the day, mirroring the passage of time from afternoon to evening. Chen said the festival is a careful blend of acoustic folk, pop and rock, creating a dynamic atmosphere that will resonate with the audience.

The festival will be held in the Junction at OBJX Studios, which features floor-to-ceiling windows. Chen said that the team wanted a venue with a lot of natural lighting, so that the sky could be the festival’s backdrop and the music could match its atmosphere. 

Though not live-streamed, the show will be meticulously recorded so that the artists can have it as a portfolio piece or music fans can stream it. According to Shahbazzadeh, the polished videos will be posted on YouTube. She said she drew inspiration from NPR’s Tiny Desk concerts and wanted to mimic the series’ small and cozy ambience in the festival. 

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Grace Turner and Theo White started the band City Builders just before they began dating. They will be performing at Grounders as part of the nighttime set. 

Turner explained that musical collaboration came naturally to the pair. They said they both use music as a love language, whether they’re writing together or on their own. 

“The love that we put into this music comes from a very genuine place,” White said. “I think that translates in the music.”

White said that bands come together for pre-show rituals to ensure everyone is on the same page, but that coordination already exists when the only two members are dating. To him, performances are like a long and rather public date. “We spend the whole day together, we do an activity—which is practice—and then we have a date night—which is a performance.”

Turner said that even though she gets a bit nervous before performing, they always have fun once they’re up on stage together. No matter how large or unfamiliar the crowd may be, White said it's about sharing a moment and creating a connection with the people who come to listen to their music.

“Even if it's a room full of people we don't know, it feels like we're all connected in some sort of way and we're all here for a reason,” she said. “That's what kind of eases the intimidation of getting up on a stage.”

White promises that any audience that watches them perform will have a fresh and exciting experience. Their sets are filled with new songs, demos, and unreleased tracks, making every concert a unique experience for their audience. “Everyone who comes to our shows gets something that they've never heard before and maybe won't ever hear again.” 

Turner said that she’s excited to perform at Grounders but is ultimately looking forward to connecting with different creatives in one space. “One of my favourite parts about playing is talking to people after seeing what kind of art they make,” she said. 

The networking aspect of the festival ties back to the community-oriented approach that Chen and Shahbazzadeh are striving for. Chen said they want the concert to double as an artistic hub and a space for creatives to connect. “We want there to be vendors, food options and different industry professionals that maybe people can network with,” she said. 

Shahbazzadeh said that at its core, the festival is just a place where artists and music fans can congregate and talk to each other about their interests. 

This approach is aiming to create a sense of community and a vibrant atmosphere that fosters organic interactions between artists and attendees. Both have the opportunity to meet and collaborate with each other, fostering creativity and organic relationships that Shahbazzadeh and Chen hope can lead to future collaborations. 

Sofia Aëdon will be performing at the festival as part of the daytime set. With a high school background in theatre, she said she feels more comfortable performing in front of audiences because of her experience on stage. To her, putting on a character is an integral part of each show. Putting effort into her outfit and makeup not only enhances her confidence but also adds a unique dimension to her artistic expression.

Aëdon explained that she naturally slips into acting whenever she performs a set. “I think that it just makes me more confident,” she said. “It's me, but it's in a way that’s like playing a character on stage.”

Her performances are a blend of her authentic self and the character she portrays. This fusion of reality and artistry creates a captivating experience for her audience, leaving a lasting impression. 

Aëdon said that she wishes there were more festivals like Grounders, that aimed to showcase local talent.

Chen joked that if Grounders goes well, there may be more similar events planned in the future. 

Shahbazzadeh said there have been many sleepless nights as the team worked to bring the festival together. So when the event finally arrives, she just wants to soak in the experience. “I really want to enjoy the day and take it as it comes,” she said. “If I see smiles at the event, that would make my day.”

Check out this playlist to help you get ready for the Grounders Music Festival!

