Katherine Lynn-Rose brings a new narrative to the Canada’s Got Talent stage

The singer-songwriter sheds light on the pressure of living up to expectations and the importance of representation through her original song

By: Nageen Riaz

Katherine Lynn-Rose on stage (Jag Gundu/Citytv/Canada’s Got Talent)

Season 1 of Canada’s Got Talent was a huge success and was Citytv’s most-viewed original series in over a decade, reaching 1.3 million weekly viewers. This year, they’re back and bigger than ever with an all-new season featuring over 100 acts, all competing for a chance to win $150,000 and the opportunity to perform at America’s Got Talent Superstars Live in Las Vegas.

Among this year’s contestants is Katherine Lynn-Rose, a Chinese-Canadian singer-songwriter who graced the stage with a performance of an original titled Top of My School. This 19-year-old Burlington-based artist wowed the crowd with her audition and received thunderous applause from the 5,000 audience members.

But getting on that stage was no easy feat. It required intense ambition, endless support and a series of spontaneous decisions.

“I submitted over the summer [of 2022] and didn’t really expect to hear back,” said Lynn-Rose. “I literally recorded when it was dark outside, and I didn’t even have lighting, I just recorded it randomly one night before I had to head back to school.”

Lynn-Rose says the experience was life-changing, but she couldn’t have done any of it without her friends and family’s support. From helping her bring her lyrics to life to cheering her on during her performances, they played an important part in Lynn-Rose’s musical journey. “As soon as I walked on stage, I swear I could hear them screaming. I could just make out their voices so clearly,” she said.

One of Lynn-Rose's friends, Joshua Turchin, even recorded the piano arrangement for Top of My School. Lynn-Rose attempted to learn the piano chords and roughly planned out how she wanted the song to sound by using Garageband on her parents' iPad to individually place each note on the piano. She then sent the track to Joshua, who brought it to life. Since its release, the song has gained over 12 million streams on Spotify.

Top of My School was originally inspired by a character Lynn-Rose created for a school assignment during COVID-19. The character has an obsession with being the best at everything she does, and Lynn-Rose wanted the song to incorporate that mindset by highlighting how toxic it can be. “It’s everything I don’t like about myself amplified into a person and song,” she said.

“A lot of what the lyrics touch on is based on my life as a Chinese-Canadian child of immigrants. So going into Canada’s Got Talent, I knew this is the song I wanted to start with because of how much it meant to me and how it’s my story that I’m telling.”

 Katherine Lynn-Rose during her audition (Jag Gundu/Citytv/Canada’s Got Talent)

Lynn-Rose’s songs often revolve around the struggles of living up to her parents’ expectations. In fact, she even revealed that one of her upcoming songs was about her relationship with her mother. “When there’s a language barrier between parent and child, you learn to find other ways to express love. It’s about finding the feeling of love in silence and learning how that silence speaks,” said Lynn-Rose.

“But there’s also that feeling of 'I know that you love me, I know that you’re showing me in these ways that are not typically how we show love, but if you could just say those three words…' They never say it, and sometimes I really just need that verbal confirmation," Lynn-Rose added.

This narrative resonated with a lot of Lynn-Rose’s fans and listeners, including Canada’s Got Talent judge and Canadian online personality Lily Singh who commented on the song's ability to capture what it feels like to live up to these expectations. “This is the first time I have ever heard a song about this subject matter. I could totally see it being performed on Broadway, and I feel like for the first time I have an anthem,” Singh said during the episode.

But confronting the baggage that comes with being a child of immigrants isn’t the only thing Lynn-Rose hopes people take away from her music. “I want people to know that everyone has their own story and experiences, but they almost never get to be told in the media,” she said. “If the representation isn’t there, you can write it yourself, which is exactly what I did.”

Growing up in the musical theatre scene, Lynn-Rose recalled how she was constantly told she wouldn't make it in the industry because the only role she would be cast in was Mulan. Since then, Lynn-Rose has learned that Asian representation on Broadway goes beyond just roles like Mulan, but there’s still an underlying problem in what these characters signify.

“The so-called representation, like in [the Broadway musical] Miss Saigon, is perpetuating the white saviour trope and it shows we are written by white people who tokenize these Asian characters,” she said.

Lynn-Rose shedding light on the lack of representation was an integral part of her audition for the reality show. Trish Stratus, a professional wrestler and another judge on Canada’s Got Talent, said during the episode, “representation matters because for the people at home, if she can see it, she can be it. The words meant so much, and everybody felt it.”

“I am not a fan of musical theatre, but you sold that so hard to me,” said judge Howie Mandel. “That was so beautiful, so real; you’re a really good writer too.”

Lynn-Rose said that meant a lot to her, because she looks up to Broadway legends Steven Sondheim and Lin-Manuel Miranda for inspiration and even describes her own style as "musical theatre pop."

“I write music that are singles and can be stand-alone tracks but can also tell an overarching story if they need to,” she said. “Growing up, I did a lot of musical theatre, so I really love the genre and how it can tell a story, and I lean into that when I’m writing.”

Lynn-Rose hopes her love for musical theatre will one day lead her to a Broadway stage, where she aspires to either write or star in a show. For now, you can catch her on Season 2 of Canada’s Got Talent on Citytv or stream her audition on YouTube.

A beginner's guide to Toronto vinyl, CD and cassette tape collecting

Why not find a new retail therapy outlet?

By: Grace Moloy

(Sama Nemat Allah/CanCulture)

Toronto has a wide variety of shops to choose from when you want to buy vinyl, CDs and cassette tapes. So, to save you the hassle, I visited seven record stores across the city — all with their own unique reasons to go there to help build your collection.

But it’s really the people behind the counters who make the shops as eclectically appealing as they are, so while visiting these places, I asked each cashier for their essential album(s) upon meeting them at the counter.

Sonic Boom - 215 Spadina Ave.

Sonic Boom is open from 12 p.m. - 8 p.m. 364 days a year. (Grace Moloy/CanCulture)

Employee’s Essential Choice: Nocturne by Wild Nothing

Located in the Spadina area, Sonic Boom holds a wide genre selection spanning from jazz to punk and beyond. The store sells CDs, vinyl, cassette tapes, posters, music accessories and more.  With an amazing atmosphere, great music playing and some friendly staff, it’s a lovely place to spend the day. I’ve found so many amazing albums here, including my most recent pick, Tidal by Fiona Apple.

 Invisible City Record Shop - 222 Spadina Ave. Unit C4

Invisible City Record Shop is located in the lower courtyard of the Chinatown Centre complex. (Grace Moloy/CanCulture)

Employee’s Essential Choices: Aja by Steely Dan, Promise by Sade (really anything from Sade, she said) and Nightclubbing by Grace Jones

This spot is a vinyl collector's dream, featuring a wide selection of records that span the decades and a small curated selection of cassette tapes. The staff is very friendly and the place seems like a popular spot for DJs searching for tracks to accompany their next set. They sell all kinds of vinyl from Afrobeat to Dubstep. Invisible City has a great atmosphere with helpful staff, $5 vinyl bins and comfy chairs to listen to potential new pickups. You definitely should check this place out on a day trip!

Kops Records - 395 Queen St. W. and 209 Danforth Ave.

Kops has been buying and selling records since 1976. (Grace Moloy/CanCulture)

Employee’s Essential Choice: Tago Mago by Can

Kops has two Downtown Toronto locations, as well as one in Oshawa, Ont. When I first walked into the 395 Queen St. W. location, I was amazed at the range of selection — I spotted newer albums like And in the Darkness, Hearts Aglow by Weyes Blood and vintage records like Kind of Blue by Miles Davis. This location has a basement stocked with seven-inch single records and even more vintage vinyl. If you're searching to build the foundation for your vinyl collection, I’d recommend you start here.

Cosmos Records - 607a Queen St. W. and 652 Queen St. W.

Cosmos is ranked #056 on Vinyl Factory’s world’s best record shops list. (Grace Moloy/CanCulture)

Employee’s Essential Choice: Low by David Bowie 

Also found at the heart of Toronto’s Queen St. West strip, this cute spot is a staple for music lovers and collectors. The layout of the area, along with the really friendly staff, really made my experience here top-notch. There was an upstairs section where you can look out over the entire store, which included a DJ setup. There are so many genres to skim through — I even spotted a ‘Japanese Hip-Hop’ section. Cosmos sells mostly vinyl, with the exception of a tiny CD rack in one corner of the store. This is a great spot for DJs looking for tracks and music lovers fiending for another ‘70s deep cut.

Shortstack Records - 1006 Dundas St. W.

Shortstack Records won NOW: Toronto’s Best Record Store in 2021. (Grace Moloy/CanCulture)

Employee’s Essential Choice: Marquee Moon by Television

Shortstack Records is a tiny shop with a great selection just outside of Trinity Bellwoods Park. One of my favourite parts of their collection is the soundtrack section where I found the Moonrise Kingdom soundtrack and fangirled a bit. This is a smaller shop but is worth the trek out of downtown. Come by and find a gem for yourself!

Dead Dog Records - 1209 Bloor St. W., 568 Church St. and 256A Queen St. W. (inside Black Market Underground)

Dead Dog opened their doors in 2015 and they currently have three locations. (Grace Moloy/CanCulture)

Employee’s Essential Choice: Fun House by The Stooges

Dead Dog’s Church Street location is a place I tend to frequent. They sell apparel, CDs, vinyl, cassette tapes and tote bags featuring classic rock bands. They have a broad selection of vinyl from Avril Lavigne to David Bowie to The White Stripes and everything in between. A personal highlight is their selection of used CDs at amazing prices; I’ve picked up so many gems here!

Paramusic Records - 68 Dundas St. E.

Paramusic has been an independent record store since 1995. (Grace Moloy/CanCulture)

Employee’s Essential Choice: Kind of Blue by Miles Davis

Paramusic Records is a personal favourite of mine. While selling the usual finds in a record store, it’s still a fun, little store to get lost in for the day. I’ve found some of my favourite CDs here (Post by Björk and Sgt. Pepper's Lonely Hearts Club Band by the Beatles!). They have a great selection and great deals!

While Toronto has so many great music stores to choose from, these are some of my favourites. I will endlessly recommend anyone to start collecting vinyl, CDs or cassette tapes. I think owning physical music is very special, especially if your love for music is as tangible as the records themselves. If you’re in Toronto, I hope you check out one or all of these spots!

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.

Artist profile: Feura’s world of queer pop euphony

With the backing of community, this artist is on the come-up for dominating queer Toronto

By: Andrea Zayan

Feura performing on Nov. 6 at the Supermarket in Toronto. (Kinza Zafar/CanCulture)

The jubilant subculture contained within the Toronto underground concert scene can be attributed to up-and-coming artists like Feura. The musician embodies radical queer reverberations throughout their discography, extending to a crafted community within a vessel of melodic pop tunes.

Upon embarking on the social media accounts of the multi-talented sensation, a vibrant world unfolds through their unabashedly, unapologetic stage presence. Through restless moshes, taped-nipples and uproarious vocals, Feura effortlessly executes astute queerness in all their endeavours.

On-stage, Feura says their creativity endlessly runs rampant, manifesting through the art of performance. With a relentlessly punk candor, they harbour an experience that exceeds all phonetic expectations. Their rockstar look can be accredited to their roots — which lie in drag artistry — and it remains a key component to their performances today.

“I really love makeup, costuming, glitter, sparkles, that sort of thing,” explained Feura. “I’m basically still doing the drag, only now it’s more of an androgynous/alt sort of drag.”

Speaking to Feura via Zoom, their charm exudes beyond diametric reality. It’s evident right-off-the-bat that they’re extremely passionate about their craft and could converse infinitely about music.

Feura’s sound can’t be encapsulated by a singular definition; their creative process is informed by an abundance of artists and genres. Their music exhibits an amalgamation of pop, punk, metal and rock influences — deriving inspiration from cult-favourites such as Lady Gaga, Paramore, Avril Lavigne and most notably, Peaches. “My mother — as I call her — of stage presence, that I wanna be like, is the artist Peaches. She’s like this rockstar, electronic music, from like the ‘80s and just has that ‘I don’t give a fuck’ attitude that I wanna bring to stage every time I get up.”

Photo by Meg Moon

They often find their creative emblem evoked during periods of intensity. Feura’s writing derives from fervent experiences, reflecting creative ignition during the highest and lowest parts of their life in an effort to work through trauma and heartbreak.

“That's, of course, when I want to write the most — not when I'm in a neutral state. My music is just an expression of who I am on the inside and the extension onto the stage is also just an expression of all the creativity happening within me.”

Pointedly, their stylistic niche trickles down to a post-mosh gush of emotions – a surreal high that feels irrecoverable. They weigh in on their hyper-specific ballads by offering me an elevator pitch. “You’re crying, you made out with somebody in the pit, they broke your heart – now you just need a little tune to listen to. That’s me, I’m your after-mosh kind of gal.”

Currently enrolled in the Toronto Metropolitan University (TMU) professional music program, Feura has been tuning their ever-evolving sound and perfecting their craft. They’re diving into the multi-faceted aspects of being a musician — encompassing performing, producing and songwriting. Within the program, Feura has discovered a diverse networking opportunity, as the program breeds space for collaboration with other creatives. They say the program presents a marriage between all the foundational elements for becoming an artist.

“The way that they combined learning music business with artistic practice is, I think, neglected a bit in the Canadian music education system. It’s either you’re very theory-based or you’re very music-business-based and as somebody who wants to be an artist, you need to have both sides to [do] what you’re able to,” says Feura. “I think this program is combining that perfectly.”

Outside the program, Feura became immersed into local music subculture by frequenting gay bars and queer techno raves. There’s innate queerness exuding through the atmospheric music scene of Toronto and it’s left an eminent impact on the artist. Queer BIPOC crusaders attest to this wave of effervescent life that has taken on the locale. To witness masses of liberated queer people galloping to esoteric DJ-remixes is to experience authenticity and joy, knowing you could never look back — and Feura surely didn’t. They seek queerness in all aspects of their life and music — it’s proven to be pertinent.

“You’re crying, you made out with somebody in the pit, they broke your heart – now you just need a little tune to listen to. That’s me, I’m your after-mosh kind of gal.”

“There’s queerness in all music out there – even country. I met a queer country band and they were awesome!...The metal and punk community have a huge queer following behind it. Pop music [too], of course – because we all know, we love a good pop song. I feel like I’m offering the unique bridge between pop, metal, punk — all of that — and delivering it in an alt-pop sort of way.”

The inevitable politicization of their presence in the scene sparks revolutionary inspiration for Feura. Radical themes unfold in their lyricism, as their art is composed to stride as its own political statement. They execute a power-grab, by imposing reclamation of oppressive forces placed upon them – it’s a theme that will always frequent the musician’s art.

“I am an oppressed artist and I identify as non-binary. I’m mixed race — I look East Asian, I'm half Chinese — so anything that I sing about, no matter what, ends up being politicized…I mean it's radical in of itself for me to be singing about, you know, wanting to date women or doing those sorts of things — although, it's just another love song, or something like that.

“I will always have those sentiments in my art, I will always have them as a piece of who I am and it’s something I wanna continue to express and make change with.”

Photo by MG Ommert

Revolution takes front in their latest merch drop, consisting of apparel and accessories branded ‘Feura’s Bitch.’ Currently being sold at their shows, the drop is characterized by a ritualistic, niche innuendo. It all unveils at a casual cafe-esque setting, where they enticed the audience into an energized, adrenaline-induced rave by the end of it all. “Afterwards my friend came up to me – and the audience was just going wild – and they went ‘Oh my god, you made the audience your bitch!”’ Since that foundational moment, their fans and bandmates have co-opted the earnest title of being Feura’s bitch.

“I call my band my bitches and they’re basically all white men so it’s again, bringing that political side — where, you know — make the white man your bitch! They’re all for it though; they love it. They always tell me they’re the submissive ones,” said Feura.

Community is at the epicenter of Feura’s world, with queerness exuberant at every corner. Its mention provokes an enthusiastic introduction to the ways it unfolds during their live shows. They discuss the community they’ve crafted, highlighting the natural gravitation queer people have towards each other.

“You don’t pick community, community comes to you…the people who come to see me are usually people I wanna vibe with anyways and they create their own community around me.”

Feura makes it known they’re not afraid to get down-and-dirty with their crowd. Their audience interactions ooze pure punk vigor — it’s a component that completes the unique vessel of art that is their performances.

“I wanna party with my people when I’m up on stage! The thing is, queerness isn’t necessarily just sexuality, it’s a culture, and everybody is welcome in queer culture.”

The inevitable politicization of their presence in the scene sparks revolutionary inspiration for Feura. Radical themes unfold in their lyricism, as their art is composed to stride as its own political statement.

As they designate, there’s only one rule to abide by.

“Be damn open-minded, be open to just everything and anything and don’t be afraid to be yourself. As long as you’re not stepping on other people – unless they ask for it!”

Having started songwriting in 2020, Feura has an excessive line-up of successes to their name. They kicked-off their spree of performances with their first show in March 2022. Since then, they’ve been playing non-stop shows across the city, their most notable being at the El Mocambo as a 2022 Honey Jam Emerging Artist. They were also selected as a 2022 Emerging Artist for the Canadian Musicians Co-operative.

In June, the Pride Toronto Committee dubbed them the honour of hosting the Trans Pride Afterparty. They performed a half-hour set for a group of well-over 1,000 people. This achievement was uniquely significant to them as they strive to advocate for the trans community in all their pursuits.

“Specifically it being the Trans Pride Afterparty, which is directly after the march, it was such a huge opportunity for me to literally connect with the people that I want to represent the most and be a voice for.”

Feura's latest show took place at the Supermarket on Nov. 6 alongside local bands The Bleaks, Connie and Hockey Academy. Enthralled with ambition, they have big plans on the come-up for 2023. They’ll be busy writing more music and hope to play music festivals, as well as expand their reach beyond Toronto. They’ll be debuting a line-up of pop-rock/punk tunes at their next show on Jan. 28 at Sneaky Dee’s, featuring performances from Heavenly Blue and Stone Beach.

“Watch for big things on the horizon in 2023.”

What your favourite Toronto concert venue says about you

We’re totally not judging you on where you choose to see your concerts in Toronto … well, maybe we are

By: Zaina Razek

Since live music has made its grand return to Toronto, the venues are booked and playing all the best shows. Every venue, big or small, has some sort of stereotype, whether it’s because of who’s playing there or why you choose to go there.

Do you ever wonder what someone thinks when you tell them you love seeing concerts at the Rogers Centre? Do you get side glances when you mention you frequent Rebel? Well, here's what your favourite Toronto concert venue says about you.

Scotiabank Arena

The Scotiabank Arena, located at 40 Bay St., is one of the most popular venues in Toronto and is known for its large productions. (Harrison Haines via Pexels)

As one of the larger arenas in the country, standing at 665,000 square feet, the Scotiabank Arena can accommodate around 20,000 people for concerts. We have seen some of the biggest headliners take the stage here, such as Bon Jovi, Lady Gaga, Tyler the Creator and Harry Styles.

If big-name artists who naturally attract flocks of fans are your cup of tea, then this is the place for you. But be warned: You might end up paying $300 for a back-row seat just for someone else to block your view. But if you're lucky enough to get close to the stage, that ethereal concert feeling might just be the experience of a lifetime.

If this is your most frequented venue, you know how to get the best seats and tickets out there. You definitely don’t have a budget and are willing to spend an entire paycheck on a ticket. Your Instagram stories are full of countless grainy, ultra-zoomed-in videos. Spoiler alert — no one can see who’s on stage.

The good thing about this large arena is that everything is available to you. Restaurants, drinks, and stores are all in the heart of downtown Toronto. Be prepared to pay extra for the food and drinks because it can get pretty pricey.

History

History, one of the newest concert locations in the city and located at 1663 Queen St., is producing all the hot shows in Toronto. (Jmaxtours via Flickr )

History Toronto is a newer, smaller venue that houses about 2,500 people, making it an intimate experience for performers and audience members alike. Big names such as Sean Paul and Jack Harlow have taken the stage here with great performances, but lesser-known independent artists often take to the History stage as well.

If you are a frequent visitor here, you know that wherever you stand, you’ll have a great view of the stage. As most of the concerts held in History are general admission, your dedication to waiting in those notoriously long admission lines, rain or shine, is a sign of a true music fan. You’re the type of person to line up at 5 am on Boxing Day and lose sleep over precious deals. Your commitment is unreal. Personally, if I had to stand in line for over two hours in the rain, I think I would leave.

History is owned by Drake in partnership with Live Nation Canada, but if that’s the only reason you go there, it’s time to rethink that decision; trust me, he won’t be there.

Danforth Music Hall

The stunning Danforth Music Hall, located at 147 Danforth Ave., is a venue that has excellent vibes for a night out. (Richard Eriksson via Flickr)

The Danforth Music Hall is a Toronto venue classic in the heart of the Riverdale neighbourhood. With a capacity of around 1,400, this venue is one of the smallest on our list. This venue highlights some of the smaller artists like Sasha Alex Sloan and Dayglow, and for all the Swifties, a Taylor Swift party night. If the real Taylor Swift showed up, her fanbase might actually cause the intimate venue to explode.

If you’re a repeat customer here, chances are you don’t want to spend a lot of money on tickets.  This venue makes their tickets so cheap that you’ll spend more on a drink than on the artist. It’s time to face reality as visitors here are going for a party, not just the artist. You can take advantage of the ticket prices at Danforth, and it even makes the line pretty worth it, even if you are waiting there three hours before admission. Ultimately, this venue’s reputation for hosting smaller artists makes you the type of person to flex your underground music taste.

Rogers Centre

The overwhelming size of Rogers Centre, located at 1 Blue Jays Way, is made to house the most exciting and entertaining live music in Toronto. (Onion via Flickr)

Rogers Centre, one of the most well-known venues in Toronto, is probably the most ordinary of venues you could attend. You’re clearly an avid pop music fan, and the basics of the music industry, which is a necessity.

The large stadium can hold around 53,000 people and has welcomed some of the most famous names in the music industry, like Ed Sheeran and PINK, to the stage. The 360-degree stage gives artists a chance to face everyone, which makes the concert all the more enjoyable.

If this is your favourite venue, you have the patience and dedication to wake up bright and early to battle the not-so-reliable Ticketmaster for a smidge of a chance to get your tickets. It is clear that you will do anything to get what you want. No matter how many times Ticketmaster waitlists you or how early you wake up, nothing is stopping you. The thrill of being in a big venue with tens of thousands of other people tells us how you live life on the edge, always looking for the biggest party and are ready to meet new people.

Budweiser Stage

Budweiser Stage, located at 909 Lake Shore Blvd W., is the venue for a summer night full of live music that leaves you with chills. (Flickr via The Ranch Events Complex)

The famous Budweiser Stage has made its mark on the city. With a relatively large capacity of 16,000 people, it's generally an outdoor venue, pending the weather. Now if you're sitting on the lawn you are just here for a good time. You definitely know how to make others happy and always enjoy the moment. Ticket prices are somewhat affordable depending on the artist, meaning you’re not a big spender. This is the most chill it gets, of course.

If this is your favourite venue, you have a lawn chair and blankets ready to go. Your day for sure starts with a hike and music that makes you feel like you’re in a coming-of-age movie. No judgment here — you really are the main character. This is a great summer venue that has showcased amazing artists like Luke Combs and The Lumineers, bringing a sense of sentimentality to this venue.

Rebel

For a night of dancing and raving, Rebel, located at 11 Polson St., has got the space and energy for it. (The Ben Nicholls via Flickr)

Rebel is a nightclub that knows how to throw a good party with music that can put anyone in a dancing mood. It was made for the ravers, the partygoers, and those looking for a great night out. With EDM artists like Loud Luxury and John Summit performing here live, you are bound to be tired from all the dancing by the end of the show. The club is made to fit 2,500 people and has some of the most incredible light effects you’ll see at any venue.

If this is your favourite venue, you are the mosh pit type of person, meaning you are not afraid of anything and take on challenges head-on — a true role model. You’re ready to dance your heart out and maybe get stepped on here and there. If this is your usual Friday night plan, you’re looking to get your heart racing with non-stop music and dancing. My only question is, do your feet hurt?

Massey Hall

Massey Hall, located at 178 Victoria St., has a classic theatre style that suits musicians of all types. (Brucek via Flickr)

Don’t worry, we haven't forgotten about Massey Hall — the home of the theatre kids. With cozy vibes and an intimate atmosphere, this beautiful and historic Toronto venue seats around 2,700 people. This venue is constantly growing with popular performers like Olivia Rodrigo and Charlie Puth who hit the stage in 2022. Massey Hall is a lot more traditional and older than other venues, but it’s always welcoming emerging artists, so this is the perfect place to discover new music.

On the other hand, if this is your favourite venue, you are comfortable with lining up for as long as your feet can take it. Audience members here have the essentials, snacks, water, and blankets, packed for the long wait just to get those prime seats. 

Phoenix Concert Theatre

The Phoenix Concert Theatre, located at 410 Sherbourne St., hosts live and exciting rap concerts and events. (Thecomeupshow via Flickr)

Last but not least, the Phoenix Concert Theatre, a small venue fitting only about 1,300 people, is full of life. It mainly hosts rap artists, but the versatility of this venue means that anyone could be a regular here. 

If you love coming here, you’ll know it's a nightmare if you aren’t gifted with height. The flat theatre makes it difficult to see anything unless you’ve pushed your way to the front. The ticket prices are generally forgiving, making it pretty affordable to come here multiple times. The food and drinks are also not very expensive, making this trip light on your wallet.

This venue is a party city. Keep your eyes peeled for crowd surfers — this place is notorious for them.

Toronto has some of the country's most well-known concert venues, as well as many low-key venues to balance it out. Each venue contains its sense of magic, giving you a different experience each time. Your favourite Toronto concert venue says a lot about you, like how much you're willing to spend on a ticket, how long you’re willing to stand in a line, and what you consider essential for your concert-going experience. At the end of the day, we're all going for the same reason: live music (but we can’t help but silently judge).

10 festive Christmas songs by Canadian artists

Have a very Canadian Christmas with these carefully curated carols 

By: Daniella Lopez

(David Beale/Unsplash)

As the snow begins to fall and the temperature drops below zero, Canadians are gearing up — and bundling up — for Christmas. Whether you celebrate the festive season by keeping cozy indoors or adventuring outside, one thing is for sure: you’ll need holiday tunes.

Here are 10 songs by Canadian artists to instantly add to your holiday playlist. That is if they aren’t there already.

All these songs and many more can be found on our playlist, A CanCulture Christmas. Available now on Spotify and Apple Music.

Michael Buble - “It’s Beginning to Look a Lot like Christmas”

When thinking of Christmas songs, you surely can’t forget about the ones sung by the King of Christmas. “It’s Beginning to Look a Lot like Christmas” is perhaps one of the most famous festive songs to put you in that holly, jolly spirit. Buble’s deep voice is comforting on every Christmas playlist, and while you probably don’t need a reminder, this song will ensure that you don’t forget festivities is right around the corner.

Celine Dion - “Happy Xmas (War is Over)”

Originally recorded by John Lennon and Yoko Ono, “Happy Xmas” is a protest song against the Vietnam War. Dion’s rendition of the song is one of the most popular, as her unique singing style and soft, soothing voice are instantly recognizable on this track. Again, here’s another Christmas song staple to listen to in front of the fireplace with some hot chocolate in hand.

Alessia Cara - “Make It To Christmas”

Christmas is often seen as a holiday best spent with a partner. In this song, Cara sings about the lack of hope she has in her relationship lasting until Christmas. “Just make it to Christmas,” she sings, her melancholic lyrics accompanied by an upbeat tempo that creates a stark contrast. Nonetheless, this song has a happy beat with the realistic woes of the holiday season.

Ryland James - “Please Come Home for Christmas”

Are you missing someone this holiday season? Well, this song may be for you. One of James’ most popular songs is his cover of the original 1960s carol. “Please Come Home for Christmas” was also covered by The Eagles and Jon Bon Jovi, each covering it in their own unique way. James makes his version stand out as he combines the genres of rock, blues and pop to form a contemporary ballad. His strong voice stands out among the music.

If the ballad isn’t your jam, James has some other Christmas music to get you in the spirit. He released his Christmas EP titled A Little Christmas in 2020 and came out with a newer Christmas song in 2021 called “A Christmas to Remember.”

Nikki Yanofsky - “Mistletoe”

Not the Mistletoe you were expecting, huh? While, the Montrealer is best known for singing the 2010 Winter Olympics theme song, I Believe, at the opening and closing ceremonies, she also has a new collection of holiday tunes. In this song, Yanofsky sings about all the Christmas festivities  — from candy canes to hot apple cider to, of course, mistletoe.

Bryan Adams - “Christmas Time” 

While Christmas songs usually include bells and brass, who said we couldn’t listen to a bit of rock too? Adams’ iconic Christmas song is perfect for when all those other holiday jingles start to sound the same. Although it was written and recorded in Vancouver during the 1980s, this song wasn’t released until 1985. In 2019, Adams released a music video for the song. If the title doesn’t ring a bell, just give it a listen, and you’ll surely know it. 

Elijah Woods x Jamie Fine - “It’s Me and You (This Christmas)”

Canadian duo Woods and Fine released this song in 2018. The pair is best known for premiering on CTV’s The Launch, a music competition where contestants compete to have their debut song broadcast commercially. Shortly after the season aired, they released their single “Ain’t Easy.” While the duo has since parted ways, that doesn’t mean we can’t enjoy the holiday joy they left behind. Whether they’re singing about romance or friendship, this is the perfect song to listen to with your loved ones.

Arkells - “The Last Christmas (We Ever Spent Apart)”

One of the newer Christmas songs on this list, the Arkells gifted us this carol in 2021. The lyrics make it quite clear that the band is referencing Christmas during the global pandemic. “Last Christmas, I didn’t get to hug ya,” they sing. “It almost broke my heart.” This song will surely bring back the memories of the odd holiday season we endured during 2020. 

Virginia to Vegas, Alyssa Reid - “Baby It’s Cold Outside”

It’s a song that has been covered time and time again, but Virginia to Vegas’ version of this song is quite unique. Instead of the deep, jazzy voice often showcased during the male parts in the song, Virginia to Vegas brings a more contemporary pop style. Reid accompanies his voice with strong vocals as well. Overall, the two voices pair nicely together. 

Justin Bieber - “Mistletoe” 

Finally, saving the best for last, Bieber’s “Mistletoe” is a classic Christmas tune that holds a special place in all our hearts. This song was released as part of Bieber’s only Christmas album, Under the Mistletoe, in 2011. It reached the top 10 on Canadian charts and holds the record for the highest Christmas song debut in Billboard Hot 100 history. Gear up for Christmas with this song because, as Bieber sings, “It’s the most beautiful time of the year.”

Don’t miss a beat this holiday season: A gift guide for music lovers

‘There’s a song in my heart’ is what your music-loving friends and family will say this winter when opening presents from CanCulture’s gift guide

By: Julia Lawrence

Do you love a music lover? CanCulture’s got you covered for the holidays. (Sama Nemat Allah/CanCulture)

Snow-filled days warn Canadians that the countdown for the perfect gift has begun. So whether it’s a musical theatre or hip-hop listener you’re shopping for, there's something on this list for every music lover to enjoy this holiday season.

Books, books, books

The gift: Find a photographical coffee table book of their favourite genre or artist that they can flip through or display in their room as a piece of art. Check out your local used bookstore’s music section for unique options with a lower price point.

Are they a fan of music history? Gift them a copy of “Is This Live?: Inside The Wild Early Years Of MuchMusic: The Nation’s Music Station,” filled with anecdotes and memories of how MuchMusic defined Canada’s sound.

Where to shop: In used bookstores like ABC Books, Pulpfiction Books and Encore Books and Records, or order through businesses like Indigo for mainstream and recent book releases.

Price range: $10+.

Don’t for-fret to strum the coffee

(Via SpoonArtBoutique)

The gift: No tuning is necessary for this guitar.

This guitar-shaped spoon is perfect for someone that plays the instrument and drinks a lot of coffee or tea. You could continue the theme by pairing it with a mug and a selection of their favourite hot drinks to make it a whole package.

Where to shop: SpoonArtBoutique on Etsy and your local grocery or variety store to find mug and beverage options.

Price range: $5.75 per spoon, upwards of $15 if making it a package.

Who said you can’t stand on CDs

The gift: Holiday shopping can be “tuf,” but not with this present idea.

Confirm you know their favourite album cover design without being too suspicious, and then work with a small business owner that uses the textile manufacturing method of tufting, a type of yarn to create a dense rug and recreate the cover art as a CD rug. Either complete a workshop and create it yourself or order a custom rug, but don’t wait too long on this one, as commissions take time.

Where to shop: Look up #Tufting(Your area), i.e. #TuftingToronto to find businesses/artists near you. In Toronto, some shops offer workshops like Emo Tuft or Chillax Tufting Studio, but if you want to commission a rug, try Tuft Theory.

Price range: $100+ depending on the workshops and commission prices. If it doesn’t say directly on the site, ask for a consultation to know the price upfront before committing.

Just don’t scratch it

The gift: Nothing can beat a good old classic like gifting records.

Even if they don’t have a record player, a record can be used as room decor and admired for viewing. If you’re up for the cost, pair the record(s) with a record player.

Where to shop: Look into Kops Records, Cosmos West Records, Funky Moose Records or search “records” on a map near you.

Price range: $6+ on records alone, $100+ with a record player.

Wearing the next act

The gift: These jewelry items will have the person singing show tunes every time they’re worn (be prepared).

Playbill-themed gifts are great for those into musical theatre or who simply love watching actors abruptly break out into song live on stage. Get a mix or an all-time favourite that you know they’ll keep for years to come.

Where to shop: AKStudioBoutique on Etsy, or get crafty and DIY the earrings yourself.

Price range: $10+ depending on shop and materials.

Apparel, apparel, apparel

The gift: Sometimes the perfect present is a simple T-shirt.

A gift they can wear almost anywhere while being comforted by the fact that their favourite band or artist is coming along with them. If you’re feeling funky, maybe add a pair of socks to balance the fit.

Where to shop: Hot Topic, Sunrise Records or any other store that sells music-branded clothing. There’s no guarantee that a thrift store will have the artist, but check out their T-shirt sections before heading to box stores.

Price range: $5+ in thrift stores and $25+ in box stores.

Don’t be a lyre in poker

(Via UncommonGoods.com)

The gift: Turns might be longer with this deck because people won’t stop admiring their cards.

Switch up the usual card game gift with these musical-greats-themed cards. Along with the illustrations, you also learn about the leading faces in new genres, when playing a game.

Where to shop: Uncommon Goods online.

Price range: $15.

Keep your headphones warm

The gift: If you know a big music lover, you’ll probably also know that their most prized possession is their headphones. These covers are cute, comfortable and act as an accessory.

Where to shop: If you’re a DIY connoisseur, you can probably create these using a pattern and only pay for the materials. Alternatively, you can commission local artists like Alexandria Masse or sellers on Etsy like Handmadify.

Price range: $23+ depending on seller and materials.

Carry music with you everywhere and anywhere

The gift: Music keychains can be great if your loved one is a keychain collector or your everyday music lover.

Subtly find out a song that has meaning to them and then order a keychain version with the artwork so they can carry that piece of music with them anywhere.

Where to shop: Look on Etsy for music keychain sellers like YourSignatureGifts.

Price range: $10.

Canadian music industry calls for environmental activism at inaugural Music Climate Summit

The first-ever Canadian Music Climate Summit sparked a conversation about sustainability within the music industry

By: Peyton Lake

Nigel Barriffe and musician Eve Parker Finley hold the Music Declares Emergency statement flag while attending the Canadian Music Climate Summit on Oct. 21 at 918 Bathurst Centre for Culture, Arts, Media and Education. (@musicdeclares_canada via Instagram)

“There is no music on a dead planet.”

This mantra was a large emblem ringing loudly throughout the very first Canadian Music Climate Summit on Oct. 21, hosted by the environmentalist group Music Declares Emergency (MDE). The summit brought together a variety of people working within the music industry, from artists and managers to tour directors and outfit designers, to discuss the roles they play in the climate crisis and their goal of a carbon-neutral industry.

Since 2019, the U.K. organization MDE has been spreading their messages through summits and concerts to inform the industry about the abundant opportunities for sustainable change — and they’ve finally reached Canada.

Panels were held throughout the day to discuss operational changes in the industry. Topics ranged from how band tours are being run to the environmental footprint that the industry creates to how artists can help spread awareness about environmental issues. The group also helped guide music lovers in making sustainable changes in their own lives, such as choosing environmentally friendly transportation methods to get to and from concerts and upcycling old merchandise they may not wear anymore.

World-renowned environmentalist David Suzuki was the keynote speaker at the conference. Suzuki explained in his presentation that simply raising awareness is not enough for the music industry, as they are a large part of the issue. People in the music industry contribute to global climate change through the emissions created by travelling on tour buses and planes, the amount of water used to produce merchandise and many other factors.

“We need to make the switch from [the] consumers to the restorers of nature's generosity,” said Suzuki in his keynote speech.

The pop-art inspired poster for the Canada Music Climate Summit that took place on Oct. 21, 2022, in Toronto.

Suzuki additionally highlighted the importance of demanding structural changes in government policy as well as standards within the music industry.

The rest of the day included panels from industry leaders such as Kelley Drennan, founding executive director of Fashion Takes Action (FTA). FTA is a non-profit organization that focuses on promoting sustainable fashion in Canada. She discussed what physical steps can be taken to help reduce the footprint the industry leaves behind.

“We don’t need to own as much as we own. There are a lot of great companies that offer rentals now,” said Drennan when asked how consumers can help reduce the amount of merchandise wasted during the panel. She explained that artists could rent performance attire to reduce the use of single-use costumes.

Drennan also explained how vintage shopping and upcycling concert-goers’ outfits are becoming more popular and reducing the amount consumers buy in the first place.

Ben Swanson and Kelley Drennan talk about the little steps and their large impacts at the Canadian Music Climate Summit on Oct. 21, 2022. (@musicdeclares_canada via Instagram

On the industry side, many of the speakers talked about how they have to push for greener tours, which can simply involve taking the small step of omitting plastic water bottles.

A Greener Festival co-founder and CEO Claire O'Neill talked about encouraging the rock band Bring Me The Horizon to go completely vegan and use renewable fuel alternatives throughout their 2021 U.K. tour. By implementing this sustainable touring approach, the band was able to reduce their emissions by 38 per cent, and even though their tour involved more than 80 people, every single member committed to eating vegan for the entirety of the trip, according to O’Neill.

“Ultimately we are trying to get all of these different pieces of the industry to start pushing in the same direction,” said O'Neill in the panel. She touched on the large change that green tours can have when a team comes together to achieve a clear goal.

This large jump was successful for Bring Me The Horizon’s tour, but Ben Swanson, the owner of the record label The Secretly Group, explained that even little steps are helpful in reducing the industry's harm. Swanson’s label is based on a plan of sustainability that makes their company completely carbon neutral.

“Little steps add up over time,” said Swanson during a panel discussion. “It creates a forward momentum for whatever leading-edge technology will come next. It shows that people care about this.” 

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.”

New XO Record's Chxrry22 releases debut EP The Other Side

Embodying the old sounds of The Weeknd, Chxrry22 drops her debut 7-track EP, The Other Side

By: Bana Yirgalem

(XO Records/Republic)

Chxrry22 (pronounced ‘Cherry 22’) was born in Scarborough to Ethiopian immigrants and started releasing music online in 2017. Once she gained a listenership online, she then moved to Atlanta to further pursue her music career. 

After being signed to XO Records, founded by fellow Torontonian and singer The Weeknd, making her the first female artist signed to the label, Chxrry22 dropped her debut EP The Other Side—that alone gave her a huge jumpstart to her career. With The Weeknd providing her with leadership and guidance, Chxrry22 is on the path to great success.

For those unfamiliar with XO Records, the Canadian record label was founded by singer-songwriter The Weeknd, his managers Wassim Slaiby and Amir “Cash” Esmailian, and his creative director La Mar Taylor. They currently have four artists – The Weeknd, Nav, Belly and her – signed under the label, with Chxrry22 being their latest addition.

In a press release with Complex Canada, Chxrry22 said that “The Other Side is about coming to terms with duality – we all have two sides. We can be both the villain and the victim in some story and this is me owning that.”

That is indeed the case with the opening title track of the EP. Chxrry22 opens up in the song about the toxic relationship between her and her significant other.

Let’s not act like I’m to blame
When you fucked up and I forgave

She continues the song by explaining how she has prospered and exceeded for herself after leaving her lover, saying that she’s on the ‘other side’ and he is stuck where he is: “You're watchin' my dreams come to life (To life, to life)”

The Falls is more of a sultry track filled with toxic vibes and lyrics. She sings with passion in an alluring way, paired with the slowed-down guitar, drums, and melody, which makes the song so appealing. The opening lyrics insinuate that she fell into the temptation of cheating. The chorus lyrics explain that even though what she did was wrong, she’s not going to admit she’s sorry due to her pride.

As the track continues, she explains to her partner that you have to prioritize yourself because, at the end of the day, it’s only going to be you; “You bе in your feelings knowing you're a filler/I'm doing my thing, you should do the same.”

Call Me almost feels like a continuation of The Falls but the storyline is somewhat reversed like she’s calling her significant other after her infidelity to fix what’s been broken. But she simply wants to mend things more on the physical side, rather than the emotional side. The song’s haunting R&B sounds, enhanced by equally haunting lyrics and instrumentation, allow the listener to recall the similar sounds found in The Falls.

The other four tracks on the album tie in together with the above three songs. The EP’s storyline allows you to join Chxrry22 throughout her success, infidelity and toxic and remorseful lifestyles that often feel inevitable in relationships. She admitted in an Instagram caption, “I don’t write about anything I haven’t done or been through so when you hear these songs just know it’s coming from my heart.”

Her ability to be emotionally open in her lyrics shows that she has a gift for songwriting. The incapacity of some artists to open themselves up wholly to their audiences seldom goes unnoticed by fans– this isn’t the case with Chxrry22 who shares her rights and wrongs with us.  She’s showing herself musically, and this lyrical maturity is what draws others to her music.

Although this is her first EP, the way her voice is evocative yet angelic makes Chxrry22 stand out. Her sound is different and fresh, and her EP was released just in time for the cold fall nights. 

Check out the fill album here:

Editor's Picks: 8 songs by Canadian musicians to get you in an autumn mood

No matter your musical taste, these songs are sure to enhance your next apple-picking trip or pumpkin patch outing

By: Caelan Monkman

A black background with tactile foliage surrounds a circular record with a yellow and red centre

(Graphic by Caelan Monkman)

The air is cooler, the leaves are changing colour and the melodies are flowing! To help get you into the fall music mood, here are eight must-listen songs by Canadian artists to add to your playlist this month.

So whether you’re out on a fall hike watching the leaves change colours or curled up inside with a book and a pumpkin spice latte, these songs will perfectly accompany your autumnal activities.

These songs and many others can be found on CanCulture’s Sounds of Fall Playlist, available now on Spotify and Apple Music.

Neil Young - Harvest Moon

No fall playlist would be complete without Harvest Moon by Canadian music legend Neil Young. As the title track off his 19th studio album (which turns 30 next month), the song has become one of Young’s most famous, being named the “30th-greatest Neil Young song of all time” in 2021 by Rolling Stone. Between Young’s vocals, the background vocals provided by Linda Ronstadt and the gentle picking of a steel guitar, the song creates an otherworldly atmosphere perfect for listening late on a fall evening.

The Weather Station - Loyalty

There’s a loneliness, I don’t lose sight of it
Like a high distant satellite
One side in shadow, one in light
But I didn’t mind to be alone that night in a city I’d never seen

With lyrics equally haunting and therapeutic, The Weather Station’s 2015 track captures the mysterious feelings of late fall evenings. Following in the footsteps of other Canadian folk singers like Joni Mitchell and Sarah Harmer, the title track of The Weather Station’s third album is melodically straightforward and lyrically complex. Produced by fellow Canadian musicians Afie Jurvanen (Bahamas) and Robbie Lackritz (who had worked with the likes of Feist and Jason Collett), the track has a distinct indie-folk feel and features some of the lead singer Tamara Lindeman’s most compelling lyrics. Loyalty is an easy and calming listen and provides lots of lyrical content to sink your teeth into.

Richard Inman - Redemption

A master of storytelling in his folk-country songs, Indigenous singer-songwriter Richard Inman perfectly encapsulates the feeling of driving down a prairie road in the middle of fall. His strong baritone voice singing against the backdrop of a twangy guitar and background vocals feels both fresh and road-weary, both brand new and nostalgia-inducing.

Mappe Of - Ladybird

Fans of indie pop icons like Bon Iver or Fleet Foxes will likely love Whitby, Ontario’s Mappe Of, the stage name of singer-songwriter and multi-instrumentalist Tom Meikle. Meikle’s music elegantly dances between minimalism and intricately layered arrangements of acoustic and electronic instrumentation. Miekle’s gorgeous falsetto vocals float over the top of it all, resulting in an ethereal arrangement that’s an absolute delight to listen to.

Kanen - Tes veines en canot

Karen Pinette-Fontaine, who goes by the stage name Kanen, is an Innu singer-songwriter from Uashat mak Mani-Utenam on Quebec's North Shore. Her introspective indie-folk songs consist of her gorgeous vocals, ukulele, guitar, double bass and percussion, all converging and resulting in music as soft as a cool autumn breeze. Singing songs both in French and Innu-aimun, Kanen is a must-listen for anyone interested in Canada’s francophone and Indigenous music scenes.

Srul Irving Glick - Piano Concerto II: Calm, Peacefully, con rubato

For fans of instrumental and classical music, the second movement of Srul Irving Glick’s Concerto for Piano and String Orchestra wonderfully accompanies the feeling of a crisp autumn afternoon. The prolific Toronto composer created both religious and secular music, with much of his work reflecting musical elements of his Jewish heritage. According to an article by the Ottawa Citizen, this particular recording was performed by composer and pianist Ralph Gothóni and the Finlandia Sinfonietta in the Governor General’s residence in 1992.

Andy Shauf - Early to the Party

The second track off Andy Shauf’s 2016 concept album about a house party features tons of ‘60s musical influences. The Saskatchewan native received lots of praise for the album, as well as multiple Juno Award nominations and a Polaris Prize shortlisting. As the title of the song suggests, the track is about the discomfort of being the first to arrive at a party and the experience of waiting for others to show up.

Though Shauf has explained many of the album’s songs contain autobiographical elements, they also explore many universal themes and experiences. The perfect song to put on next time you’re the first to arrive at that Thanksgiving gathering or Halloween party!

So there you have it: the perfect songs to freshen up your fall playlists! Be sure to check out our full playlist the next time you’re looking for the perfect Canadian soundtrack for your autumnal adventures.

Retro Review: Justin Bieber’s My World. 2.0 is a harrowing, cliché trip down middle school memory lane

Bieber’s overproduced debut studio album is 90 per cent begging over synthesizers, but it’s an iconic Canadian music moment nonetheless 

By: Rochelle Raveendran

Early 2010s middle-school crushes exist in a distinctly ephemeral vacuum. It’s a vacuum in the shape of a yellowing, squeaky gymnasium, filled with nervy tweens decked out like cast-off mannequins from the Gap and enough AXE body-spray fumes to be a lethal fire hazard with one errant spark. Capturing the rollercoaster of prepubescent puppy love and the hearts of those undergoing them is no easy task. In March 2010, then sixteen-year-old Justin Bieber rose to the challenge with My World 2.0, a bubblegum pop record that debuted at number one on the US Billboard 200 albums chart. 

Bieber’s first studio album stubbornly averts reinventing the wheel. Few tracks emerge memorable as he attempts to traverse the boundary between banal and timeless, often falling into the pitfalls of genre cliches and overproduction in the process. Ironically, My World 2.0 opens with its lead single, which is catchy almost to a fault. From its first staccato chords to Bieber’s opening warbles, “Baby” triggers the instant recognition in unsuspecting listeners’ minds today that music producers crave. 

The song is fuelled by post-break-up disbelief; all five stages of grief are on display as Bieber tries to wrap his mind around the cruel reality of his first love breaking his heart for the first time. He even tries bargaining with her, offering her a diamond ring, before he finally accepts the loss at the song’s conclusion, mournfully singing that “[he’s] all gone.” Genres and generations of heartbreak collide when Ludacris pops in for a feature, fondly rap-reminiscing about his own first love, who he compares to caffeine for his thirteen-year old brain. Whirring disco synthesizers drive “Baby” forward at a mindlessly steady pace as Bieber's youthful voice ventures into nasal with his repetitive whining pleas. When he hits peak piercing, it’s as if he’s zesting your ear canal with a kitchen box grater.

“Baby” highlights a recurring theme throughout My World 2.0: Bieber begging. He’s desperate for love and commitment, and once he finally gets it, he sure as hell isn’t going to let go without begging his girl to stay. On “Somebody to Love,” the album’s strongest dance track, he belts out a universal plea to a harsh world. Bieber’s not asking for a lot — he just wants a soulmate. Complex lyrics aren’t needed for an upbeat song that wouldn’t be out of place in a nightclub in 2010; it isn’t surprising that “Somebody to Love” was originally written for Usher, who provides backing vocals on the track. 

Elsewhere, however, My World 2.0 terminally suffers from cliched lyricism that plunges about as deep as a Dollarama greeting card. Bieber guides his love through dancing in front of the haters on “Never Let You Go,” crooning: “Take my hand, let’s just dance / Watch my feet.” Similes are employed excessively as Bieber prattles through all the hackneyed platitudes of middle-school romances, until he sounds suspiciously disingenuous. When he repeatedly assures his girlfriend that their love has nowhere to go but up, in the aptly named “Up,” it’s so continually cloying that you get the sense that Bieber must be hiding something. 

Formula strikes gold with the album’s sunny highlight, “U Smile.” Synths are thankfully absent and piano takes center stage as Bieber goes as Motown as possible for a teenage white boy born in 1990s Stratford, Ont. The song is earnestly sweet without being saccharine, working within convention to create a timeless declaration of young love that’s bolstered by Bieber’s infatuated delivery. It’s no surprise that “U Smile” was chosen as the B-side for “Baby” in his patented electric singing toothbrush.

In a moment of true poetry, the stand-out on My World 2.0 is followed by a track that encompasses all the worst aspects the album has to offer. Synths are back with a vengeance on “Runaway Love,” pulsing and buzzing in a manner totally discordant with Bieber’s vocal melody. The song is overproduced to a disjointed, migraine-inducing extreme; layers upon layers of Bieber harmonizing with himself echo and swirl together. Everytime you think all the vocal lines are there, another layer of Bieber is added to the mix. When “Runaway Love” finally ends in a lazy, slurring grind reminiscent of an animatronic Disneyland ride being powered off, it’s only a relief.

More often than not, first loves end on a bitter note. My World 2.0’s orchestral final track recognizes this reality with one of its stronger songs. “That Should be Me,” ties into the album’s opener, cycling through pain, spite, disbelief, betrayal, and sadness all in under four minutes. Bieber can’t accept that his ex-girlfriend has moved on from him so quickly. “Does he love you the way I can?” he asks, before poignantly noting that “This is so sad.” Warm backing vocals that are not sung by Bieber provides a refreshing respite from excessive layering and combines with the orchestral instrumentation for a soaring finale. 

Though lyrically limited, “That Should be Me” ties up the arc of young love with yearning regret. Bieber’s singing is at its most expressive as his voice trembles and strains with hurt. He brings real emotional weight to the ballad, making a convincing case for the thoughtful pop music that middle schoolers deserve, music that My World 2.0 provides far too infrequently. 

A Q&A With Leroy Escobar

Leroy is his own biggest critic, and it means no one can stop or bring him down

By: Rowan Flood

Photo by Dominik Urban @shotbydurban

Initially sitting hood up and face down, Leroy Escobar was mesmerizingly quick to jump into action. 

As we began to talk about music, he spoke with swift hand gestures, illuminated eyes and invigorating energy. His phone and earbuds lay beside him, proof that he had just been listening to something, and sure enough, partway through our conversation, he was playing me a song to help explain himself. 

Escobar holds a deep passion for music and the musical community and takes his role within it seriously. His latest EP, Destiny Bond, uses the unique style of Spanglish— a combination of Spanish and English. Escobar can effortlessly switch between the two languages, allowing his music to  “give people more flavours.” As a first-generation Canadian with a Latin American background, Spanglish is a way of recognizing, preserving and showcasing his roots. 

Now that he’s finished school, a recent X University graduate, he plans on dropping more music and has another single coming on April 29. Escobar holds himself and his music to high standards, wanting to create authentic material that impacts his audience in a meaningful way. Focusing and pursuing music full-on is already underway for this talented yet humble musician when we spoke. 

Can you walk me through from where you first started your musical journey to where you are today?

It was really early, it was super early. I always loved music, ever since I was a kid. When I really fell in love with music was when I first listened to hip-hop. The two biggest influences at that time were Kanye West and Nas. That was when I was maybe 4 or 5. When I first listened to Kanye West, I was like ‘wow, this is what I want to do.’ From there it stemmed into lots of different things. I started writing raps in like, first and second grade. Then what started happening was I got a thirst or a hunger for performing. I really started to enjoy the act of performing.

Where did you get that first taste of performing? Was there a certain moment?

I really can’t think of one, but my parents always used to tell me that ‘when you were small, you weren't scared to dance in front of people, you weren't scared to sing in front of people.’ I just loved what I was doing so much that I didn’t care about sharing it with other people. As I grew up I realized that when I’m on stage, when I’m performing, I feel like I’m in my element. I feel like that's where I belong. Seeing salsa jazz bands play, I would watch in awe when I was younger. Maybe it's my Cuban side, that has that flame to perform and give people a good time. That's ultimately what I love to do when it comes to performing.

What does music mean to you, personally? How is it significant?

It sounds cliche to say, but music has always been part of my life and it's gotten me through hard times, where maybe I didn't have someone to talk to. I didn't have someone there, but I had my favourite artist. It's like a catharsis. The good thing about music is that there is music built for every moment. There was a time when I was listening to binaural beats and things like that to help me sleep. There is music for every moment, every situation. It speaks to the human experience. We’re relating to each other. For me, it's been healing and I want to give that to other people. It's kind of like paying it forward.

Speaking of your music, what do you hope people get from listening to your music?

Lately, especially with my last EP, a lot of it has been in the first person. The reason is that I want people to sing it as if it was themselves. What's important to me is that everything that I write, everything I create is with the idea in mind that people will be repeating my lyrics, with the idea that people are going to sing along. I want to make sure that the things that they're saying are ultimately pushing them in the right direction. I talk a lot about embracing who you are, fulfilling your dreams and chasing the things you feel that you’re made for. For me, it took me a long time to realize that music is what I want to do in my life and I shouldn’t take shit from anybody that tells me otherwise. I feel like that's something that everybody needs, regardless of what it is that you’re doing.

Do you remember when you first felt 100 per cent certain that music is what you wanted to do?

I think definitely, I can remember this one time I went to this Cuban cultural event and there was a salsa band playing and they were just ripping it, they were just so amazing. I loved seeing how much fun they were having. Everyone was feeding off the energy and I loved that. I felt like I could be that. I wanted to be a source of joy for people. In that moment when I was there, it felt radiant. I remember smiling looking at them and I was like you know what, one day I’m going to do that. I’m going to be on stage and people are going to be enjoying it and having a good time.

Where do you see or hope music takes you? What’s your dream?

My ultimate dream, if I’m being honest with you, is I want to build a studio for myself. Where I can bring in talent, I can scout talent, I can help people like me currently get up off their feet and have a door open to the industry. I also really want to open a studio in Cuba. It's a lot harder for artists there to break out. But there's a huge pool of talent that's completely untapped. I feel like I can help bridge that gap, I’m in a very unique situation. I am Canadian but I’m also Cuban. Because of the political climate in Cuba, it's not easy for people to break out of there. Ultimately, my dream is to open doors for people. I want to support myself, but I want to be able to feed others too. I don’t really have aspirations of superstardom. I do dream of performing in stadiums, I would love that, but fame is not something I’m chasing. I want to impact people's lives and make good music. The focus has to be on the music.

When making music do you have a creative process you could walk me through?

I used to work really different, I’ve tweaked my workflow and soon I’m going to change it again. Different workflows suit different styles. I would listen to beats and write, on my phone, on the train, I would just be writing. Every word was super meticulous. I thought very deeply about content, I took my time writing. Whereas now, I’m incorporating more melodic aspects. Lyrics are still very important to me, but I’ve pivoted more to focus on melodies, flow and rhythm. I don't write like before, now I’m in the studio and I’m like ‘play me beats.’ I’ll eventually land on one and as I’m hearing it, I’m thinking about how I want to sound on it — not necessarily what I’m going to say. I think of the flow. I do a one-take recording. It's pretty funny if you were to sit in, it's just mumbling. I don't say anything, but I’m making sure the flow and the melody is on point. Then I tell them to play it back and I write words over it. It's like a blueprint.

Why is the focus more on sound now?

The easy answer is just because that's what people like. I feel like real hip-hop is not as pure as it once was. I’m not a purist in a sense where I think that everything that's new is bad because it's not what was there before. I can see the evolution. With artists like Travis and Kanye, they taught me that sound matters, how you sound matters. Rap is so about what you’re saying, it's so about the poetry. It's kind of a balance ‘cause when you prioritize melody, you can sacrifice some of the lyrical grit you get from original hip-hop music, but you can still convey really powerful messages with melodies and I think that's what I’m trying to work on.

So what's next for you with music?

I have big plans this year, this year is going to be really busy. I’m dropping singles every month for the rest of the year. I’m going to have a couple music videos coming out and performances. That's what I want to focus on a lot. I’ve been getting opportunities now to perform at people's events. Mostly what I’ve been doing is going to open mics, I meet other artists doing the same type of thing, potential collaborators. Putting my music in front of new ears.

What motivates you to keep pursuing music?

Money to me is a bonus. I want to support myself, but I’ve accepted that it's not going to come until the work is there first. The motivation is getting people to connect. It's the affirmation of ‘this is good music to people.’ Making good music, making good art that's going to live longer than me.

What do you think makes music timeless?

I don't think there's a set criteria, but ultimately it's the audience who is the one to decide. There is a saying ‘you can't call anything a classic unless it's been at least ten years.’  It speaks to how it can really captivate the true experience of whatever the goal of the song is. There's a lot of disposable music, for lack of a better word, that gets circulated. The reason why it's disposable, is because it deals with themes that are disposable. Themes of partying, themes of drinking, sex, whatever. It's not until that gets presented in a unique way or your concept is dealing with something that resonates with people so deeply.

What are some themes you’ve dealt with that aren't disposable?

If I’m going to be 100 per cent honest, I don't think I’ve made a timeless record yet. I don't think I’ve been close. But it's there, the seed is there and it's growing. It just takes time. I definitely try to do themes that are like that, but I need to articulate it more. The one track I’ll say that is the closest is called ”Light the Way,” off my EP. The reason why, is I feel that it's really honest. I talk about what it's like to feel the odds are against you, but you’re still determined to make it. I feel like… I don't know, you can probably tell I overanalyze myself a lot. Can I play it? Yeah, I’ll play it for you.

Yes, please.

In the pre-chorus, it says, ‘I remember times I was in the dark so I gave myself to the light.’ What I’m saying is there was a time in my life where I didn't feel I was worthy. When I’m saying I see the light, I’m saying I see the potential. I’m seeing what it could really be. It's showing me there is a path, there is a way for you here but you can’t be swerving off the path, you got to stick to this. It's taking that leap of faith, this is me. The light for me symbolizes greatness, it symbolizes what's the right thing to do. In this song, it's like ‘light the way for me, cause I’m about it, go ahead.’

You and the music: Going to a concert alone

As I went solo, not for the first time, I connected with the music, the crowd, the band, on a whole new level

By: Olivia Wiens

Mt. Joy performing at HISTORY on April 4. (Olivia Wiens/CanCulture)

As the crowd bustles around me, I am at peace. My mind is connected with the strings of the piano, the buzzing of the bass, the rhythm of the snare. My heart beats with the tempo of the drums; they grasp my hand and guide me through every song on the setlist. I’m zoned in on the stage, taking in everything with ease, with no one to distract me and only myself to be concerned with.

The music communicates with me as if I am one of the bandmates. It tells me when to improvise and when to stay true to the melody, when to ease the intensity and when to give it my all. It punches through my chest and crawls into my ears and lifts my feet off the ground. The melody acts as a weighted blanket, comforting me with lyrics I seem to only truly understand in this live setting; it’s almost as if they were written in a foreign language until now. 

The crowd, though rowdy and dissonant, is like the floor of an ocean, succumbing to wave after wave of music as it washes over them, cleansing them. For me, to be one with the crowd is to be fully immersed in the energy, allowing it to monopolize every bone and muscle in my body. It intoxicates my bloodstream but heals my every illness. I surrender to the crowd, letting their radiance overtake my mind and redress every thought in my head; it makes the music clearer, somehow.

As all of these elements — the decisive instrumentation, the brilliant lighting, the blended melodies and harmonies, the crowd’s energy — come together as one chaotic unit. And I serendipitously become connected to it all, bound at the hip with the unique experience of attending this concert alone. 

Matt Quinn, lead singer and guitarist for Mt. Joy, on stage at HISTORY. (Olivia Wiens/CanCulture)

There’s something ethereal about attending a concert by yourself, surrounded by strangers, each one of you staring up at the common interest that brought you together in the first place. It’s a sense of unspoken community. While you arrived at the venue by yourself, you’re not truly alone; it’s you and the music. Attending alone allows you to hone in on the harmonies, the bass, the intricacies within each song, without any other distractions.

To further support this claim, I made my way to HISTORY in Toronto to attend a concert by alternative-rock band Mt. Joy on April 4. The five band members filled the venue with soulful harmonies, rooted lyrics and chest-pounding arrangements, all existing as a cohesive ensemble to put on a truly life-changing show.

But while I could write about the impact this band has on its listeners, whether recorded or live, for paragraph after paragraph, the attention must now turn to what brought you here in the first place: the experience of going to a concert, or attending any social gathering, alone.

There is an ever-present stigma associated with going to social events like concerts or parties alone. It improperly insinuates that, without at least a plus one, you are a “loner” or you do not have many friends, not acknowledging the fact that going to social events alone offers a different perspective of your surroundings. With no one to distract you from the main event, whether it be a band on stage, a movie on a screen or an exhibit at a museum, you are able to centre your attention on the artistic intricacies before you.

Succumbing to that harmful stigma not only reinforces it in your mind, but restricts you from fully enjoying the artistry that is constantly happening around you. By being present with your surroundings, as well as being present within yourself, you are able to appreciate and acknowledge the beautiful complexities of daily life. 

When specifically attending a concert alone, you can effortlessly zone in on the music and zone out of every other hindrance. You become one with the melodies as you direct your focus to the stage. With no side conversations or back-of-the-mind worries to act as distractions, you’re able to place your entire body, mind and soul into what is directly in front of you. 

It’s as if an intimate bond forms between you and the music bleeding out of the speakers — each of your five senses are dialled to 11 as every instrument reaches your body. As the chords reverberate throughout the venue, solely focusing on that resonance allows you to move with the crowd as a collective unit. 

And if you go to concerts as a vehicle to spend time with your friends and bond with them in an active, electric environment, that is also an effective way to experience the music. Going alone only offers a different perspective that opens your ears to the subtleties of each note played. While diving into the social elements of the actual event is always a great time, making an active effort to experience the same event in a different, often stigmatized and under-explored way creates new experiences and memories that connect you more intensely with the music you already love. 

So while going to a concert alone might be daunting, being able to connect with every aspect of it on a truly authentic, individual level will guarantee a euphoric, musical experience that will stay with you for years to come. 

2022 Juno Awards: Charlotte Cardin tops list of nominees

Last year’s virtual ceremony garnered over 1.1 million total viewers.

By: Kayla Higgins

(Uwe Conrad/Unsplash)

Nominations for the 51st annual Juno Awards were announced on March 1, with the show set to be the first in-person ceremony since 2019 due to the COVID-19 pandemic.

Charlotte Cardin topped the list of nominees that saw Canadian trailblazers Justin Bieber and The Weeknd tied for second place with five nods each.

Since placing in the Top 4 of La Voix, the ​​Québécois version of the singing competition The Voice, the singer has been on a steady rise to the top, solidifying herself as a Canadian pop sensation quickly on the rise.

Her April 2021 album, Phoenix, helped her become the first female artist to spend numerous weeks at number one on the Billboard charts since Céline Dion in 2016.

The Montreal singer saw big-name nominations, such as Artist of the Year, Album of the Year and Single of the Year (for her track “Meaningless”), just four years after her 2018 nomination for Breakthrough Artist of the Year.

Joining Cardin on the list of Album of the Year nominees are JP Saxe’s Dangerous Levels of Introspection, Justin Bieber’s Justice, Shawn Mendes’ Wonder and Tate McRae’s Too Young to be Sad.

Cardin is also slated to perform at the show, alongside Canadian pop-punk icon Avril Lavigne, singer-songwriter and poet Mustafa and seven-time Juno award winners, Arkells. 

The event will be broadcasted live on CBC with Shang-Chi and Kim’s Convenience star Simu Liu hosting. 

Superstars Justin Bieber and The Weeknd follow close behind Cardin, with Bieber’s five nominations including Single of the Year (“Peaches”), Album of the Year and Pop Album of the Year (both for Justice), Artist of the Year and the TikTok Fan Choice award.

Despite the fact that he didn’t release an album in 2021, Toronto singer and artistic powerhouse The Weeknd is up for the same number of nominations. The singer scored big when he took home five trophies at last year’s Juno’s — just months after he infamously boycotted the Grammys for his baffling exclusion from its 2021 nominations.

This year’s awards will see 105 new nominees over 36 genres and five technical categories, a surprising variation from the ceremony’s familiar faces. 

That includes Pressa, a first-time nominee and rising icon within the Toronto rap scene. Known for his close relationship with artists such as Drake and Migos, he’s nominated for the Fan Choice award, Breakthrough Artist, Rap Album of the Year (Gardner Express) and Rap Single of the Year (“Attachments.”) 

In an effort to recognize a wider array of artists, Juno organizers announced the introduction of new categories, as well as the separation and distinctions between some existing categories, including rap recording. 

Ucluelet, B.C.-born singer-songwriter Jessia is also a first-time nominee, and one of many artists that can attribute their growing success to TikTok. She’s in the running for Breakthrough Artist of the Year, Fan Choice, Single of the Year (“I’m Not Pretty”) and Pop Album of the Year (How Are You?).

The only fan-voted award at the ceremony, the TikTok JUNO Fan Choice Award, serves as a launchpad for Canadian artists to grow their careers and build a global fanbase. As a lead sponsor, the developers are working in partnership with the Canadian Academy of Recording Arts and Sciences (CARAS) to support new and established artists and music creators.

13-year-old Kairo McLean is among the youngest nominees for his reggae track, “Easy Now,” while 4-year-old Romeo Aniello is now the youngest nominee ever.

Aniello, the son of Walk Off The Earth members Gianni Luminati and Sarah Blackwood, was credited on the band’s children’s album, which features the two discovering new food alongside a musical accompaniment.

The 51st annual Juno Awards will be broadcast at 8 p.m. ET/5 p.m. PT on CBC TV, CBC Gem, CBC Radio One, CBC Music and CBC Listen, and globally at CBCMusic.ca/junos and CBC Music's Facebook, YouTube and Twitter pages.

The show is scheduled to take place in Toronto on May 15 at Ontario Place’s Budweiser Stage. 

Visit their website for the full list of nominees.

“Ready, Set, Go”: The Canadian music community gears up for the revived return of live music

When pandemic restrictions closed venues and imposed restrictions, they also struck those who love and use them 

By: Rowan Flood

(Yardie/Unsplash)

As Canada eases and lifts COVID-19 restrictions, the music industry is excited to re-enter the world of live performances that bring invaluable physical connectivity and energy to the art scene. Despite some lingering weariness over health concerns, concert-goers, musicians and venues believe a heightened appreciation is on the horizon for live music. 

“I think people are going to go way more crazy than they used to at concerts,” says Hunter Walwaski, a devoted Montreal concert-goer.

Walwaski senses a renewed force is coming for live concerts, and he is not alone in this belief. After an extended period of repeated closures, capacity limits and mandatory vaccine passports, the music community as a whole senses a strong comeback as those restrictions diminish.

Stephanie Quinlan, a Toronto-based music blogger and concert-goer, anticipates a massive comeback. She says she’s seeing show announcements and tour dates coming fast and furiously. Her own excitement for the return is high and she’s had to restrain herself from continuously purchasing more tickets.

“I have to sleep sometime,” she says.

While acknowledging the need to impose restrictions during the height of the pandemic, Quinlan felt shut out of a world she loved.

“It created such a huge void in my life, I’m really eager to have those things back,” says Quinlan.

The Toronto music scene is a major part of her life. “[It’s] one of my reasons for living, I can't restrict myself from that any longer,” Quinlan says. 

Live performances are more than just a night out for music lovers and performers; Vancouver-based musician Eden Fine Day explained that music has a critical role not only for individuals but for society — it's a way of creating culture together.

“Singing, rhythm, dance,” says Fine Day. “That's just inherent to who we are as humans.”

K-Riz, an Edmonton-based rapper, senses that a lot of energy has been brewing in the music community; artists have been building and working towards this opening up.

“Everybody is ready to go,” says K-Riz. “I think it's just ready, set, go.”

K-Riz himself has a tour coming up, and a show booked in Calgary this week. Getting out of his city and spreading his music is something he's yearning for.

“I’m looking forward to taking the music to different places and seeing how it connects with them,” says  K-Riz.

Venues are also among those feeling the resurgence. Ted Haberer, the general manager of Toronto's Jazz Bistro, believes people will be more deliberate in how they spend their evenings, as the lack of music and social engagement in the last two years has been minimal.

“It's been quite revelatory in terms of people discovering how they want to spend their time when they go out. They’re making more conscientious decisions,” says Haberer.

Haberer himself is a lover of music and sighed with emotion as he expressed how much he’s yearned for it.

“I missed it, I really did,” says Haberer. “It really reinforced my love for live music.”

The Lazy Flamingo, a live music venue in Hamilton, Ont., has been experiencing a successful turnout in the past couple of weeks and owner Jay Skarratt feels hopeful about the future.

“It looks very prosperous, the past few weeks have been very good for us,” says Skarratt.

Skarratt understands the need for music in people's lives and is happy that the changes have allowed his venue and live music to thrive again. He's been seeing people want to come out to shows earlier and smiled enthusiastically as he talked of seeing and playing live music again.

“It's a fixture, people need it in their lives,” says Skarratt.

Possibilities and opportunities are back

Tyler Yarema, a Toronto-based musician, trusts gigs are coming back in full force as restaurants, bars and other events such as weddings are back on the calendar and creating more opportunities for musicians.

“The phone is ringing, more emails all the time,” says Yarema. “It's very exciting, it feels really good to be back again.”

Yarema emphasized that even more than allowing income for gig workers, live performances are where artists learn the true craft of music. Playing with an audience teaches musicians how to connect their music with others, he says.

“You’re figuring out how to make people move,” says Yarema.

Energy and connectivity are just some of the benefits that come with live concerts. As K-Riz retains; inspiration comes from these types of events. He recalled the lifelong inspiration he got from his first concert and explained the importance of this feeling of inspiration. Concerts allow people to witness the possibilities within the music world.

“Especially when there's artists in your own backyard, they see that anything is possible,” says K-Riz.

K-Riz performing at a live show. (Photo via Jonard Tan)

K-Riz missed the intimate moments between audience members and musicians that performances allow. Looking people in their eyes and feeling their energy is something that he took for granted pre-pandemic. He recalled a memory special to him; he was a hype man at a show when he experienced a special moment with an audience member.

“I was looking at her directly and she's straight-faced, and slowly she started smiling, and slowly started calling back to me,” says  K-Riz. “I love those moments.”

Performing is when K-Riz finds his element. The stage is where he finds confidence and the platform to express himself, and he feels it's time to get back in that space.

“I’m free up on the stage,” says K-Riz, “I’ve got a whole bunch of energy just balled up inside that I’m ready to give.”

Pandemic restrictions were far-reaching and unrecoverable for some

While some musical groups and musicians had a base set up before the pandemic, others have started within it and could face further challenges during the reopening and return. Fine Day explained that newer or less recognized artists might not make it out in the same way other groups can.

“You might have had to give up by now,” says Fine Day.

The pandemic grounded music to a halt and had harsh consequences on musicians who made a living off performing, Fine Day says. While restrictions posed physical limitations on what performers could do, the individual ramifications were prominent as well.

“It harmed their confidence, in their feelings about being a musician and whether or not to pursue it as a career,” says Fine Day.

While lack of confidence is one impact the isolation had on performers, suffering mentally from it was another challenge. For some performers, having that element of engagement is critical.

“For some, it probably drove them [wild],” says  K-Riz. “Some artists live to perform and perform to live.”

Performances are a way many musicians make their living, and for Yarema, it's his full-time job. He feels relieved that he can get back to doing what he loves and needs to support himself.

“It’s great to make a living again,” says  Yarema.

Yarema relied on live gigs and explained how all opportunities for performing and doing gigs for income were gone during the heightened times of the pandemic. “It was horrible,” says Yarema. “There was nowhere to play.”

This disruption to performers was sweeping and continuously difficult to manage as restrictions changed or were extended.  Shows were postponed or canceled and musicians had to navigate through the latest developments. Yarema, who is also a part of The Downtown Blues Band, had to postpone their tour three times due to pandemic restrictions. Yarema jokingly referred to the tour as “the longest fiftieth-anniversary tour ever.” The tour is now set for April through May this year.

Haberer faced his own challenges in keeping a venue in downtown Toronto open. While the Jazz Bistro has managed to maintain itself through the last two years, some venues weren't in the same situation.

“It was the nail in the coffin for a lot of businesses out there,” says Haberer.

Skarratt echoed Haberer’s claim that the impacts of COVID-19 restrictions were severe on venues.

“It almost put us out of business,” says Skarratt. 

Skarratt was continuously trying to find ways to adapt to the restrictions and maintain his venue. He struggled to find ways to sustain his business as the restrictions seemed to pose endless challenges. 

“We’ve reinvented ourselves probably fifteen times over the last couple of years,” says Skarratt.

Toronto's Jazz Bistro found the capacity limits most damaging. When combined with physical distancing measures, even reaching half-capacity wasn't always possible. Haberer explained they had to decline entry and cancel reservations at times. 

With the newly lifted capacity limits in Ontario, Haberer found some relief and hope. “It's going to be full steam ahead,” he says.

Safety is still a priority amid the return

Haberer has decided to continue with checking vaccine passports even as the province has lifted that requirement. He feels this measure helps ensure the safety of his staff and customers, many of whom may be older. 

While Fine Day looks forward to an upcoming live performance she has, she also recognizes a level of concern she felt for the safety of those joining her. Fine Day expressed concern for the elders she invited and worried about potentially putting their health at risk. The performance will be live-streamed for the Vancouver Public Library, where she is also the Indigenous storyteller in residence. 

“I want them to be in the room, but it feels a little bit risky,” says Fine Day.

Jesse Maxwell: Bringing new life to R&B and soul

The Toronto artist goes in depth with CanCulture, talking about his current album rollout and creative process

By: Alex Wauthy 

Toronto singer-songwriter and producer Jesse Maxwell is making waves through his mood-changing R&B and soul music that puts listeners in a soothing trance. Maxwell has accumulated over 20,000 listeners on Spotify thus far; an increase of over 5,000 listeners since the start of 2022. 

His rise in the soul scene is no surprise, as his recent single nosediveis an elegant song that has quickly resided atop his most popular songs on Spotify. 

Maxwell began releasing music in 2019 and dropped his debut album Radio Silence in 2020. Following this release, he came out with Hellion, a six-song EP that houses his biggest song to date, undone.” The song, released as a single for the promotion for the EP, has accumulated over 300,000 streams on Spotify alone. 

nosediveis the lead single for his upcoming album — and the spacey and psychedelic song is getting attention due to its infectious melodies. Fans can look forward to more music coming soon with an array of new sounds and styles. 

“‘nosedive’ was the first single and people are liking it, but I have another single coming out soon,” says Maxwell. “The next song coming out is called ‘love crime.’ It's this jazzy, guitar and vocal method, it's different. I think we are coming out with four singles for the album.”

His new single, set to release sometime in the spring, sees Maxwell taking a new approach, aside from the rhythms and harmonies sung. Using he/him pronouns in this upcoming single will break personal barriers for the artist.

“‘love crime,’ the next single coming out, is all directed at the male pronoun,” says Maxwell. “I love that, because I haven't really done that [before].”

Maxwell is also taking creative strides with his new album, looking to blend various genres and show off his creativity as an artist.

“The vibe I have been going with is crooner meets experimental and moody. I have also been getting into ambient music,” says Maxwell. “I do not like making two songs that sound the same and that is something I am excited about on this album.” 

As is the case with most musicians, those who have paved the way for a genre or sound are massive influences for upcoming artists like Maxwell. His comment of “crooner-meets-experimental” is reflected in the artists he views as inspirations.

“I am very inspired by James Blake. His self-titled record has changed my view of how to approach music. Back then, he stayed in his pocket of crooner meets experimental,” says Maxwell. “James Blake, Frank Ocean, FKA Twigs, and Daniel Caesar have framed the way I view music.”

Collaborations with artists are not out of the realm of possibility for Maxwell. Local artists and world-renowned superstars are potential suitors for him to curate a ballad with. 

“In terms of Toronto artists, I would love to do a collaboration with Charlotte Day Wilson, that would be a beautiful song,” says Maxwell. “In general, I would love to collaborate with James Blake, I am in awe of his production.” 

Before the recent wave of lockdowns, Maxwell took the stage at Supermarket in November 2021, which was his latest live performance. 

“It was so surreal, I hadn't performed my solo stuff live yet because I was living in New York fronting for another band,” says Maxwell. “When I started putting out records, everything was closed. We had performed a month before at Horseshoe Tavern and then we headlined the Supermarket, the energy was just crazy.” 

Maxwell will perform more once pandemic restrictions ease in Ontario. A combination of rapid growth over the last few months and the public wanting live music will lift his live performances to new heights. 

“I am planning to do another show at Supermarket in May,” says Maxwell. “It is hard to plan things right now since everything is so up in the air.” 

Diving deep into Maxwell’s catalogue will provide you with songs containing different meanings and sounds for listeners to interpret in their own way. Choosing a personal favourite can be challenging for an artist, and Maxwell was no exception — however, there is one song that stands out to him overall. 

“In general, I love ‘Undone’ because that song was not planned to write and is something very close to my heart,” says Maxwell. “The song is about me struggling to be OK with my own sexuality, so to me, that was a very interesting process.” 

“Undone” was written in only 30 minutes. In a short amount of time, Maxwell created a beautiful song, talking about something extremely personal. 

“It was something I always wanted to talk about, because at the time, all my pronouns were directed at [women],” says Maxwell.  “It was about me being OK with myself and not fighting that idea, for anyone that knows that I think it adds a new meaning. It was very organic.”

Jesse Maxwell is on the rise. His ability to combine a variety of different sounds makes him a prominent up-and-coming artist to watch in the Toronto music scene. His album rollout, continuing through the spring and summer months, will provide listeners with a plethora of new music to chill out with during the warm days ahead of us.

Ranking Drake’s discography

Full of both highs and lows, the Toronto superstar’s catalogue is unlike any other

By: Adriana Forestieri

Drake performing at a Bun B concert at The Sound Academy in Toronto in 2011. (thecomeupshow/WikiMedia Commons)

As Billboard’s Artist of the Decade and the most-streamed artist of all time, Drake, a crown jewel of Toronto’s music scene, has come a long way since his first studio album. His growth as an artist has really been unmatched. 

With Drake's diverse set of skills allowing him to cover a broad range of genres throughout his career, and his ability to seamlessly switch between his R&B and hip-hop voice, there is no doubt that he has earned the titles he’s been awarded. 

Six studio albums and seven mixtapes later, Drake is one of the biggest superstars the world has ever seen and continues to dominate the charts. In the process, he’s created a discography like no other (with inevitable ebbs and flows, of course) — and CanCulture is here to rank them.

1. Take Care (2011)

Released in November of 2011, Take Care was Drake’s second studio album and went on to change the relationship between hip-hop and R&B music for the remainder of the decade. 

With his honest words and expressive emotions, Drake masterfully created a body of work with the perfect balance of rap and R&B tracks that inspired a generation of artists — making it difficult to rank this album anywhere other than number one. 

The majority of the album’s songs were carefully crafted alongside his long-time partner and producer, Noah “40” Shebib, who has sonically made great contributions to Drake’s career, often providing him with the perfect production to express himself over. With songs like “Look What You’ve Done,” a tribute to Drake’s family, and “Marvins Room,” the official heartbreak anthem of the 20th century, this album triumphs over all other Drake projects. 

Although this album was just the start of his career in the mainstream, it was able to influence those who listened until this day, with club favourites such as “Headlines,” “Crew Love” with The Weeknd, and an all-time classic, “Take Care” with Rihanna.

2. Nothing Was The Same (2013)

The most difficult part of arranging Drake’s albums from greatest to least was the dilemma between Nothing Was The Same and Take Care. It was a battle that I was fighting for days, but I finally decided that Nothing Was The Same would have to come in a close second. 

This album was Drake’s third studio album, containing the works of many talented artists, including features from his role model, JAY Z. This project is considered to be one of the most lyrical of his discography with a strong intro; “Tuscan Leather,” is a 6-minute song with no chorus or hook. This song truly sets the tone for the rest of the album, showing how Drake is able to change up his flows and showcase why he deserves his respect as a rapper. 

Some of the coldest songs of Drake’s career came off this one album; “All Me” and “Worst Behavior” give off a careless attitude. Following right after, the cold truths of relationships, love and self-growth show up throughout the tracklist; on “Too Much,” “From Time” and “Furthest Thing.” With its clever production — songs flow into one another tunefully — this album becomes one of Drake’s most cohesive bodies of work. After the release of his iconic album and its many playlist staples, as the fame started to set in, things truly never were the same for Drizzy.

3. If You’re Reading This It’s Too Late (2015)

Although Drake has been known for his emotional and “soft” side, we saw a complete shift with the release of his mixtape IYRTITL

Drake really brings out his inner God complex, starting off strong with the braggadocious track “Legend.” This album oozes confidence in every single track, making it hard not to be contagious. He talks mostly about his money and his relationships, addresses his haters, and how he truly is the “6 God.” 

At this point in his career, you can tell from his lyrics that he’s finally getting used to fame and becoming the ultimate version of himself. This album will always have a special place in my heart with the PARTYNEXTDOOR features, which have remained in my rotation to this day. With the aggressive flows and repetitive hooks, this mixtape is definitely worth the praise, as the more braggadocious side of Drake is on full display.

4. Views (2016)

Views serves as Drake’s fourth studio album, and was one of the most slept-on Drake projects in my opinion. Many argue that this album was not up to par with his previous studio albums, but those who argue this cannot come to appreciate the R&B potential Drake brings out on this project. 

The album showcases the talents of his label with features from PARTYNEXTDOOR, Majid Jordan, and dvsn, and brings sensitive topics of self-loathing, reflection and betrayal. Not only does Drake get in touch with his emotional side, but he also brings a taste of dancehall and Caribbean music with “One Dance,” “Too Good” and “Controlla.” I know many will argue with the placement of this album, but like Drake rapped on 2021’s “Wants and Needs” in reference to the album: “Come with a classic, they come around years later and say it's a sleeper.”

5. Care Package (2019)

Care Package is what I consider to be the time capsule of Drake’s music career. This compilation project has 17 songs that were previously leaked or released on Soundcloud and other underground streaming platforms between 2010 and 2016, bringing them to all streaming platforms under one project. Care Package is filled with old R&B samples such as songs and lyrics from Lauryn Hill, Destiny’s Child, and SWV. These are modern-day R&B staples, which further showcase how Drake can easily switch up his flows between rap and soul.

6. Certified Lover Boy (2021)

After the highly anticipated drop of Drake's sixth studio album, Certified Lover Boy, many Drake fans argued that Drake has “fallen off” and hasn’t been the same since the late 2000s, despite his aforementioned accolades. While it follows a similar formula to his past releases, this album truly proves that he has not lost his touch, but has only grown as an artist and creator. This 21-track album has the perfect mix of pop, rap and R&B, once again showing off all of his skills on one project. We see Drake's toxic and petty side with “Get Along Better” and “Pipe Down,” but also the side that is honest and emotional with songs like “Love All” and “The Remorse.” The main reason this is lower on my list is unlike most of his albums, this one is highly populated with features to a point where I feel it takes away from it being Drake's album himself.

7. More Life (2017)

More Life is a feature-packed project with appearances from many talented artists from across the globe. When this anticipated project dropped, everyone had assumed it was another album or mixtape, but Drake had other plans; he labelled it as  a playlist. 

Many argue that this project was a compilation of rejected songs from his fourth studio album, Views, which had many fans heated due to the assumed lack of effort that went into some of the tracks. Even if this was true, no one can deny Drake’s ability to create hits from rejects and throwaway ideas. I would rate this playlist seventh in Drake’s discography because although there are some sleepers on this album, many of my playlist staples came from this project; “Teenage Fever,” “Do Not Disturb,” and of course, the song of the summer, “Passionfruit.”

8. Scorpion (2018)

Scorpion is one of the most quintessential Drake albums, with 25 songs and very few features. We see the best of both worlds on this album, as Drake separates this project into two discs; Side A being entirely rap, while Side B is all R&B Drake. 

Compared to his other albums, I feel that this one lacked in quality due to the long tracklist with some songs that I find to be forgettable. Although he talks about the basic lifestyle we’ve come to associate with Drake, like dating multiple women at once, dealing with haters and getting used to his fame, this album is really structured around fatherhood. On the track “March 14,” he officially announced the birth of his son; “I wasn’t hiding my kid from the world, I was hiding the world from my kid.” This album had everyone on edge and curious about what goes on in Drake’s love life, taking away from the quality of the music.

9. Thank Me Later (2010)

Thank Me Later is Drake's debut studio album, filled with classics that are still on repeat to this day; timeless hits like “Over,” “Find Your Love” and “Up All Night” all came from this 2010 project and are what got his hit-making career kick-started. The only reason I would rate this album ninth out of all of his projects is compared to his other albums, I feel like he hadn’t quite reached his full potential yet. Drake has grown so much as an artist and finds sight in what is truly important in his more recent projects compared to his releases from the early 2010s.

10. So Far Gone (2009)

The release of this mixtape brought a new and different taste of R&B and hip-hop sounds, which ultimately set the stage for all other artists in these lanes following this release. Drake was seriously ridiculed for his emotional side on this project, as it wasn’t yet common in the hip-hop/rap community at the time. 

This being one of his earliest projects, Drake was still developing his music skills and it’s shown through some tracks that are rather repetitive. Don’t get me wrong, this album brought the amazing classic “Best I Ever Had,” but other tracks like “Houstatlantavegas” and “Little Bit” are hard to follow. Although he faced a lot of judgment from this deeply flawed mixtape, it showed that Drake was willing to take risks which ultimately brought him to where he is today.

 11. Dark Lane Demo Tapes (2020)

Coming in last, we have the Dark Lane Demo Tapes, which dropped in the early quarantine days of 2020, composed of a collection of unreleased demo tracks. This mixtape shows how strong of a grip Drake has on the music community, as he can drop what you may call “leftovers” from his studio sessions and still do numbers. I felt like this mixtape had less thought put into it overall, but did bring out some tracks that will be classics in a few years like “Chicago Freestyle” and the 2020 TikTok anthem, “Toosie Slide.”