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.”

Canadian love songs to add to your Valentine’s playlists this month

A list of lovely valen-tunes to play for your sweetheart this snowy season

By: Nalyn Tindall

a pair of black earbuds shaped into a heart on a red background

Tune into love this Valentine’s Day (pixelheart via pixabay)

Nothing is more romantic than singing a love song to your partner. A carefully curated playlist, however, is the ideal alternative for those of us who lack musical talent. So whether you want to enhance your own Valentine's Day playlist or are looking for the perfect tune for that special someone, here are some ideal love songs from Canadian artists.

Only The People That Love - Rufus Wainwright

The two-time Juno Award winner and eight-time nominee is no stranger to themes of love, often writing about heartbreak, family and short-lived love. “Only The People That Love” highlights the importance of love in our lives, despite its complexities, reminding us of its significance.

(Everything I Do) I Do It For You - Bryan Adams

This ‘90s classic is sure to bring not only swoons but nostalgia. Best-selling artist Bryan Adams is best known for “Summer Of ‘69”, but don't let that stop you from blasting his music from your boombox this winter. This slow jam will surely win your partner over with its themes of commitment and loyalty.

Head Over Feet- Alanis Morisette

Another ‘90s classic from the renowned album Jagged Little Pill, “Head Over Feet” details falling in love with a friend. Alanis Morissette admires not only her confidant’s care and devotion, but also their friendship. She discusses the complicated dynamic of being both friends and lovers. If your partner is also your best friend, this might be the song for you.

I'm Yours- Joel Plaskett Emergency

Let celebrated songwriter and Nova Scotian, Joel Plaskett take you away with this acoustic serenade as he tries to convince the one he loves to love him too. Recounting a relationship of true love, Plaskett reminds us that soulmates might exist after all.

Put Your Head On My Shoulder- Paul Anka

Time travel back to the ‘60s with Canadian crooner Paul Anka and one of his biggest hits, “Put Your Head On My Shoulder.” The hit regained popularity online in 2017, circulating on social media, igniting a love for similar music in many young people. If you're looking for a sweet, simple serenade, this is the song for you.

Love Always- Said The Whale

The Vancouver-based indie-rock band reminds us that “the answer is love, always” with this upbeat and optimistic tune. If you’re ever in doubt, don't hesitate to turn on this song and remind yourself of all that love can do.

Slip Into Your Skin- Patrick Watson

This intimate and gentle song is a personal favourite. Watson's soft singing, accompanied by twinkling piano, sets the mood for a quiet night in. The song expresses the joy and intimacy of being with someone else, holding them and calling them yours.

The Power Of Love- Celine Dion 

Canada’s sweetheart Celine Dion is known for her vocal chops and love songs — and “The Power Of Love” is a prime example of one. Originally written and recorded by Jennifer Rush, the song has been covered numerous times and has become one of Dion’s biggest hits. This song has everything you could hope for from Dion, with soul, emotion, riffs and belts galore. 

Less Than Love- Bahamas

Raised in Barrie, Ont., singer-songwriter Afie Jurvanen — better known by his stage name Bahamas — details his love life, the struggles that come with relationships, and the perseverance that’s needed to make romance last. True love is about more than just the easy times; in the end, those who truly love are the ones who can endure the challenges.

I Can Feel It- Sloan

Originally from Halifax, the Toronto-based rock quartet Sloan has delivered a chill yet joyous account of love with “I Can Feel It.” Infatuation is at the heart of this song. Crushes without conditions and the hope for mutual admiration carries the melody forward. 

Now that you have 10 love songs to impress that special someone, invite them out of the cold to cuddle up and listen together this Valentine’s Day. You can find our carefully curated Valentine’s Day playlist on Spotify or Apple Music.

Mattmac: An Oji-Cree producer, rapper, singer and musical mastermind

Through writing and producing his own music, Mattmac shares his story and journey with mental health vulnerably, demonstrating his drive to succeed. 

By: Jillian Gonzales

Mattmac is an Oji-Cree artists from Garden Hill First Nation who is making strides in the musical industry. (IRIS/Canada's Walk of Fame)

Matthew Monias, artistically known as Mattmac, is an Oji-Cree musical artist based in Manitoba who is on the rise to fame. The musician, who writes, records and produces his own music, has been blind since birth and uses music as a vessel for healing. This is especially evident in his most recent album, Blurred Visions, released in July, Mattmac shows his vulnerability through his lyrics while pairing them with a hip-hop, pop-trap sound.

Most recently, he was named the grand prize winner of the 2022 Canada’s Walk of Fame for RBC Emerging Musician Program, a contest highlighting young musicians in an attempt to support them as they build sustainable musical careers. . His music is sonically innovative, and his authentic lyrics, mental health journey and rise in the music industry make him a musician who should be on everyone’s radar.

Mattmac was born and raised in Garden Hill First Nation, a reserve in northeast Manitoba almost 500 km north of Winnipeg. The blind artist also experienced depression as a child — and music was the escape he turned to for comfort. His music brings this subject matter to a melodic life, where he focuses on the isolation and mental health battles that have been prevalent throughout his entire life. Songs like Isolation” and “Bring in the Light” relate to these subjects differently, showing his growing perspective on life and the battles he deals with. Mattmac lays out his feelings around these matters almost as if it is a diary, it is personal and raw, while still poetic.