The freaks of Queen Street West: Toronto’s goth music history

In the heart of Toronto, the freaks and ghouls roam the streets… and the nightclubs!

By: Klea Pinari

The first chilling strum of gothic guitar is your opening to a world of darkness – a world cloaked in black, but one that still feels unequivocally bright. 

When many people hear the word ‘goth,’ they conjure the same image: skin pale as a ghost, eyelids painted jet black. All that comes to mind is a jarring set of traits, a bold and enthusiastic stand against mainstream culture.

This image is, more or less, an accurate depiction of many goths in the scene. However, the core of goth culture is not their heavy eyeliner or their billowy Victorian sleeves, even though style is an important aspect of being goth. The core of the culture itself is the music. 

The goth scene is a revolutionary subculture that started its journey back in the ‘70s before bursting into the ‘80s with flair. Goth music originated in the U.K. as a result of the post-punk movement, blooming into a large scope of closely related genres that all held the same musical heart.

Some of the most iconic musicians making up the goth scene include Bauhaus, Siouxsie and the Banshees, the Cure and Joy Division. Genres including post-punk and dark wave, along with glam rock and hard rock, are key components of goth’s musical sound and some of the driving forces behind the creation of goth rock. These genres are saturated with moody and experimental resonance. Goth music is unique in the way that it does not bend to the will of any conventional sound – it simply hands itself to the listener.

This music does it all and explores the dark crevices of musical sounds and themes that popular music is too afraid to peer into. The harsh melody of the distorted guitar and the lilted tune of the singer’s voice come together to create an experience that can only be explained in simple words: haunting and beautiful. 

Goth first emerged in Toronto in the ‘80s, but it wasn’t always known as goth. Toronto goths go by a handful of names, including “Batcavers,” as stated by the Encyclopedia Gothica. Batcavers is an ode to The Batcave, a London club that kickstarted the goth movement.

Goth music brought forth a culture of goth clubbing, followed by goth dancing and accentuated by goth fashion. The defining feature of each is goth’s incessant need to be completely authentic.

Clubbing is not only an integral part of the goth scene, it’s the home for all things goth. In the ‘80s, there was an influx of after-hours alternative clubs, as discussed by journalist and DJ Denise Benson in her article Then & Now; Voodoo, which highlighted the history of one of the early Toronto clubs named Voodoo. Many other clubs could be found along Queen Street West and other parts of downtown Toronto, playing underground goth rock, post-punk and more.   

Some of the most iconic clubs included Sanctuary: Vampire Sex Bar and Nocturne, which could be heard booming into the early hours of the morning with the beat of stripped drums. These clubs unified the lonely Toronto batcavers under the safety of the music and a shared understanding of their darker side. For the first time, a goth community was formed with like-minded people who simply wanted to enjoy the noise.

Goth dancing was all the rage in the clubs. The style was very distinct and bizarre, as is everything that has to do with goths. It was an erratic flailing of arms, movements that flow followed immediately by stuttering movements that jerk, a haunting amalgamation of feelings in the form of dance. These dances could range from anything between stomping your feet and banging your head aggressively, to languidly letting your hands move in any direction they want. Goth dancing is all about feeling the music and moving exactly in the way your heart tells you to.

Very soon, Queen Street West was crawling with Batcavers. In 1988, they officially adopted the term “goths.” But even before identifying as goths, they had a third, more intimate name for themselves: freaks. This label was not derogatory; in fact, it was a badge of honour for all those who wore it, and it remained as such through the ensuing decades. The term freak was an embrace of the authentic and off-putting nature of their existence.

Goth music sang of the strange, the sickly, and the sexy. It was a medium for liberation in a new unusual light. Being a freak was a rejection of the societal norms of the ‘80s and ‘90s and an acceptance of the values of goth music: an all-inclusive, queer, sexually liberated form of art. The label was a representation of the darkness and strangeness of the genre, which was exactly what made — and continues to make — the music so beautiful. 

Artists such as Masochistic Religion and Vampire Beach Babes were some of the goth bands that emerged in Canada during the height of the movement. They made numerous references to monsters and vampires in their art. The existence of creatures of the night is a frequent goth symbol and helps to characterize the idea of the “other.” These monsters are given the spotlight in goth music, acting as guiding lights for the freaks to express themselves for who they really are, no matter how the rest of the world reacts to them.

Though the goth scene has died down since the ‘80s and ‘90s, there are still pockets of belonging peeking through the dark crevices. Sanctuary and Nocturne have both closed down, but there are new clubs in their place, teeming with the life of the undead. See-Scape is one of the clubs that remain to preserve goth culture, but there are also goth events at venues such as The Garrison and Bovine Sex Club.

Canadian artists like Dermabrasion and ACTORS are still active and create music that captures the essence of goth rock and all the other genres that make up the goth music scene. The decline in goths wandering down Queen Street West is exactly why it’s important for there to be new artists continuing to pave these pockets of belonging. Lol Tolhurst, drummer and co-founder of The Cure, said that goth was still alive and well through new artists, despite it not looking the same as when he was at the forefront of the movement. 

“I see all these people live in small places — their way out was us (The Cure),” he said in an interview with CNN. “I’m very honored and proud of that. That’s what keeps (goth) going.”

Goth music uses its doom and gloom as a means to explore the uncanny, to welcome the freakish and the bizarre. It’s not consumed by the darkness – it’s uplifted and inspired. It’s haunted. It’s beautiful.  

Spooky Canadian songs to listen to this Halloween season

Romanticize the darkening days with some tunes to match.

By: Melanie Nava Urribarri

Instead of the groans and moans of the city, listen to some spectral, spinning music (Nalyn Tindall/CanCulture) 

You feel the temperature around you drop, a cool wind slipping through the threads of your clothes and tickling the skin underneath, sending shivers down your spine. The sun is blocked by grey clouds, and you swear you hear a taunting laughter carried by the breeze. Even the few rays of sun the clouds let escape are not enough to warm you. Looking straight ahead, city streets dark and barely lit by flickering lamp posts, all that’s left to transform this scene into an episode of blissful escapism is a song.

Luckily, we’ve composed a list of six Canadian songs to add to your playlist this spooky season.

This Hollow World by Johnny Hollow

Starting with “This Hollow World” by Johnny Hollow from Guelph, Ontario. The band, formed in 2001, holds their own brand of avant-garde pop achieved through blending organic instruments with electro-industrial sounds. Their sound is accompanied by intricate dark art by digital artist Vincent Marcone in their videos. Their niche touches steampunk and goth genres, and this song from their album Dirty Hands’ would be a unique addition to your Halloween playlist, adding a haunting cello from cellist Kitty Thompson, eerie riffs from guitarist Steve Heihn and spine-chilling vocals from singer Janine White.

Tales of the Phantom Ship by Lennie Gallant

Released in 1988, this next song is from Canadian Folk singer-songwriter Lennie Gallant’s debut album Breakwater. With the use of mandolin, harmonica, violin and mandocello, Gallant tells a ghost story in “Tales of the Phantom Ship” inspired by the legend of a ghost ship in Northumberland Strait, the southern Gulf of Saint Lawrence in Eastern Canada. The legend dates back over 250 years, and the ship in the ghost story is typically depicted as a schooner with three or four masts and pure white sails, which are said to become completely engulfed in flames as onlookers watch. Take note of the lyrics and immerse yourself in the ghostly scene set before you.

Chasse-Galerie by Claude Dubois

A song with a devilish tale, “Le Chasse Galerie,” also known as “The Bewitched Canoe,” is a popular French-Canadian legend about lumberjacks working around the Gatineau River who make a deal with the devil. The tale has origins dating all the way back to when French Settlers arrived in Canada and swapped stories with Indigenous people. It is said to be a mix of the tale of a French nobleman named Gallery who loved to hunt so much he missed Sunday mass and was punished to fly forever chased by horses and wolves, and an Indigenous legend about a flying canoe. The hair-raising song sung by Claude Dubois was released in 1978. It utilizes a beautiful, sorrowful piano melody along with string instruments to tell this soul-stirring story.

Lost Jimmy Whelan by Clary Croft

“Lost Jimmy Whelan” is another Canadian folk song inspired by traditional ghost stories originating in Canada. This tale is one of grief, a ballad written about a young man who died while working on what was likely a river drive. The ghost appears to his lover as she wanders along a river bank, and many have claimed the ghost to be Ontario lumberman James Phalen, who, in actuality, died on a tributary of the Ottawa River around 1878. The song itself has been circulating since at least 1886. Clary Croft is a folklorist, writer, and entertainer from Nova Scotia, and his version of the song was released in 2021.

The Comeback Kid by Lindi Ortega

Released in 2018, this song is an alternative/indie, country song by Canadian singer-songwriter Lindi Ortega. Born in Toronto, she spent some time in Nashville, Tennessee before moving to Western Canada. “The Comeback Kid” is a fast-paced, haunting song about the revenge of a character who was shot but didn’t die; a ghost who comes back to life for relentless vengeance. Ortega’s vocals are scary-good and will certainly send another set of chills through you, along with the beat of the drums which will keep you dancing all Hallow’s Eve night.

Ghost by Fefe Dobson

Finally, the list would not be complete without this hit Canadian pop song from 2010. While not necessarily a “spooky” song, “Ghost” by Toronto-born artist Fefe Dobson continues to be a Canadian favourite with a thrilling tune and relatable lyrics. This song tells a story of a heartbreaking betrayal that would certainly “spook” anyone who has lived it. Adding this one to your Halloween party playlist will have you seeing a flash of recognition on almost every Canadian’s face and will surely get the party going.

Finished reading? Start listening! Now you can be sure to get lost in the ghostly whispers of time and the blood-curdling tales told in these Canadian songs this season.

A Q&A with Toronto musician and producer UNITY

The self-produced electronic musician is working on creating a “unique sound that will not resemble anything else”

By: Caelan Monkman

Toronto-based musician and producer UNITY is a fierce electronic superstar in the making. Following in the footsteps of her idols like FKA twigs and SOPHIE, the self-produced musician blends futuristic and psychedelic electronic/trip-hop beats with her own ethereal vocals. Ahead of the release of her newest single and music video, “SOMEWHERE IN TIME,” CanCulture’s managing editor and former music editor, Caelan Monkman, sat down with UNITY to learn more about her creative process

Much of UNITY’s musical and visual imagery stems from sci-fi and futuristic themes (Photo: UNITYISEVERYWHERE)

This interview has been edited for length and clarity

Getting started, I wanted to talk a little bit more about you. You're a Toronto musician and producer, but who is UNITY?

I came from Moscow, and I'm currently based in Toronto. I'm an experimental electronic artist. My primary focus for now is music. I'd say that a huge inspiration for me is Pink Floyd and, in general, 60s and 70s psychedelic rock. I also love everything that FKA twigs does, and SOPHIE is a huge inspiration for me. So anything ‘beyond normal,’ you know? Any type of music that sets you in a zone of ‘beyond the genre.’

Can you tell me more about the name UNITY? You’ve chosen to not just perform under your own name, but was that a deliberate choice?

I just like the way it sounds first of all, and secondly, there was an episode of Rick and Morty where Rick travelled to another planet, and this whole planet had this universal consciousness — so every inhabitant of this planet had the same consciousness — and this consciousness was named ‘Unity.’ I was so amazed by this idea that I decided to pick up the same name.

How does that idea play into your music itself?

I feel like my music is very space-y and futuristic, so it kinda resembles the idea of space exploration, trippiness and wild sounds. I'd say that I like to work not in terms of genre, but by just exploring the sounds that I like, picking them, mixing them up together and combining something new. I'm working on creating my unique sound that will not resemble anything else.

What sort of steps do you take creatively to craft a sound that doesn’t resemble anything else?

Creating “SOMEWHERE IN TIME”  helped me drastically expand on building my unique sound because the song went through a lot of stages. First, it was a techno song, then I reframed it and changed some patterns, added some trap elements, then I added some hand drums, then I played with my voice. So basically, I just made different versions of the song and combined different pieces of each of them together in a way that sounds good to the year. That's kinda my process: I experiment a lot with various genres and try to pick the sound I like the most — or the drum pattern, let's say. And I try to implement this to another structure from another genre. Basically, I mix it all together until I like the final result.

“SOMEWHERE IN TIME” is, in my opinion, the ‘thickest’ track of yours thus far — musical timbre and texture-wise. What can you tell me about the production of the track?
It has around 100 tracks in it. It has various syncopated drum patterns and a lot of complex sound design effects — especially in the very beginning of the song — that I layered by myself, just creating a bunch of sounds and layering them all together. There weren't a lot of melodic parts in it, but I made sure that my voice played the role of the instrument in most of the parts. I really wanted to make it as psychedelic and abrupt and harsh as possible to translate the idea of the song. The song is a part of my concept album that's going to be out at the end of this year. And this song specifically takes the listener on a cosmic journey through a wormhole, where the consciousness becomes omnipresent, and you experience every single thing all at once. I just wanted to translate this feeling through the sound — that's why it's so intense and unpredictable — because when you’re experiencing everything all at once, you can't really focus on anything.

You've said that you're doing a concept album as your first album. That's an ambitious move. What sort of challenges has that presented to you?

It was pretty challenging in terms of forming all of the songs into holistic pieces of the narrative that I wanted to translate. I was just writing the songs, and along the way, I was switching some details in the whole story that's in the album. The other challenge for me was to make it sound like a holistic piece. Because I experiment a lot and some of my tracks are too different from one another, it was just hard for me to find the sweet spot between all of them and mix them together so it sounded like an album and not just separate singles. But I think I did a good job at it. It’s certainly something to work on, and I can potentially do the next album better in some ways, but for now — for my first album — I think I did the very maximum that I could.

Does that mean you’re already thinking about your next album and where you can go from here?

Oh yeah, absolutely. The first album is going to be very experimental, and I didn't want it to sound commercial because my goal was to define my own sound and to experiment as much as I did and find those pieces that I’m comprised of as an artist. Then, moving forward, I’d implement them into more ‘listenable music’ — something you can dance to. So I think for the second album, I'm planning to do more of a commercial album — but not in a bad way, y’know? — like something that people can dance and sing along to. Something more interactive for the listener.

Speaking of “interactivity for the listener,” you’ve mentioned online that you’ve been working on crafting your sound for the stage without the use of laptops because you want to create an “organic live experience.” How does that work as a largely electronic musician?

My band and I use the guitar, and sometimes, for the live shows, we change the synths to the guitar, so we just try to find a similar sound on the guitar and play it. For the drums, we're actually using a Roland drum pad, and we install the sounds onto the drum pad, and it allows us to play any set, change the patterns, anything. So that's kinda what we're going for to create the most organic experience because I feel like, for some listeners, it's not as entertaining to watch the performance being on a laptop.

Along with the challenges that have come with converting your music from electronic to instrumental, have there been musical discoveries?

I realized that I could actually use more guitar in my productions because with electronic guitar, again, you can apply a lot of effects and experiment with the sound of the guitar itself. And I feel like it adds a lot more organic feeling, and it suits my voice and my drums really well. I feel like that was the biggest discovery: I can actually implement real instruments, and it will still sound pretty electronic.

Shifting focus a little bit, can you tell me more about your music video for “SOMEWHERE IN TIME”?

I think we worked on it for a few months. It's gonna be a space-y, sci-fi futuristic music video. It’s very dark and very suitable to the song vibe I guess. We worked a lot on the set. We had an amazing costume designer who made this wire hat for me, she really worked on the costumes really well. We had an amazing director of photography who shot the whole thing and had amazing shots. And obviously, the director who made this whole thing work together and who basically came up with the idea. And I was in the process as well. I wasn't just somebody who the whole crew was working with — I was also suggesting things and actively adding my own ideas. It was just overall an amazing experience of working with people who are really excited about this idea. A lot of people have been telling me that they love working on creative projects like this, so I feel like I've met a lot of people, and I just generally had an amazing life experience of shooting a music video.

What sort of inspirations were behind the visuals of the music video?

My main inspiration was 2001: A Space Odyssey. It's one of my favourite movies, for sure. It was my inspiration just in terms of the monumentality of the pictures, the colours, the concept and just everything. I was just heavily inspired by this film and its general futuristic aesthetic, I'd say.

Lastly, what can listeners expect from you going forward? You've got this new single and music video; what’s next?

My biggest goal right now is to just release this upcoming album and start playing more shows live in Toronto. We're actually planning to make the first concert dedicated to the album release at the end of the year. So more on that will be on my Instagram. And yeah, that's pretty much the goal: To just play more live shows and continue my experimentations with sound, making new tracks and all that stuff.

UNITY’s newest single, “SOMEWHERE IN TIME” is now streaming on all major platforms. Click here to listen now.

Dead Egos Vs. The WRLD: In-person showcase uplifts Toronto’s underground music scene

 Artists and curators behind a local live music event are all about taking ‘ridiculous, ridiculous chances’

By: Sena Law

Toronto artist Katozai performs on the stage of Supermarket Variety and Bar at the Dead Egos Vs. The WRLD event (Sena Law/CanCulture)

Weaving through the chaotic mosh pits of a Kensington Market venue with a camera in hand and a proud smile upon his face, Griffin is eager to capture each and every moment of his first curated show. “When I say ‘Dead,’ you say ‘Egos!’” A passionate call and response coming from stage with each one reciprocated enthusiastically by the crowd gathered in front, basking in their shared excitement and anticipation for their favourite artist to perform.

On June 4, the interior of Supermarket Bar and Variety, a cultural hub in Kensington Market, was filled with fashion-forward music lovers and local creatives looking forward to a night of making connections and energetic performances. Dead Egos Vs. The WRLD (world) featured 10 underground artists from Ontario and the United States, for many of whom, this would be their first on-stage performance.

Behind the huge turnout and impressive lineup are the two curators of the event, Griffin and  Devon, who spoke with CanCulture on the night of the event. Devon, also known as Peepthekicks, has been working as an A&R (artists and repertoire) in Toronto and has facilitated other music showcases such as First Class Fest in Toronto. As for 20-year-old Griffin, or MTVGrif, this would be his first time hosting a music event.

Devon and Griffin (left to right), curators of Dead Egos Vs. The WRLD at the rehearsal before the show (Joshua Cunningham/CanCulture)

Griffin began video-editing in his early childhood. Combining his long-time love for music with his passion for film and editing birthed Dead Egos — a multimedia platform that produces music videos, promotes underground artists and has now begun to curate music showcases. The unique name originated from Griffin's interests in psychedelics and the term ‘Ego Death’ — a psychological term that describes the cultivation of a deep sense of awareness that leads to a complete loss of subjective self-identity. He attributes his interest in the practice to Ryan Holiday’s book Ego is the Enemy.

“To me, it just means going into everything with the best intention.”

He applies the same sentiment to his creative work with the platform. Inspired by the owner of American multimedia company Lyrical Lemonade’s Cole Bennett, who made a name for himself as a music video editor and creative director and has now expanded to hosting large-scale music festivals, Griffin hopes to achieve the same with Dead Egos.

“He really is like the blueprint, to be honest. I'm trying to do that, but in Canada.”

Within Toronto’s saturated creative sphere, opportunities to perform as an up-and-coming musician can be hard to come by. Griffin and Devon’s decision to showcase underground artists who receive exposure on a smaller scale was intentional. Disregarding the standard showcase procedure where each artist is expected to reach a certain ticket sale goal, the curators’ faith in the performing artists to put on a great show was above their priority to make a profit.

“We curated it in a way where it's meant to put on the smaller guys, as well as just have a dope lineup,” Devon said. “I think we just wanted to make something that we actually liked with artists that we listen to all the time.”

Being involved in the music industry first-hand, Griffin and Devon understand that for growing artists like themselves, every opportunity could lead to a breakthrough.

“There are a lot of managers and industry people in the crowd tonight — and it's a lot of the artists’ first performances, so hopefully the audience goes home to listen to them,” Devon said.

Griffin emphasized on the importance for artists and creatives to venture outside their comfort zones. “It's more so about actually going out to look for those opportunities and taking a lot of crazy chances, like ridiculous, ridiculous chances.”

The significance of in-person events like Dead Egos Vs. The WRLD is felt by artists and audiences alike. ELiXR, a 17-year-old multidisciplinary artist and DJ who came to show his support said the “cutthroat” nature of Toronto's creative scene means live events like this are necessary to uplift smaller local talents.

“It's about youth having a platform; it's about all these artists, upcoming rappers, having a platform. Not too many of these opportunities come up, especially in Toronto,” ELiXR said. “You never know, because you may be out there performing in front of seven or 10 people but the best A&R in Toronto is there. It only takes one person in these events to really change it up.”

Toronto artist ELiXR speaks on the significance of uplifting local, underground artists during an interview with CanCulture. (Joshua Cunningham/CanCulture)

The migration of modern day artist discovery to online platforms, most notably TikTok, has expedited the rate at which artists can gain exposure and build a fanbase, but it has also created a saturated environment where artists may struggle to find their place online. Katozai, an 18-year-old plugg artist based in Toronto, said in-person showcases allow artists to gain recognition organically.

“You can have internet communities, but when you have actual physical people come into these events, it creates more of a community around it,” Katozai said.

Katozai brought an engaging and high anticipated performance to Dead Egos Vs. The WRLD (Sena Law/CanCulture)

Another performing artist from Hamilton, Apostoli, shared the same sentiment. “Listening to a song and being in a crowd, it's a different experience. It sticks with you.”

Dead Egos positions underground artists in the city’s melting pot of creatives. As an artist, Apostoli affirmed the importance of grasping at these opportunities.

“You can't sit there and be like, ‘that's not fair, I'm not getting my moment.’ Eventually, if you talk to the right people, if you put yourself in the right positions, then chances are you will find success.”

Apostoli travelled to downtown Toronto to perform at the Dead Egos Vs. The WRLD show (Joshua Cunningham/CanCulture)

Outside of musical performances, Dead Egos Vs. The WRLD also featured three pop-up shops of local vendors that were invited to sell their crafts at the event. Leila, who makes handcrafted spoon rings for her shop, Bella Antiquez, said she appreciated opportunities where she can set up shop in-person.

“It's an opportunity that not many people get because the city is popping and anything can happen. Anyone could show up, anyone can hear about it and see it, “ Leila said. “I find that a lot of people are just open to interacting and talking about what they like to create.”

Bella Antiquez is one of three vendors invited to host a pop-up shop at the Dead Egos Vs. The WRLD event (Joshua Cunningham/CanCulture)

The showcase served not only as an expansion of Griffin and Devon’s creative endeavours, but a reflection of the potential that Toronto’s underground music scene holds. The curators’ passion for music and desire to uplift artists translates into an event with a precise execution and an amazing turnout.

Above all, everyone involved in the putting together of the show took a chance to grasp at an emerging opportunity. As per the curators’ final word of advice to any aspiring creatives:

“Honestly, just don't be afraid to jump out and do it.”