Hedley's second show since announcing hiatus sees lone protestor and continued trend of “frat boy” antics.

Frontman Jacob Hoggard, identifies as Donald Trump, covers Frank Ocean and takes a fan’s phone, again.

Photo by Benjamin Hargreaves/CanCulture.

By Benjamin Hargreaves

Hedley’s Jacob Hoggard continued his “frat boy persona” and habit of stealing phones during the band’s Cageless tour stop in Peterborough, Ont. on Friday, marking their second performance since announcing an indefinite hiatus amid ongoing sexual misconduct allegations.

With performers Shawn Hook, Neon Dreams and most recently, Quebec City’s Liteyears, cancelling as Hedley’s opening acts, the band took the stage with only a few songs played over the speakers as an opener.

Multiple women on social media have spoken out against Hoggard regarding alleged acts of sexual misconduct. Most recently, on Feb. 25, a 24-year-old Ottawa women came to the CBC with accusations against Hoggard regarding several alleged encounters occurring in 2016. 

After this allegation was published, Hoggard released a statement on Twitter admitting to behaving in a way that “objectified women.”

Roughly an hour before the show began, Hoggard took to Twitter again, this time acknowledging that the CBC has told him new allegations are going to come out from yet another woman, writing, “The allegation is startling and categorically untrue. It is not within my capacity as a person to force anyone beyond their boundaries."
 

“What’s going on Peterborough?” Hoggard shouted to a crowd of roughly 2,300 people in the venue that has a concert capacity of about 5,000. The crowd cheered as Hoggard began singing “Better Days”, a song from their new album, Cageless.

Hedley’s setlist for the night would also include their hits “Anything,” “Cha-Ching” and “Lose Control” as well as “Bad Tattoo” and “All Night” from their most recent album, all being received with deafening cheers from the audience.

However, Hedley’s visit to Peterborough was not well received by all.

“It makes me angry [that] this is happening,” says Shawna Blackwood a 26-year-old Peterborough resident and only protestor at Hedley’s Peterborough performance.  

Blackwood stood outside the Memorial Centre for just under an hour leading up to Hedley’s 7:30 p.m. scheduled start.

Shawna Blackwood protesting outside of the Memorial Centre in Peterborough, Ont. (Photo by Benjamin Hargreaves/CanCulture)

Blackwood believes the Memorial Centre should have cancelled the show, much like the Windsor Ont. venue did to Hedley’s scheduled performance on Mar. 11. She also believes peaceful protest is useful in the wake of sexual misconduct allegations.

“I’m just here commending their bravery,” Blackwood said referring to the women speaking out against Hoggard. “I’m providing access to information about reporting sexual assault and the fact that consent is sexy and no means no.”

Blackwood  stood outside the entrance to the Memorial Centre holding a sign reading “She said no!” in reference to the Ottawa woman who came forward, for roughly five minutes before two security guards approached her. Each guard took a pamphlet she was handing out on how to report sexual assault and then asked her to leave the property.

Hedley’s performance on Friday included a rendition of Frank Ocean’s, rather explicit track, “Self Control,” which Hoggard delivered as a solo.

Hoggard continued, what The Canadian Press reporter David Friend coined, his “frat-boy persona,” after taking a fan’s phone in their Brampton, Ont. show on Mar. 1.

Almost mirroring his antics from the night before, Hoggard called out a fan in the front row for texting during the show. He proceeded to ask for the phone and after scrolling through her contacts, called the girl’s father.

“Hey, it’s Jake from Hedley, we’re on stage at the Hedley show in Peterborough,” Hoggard said.

Hoggard stayed on the phone with the girl’s father for another 15 seconds, before saying “I miss you and I wish you were here at the Hedley concert. I’ll talk to you later. TTYL. BRB. LOL. JK Dad,” and hanging up. After scolding the girl once more for texting he ended the charade by taking a selfie on the girl’s phone.

Hoggard would not directly address the allegations against him but he would repeat a speech he has delivered in multiple performances, including Hedley’s Brampton show the night before.

“Peterborough, thank you for standing behind us,” he said, “for believing in us and loving us every step of the way.”