In an article from the Indigenous news network APTN News, Monias speaks about access barriers he’s encountered.  As a Blind creative, his production technology must be accessible to his needs. The privilege to go to a computer repair shop in minutes does not extend to everyone, and Monias has explained that he relies on delivering services to get the equipment necessary to his artistic practice.

In the same interview, he says if his computer or equipment were to break down, he would have to fly in the equipment to repair it. This is part of Matthew’s journey: to utilize and innovate.

Recently, Mattmac has been getting more of the recognition he deserves. His debut album, 20/20, released on Nov. 20, 2020, saw his song “Paradise” make the top 10 on Indigenous Music Countdown. He has been acclaimed by notable outlets and studios such as CBC, CTV and Virgin Radio. In 2021, Mattmac was awarded the Broadcast Dialogue Emerging Artist Radio Award and Rap/Electronic Album of the Year at the Summer Solstice Indigenous Music Awards.

Mattmac’s self-produced Blurred Visions is a beautiful 11-track album that uses pop-trap beats to share his experiences of feeling isolated and unseen amid his experiences with mental health. Pop-trap, an emerging music sub-genre, can best be described in how it intertwines lively pop music and rhythmic trap beats and pair pop vocals with rap and hip-hop. He manipulates contemporarily popular beats by giving them a twist unique to him and his sound. The popular use of the kick drum is present, but lyrical instruments have a heavy influence, creating a new sound. Influence from drill music is apparent in Mattmac’s music and can be compared to Lil Durk and Pop Smoke’s musical sounds. Still, it differs because of his impressive range and melodic flow. 

Songs like “Isolation,” “Rez” and “What We Could Be,” pair the hypnotic trap beat and drums with softer-sounding instruments like piano and strings. Mattmac’s second studio album showcases his songwriting and producing abilities by allowing him to tell real-life stories through words and music. While the rollercoaster of feelings he has experienced during his music career are addressed, the mention of his Oji-Cree heritage and the reverence and pride he holds for his lineage is a consistent theme throughout the album, especially in songs like “Bring in the Light” and “Rez.”

In “Skofoaride,” he highlights how his success is not just for him but to share with his family, showing his drive and determination to succeed goes beyond himself, extending to the collectives and communities that have shaped him. He sings “I’m making a living / don’t know why you’re hating /, I’m getting my family to eat.” 

Lyrics like “Eye on the prize, I’m just living for the moment” in “Isolation” and “I had to hustle to the sun up” in “Come Up” motivate listeners to fight through adversity alongside Mattmac. He is a wonderful storyteller, and his lyrics and accompaniment emphasize the overarching theme of inspiration and drive.

Upon first listening to Blurred Visions, sonically, the craftsmanship is fascinating. The upbeat nature some may expect from this hip-hop genre is not always there. Instead, he takes trap beats and makes them gentler on the ear. There is a subtle softness to these beats — the classic kick drums popular in trap music are muted, but the fast tempo overtakes to create a more lively, atmospheric sound, which is most evident in “Status,” “Luck That I Met You” and “What We Could Be.” Their change in pace, along with their harmonious sounds and transitions, captivate the listener. Mattmac’s music production, paired with the lyrics of the songs, coalesce brilliantly to produce a heartfelt album.

“Isolation” opens Blurred Visions with a piano instrumental and Mattmac’s producer tag, “it’s that Mattmac with the sauce.” It starts slow but picks up with a repetitive kick drum. Not only do the lyrics about Mattmac’s physical isolation stand out, but so do his journey as an artist and the psychological loneliness he deals with. Overall, this song is meant to introduce listeners to who he is as an artist and inform them of his resilience. There is a bittersweet mood within this song. It communicates Mattmac’s emotional and physical solitude but also serves as a song of hope.

As a song with so many layers that has the potential to resonate deeply with a wide range of listeners, it is a truly beautiful piece of music.

The third track on Blurred Visions is “Run It” and features Winnipeg artist Caid Jones. This song is the most streamed on the album, and deservedly so. It is faster and has a heavier trap presence, especially since Caid Jones brings a heavy rap flow. The energy Jones brings resembles Travis Scott’s by how it increases in tempo, how the drum rolls, and how the beat synthesizes. Its heavy bass drops make the song stand out, giving it the hype one might expect from a pop-trap album.

“Run It” is about making it past the doubt others have had over Mattmac and his career. With lyrics like “can’t even believe they were counting me out” and “I finally made it, I’m seeing some better days,” he shows that he has not experienced just internal, personal growth but growth that is visible to others. It is a commentary on the strength it takes to believe in yourself and work against the grain–especially when the grain is riddled with colonial and ableist systems that hinder us. The trap influence on this song reinforces the album’s hopeful aesthetic, presenting a nonlinear array of feelings.

“Rez” closes the album and is melodically powerful conclusion to a lyrically robust beginning and middle. Mattmac harmonizes his vocals to tell his life story on the reserve. This song reaches a higher range than the others, has a more hypnotic sound and includes a sung chorus not found in the other songs. There are hums and vocables to open and close the song, which resembles a chant; a rattler cry. Lyrically, the song recounts the experiences of Monias as an Indigenous person and the feelings of abandonment he has encountered. The repeating lyric “that’s the life we are living in the Rez,” being sung and carried out in long notes, makes the message much more powerful. This song is powerful by melding singing and rapping together to tell this story. It does not use a mundane, quiet beat but instead is louder and higher than the others to create a sense of urgency for listeners to connect with it. 

To close the album, “Rez” musically and lyrically leaves listeners thinking about Indigenous Peoples and the systems which work to marginalize and ostracize them. In an interview with MBC On-Demand, MattMac states, “I felt so limited to what I had because I didn’t have any resources.” He goes on to say, “Garageband was one of the first [softwares] I used.”  Mattmac explains how learning to create music with his limited resources has been difficult, but it's been a struggle he has had to overcome. 

Monias is someone who, through his music, has created breeding grounds for conversations about how these experiences of community, Indigeneity and strength, Mattmac is a musical mastermind who uses art as a tool for storytelling.

His music goes beyond what is presented to you. It is deep and meaningful — it is an ongoing commentary on time, effort and patience, the three things he believes are what will move one’s dreams forward.

In a recent CBC interview, he says, "without neither of them, it's going to be a bit difficult, and it's going to make it seem like you're not moving. But if you maintain all three, you'll get where you want to be … Keep at it and achieve that dream."

Review: Tim Baker calls for community in new album 'The Festival'

Through versatile instrumentation from a tried and true musician, former Hey Rosetta! singer offers a vulnerable sophomore album

By: Olivia Wiens

Tim Baker performing at Toronto’s Tiny Record Shop to celebrate the release of his sophomore album, The Festival on Oct. 21, 2022. (Caelan Monkman/CanCulture)

Our love for music is a tool that has always been used to build strong connections and community, and that is exactly what former Hey Rosetta! frontman Tim Baker set out to do in his sophomore album The Festival, released on Oct. 21. 

With roots that trace back to Newfoundland, Baker was the lead singer for the indie-rock septet from 2005 to 2017, when the band announced an indefinite hiatus from making music. This opened up an opportune solo career for Baker, and he released his debut solo album Forever Overhead in 2019, drawing in multiple nominations from the Juno Awards and the East Coast Music Awards. The success of his first solo album created intense anticipation for more music to come.

Baker has been teasing his audience with periodic singles from the album since May, eventually releasing his four-track EP Echo Park in September. These four songs promised a lyrically-driven, beautifully orchestrated 10-track album for Baker’s fans — and he did not disappoint.

Launched exactly eight years after the release of Hey Rosetta!’s final album, Baker’s The Festival opens with raw piano, which seems to act as Baker’s reliable companion throughout the album. From its somber, simple melody in the opening number, Lucky Few, to its polyphonic contrast in Some Day, to its light accompaniment in Jungle Suite, Baker’s piano not only serves as his right-hand man, but also acts as a comforting hand-to-hold throughout the emotional rollercoaster of this album.

While the keys often take a front seat beside Baker’s simple yet authentic lyrics, the blend of background vocals and unique percussion makes its mark across the album.

Yet, there are constant and pleasant surprises throughout the tracklist. In My Kind, the entire first verse is completely a cappella, with heart-wrenching harmonies and vocables that cause the listener to truly connect with the lyrics. And before the audience can find any repetition within the album, Baker throws in some bohemian instrumentation. Invoking the sounds of the Beach Boys in his song Echo Park, Baker places the listener on the West Coast as he sings about moving from St. John’s to Los Angeles.

But it’s the consistent themes of connection and community that make this album a must-listen, especially after two years of pandemic isolation and loneliness. This is most evident in songs like Year of the Dog and After The Storm, which touch on how the pain of the past can draw people together through mutual love and understanding.

“Thank you for coming

For bringing all of your pain and suffering

How else could you show me

How we need to love?”

This is a stark contrast from his 2019 debut solo album, Forever Overhead, which frequently touches on themes of loneliness and self-reflection. Yet, Baker’s emotional vulnerability is easily translated from his first album to his second, truly demonstrating the complexity of the human experience. While the themes differ, his complex discography allows the listener to always find a song to connect with on either album. Rest assured, the melodic piano stays true as Baker’s constant confidant in Forever Overhead just as it does in The Festival.

While The Festival stays close to Baker’s roots, it also reveals new sides to his creativity that his fans haven’t heard before. His raw, stripped-down vocals and simplistic instrumentation in songs like Jungle Suite and My Kind help him stand apart from his past works with a full band.

However, for the listener who still holds Hey Rosetta! close to their heart, the title track offers an intense, swelling orchestra that concludes the album perfectly. Ultimately, Baker’s work has a little something for each of his fans, which makes it the perfect album to play on repeat any day.

Baker is set to perform in Toronto on Dec. 9 at Massey Hall, where his fans can enjoy this masterfully constructed artistry straight from its creator.

Retro Review: Why The Tragically Hip’s 'Fully Completely' stands the test of time

The Tragically Hip’s most popular album turned 30-years-old this past October, and longtime fans are not surprised by the impact it still has on Canadians

By: Nika Petrosian

The Tragically Hip performing in Orpheum in Vancouver on June 22, 2009, during their tour supporting the album We are the Same (Image courtesy of Scott Alexander via Wikimedia Commons)

From the second you hit play, Fully Completely explodes. Not just a spark — a full-on fireworks display.

The Tragically Hip’s third studio album was released on Oct. 6, 1992, becoming the band’s most well-known album in their decades-long discography. The album, which turned 30-years-old this October, has become an enduring, unwavering pillar of Canadian music and pop culture.

There is a relentless momentum that drives through the entirety of Fully Completely. The album takes off with Courage (For Hugh Maclennan) like a train barrelling down its tracks. The song pays homage to Canadian author Hugh Maclennan and his novel The Watch That Ends the Night, which places the stories, landscapes and scenery of Canada at its core. This is a theme embraced by the band throughout their entire discography. It is an ode to Maclennan, but also to courage and to human perseverance. It is driving — optimistic and hopeful in nature. It is anthemic — a rhapsody; a call to the undercurrents of courage that anchor us in the face of uncertainty.

The forceful drive grinds through the biting Looking for a Place to Happen and the gripping At the Hundredth Meridian while it depicts the pillaging and destruction brought upon Indigenous Peoples by early European colonizers. It creeps ominously through Locked in the Trunk of a Car, where the late lead singer Gord Downie crams emotion into every single word.

It makes sense that Fully Completely is packed with such intensity. By the time the band had begun recording at Battery Studio in London, England, with producer Chris Tsangarides — who had previously worked with acts like Thin Lizzy and Judas Priest — they were already building on the success of their second album, Road Apples, and their years of boisterous Kingston bar shows and tours across southern Ontario.

“The Hip were never, ever shy about the work,” Stephen Dame told CanCulture. Dame is a longtime fan and the creator and curator of A Museum After Dark, a deeply extensive and detailed online museum dedicated to the “people, places, and poetry found in the music of The Tragically Hip.” He says the grit — the collective grueling effort that went into the years of touring, performing, songwriting, composing and recording — is an aspect that deeply resonates with Canadians.

The unwavering endurance is a trait that is seen in many figures in Canadian pop culture and history, and Fully Completely encapsulates it completely. “It was apparent upon first-listen that this was something special, a work of great effort, art and care,” said Dame.

Toronto Star music journalist Nick Krewen told CanCulture that the album showcases a sense of maturity that the band’s prior two albums hadn’t yet established.

“There was a lot more finesse with this album that really coincided with the fact that the band was really finding their feet stylistically,” explained Krewen.

The band’s third studio album was created with the intention of breaking through to international audiences. While it never took off overseas, Fully Completely was a massive success in Canadian audiences, selling over one million copies and eventually earning diamond certification. 

The hard work not only paid off sonically, but these songs also brought Canadian stories to the forefront that may not have even been told otherwise.

“The lyrics were deep and unique, and they often dropped references to people or places which you knew about, thought you knew or maybe figured you should know about,” said Dame.

And it’s true. Fully Completely unearths stories that may have otherwise been buried deep beneath centuries of history. 1951 Toronto Maple Leafs defenseman Bill Barilko’s legacy was brought to light in the song Fifty Mission Cap when the band spoke to his Stanley Cup-winning goal, followed by a plane crash and his disappearance. 

In Wheat Kings, Downie tells the story of 17-year-old David Milgaard, who was wrongfully convicted of the gruesome murder of nursing assistant Gail Miller, while a gentle acoustic guitar guides the song along. The song, which was released six months after Milgaard’s release, is one of the band’s most well-known tracks, and is, according to Downie in the book Top 100 Canadian Singles, a depiction of unwavering faith — it’s, “about our big country and its faith in man's fallibility”, said Downie.

It’s not that they spawned a million more Tragically Hips, it’s that they spawned a million more acts that act like The Tragically Hip

“People were hungry to hear those kinds of stories in rock songs,” said Michael Barclay, the author of The Never-Ending Present: The Story of Gord Downie and The Tragically Hip.

Barclay explained that while the setting is key in genres like country, rap or folk, Canadian rock music found its pillars in other aspects instead. “Hip hop is all about ‘sense of place.’ You know where every rapper is from because they tell you all the time. Canadian rock singers did not do that before The Tragically Hip.”

The songs in Fully Completely spoke to listeners across the country who had been desperately longing for stories that were inherently theirs. 

The familiarity of Canadian landscapes and current events evoked a sense of pride that had been previously lacking. The music spoke to listeners who, according to Dame, “took notice of songs about Prime Ministers instead of Presidents, the St. Lawrence instead of the Mississippi and hockey players instead of the Boys of Summer.”

“If you were coming of age and figuring out your own identity, at a time when referendums and constitutional crises caused the whole country to think about its identity, then this music was uniquely yours,” said Dame. It was a rare moment in pop culture where Canadians could actually understand and relate.

Now, decades later, both Fully Completely and the legacy of The Tragically Hip have endured the passage of time. Their values, their sound, the localness of their stories, and their refusal to stray from these ideas have all trickled into modern Canadian culture.

“The people inspired by The Tragically Hip were mostly inspired to do their own thing. Not trying to be just like their heroes musically or lyrically, but take that independence and self-confidence into what they do,” said Barclay. “I think that is the lasting legacy. It’s not that they spawned a million more Tragically Hips, it’s that they spawned a million more acts that act like The Tragically Hip,” he said.

When asked about the lasting impact of Fully Completely, Dame shared a memory of when he used to drive back and forth between Ottawa and Toronto in the late 90s and into the 2000s.

“Regardless of which direction I was heading, if I had the rock station on the radio, before the signal faded out I would very, very often hear something from Fully Completely,” he said.

Years later, Dame will still hear a familiar song from Fully Completely today. 

“That is a rare honour for any album, and I bet it will still be a laurel the band can claim a decade or two from now.”

Streetwear meets Chicwear: OVO Launches Second Capsule Collection with U of T

The University of Toronto gets a second collaboration with Drake’s brand, October’s Very Own

By: Bana Yirgalem

(Bana Yirgalem/CanCulture)

OVO released its second capsule collection on Oct. 14, in collaboration with the University of Toronto, one of Canada’s most prestigious schools. OVO is a record label and a clothing line founded by Canadian rapper Drake.

The brand's Instagram page announced the second drop featuring rapper Lil Yachty, to showcase some of the collection’s items. Lil Yachty and Drake are good friends, having collaborated on Yachty’s song, Oprah’s Bank Account in 2020. Recently, Yachty has been seen with Drake on his private jet, even sporting a tattoo of an owl.

The use of Yachty for the campaign might be due to the fact his new song, “Poland”, was being teased and that the collaboration between the two artists might bring some buzz for both of them collaborating and according to some of the post’s comments, fans are loving the campaign’s new face.

A variety of items including baseball caps, rugby shirts, varsity jackets and tote bags are included in the limited collection. Through the pieces’ designs, it’s visible that OVO put its own original mark on classic university apparel.

All the pieces have the OVO’s owl mascot and U of T emblems. And the highly popularized vintage varsity letterman jacket features multiple variations of the university’s crest co-branded with the “October’s Very Own” marquees.

The first collection dropped back in August 2021, right before the school year began which allowed students to ring in the new school year dripped in new merch representing their school. Now, just in time for the cold fall season, U of T students can come to campus with school pride while looking fashionable. Fans of OVO can also get the merch because of how aesthetically pleasing it looks for everyday wear.

On the day of the launch, long lineups were expected at OVO stores in the GTA and there was even a long lineup at the U of T’s campus bookstore. The quality of the items was praised in a video on TikTok, nothing that the in-store prices weren’t as bad compared to the school’s bookstore.

However, some fans weren’t as fortunate. Many waited in line outside the bookstore in cold and rainy fall weather just to not be able to get anything from there and admitted in the comments that they had to purchase items on the brand’s official website.

@h6ti the line literally wraps the building and i left early to get here 😭 #uoft #drake ♬ original sound - Beef boss poofsure

And other fans not enrolled in the university of the hour wondered why their universities have yet to have a collab with OVO. This led to numerous calls that they should be doing it for all schools in the GTA, like York University and Toronto Metropolitan University.

This latest drop has people talking which isn’t a surprise because anything relating to Drake will have people and the media talking.

Whether you like Drake or not, you cannot deny that the impact OVO has had on fashion in Canada is quite vast. We’ve seen the iconic owl plenty of times if you're walking down the streets of Toronto, showing the impact of the brand locally. But the brand has also attained global success, collaborating with brands like Canada Goose, NBA, BAPE, Disney and Playboy.

OVO has rebranded streetwear to new heights while adding a twist of other fashion styles which most streetwear brands lack. Canada doesn’t have many streetwear-owned brands that are widely recognized in the country, so OVO is continuously making sure it leaves its mark on fashion in Canada.

The collection will contribute to Drake’s success in fashion because it’ll show people that it’s not just a brand focused on streetwear but can make clothing designed for anyone. Drake branching out to cater to all types of clothing styles shows that he doesn’t limit himself to one aesthetic. My conclusion: the Drake effect is real– whether it be in the music industry or fashion industry, he’ll remain a household name.

(via OVO)

My first post-pandemic concert experience

Feelings of hope and normalcy radiated amongst the crowd

By: Sara Belas

If you told me a year ago that I’d soon be able to stand in a crowd, losing my voice as I yell along to a band I wouldn’t have believed you. In the depths of the COVID-19 pandemic, the resurgence of “old life” felt so far out of reach. But on Oct. 8, 2021, the Ontario government lifted capacity restrictions for large venues such as concerts, and I began feeling hopeful for the first time in a while. 

With vaccinations, life is slowly going back to “normal”, even if there are some new changes. Masks and physical distancing still largely remain in place, and concert venues are no exception. I attended my first “post-pandemic” show at a local bar in Toronto. Small, upcoming bands from all over the city performed, and I was one of the first to arrive to take photos for some bands.

A Weekend At Ramona’s playing their first Toronto show at Tail of the Junction. (Sara Belas/CanCulture)

It was a frigid, crisp October night and the small pub was stone-cold since all the doors and windows were open, allowing fresh air to circulate for the night. Everyone around me wore masks, a second thought for most now. Slowly the tiny tavern began to fill with more people, body heat warming the room enough to start feeling your hands and feet again. 

“I noticed that crowds are just significantly more energetic — you can tell it's been a really long time,” said Chris Munro, lead-singer for A Weekend at Ramona’s, one of the bands playing at the local Toronto concert. 

A Weekend At Ramona’s playing in front of a live crowd in Toronto at Tail of the Junction. (Sara Belas/CanCulture)

Chris Munro, the lead singer of A Weekend At Ramona’s, pausing to smile during a Toronto performance at Tail of the Junction. (Sara Belas/CanCulture)

One by one, each band performed their set, and the crowd began to gather and dance to the music. It felt just the same as the local concerts I attended pre-pandemic. The only difference was this time, each band took breaks between songs to remind the crowd to keep their masks on, something almost everyone around me was already doing. But as the night went on and drinks were served, I began to see masks migrate from peoples’ faces to around their wrists.

Lead singer Zachery Gray from The Zolas felt the same when he opened the show at the Phoenix Theatre in Toronto on Nov. 6. A sea of raised hands went up when Gray asked who was at a concert for the first time since the beginning of the pandemic.

“A lot of people really live for live music,” said Gray. “So to not have that for so long — to not have their outlet, they’ve been suffering. I can see a catharsis when they're here, and I definitely felt it tonight.”

Full capacity at The Phoenix Theatre as the crowd watches The Zolas perform. (Sara Belas/CanCulture)

The Zolas’ lead singer, Zachery Gray, performing in the middle of a crowd at The Phoenix Theatre in Toronto. (Sara Belas/CanCulture)

After their initial set, the audience was desperate for more, with the crowd invariably chanting for one more song. The Zolas returned to the stage with both their opening acts joining. The band began playing their hit song “Escape Artist.”

Halfway through the first verse, Gray picked up the microphone stand and jumped off the stage, making his way to the middle of the crowd. The band continued playing, opening acts DWI and Hotel Mira singing along. By the time Gray had made his way to the centre of the venue, the crowd gathered in a circle around him, like a hurricane of broken voices, music and energy. 

Gray shared that singing in the middle of the crowd is something he’s done before at his shows, but he only does it when he truly feels a connection with the audience. Since the pandemic, he says that there’s been a more magnetic and intense energy from the crowd when he sings amongst them.

The Zolas’ lead singer, Zachery Gray, performing in the middle of a crowd at The Phoenix Theatre in Toronto. (Sara Belas/CanCulture)

The Zolas’ lead singer on stage in Toronto at the Phoenix Theatre. (Sara Belas/CanCulture)

Every performer I’ve asked is excited and grateful to be back in front of people. 

"I look up and see people dancing. I'm like, holy shit. This is legit. I'm not in my room anymore,” A Weekend At Ramona’s bassist Wyatt Garvin recounts. 

Although, this enthusiasm isn’t without some reservations. The pandemic shook the whole world to the core with fear, something that may take a while for most to work through. 

In the now-empty venue, dim, distant lights illuminated Gray’s face in the shadows as he swayed on the balls of his feet, explaining the complex emotions he felt a week before the tour began. 

“I wanted to tell [people] what they wanted to hear, which was, ‘I just can't wait. I'm so excited’—but to be honest, it kind of felt like whatever. The chemical that creates the feeling of excitement just wasn't readily available to me, until we got on stage,” he said.

Hotel Mira’s bassist, Mike Nobel, happily proclaims his appreciation for modern medicine, sharing how the vaccines were what helped ease some of his worries about touring again. 

“This never would have happened if there wasn't a vaccine developed,” said Nobel. “Science rules and everything that developed from that — it's why we can be here today and be playing the shows.”

Hotel Mira performing on stage at the Phoenix Theatre in Toronto. (Sara Belas/CanCulture)

But has the pandemic brought a change in the way people wish to experience music? 

From my experience, I could feel the magical energy coursing through the audience. Looking out at the sea of people, some wearing masks, some not, all dancing and enjoying their time, I began to remember the depths of the pandemic, when celebrities and bands seemed to be going on Instagram Lives every day. 

The pandemic fear is still around, many are still too afraid to engage in large crowds, even if everyone is fully vaccinated. So could digital concerts be the next move?

At The Zolas’ concert, both The Zolas and Hotel Mira livestreamed their performances on their Instagram accounts. Watching bits of their concert in Hamilton a few nights later, my phone could not compete with the real experience I just had. 

Fittingly, through the pandemic’s largest trend — a Zoom call — Jeff Wolpert, director and professor of the music technology and digital media program at the University of Toronto began theorizing if virtual concerts could really be the new wave of live shows. 

The irony was laid on thick, as my computer started cutting out between sentences as Wolpert talked about the amazing things technology is allowing at concerts through concepts such as holograms, naming ABBA and Michael Jackson as examples. But it’s hard to perfectly replicate the experience of a live concert. 

“There's been some [three-dimensional] holographic concerts that have been done and to some extent those might work,” said Wolpert. “But I think the key factor is you gather a great number of people in the space. And that creates its own excitement.”

The development of contemporary art from the 60s to now

An introduction to the modern movements that changed art forever 

Photo: Amaury Salas/Unsplash

Photo: Amaury Salas/Unsplash

By Will Lofsky

The 1960s

From the counter-culture rebellion and rise of rock n’ roll to the domination of the Vietnam War, and assassinations of Martin Luther King Jr and John F. Kennedy, the 1960s was one of the most culturally significant periods in the 20th century.

Pop art was born out of rebellion against the drama of abstract expressionism. High art was pushed for low-brow art and artist’s identities were thrown away to be replaced by famous images from pop culture. 

Photo: Alice Donovan Rouse/Unsplash

Photo: Alice Donovan Rouse/Unsplash

The 60s saw the mass development of technology and consumerism notably expressed in notorious pieces such as Andy Warhol’s Campbell’s Soup Cans released in 1962 and his comic-book style screen-printed Marilyn Monroe work released in 1967. 

This was also the birth of minimalism, which began when artists used mass-produced materials such as steel, neon and bricks to make installations and sculptures using as few materials as possible. Minimalism’s radical use of space created an entirely new avenue to explore in the art world. 

American sculptor and visual artist Tony Smith’s Die sculpture, a brooding, ominous 500-pound cube designed proportionally to the human body, was made of hot-rolled steel that was shown in the Whitney Museum of Art in New York in 1962. 

Agnes Martin, an iconic Canadian minimalist artist from Macklin, Sask., painted until four months before her death at age 92. Her work, The Tree, a six-foot square canvas with faded grey and white horizontal bars created with oil and pencil is a testament to the beauty of deliberate imperfection as the drawn lines are off kilter. 

The 1970s

The 1970s art scene was deeply affected by the fallout of the hippie movement, and male artists were now no longer the dominant creators. Influenced by photorealism and 60s pop art, the pictures generation was born, along with land, performance and feminist art. 

Photo: Nicola Peratoni/Unsplash

Photo: Nicola Peratoni/Unsplash

As land was evolving from a source of materials to a canvas itself, impressionism painters moved from their easels to the great outdoors. Robert Smithson’s stonework Spiral Jetty built in a Utah salt lake and created using “over six thousand tons of black basalt, rocks and earth from the site” challenged the conventions of art and its relationship with exhibitions and marketing. 

Paul Wong, an artist from Prince Rupert, B.C., has experimented with performance art his entire career. His first piece, the 32-minute long video, EARTHWORKS IN HARMONY, was shown at the Burnaby Art Gallery in 1974. 

Wong’s first film shot in colour, 60 UNIT; BRUISE, released in 1976, shows Wong’s friend Kenneth Fletcher withdrawing blood from his own arm then shooting it into Wong’s shoulder to create a bruise. Although the piece was created to symbolize their friendship, in retrospect it speaks volumes about the AIDS crisis in the the 1980s, nostalgic innocence and the dangers of drug use. 

In this era, feminist art also stepped boldly forward, amidst queer and civil rights actions, anti-war demonstrations and the beginning of the Women’s Liberation Movement along the West Coast of California. 

Judy Chicago, Barbara Kruger and Cindy Sherman opened the doors for female creatives to enter male-dominated circles. Chicago’s iconic installation, The Dinner Party, is made up of a gigantic banquet table with 39 place settings, each honouring a historically important woman. With this, another 999 women are commemorated with gold inscriptions on the white tiles below the triangular table. 

The 1980s

Jean-Michel Basquiat, a famous American artist who broke out in the 80s, grew up in the New York punk scene and evolved from having his graffiti art spread along the walls of Manhattan to his neo-expressionist paintings being exhibited in museums and galleries around the world.

To this day Basquiat’s pieces are still sold for hundreds of millions of dollars. In May 2017 a Japanese billionaire purchased Basquiat’s 1982 Untitled painting at a Sotheby’s auction for $110.5 million. 

Throughout Basquiat’s career, he became friends with his favourite artist, Andy Warhol, and lived lavishly spending thousands of dollars on Armani suits and staying in the finest hotels in the United States. 

Photo: The Andy Warhol Museum (thewarholmuseum) on Instagram

While Basquiat was very successful, he had a serious drug problem, which got dramatically worse after Warhol passed away despite a falling out that occurred between them. Basquiat passed away on Aug. 12, 1988, from an accidental overdose at the age of 27. At the time he had completely isolated himself from his family and friends and was using 100 bags of heroin a day.

Basquiat’s pieces Untitled (Boxer), Hollywood Africans, Horn Players and many more have forever changed art and strongly influenced hip hop and the work of some of hip hop’s finest videographers and artists, Dexter Navy and Lonewolf. 

The 1990s

The 1990s saw a new era begin as The Berlin Wall fell in November 1989 and the American Cold War with Russia officially ended in 1991. Bill Clinton, the first baby boomer to run the White House, was the president for most of the decade before the Monica Lewinsky scandal broke and he was impeached. 

The 90s was one of the most influential decades in music due to notorious groups such as Nirvana, N.W.A, Public Enemy, The Red Hot Chili Peppers and Green Day, who broke barriers in the industry. 

Though, while the 90s changed music forever, tragedy was also very much interwoven with the decade, as Kurt Cobain committed suicide in 1994, and rap’s biggest stars, Biggie Smalls, Tupac, and Big L were all shot between 1996 and 1999. 

Cartoons and late-night talk shows in the 90s became incredibly popular, and boosted multiculturalism in the digital with the launch of the World Wide Web, cable TV and cell phones. 

Photo: scheier/Unsplash

Photo: scheier/Unsplash

Art in the 90s responded to the new dawn of the digital age, with concepts of identity and personal, lived experiences being tied all together. Some of the most popular categories of art in the 90s consisted of identity politics, new media and relational aesthetics. 

In 1993, the Whitney Museum of American Art received harsh criticism by majority caucasian conservatives, for what they believed to be condescending and political. Daniel Joseph Martinez, a Los Angeles-based artist designed badges for the museum in 1993 that read, “I Can’t Ever Imagine Wanting to Be White.” 

Another artist featured at the Whitney Biennial exhibition in 1993 was Glenn Ligon, who expressed oppression with black text on a white backdrop on, Untitled (I Feel Most Colored When I Am Thrown Against a Sharp White Background).

Relational Aesthetics was a term created by Nicolas Bourriaud, a French curator that defined the term as “essential to art from this moment.” Vanessa Beecroft’s nude and scantily clad performance art, particularly her 1999 VB35 showcased the clash of bodies and politics in museums. 

Pierre Huyghe, a French artist, became notorious for his 1999 piece (although it debuted in April 2000), The Third Memory, in which he re-created the set from the 1975 fictional movie about a failed 1972 Brooklyn bank robbery, Dog Day Afternoon. Huyghe created a hybrid between documentation and history with footage from the film, shots from news broadcasts and a real interview with John Wojtowicz, the bank robber that inspired the movie. 

As technology continued to advance in the 90s, new media gave artists more freedom than ever. Los Angeles artist Doug Aitken became one of the most creative pioneers of immersive video installations. His multi-panel video work, Diamond Sea, was showcased in 1997 at the Whitney Biennial, and his 1999 multiple-room Electric Earth which won the Internal Prize at the Venice Biennale.

The 21st century

Art in the 21st century is seemingly impossible to characterize. Though several movements such as computer art, visual culture and neo-dadaism — a term for the satiric multimedia take on day-to-day-life — and absurdist art have seemed to dominate the past two decades so far.

Graphic artists in the 21st century continue to push the boundaries of art for TV, movies, commercial work, album art packages and more. Mihailo Andic, a graphic artist based in Oakville, ON., has worked with Lil Yachty, Drake, 88 Glam, PARTYNEXTDOOR, 6LACK, and more. 

While Andic has been Lil Yachty’s creative director since his first mixtape Lil Boat, one of his most impressive pieces to date is the cover of Quality Control’s second album, Control the Streets Vol. 2. From Andic’s meticulous text design to his use of symmetry and hyperrealism for this overhead view of an airport, his attention to detail shines through and through.

Photo: Mihailo Andic (mihailoandic) on Instagram

The visual culture movement has evolved primarily out of new media, performance art, installations and relational aesthetics. Although it remains limitless, scholars of visual culture tend to analyze pieces and look for religious, political, feminist, scientific and ideological symbolism as this work is expressed through an endless stream of mediums. 

Indigenous storytelling in virtual reality has achieved popularity in Canada thanks to Nyla Innuksuk, an Inuit director, producer, writer and VR-content creator. Innuksuk’s film, Breaths, an intimate documentary on Susan Aglukark, an Inuk singer-songwriter, explores Agulkark’s powerful account of post-colonialism and the events that shaped her sound. 

Innuksuk’s very personal, face-to-face approach to studio shooting in a black room makes the viewer feel more connected to Aglukark, before being thrust into the open snowy tundra of the North. 

Ryan McGinley is a 42-year-old photographer from New Jersey that rose to fame quickly because of his ability to capture intimate moments that seem to be completely free of all the daily stresses of reality. His 2007 shot, Ann (Slingshot), is one of the defining photos of McGinley’s career along with countless other breathtaking images shown at his events in Soho, Denver, Tokyo, London and more. 

Dadaism, also known as anti-art, was started after WWI by artists that were desperate to make light against the evils of the world and today that fight still goes on with millennials in multiple mediums. 

Absurdist humour has evolved into the age of social media through the spread of memes, vines, self-deprecating websites, bizarre videos and satiric Twitter communities. 

Bill Wurtz, a famous neo-dadaist Internet personality’s Still a Piece of Garbage viral YouTube video, created in 2015, still resonates with users that enjoy self-deprecating humour. Wurtz’s combination of fast-moving colourful and semi-distorted graphics to look intentionally amateur with a catchy melody for the five second video has strongly influenced Tik Tok culture’s recipe for a viral video. 

Video: bill wurtz on YouTube

While many art critics reject neo-dadaism as nonsense, the Internet has allowed anyone to create their own satiric work online across a variety of platforms to share, and there is beauty in absurdist humour’s ability to bring some joy to a chaotic world. 

As technology continues to advance and change, art will inevitably reflect the changes through installations, new media, neo-dadaism and the blend of all its predecessors in the coming decades. 

In the oversaturated Instagram era, artists have more competition than ever before to get noticed, but perhaps that challenge is a blessing for the boundaries of multimedia to be pushed further than ever before.