Artist Profiles: B.C. native Ben Dunnill talks inspirations and new music

This is the first in a new series by CanCulture Magazine, called Artist Profiles. We reach out to underground Canadian artists all over the country to talk to them about their music, inspirations and future plans. We want to give them a voice and recognition for their work in the ever-changing landscape of the music industry.  By: Brooke Houghton

In the province of British Columbia, a new agePiano Man has emerged filling his seaside town with piano riffs and soulful songs.

Ben Dunnill, 18, is an up-and-coming singer-songwriter whose music transcends his classical roots, branching out into modern-day jazzy tunes and indie rock.

(Allan Baedak/Words, Pictures & Music Media)

CanCulture had the opportunity to interview the talented Dunnill from none other than his bathtub, the first of many lovable quirks that shone through in his interview. His old school vibe was a refreshing take in a sea of digital artists, not to mention his love for puns. If you don’t believe us, check out his Instagram, @bendunnill. We talked about when his next album is being released, his inspirations and plans for the future.  

Q: What inspired you to get into music?

A: “My siblings were very musical. I started in theatre, both my parents played professionally. As I was growing up surrounded by music I developed a passion, and my dad started seeing this passion. He introduced me to all of these artists and amazing music. I fell in love with the craft, ever since then it was my life goal.”

Q: When did you realize you were starting to gain a large following?

A: “Probably about three years ago when I started playing at a piano bar called Bin 101 every weekend. I got a news article, then I got a magazine cover with my face on it and shortly after I was named one of the top ten musicians to look out for in 2016.”

Q: Who are your main influences when it comes to your writing style?

A: “I love old classical Mozart, some of the 70’s singer-songwriters, anyone who took the art form and made it something special. Personally, I love Jackson Browne because his lyrics really say something to me.”

Q: What piece of work are you most proud of?

A: “My favourite song I’ve ever written is ‘We Are Just Kids’. It's completely different. It’s a song that has no modern pop structure. It’s short but original and I don’t know where it came from, but I hope it can find its way into a top Broadway or on-screen production.”

Q: What do you want to accomplish most in music?

A: "I think the truest artists are those who cannot only create music for record purposes, but those who can transform sounds to create environments and atmospheres so when you close your eyes, you truly feel like you are in a different place entirely. Music is essentially going through changes and strategically using the silences in between, well I’d love for my listeners to close their eyes and feel themselves completely change. I think that’s where the true power of an artist lies; in the ability to make someone feel something different, not just hear it.”

Q: Your debut album was released in 2016. When is your next album coming out?

A: “That’s tough, I’m really critical of my work. Whenever I record something I feel the need for it be perfect, but I’m hoping it will be ready to release by next summer.”

Q: What’s next for you and your career?

A: “I recently got offered to start composing music for a television show in Vancouver,  called When Paintings Come Alive. As I develop my vocal ability, I would love to focus on writing more music.”

Gord Downie's legacy lives on through music

By: Krizia Ramos Gord Downie, the frontman for one of Canada’s most admired rock bands, the Tragically Hip, died on Tuesday night at the age of 53.

Surrounded by loved ones at the time of his death, a statement was published on the band’s website from his family that read, “Gord said he had lived many lives. As a musician, he lived “the life” for over 30 years, lucky to do most of it with his high school buddies. At home, he worked just as tirelessly at being a good father, son, brother, husband and friend. No one worked harder on every part of their life than Gord.”

Downie was diagnosed with Glioblastoma, an incurable brain cancer which Canadians learned of in May 2016. The Tragically Hip announced that they would do a final summer tour. The last stop in the band’s hometown, Kingston, Ont. was broadcast live on Aug. 20, 2016.

Downie was born in Kingston on Feb. 6, 1964. Like most average Canadians, Downie was a big hockey fan. His godfather was Boston Bruins coach Harry Sinden which made him a hard-core Bruins fan and he even played goalie for his B-level team, which won a provincial championship.

Aside from hockey, music was his passion. Before forming The Tragically Hip, Downie was in a punk band in high school performing covers, until The Tragically Hip was formed in 1983 at Queen’s University. The name came from a sketch called “Elephant Parts,” a long-form music video by former Monkees member Michael Nesmith.