“It’s fans like you that keep us doing what we are doing,” Hoggard continued. “We couldn’t get through this without people like you, through the ups and the downs, through the highs and the lows, the good times and the bad. ‘Cause Peterborough, sometimes life sucks and that’s why we’ve got you, ‘cause Peterborough sometimes life sucks and that’s why you’ve got us.”

The crowd then assisted Hoggard with the final verse of the song, with Hoggard ending it by saying goodnight to the crowd.

The response was not quite a standing ovation, but it was enough to bring the band back to the stage for one encore song.

This piece was edited by Valerie Dittrich. 

TTC Musicians: How Morad Guzman connects with commuters

By: Raizel Harjosubroto

A curious little nose lifted up as I approached the man playing guitar wearing sunglasses in the bright bridge between Yorkdale Mall and its connecting subway station. Milo, the performer’s furry companion, sniffed my hand as a cover of “Here Comes the Sun” by The Beatles echoed through the platform.

While many passengers greeted Milo, he wasn’t the only one grabbing their attention. Strumming his guitar, local musician Morad Guzman smiled at those passing by--even if they had earphones on--and sang for those who stopped to listen.

This is was Guzman’s favourite part about busking.

“People aren’t necessarily [at the station] to hear you and I think that adds to the performance,” he says, lowering his eyes over his sunglasses. “When someone stops to listen, whether they give money or not isn’t really a concern.”

Guzman’s musical experience dates back to over a decade ago and like many other TTC Musicians, his drum and Latin percussion experience brought him to a number of performances and jobs.

“I was still pretty young and I knew that I loved music, and I loved acting too. I chose to follow music,” he says. Guzman’s musical career began in a high school band and eventually found its way to a few folk and jazz gigs around the city.

Though performing in bars was good exposure for the musician, Guzman wasn’t feeling fulfilled. “I started liking it at first, but then I wanted to do something else… I thought I wanted to broaden my horizons, so I picked up the guitar,” Guzman said.

The self-taught musician took his skills and started his own business, “Golden Boy Music,” providing “high-quality entertainment service for a variety of functions.” Serving as the creative director, Guzman has performed at several functions and facilitated drum circles for teams in public and private events.

“A drum circle pretty much consists of [people] getting around together for an activity with the djembe…  People have a lot of good times; it’s coordination, team-building, and it ranges to all ages. No experience necessary.”

Drum circles, in particular, have a special place in his heart since his musical journey started with percussion. Guzman says these are another way to reach a large amount of people at once. If the client is OK with it, Milo will come along, too.

On top of providing these services for his clients, he started busking on several street corners in Toronto. Bringing out his djembe or cajon--instruments of West Africa and Peru--Guzman would perform all day to “keep the passion going.”

“It’s just so raw and it captures the essence of the performer, you know?” the charming musician said as he adjusted his sunglasses.

After busking on the streets of Toronto for a while, Guzman heard about the TTC Musicians Program, but discovered that they do not accept percussion performers. Excited that he had more reason to build his guitar and singing skills, he scored an audition because he was one of the first people to apply in person.

“[The audition process] is pretty tedious. You have to look out for the call and be one of the first of 175 applicants to hand in your application in person at the TTC head office. I was like, 150 something,” he explains. “That doesn’t mean you get a license, that only means you get an audition!”

His successful audition earned him a license to play at subway stations across the city alongside other musicians. Yorkdale is one of his favourite stations. “It’s above ground. You get a little more sunlight throughout the day. Spadina is really nice, too. You get really good acoustics there.”

Being born and raised in Toronto has influenced his value of incorporating music of different genres and generations into his music. “You just relate to more people and you don’t narrow yourself down to anyone specifically,” he says.

Connecting and building relationships with the people who are listening is what’s most important to Guzman.

Through the TTC Musicians program, Guzman has been able to create friendships with passengers and even secure a few gigs with potential clients that just hear him as they commute to work. “I just genuinely enjoy connecting with the listeners that pass by me,” he says. “If they stop then you’ve caught their ear. You’ve caught their eye.”

This piece was edited by Valerie Dittrich.

Album Review: Say Less by Roy Woods

By: Nour Al Saeid 

From free-styling every Saturday night at the YMCA to releasing his debut studio album, Roy Woods has excelled in his music career and is rising to become one of the major R&B icons for Toronto today.

After almost a year of waiting, the 21-year-old singer from Brampton released his album titled Say Less on Dec. 1st, 2017.

The album consists of 16 songs, including three collaborations with other well-known artists. “Take Time” features 24Hrs, a rapper who gained millions of Soundcloud plays and toured with Blackbear this year. “Back It Up” features PARTYNEXTDOOR, a famous Canadian artist who worked with Drake for multiple songs. “Balance” features both dvsn and PnB Rock. Dvsn consists of producer Paul Jefferies and singer Daniel Daley, whereas PnB Rock is a solo artist who released an album in January. Some of these artists are signed by OVO Sound as well.

“What Are You On?” was the first single that was released. It starts with a beautiful, choir-like synthesizer in the back and after a few seconds, the beat kicks in and showcases a perfect R&B vibe that Woods usually goes for. It’s a fast-paced song, not as dark and slow as his older tracks. His articulation grows and his vocals become stronger in the second verse, adding more intensity to the song.

“Back It Up” is a collaboration that starts with a very heavy, low bass. Woods takes the lead with the first verse, his voice is raw and passionate. With the echo-heavy beats and drums, the song has a PBR&B sound that is much appreciated. PBR&B is a sub-genre that mostly consists of strong beats and a lot of synthesizers. Many artists in this category tend to sing about sex and love, which is the main theme of this song.

One thing that couldn’t go unnoticed was how small Woods’ part is. This made the song imbalanced because PARTYNEXTDOOR’s voice dominated the rest of the track, making Woods’ contribution very small. PARTYNEXTDOOR sang the chorus four times and also had two verses, leaving Woods with only 45 seconds in the song.  

Despite that, the entire album is composed of different tracks, each having unique dynamic ranges. Songs like “Balance”, which features dvsn, compliments the OVO vibe that many Torontonians usually search for in music. “BB” and “The Way You Sex Me” have a slow and sexy rhythm with explicit and vivid lyrics.

A few tracks that don’t fit are “Little Bit Of Lovin” and “Something New”. They have an odd techno and pop vibe which doesn’t suit Woods’ sound at all, especially with their heavy use of autotune. Woods is known for having a dark and atmospheric energy in his music and these two tracks are the complete opposite. Compared to his older songs, these two were more pop-oriented, making them seem out of place in the album.

There’s a certain message that’s being portrayed in many of the tracks. Woods continuously mentions a woman in his life that only uses him for money and fame. In “Back It Up” he says, “You want me 'cause I'm in the limelight.” In “Medusa” he says, “All she like is gold” and in “Say Less” he says, “Money on sight now your eyes on gold.”

“What Are You On?” sets the tone of the entire album because the song is about a woman in his life who is only interested in his money and fame, which is most likely the reason why he released this one first.

The music video for “Say Less” was very symbolic as well. A rose is set on fire burns throughout the entire video, which is Woods’ way of showing how risky love is and how he’s not interested in committed relationships.

Overall, many fans are impressed with this project. Some songs should have never made it to the track list due to how pop-focused they were. The album could be better off without them, especially since they don’t fit Woods’ dark and atmospheric sound. However, the lyrics are bold and honest, sending a message to the girl who did him wrong. All in all, this is one of his best works.

Drake better keep his guard up, because Woods is slowly catching up to him.

This piece was edited by Valerie Dittrich

Top Six Canadian Albums to Look Out For in 2018

By: Manuela Vega

With albums like Arcade Fire’s eclectic Everything Now and Daniel Caesar’s gorgeous debut Freudian, there’s no doubt that Canadian musicians were standouts in 2017. While artists set the bar high last year, there’s plenty of reason to believe that 2018 will also introduce a multitude of memorable tracks. Be sure to look out for these six albums this year!

6) Ought: Room Inside the World

This Montreal band has released the singles ”These 3 Things” and “Disgraced in America” from their upcoming album, Room Inside the World. If their LP is anything like the singles, Feb. 16 is bound to bring a collection of reflective, existential anthems. Ought captures the essence of isolation and contemplation in their melancholy riffs, but they mix up their rhythms to the point that you can justify happily dancing to a sad song.

5) Born Ruffians: Uncle, Duke, & The Chief

Continuing their stream of passionate belting and upbeat rhythms, Born Ruffians introduces a sense of true candidness on what has been released from their fifth full-length album Uncle, Duke, & The Chief. Between touching on the inability to mask feelings of a longing heart in “Miss You,” accepting the inevitability of death in “Forget Me,” and regretting the vulnerability of an open heart in “Love Too Soon,” the Toronto band sets up an album of soft, jangly tunes to sing along to on Feb. 16.

4) Chromeo: TBA

Guitarist and lead-singer Dave 1 and multi-instrumentalist P-Thugg have been avidly sharing on Instagram and Twitter their dedication to perfecting the production of their electronic-funk album due in the spring. The first single “Juice” is an exuberant synthesized jam about a partner who gets shamelessly hit on in public because she’s “got the juice.” The light-energy, feel-good song continues to play on this double meaning. Dave 1 told Beats 1 that this will be their “most robust, conceptually tight album.”

3) Metric: TBA

Metric has a knack for creating lively hits that express liberation with every head-bob, sway, or strut. Combining synths, lush beats, and tight strums, paired with lead singer Emily Haines’ vibrant voice has worked especially well for the band on past highly regarded albums, such as Fantasies (2009) and Synthetica (2012). Although there’s still no new album title or release date, the quartet has been teasing fans on Instagram with pictures of studio visits since September. Since their last album Pagans in Vegas (2015), Haines has released a solo album in a style different from that of her band’s, with a distinct focus on vocals and reflection, raising the question of whether or not 2018 will be the year that Metric goes in a totally new direction.

2) Rhye: Blood

Former Canadian solo-artist Mike Milosh and Danish producer Robin Braun are the duo behind Rhye’s fusion sound. The 2018 pre-release of Blood showcases the steady electronic, folky jazz that backs delicate vocals on provocative works like “Taste” and soothing pieces like “Song for You.” Releasing the rest of their album on Feb. 2, Rhye will surely bring a diverse range of sounds to an increasingly contemporary form of R&B.

1) Charlotte Day Wilson: Stone Woman

The Toronto singer-songwriter and producer announced this month that her new EP Stone Woman will be released on Feb. 23. Since her melodious R&B EP CDW debuted in 2016, Wilson has been captivating listeners with her effortless elegance. Although tracks from CDW like “Work” and “Find You” are hypnotically mellow, the 2018 single “Nothing New” ripples with calculated power, rising and settling around the easy flow of Wilson’s formidable voice. It sets the stage for Stone Woman to be as enchanting as her previous release.

This piece was edited by Valerie Dittrich. 

A Tribe Called Red brings down the house at the Danforth

By: Adriel Smiley and Valerie Dittrich

Indigenous-Canadian DJ collective, A Tribe Called Red are making waves throughout the country with their new take on traditional First Nations beats and dance music, showcasing indigenous culture in a positive and uplifting way with their fresh take on the electronic genre.

A Tribe Called Red performed their third sold-out show at the Danforth Music Hall last Friday. The group has been on the Fall/Winter segment of their tour since November, making stops in cities across Canada and the U.S. Tribe performs a unique genre of music that blends various style of music, such as hip hop and reggae with First Nations drumming and chanting.

The band was formed in 2008 by Ian Campeau, Ehren “Bear Witness” Thomas and DJ Shub. A decade later, Bear Witness is the only original member remaining, with Shub leaving the group in 2014 for personal reasons. Campeau recently made his exit in 2017, claiming that touring was becoming “emotionally draining”. This was their first time touring since Campeau left. Tim “2oolman” Hill and Bear Witness are the two remaining members and have chosen to continue as a duo for the time being.

The band credits their unique sound to their roots in Ottawa. In an interview with NPR Music, they “wanted to throw a party that was geared toward the Indigenous community in Ottawa.” