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

A small crowd gathers among shelves and display cases of vinyl records, their attention focused on musician Tim Baker, who sits with his guitar in the far back corner of the small record store

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.

Join the march with Rufus John — The Freedom Marching Project: EP review

Led by Rufus John, United Artists 4 Change released a powerful EP titled “The Freedom Marching Project”

By: Bashair Ali

United Artists 4 Change, Inc., marketed by Urban X Entertainment, a division of TuneCore, Inc., 2022 (via YouTube)

Over the course of 18 months, Rufus John and a team of incredibly talented Black and racialized artists, musicians and producers around Canada took part in the creation of The Freedom Marching Project — a three-song EP that allows its listeners to get informed, stay connected and join the march. 

The music videos of parts one and two were released earlier this month, which incorporated visuals of police brutality, racial injustices and BLM protests. 

At first, the EP was intended only for John, but then his team challenged themselves to contact as many people as possible and find out how many artists in their community would be interested in contributing. Soon enough, the choir, his friends from the community and even people who did not know him became involved. 

"I found space for everyone to participate and didn't reject anyone," says John.  

John uses the art of singing and songwriting to express the message that racism still exists, hoping that people will respond to the issue through donations, voting or simply just seeking out knowledge. 

The recurring theme throughout the EP is honesty. John wants his viewers and listeners to be able to resonate with the lyrics and illustrations by portraying similar experiences and being vulnerable. "If you have a story about this topic, then there are probably hundreds of other Black [people] that have experienced the same thing," says John. 

Freedom Marching part one introduces characters of different ages, races and classes. Its main plot centres around a protest sparked by unjust treatment towards a 14-year-old boy who was unlawfully detained. Part two shows us how and why the young boy's arrest occurred. 

"The whole point of this platform is to use art, activism and education to spark people to get into this fight," says John. 

Both music videos feature the personal stories and feelings John encountered at one point in his life. The only difference was that he lacked the tools to combat discrimination, such as approaching his community for help. Instead, he bottled everything up and never repeated it, up until his vision for the music videos came about.

"I was angry when I was younger, and as I got older, I learned that there are people that are here for you," he notes. 

So in creating the EP, along with a resourceful website that contains relevant resources and information for those interested in learning more about #JoinTheMarch, he strived for Black individuals to use the project to help them navigate their lives.

“If you have something you can stand on and people are watching and listening, say something,” says John. He feels that his role in society is to be of service and the way he contributes to it is through his music. 

John's technique for creating music is not the only factor that leaves his listeners in awe; it's what he writes about that has the ability to connect with people like him. "I'm the bridge between the young and old, the catalyst for change, the kid next door, and I approach all my music that way." 

The Freedom Marching Project carries a selection of songs that takes a whole new step into advocating for equity, access, diversity, inclusion and participation of Black and other underrepresented communities. Through his work, John presents his expression of art in an effort to create social change and challenge anti-Black institutions and ideologies.

KAYTRANADA drops new EP after nearly 2-year gap

“Intimidated” is the Montreal-based artist’s latest release since his 2019 award-winning album, “BUBBA” 

By: Kinza Zafar

The album cover for KAYTRANADA’s EP Intimidated

KAYTRANADA’s newest EP masterfully showcases his dynamic range and capabilities as a producer and DJ. Despite consisting of only three tracks, each one possesses its own distinct sound. 

The first track, “Intimidated,” is melodic and upbeat, a perfect marriage between the soft, floating voice of American R&B singer, H.E.R., and KAYTRANADA’s soulful piano chord progressions. The fellow Grammy award winner and multi-talented creator, Thundercat, continues the funky, lo-fi vibe on “Be Careful.” The groovy track with a punchy bassline and crisp hi-hats provides a vibrant atmosphere for Thundercat’s signature falsetto vocals to shine and is even complete with vinyl crackling.

A  Haitian duo unites on the last track featuring Mach-Hommy, making for a powerful cap on the project. Even while switching it up on a dance beat, Mach-Hommy sounds just as comfortable as he was on his own album Pray for Haiti, one of hip hop’s best releases of the year. 

The song encompasses similar concepts of Haitian identity and liberation — something that has been at the forefront of his entire career as one of hip hop’s greatest underground rappers the past decade. This is especially prevalent in his hook where he references someone telling him to “take the ‘R’ out” of  “pray for haiti,” which spells the single’s title, “$payforhaiti.” 

By the end of the EP’s nine minute runtime, it’s clear that the genre-bending KAYTRANADA has delivered another fresh project for folks to dance their way out of the pandemic. 

His diversity as a producer is on full display on Intimidated, as his chemistry with his friends makes for an entertaining listen, no matter how short. 

After the release, the Haitian-Canadian artist took his gratitude to Twitter. “Really blessed to work w/ amazing vocalists. Most of my beats can’t simply be instrumentals so to be where I am now, would’ve been nothing without them or maybe different,” he tweeted to his almost half a million followers. 

H.E.R. also tweeted at him about the project, writing “thank you for allowing me to be a part.” Thundercat also replied to a shoutout, “love you Kaytra!”

KAYTRANADA’s 2019 album, BUBBA, earned him a Grammy award for the Best Dance/Electronic Album category, while his single on the same record, “10%” with Kali Uchis, won Best Dance Recording at the 63rd Annual Grammy Awards. Similarly, the album also received a Juno award for Dance Recording of the Year. As hinted on Twitter, KAYTRANADA is rumoured to have a mixtape awaiting release; Intimidated is just a teaser of what KAYTRANADA has in store.

Torontonians will have the chance to experience the 29-year-old perform two nights in a row on Dec. 29 and 30 at History. 

Joey Bada$$ and Miguel shine at Ryerson's Sundown Music Festival

By: Nathan Williams The Ryerson Student’s Union hosted “Sundown Music Festival” last Friday, one final concert jam for students to enjoy before the summer weather begins to fade. Artists Joey Bada$$ and Miguel headlined the show held at the picturesque Polson Pier.

There were high expectations for this year’s event after the backlash that the RSU received following the controversial outcome of last year’s “6 Fest."

Sundown kicked off with a performance by Toronto’s very own all-female rap group, The Sorority. With a sound heavily inspired by 90s hip-hop, their hard-hitting lyricism and homage to rappers from decades past got the crowd involved.

https://www.instagram.com/p/BZbkcp4l75l/?taken-by=shuttersworth

Next up were The Skins, an afro-punk band known for their collaborations with hip-hop artist D.R.A.M. Hailing from Brooklyn, The Skins’ musical style incorporated hip-hop samples from the likes of fellow New York City artist Jay-Z with their own R&B sound.

From Ajax, Ont., rapper Sean Leon took the stage. This was his second RSU concert performance and he captivated fans with his stage presence, bringing energy into his rhymes. Playing songs such as “Steve Harvey / Family Feud”, his catchy hooks had the crowd singing along.

(Gavin Mercier/CanCulture)
(Gavin Mercier/CanCulture)

Earlier this year, hip-hop artist Logic had to postpone his Toronto stop on the "Everybody's Tour." The festival was a great opportunity for fans to see Joey Bada$$, who was supposed to accompany Logic on his tour.

Joey Bada$$ made his presence known through his style of “conscious rap." A hip-hop mainstay, Joey Bada$$ played hits from his 2017 studio release ALL-AMERIKKKAN BADA$$. “Land of the Free”, and “Devastated” were just some of the tracks performed from this politically-charged album.

Not one to shy away from controversial topics, this full-length LP discusses racial tension amidst the wake of the new American presidency. For long-time fans, he played his classic hits “Paper Trail$” and “Christ Conscious”.

(Gavin Mercier/CanCulture)
(Gavin Mercier/CanCulture)

Starting his “Wildheart” tour at Sundown Music Festival, Miguel was the last artist to take the stage. His smooth voice and R&B sound delivered a relaxed vibe to an easygoing crowd. Audience members swayed to the likes of “Do You…” and “Coffee”.

His backing band energized the crowd with powerful guitar riffs through each song. Ending the night, Miguel performed his major hit “Adorn” and appeared once more to sing his upcoming hit, “Skywalker”, as a surprise encore.