After releasing their first EP in 1987, they recorded their most popular album Up to Here that was released in 1989, making them a household name. However, after winning their first Juno for Most Promising Group and their next three albums going diamond and multi-platinum, the band didn’t do so well in the U.S. They made their first appearance on Saturday Night Live in 1995 but compared to selling out large arenas in Canada, they played smaller venues south of the border and album sales weren’t as high.  

If Downie is to be remembered for one thing, it is being a songwriter. He liked to include Canadian references in his songs. He would sing about things that happened in the news or Canada’s treatment of First Nations peoples. In June 2017, Downie received the Order of Canada, the highest honour for a civilian. With the Hip, the band won 16 Junos. Another major accomplishment was being inducted into Canada’s Walk of Fame and Music Walk of Fame.

Throughout his career, he released four solo albums starting with his first solo album titled Coke Machine Glow in 2001.

Fans, politicians, athletes and fellow musicians are remembering Downie as a national icon. NHL players tweeted their thoughts, and rapper Drake took to Instagram to pay tribute. In a statement, Prime Minister Justin Trudeau said “…He was the frontman of one of Canada’s most iconic bands, a rock star, artist, and poet whose evocative lyrics came to define a country…He will be sorely missed.”

https://www.youtube.com/watch?v=mtxZfVvMjh8

Toronto Symphony Orchestra enchants audiences with Harry Potter Concert Series

By: Gabrielle Reyes Nostalgia filled the air as thousands of fans poured into The Sony Centre for the Performing Arts last night to experience the film, Harry Potter and the Chamber of Secrets like never before.

The Harry Potter Film Concert Series, presented by The Sony Centre and Attila Glatz Concert Productions, has returned for the second installment of the film series. Led by guest conductor Joshua Gersen, the Toronto Symphony Orchestra performed the iconic score with the film projected behind them on screen.

(Gabrielle Reyes/CanCulture)

In stark contrast to the formal tone of most orchestral performances, this film concert series is an immersive experience. An unmistakably strong sense of community was felt as audience members collectively engaged with the film and its music through cheers and applause. Before taking his place at the conductor’s podium, Gersen even had audience members cheering for their Hogwarts houses.

The Sony Centre also featured a pre-show talk, “Behind the Curtain,” with TSO’s principal harpist, Heidi Van Hoesen Gorton and Toronto-based journalist Deirdre Kelly. They discussed the intricacies and challenges of performing such an iconic film score and what it takes to prepare for it. Van Hoesen Gorton noted how rewarding it is to be able to perform John Williams’ works, being a fan of Williams herself.

The pre-show talk put the performance into perspective, giving audience members an in-depth look at the show, explaining how various instruments and musical themes are used throughout the film to evoke emotion and complement the film’s atmosphere and characters.

The opening notes of Hedwig’s Theme were enough to elicit excited cheers from audience members. From the ominous musical themes of the Forbidden Forest, to the soaring horn melodies heard on the Quidditch pitch, John Williams’ orchestration brings life to the film. The themes of the second film are far more sinister than the first, and this was evident in their performance. The TSO’s use of articulation and contrasting dynamics effectively emphasized character nuances and tonal changes between scenes. While there is little room for interpretation while playing live with the film, the TSO brought Williams’ score to life.

Their synchronicity with the film was on par with that of the original soundtrack. The TSO blended their sound beautifully with the film, leaving audience members spellbound. In the best of ways, it was easy to forget that a live orchestra was performing a few feet away.

Two decades later, the Harry Potter series continues to captivate fans in new and exciting ways. From the devout Harry Potter fan, to the dedicated TSO patron, to the John Williams enthusiast, this film concert series promises a night of magic and entertainment for everyone.

https://youtu.be/NJOCusQYD4s

Harry Potter and the Chamber of Secrets In Concert continues at Toronto’s Sony Centre until Oct. 14.  Tickets are available here.

For even more Harry Potter, check out the details for Harry Potter and the Prisoner of Azkaban in Concert next May!

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)

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)

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.

The Weeknd brings Starboy Tour back to his home city

By Vanessa Balintec

Thousands of fans swarmed the venue hours before, ready for the night to begin. People chattered excitedly as their eyes darted around the dark arena, careful not to miss the anticipated moment the lights would dim and the music would blare throughout the Air Canada Centre.

The lights cut out. The sounds of screaming fans reverberated in the massive arena. The night had begun.

35 @theweeknd

488 Likes, 11 Comments - Jake Kivanç (@jakekivanc) on Instagram: "35 @theweeknd"

Photo courtesy of Jake Kivanç via jakekivanc on Instagram

This is Toronto-native R&B singer and songwriter The Weeknd’s second stop as part of his Starboy: Legend of the Fall 2017 world tour. The international tour, promoting his double-platinum album Starboy, has made stops all over the United States, Canada, New Zealand and Australia. His jam-packed schedule has him performing over 90 shows in more than 20 different countries this year.

His tour began in February and was schedule to be completed in July, but after the tour proved to be a huge success, he announced ‘Phase Two’ that extended tour dates well into December.

The Weeknd kicked off his show with front-liners French Montana and Nav. Nav, also a Toronto-native, brought along his touring partner Metro Boomin to promote his latest album, Perfect Timing, including hits like “Perfect Timing” and “Call Me.” Nav also paid homage to an old favourite—“Myself.” French Montana followed quickly after, singing hits like “Ocho Cinco,” “Don’t Panic” and his chart-topping single “Unforgettable.”

Although they performed well, the crowd was anxious to see the main act, and stood on their toes, waiting impatiently as the stage set up and the lights dimmed. The Weeknd is known for his jaw-dropping stage performances that entertain and amaze audiences. He began the show by rising from the middle of the stage and was greeted immediately with the sound of hundreds of screaming fans as he performed his hit-song “Starboy” to begin what proved to be an amazing show.

The Weeknd breathed new life into his well-known songs by mixing tracks and playing with the tune and ranges of his songs, most notably the song “Die for You”. The overall energy and ‘party’ vibe from the album Starboy, combined with the sensual undertones from the album Beauty Behind The Madness, and together topped by the dark, and grungy tones from Trilogy, made for a complete, unique performance that left much of the audience satisfied, tired, and drunk off of adrenaline by the end of the night.

Back in his home country, the audience’s mood was amplified by his excitement and pride. The Weeknd made sure to give thanks to Toronto for its love, welcome and support.

The United States is the next country on The Weeknd’s tour, and the singer-songwriter will be making stops in Boston, Washington, and the hurricane-devastated Houston.

Album Review: Near to the Wild Heart of Life by Japandroids

It has been five years since Japandroids created new music, but the Vancouver duo has returned to the scene with the release of their new album Near to the Wild Heart of Life on Jan. 27. Originally writing music during the late 2000s, Japandroids had already missed the era of garage band rock. The genre itself was made popular in the early 2000s, by bands like Sum 41, Weezer, and Blink 182.

Now in 2017, Japandroids are bringing back the genre with their new album. The band managed to tone down some of the heavy electric guitar from their previous album and created a new definition of punk rock. Their new songs still remind us of the days of low-cut jeans, heavy black liner and flat-ironed hair. Yet the sound manages to fit into today’s musical style. Gone are the days of dark, emo lyrics and the sound of Celebration Rock and No Singles.

After an ascending intro, mocking the long wait Japandroid fans had for this new album, the song opens up into something shockingly pleasant. The band now has fallen under more of an alternative rock genre.

They’ve dropped dark melodies and borrowed classic Americana/Folk themes of wildness, love and home and have definitely opened themselves up to a new (wild) life. In all, the sound is far more pleasant and the lyrics are more distinguishable than their noisy-rock days.

The only exception to this is I’m Sorry, which brings that classic Japandroids sound back into the mix and the only song that falls short on the album. Its limited lyrics are covered by a limited and noisy track.

Midnight to Morning is the strongest track on the album. Due to the fact that it is plain and simple, the song speaks about returning home to his love, with a softer, acoustic-sounding guitar.

It’s pleasant and reminiscent in a way that speaks to modern indie/folk trends. This same-acoustic style is brought into their last song Body like a Grave, which ties up the album perfectly.

It’s a final reminder that this new sound is here to stay.  Although they dropped their emo-like sound, the music is more emotional than ever before, opening themselves to love and heartache.

Hard-core Japandroid fans will be shaken up with this new sound, but their album will definitely attract new fans seeking the perfect blend of garage rock, indie and Americana. Near to the Wild Heart of Life is the perfect break to a five-year hiatus.

This piece was edited by Micaela Tesi , music editor of CanCulture.

How Toronto’s Ferraro is conquering Canadian music

From humble beginnings, playing in their basement for only each other to opening for Canadian legends such as Sam Roberts Band last year and releasing a full album of original music, it's safe to say the brothers of Ferraro have arrived and are here to stay. In a little cafe tucked away in the heart of Toronto, walks in Tally Ferraro. With all the makings of a rock star. A slick leather jacket, but a warm smile, a polite charm and down-to-earth personality.

Between business school, working at the family's bar and the band, he manages to squeeze in a few minutes of time to let us in on who the brothers of Ferraro are and what's next for the band.

As the descendants of the Cameron House, the Ferraro brothers, Cosmo, 29; Gianni, 25 and Tally, 21, are the next legacy sure to come out of the iconic venue.

The Cameron, as known by locals, originally opened in 1981 by Anne Marie Ferraro (mother), her late brother Paul Sanella and close friend Herb Tookey. Over the years, it has seen the likes of top Canadian musicians such as Blue Rodeo, Ron Sexsmith and Justin Rutledge - just to name a few.

The boys of Ferraro formed organically, when current Cameron bar manager and label co-owner of Cameron House Records, Cosmo Ferraro, first picked up a guitar as a child. Gianni followed suit with a drum set a year later and shortly after, Tally learned to play bass and the rest is history.

"If I wanted to be in the band, my brothers told me I had to play bass," Tally laughs."It was bass and vocals, because that's what no one else wanted to play."

For many years, the band was a hit cover band playing shows around the city. However, a few years ago, Gianni came to the band with some originals and they haven't looked back since.

"There comes a point where if you want to take it seriously and want to make something of a career with music, you have to start playing your own stuff," says Tally.

Although Gianni is the main songwriter - having written all songs on their first EP - Tally recently started writing as well and penned some of the hits on the new album 'Losing Sleep.'

"Me and Gianni both write and share most of the lead vocals and we all sing a bit of back up so it's pretty shared."

A mix of 1950s inspired rock with a dash of modern sound, 'Losing Sleep' is full of catchy, stay-in-your-head tracks with subtle influences by groups such as The Beatles and The Strokes.

"Those are definitely influences for us. Paul McCartney is my favourite musician and songwriter. But, there were a lot of Toronto bands that we were exposed to that most people probably wouldn't have been as well," says Tally. "We grew up on a wide range of music. Since our mom was in the scene she brought a lot of cool stuff home."

While it was never their intention to raise a household of musicians, their parents couldn't be more proud.

"They've been to almost every single one of our shows. They're upset when they have to miss one, when we played out of town they were texting us every night," jokes Tally.

Although their parents never played any instruments personally, growing up immersed in such a vibrant, diverse culture of music has definitely played a role in the makings of Ferraro.

"It was great growing up with the Cameron. It was inspiring to get to see all of these people and get to talk to them and pick their brain about what it's like playing music."

While the close-knit brothers undoubtedly work well to create great music, the dynamics of normal sibling rivalry doesn't escape the inner-band politics.

"There are a lot of arguments, over band stuff because you know, creative differences, but at the end of the day you end up working it out because you are brothers," Tally explains while laughing.

"Since there's three of us, someone is always the deciding vote, two against one kind of thing."

However, one thing all three brothers can agree on is that opening for Sam Roberts this past Labour Day was a great experience.

"He's been around the Canadian music scene a long time and he knows it's hard to make it as a Canadian band, but he told us you just got to keep playing. I think he released two or three records before he started getting recognized. You just got to stick with it even when times are tough. To get to play in the KEE to Bala too…that crowd was a lot of fun," says Tally.

While Ferraro has played shows all over Toronto, including NXNE over the past few years and other festivals such as Pop Explosion in Halifax, the brothers are hoping to continue expanding their horizons.

"I think that’s hopefully the next step for us, to do a bit of a tour. Even just university towns, like Waterloo and Guelph to spread out a bit. We are also working on some new music, so in the next few months we will have a few new songs out."

This piece was edited by Micaela Tesi , music editor of CanCulture.

Leonard Cohen's says goodbye to fans through last album

Leonard Cohen’s last album You Want it Darker was his final farewell to the world as the legendary singer-songwriter passed away on Nov. 7, 2016. Chances are you’ve heard of Leonard Cohen or listened to his music. His deep resonant voice, mixed with his lyrical ballads is impactful on all who have listened to him. The strength in which he writes his lyrical poetry, one would think they were grasped from the hands of Lord Byron himself.

His music was art, and his influence on the blues, R&B, folk and rock genres changed the way we think about love, spirituality and death. His passing was a shock to many generations of listeners, casual admirers and hard-core fans. He left behind something greater than just music; he left behind a legacy.

Born in Westmount, Quebec in 1934, Cohen began as a poet and novelist in his early years, rather than a singer. After graduating from Columbia University, Cohen moved to Greece, were he turned to song-writing shortly after meeting his first muse Marianne Ihlen, long-time girlfriend and life-time friend. This particular muse was an iconic woman of Cohen’s past and would be an important figure throughout his life. His first two albums Songs from Leonard Cohen (1967) and Songs from a Room (1969) were directly influenced by Ihlen. In his song entitled “So Long, Marianne,” we get one of the first glimpses into what will be a notable Cohen theme: that of aging and loss of youth. He speaks of meeting Marianne when they “were almost young,” a reflection on his days of youth as if they had recently slipped from his fingers. At that time, Cohen was no more than 33.

As his music progressed, so did his popularity. Various Positions (1984) was a well-known album of Cohen’s. The genre range on this album was great and included the classic Cohen blues, such as “Coming Back to You” to more country/folk tunes such as The Captain.  His lyrics spoke to his mother and father, times of war and spirituality. What was perhaps one of Cohen’s greatest hits, “Hallelujah” was also featured on this album; a song many people turned back to after his death. “Hallelujah” has been covered by many artists over the years such as Justin Timberlake, Bon Jovi and Rufus Wainwright in the DreamWorks film Shrek (2001).

You Want it Darker was Cohen’s final goodbye to the world. In July, when his beloved Marianne was near-death, Cohen wrote her a letter that read in part: “Well Marianne, it’s come to this time when we are really so old and our bodies are falling apart and I think I will follow you very soon. Know that I am close behind you that if you stretch out your hand, I think you can reach mine”. His album was released this October, shortly before his death and it expressed his readiness to meet God. It featured Cohen in a way the world has not seen before; both his singing and the lyrics themselves turned deeper and darker—a Cohen reminiscent of His Old Ideas (2012) and Popular Problems (2014).

Cohen was a devout Jew his entire life and this connection to the spiritual world came through in many of his tracks. The title track You Want it Darker, Cohen sings “Hineni, hineni/I’m ready, my Lord.” Hineni means "here I am" in Hebrew and this was said by Abraham to state his readiness to stand before God. "Here I am, I’m ready, my Lord." This meditation on the afterlife was further brought up in “Leaving the table, the third track, I’m leaving the table/I’m out of the game”.

Cohen’s music always had a sense of this contemplation between life or death and aging versus youth. In a way, he was always preparing himself for this final goodbye. His final album brought all those thoughts into a last testament to the life he lived and the battles he fought by turning his “back on the devil” and “on the angels too.”

What made so many people and generations fall in love with Cohen was the way he spoke of love in such a deep and romantic way, treating it with innocence and tenderness. He let his poetic background flow into his lyrics in a way that deeply moved his listeners. Not to mention, his songs are about things we have all experienced and felt. Cohen was able to perfectly put it into words the trials of life, love and death.

Farewell, Leonard Cohen, and may your angel eyes forever watch over us.

This piece was edited by Micaela Tesi, music editor of CanCulture.

Album Review: Starboy by The Weeknd

After 42 awards and nearly 100 nominations so far in his career, The Weeknd is well on his way to becoming one of Canada's most decorated artists. Sorry Drake, but your "6 God" title is slowly dwindling.

The Weeknd's new album titled Starboy came out on Nov. 25, 2016 and captures what the younger generation wants in music.

Mixing some of craziest Electronic Music Production with the swinging vocals and risqué lyrics of The Weeknd, be prepared to hear this on every pop station across Canadian (with a lot of censoring).

The album opens strong with a single titled "Starboy", produced by the French helmet-wearing robots, Daft Punk.

This one took me by surprise, because I was expecting the Daft Punk sound to be a lot more prevalent with their famous robot voices and overall extremely technical production, but the pop influence of The Weeknd was much more on the forefront.

The song almost lacks a low end besides a compressed Kick and Abel's voice.

I was seriously impressed by this track purely because of the different sound it had compared to the rest of the album and good for Daft Punk for branching into something new.

Listening to the album in its entirety, however, was kind of hard for me.

I wasn't very fond of The Weeknd's vocals and my reasoning for this is pretty simple. I've heard the same inflection and sound in literally every single one of his songs before this.

Saying this is not to be taken as discrediting him, he's broken Spotify streaming records by hundreds of thousands of plays and will only continue to do so.

Though as a musician and producer myself, he needs to venture into new things to keep people with critical ears interested. Especially those who know the album wasn't produced, mixed, mastered, or entirely written by Abel himself.

Moving into the production of the album, it was absolutely perfect: kicks that will surely smack you in the face, accompanied by retro inspired synths and grinding basslines that will keep anybody moving, including myself.

Also let's be honest, who doesn't love to groove along with some punchy drums while singing The Weeknd? That being said, there are a few odd balls on the album production wise.

Take "All I Know" and previously mentioned "Starboy" for example, the kicks in "All I Know" barely come through but this is to make room for the heavy 808 bass that keeps you intrigued while The Weeknd mesmerizes you with his melodic voice.

While in “Starboy”, it seems like Daft Punk forgot a low-end bass, the song is completely driven by The Weeknd's voice and high frequency sound.

All in all, it's a pop album. When credits are going out to close to 60 people for writing, producing, mixing and mastering. I have a one things to say:

Thank you auto-tune, producers, The Weeknd and all the writers for putting this project together.

This piece was edited by Micaela Tesi , music editor of CanCulture.

The Horseshoe Tavern gives local musicians a spotlight

When you first walk in, the Horseshoe Tavern appears to be like any other Toronto pub. However, nestled in the back, in a separate, dimly-lit, sound-equipped room lies a stage upon which countless of home-grown Canadian bands showcase their talents nightly.

Wednesday nights are local music nights for all Ontario-based bands. These performances help to support Canadian music culture in a way that larger, well-known venues fail to do.

This Wednesday, four bands performed their music to an intimate audience. Opening the night was Wotts, an Ottawa-based band with a unique take on rap music.

The band’s combination of lyrical rap, beatboxing, and rock music made for an interesting listening experience. The lyrics spoke to the highs and lows of Ottawa suburban life, which is a relatable and engaging subject. The five members each brought something different to the group, drawing on inspiration ranging from the musical works of Pink Floyd to Kendrick Lamar.

Conventional rap often loses sight of the music behind the lyrics. Wotts uses instruments, not as a subtle background for the lyrics, but as another way to channel their message. The band also, used an electric guitar and synthesizer to accompany their rap and beatboxing.

The next act was the band Sportsfan. Not to be confused with the Australian Sports fan, this band is definitely home grown. Their music drips with inspiration from the indie-pop culture prevalent in Canada’s underground music scene.

Sportsfan is a young band; it has been only a year since the four members came together. Nevertheless, their lyrics speak to a life-full of bad experiences and what bassist Corey Henderson referred to as “crappy stuff from their past”. The self-proclaimed “denim jacket rock” group has a somber, indie sound complimented by lead singer Ally Haberstroh’s ‘Lana Del Ray-like’ voice.

Coronado seemed to steal the show with their performance. The audience flocked to the stage to listen to their familiar sound. Playing mainly in Toronto, the band really connected with the audience in a way other bands did not. Their interaction with the crowd showed the band’s appreciation for the “friendly nature” of the Canadian music scene. Their folksy feel was right at home in the Horseshoe Tavern.

Honeybeard finished up the night. The much anticipated duo played a spectacular set following the release of their new song, Hummingbird. Out of all the bands performing at the Horseshoe, Honeybeard definitely the most unique. Due its special indie music genre of electronic dark-pop. Their electronic music provided a base for their dark lyrics sang with a melancholy tone.

Horseshoe had solid performances all night and the pub was able showcase the variety of local talent that cannot be easily found anywhere else.

This piece was edited by Micaela Tesi , music editor of CanCulture.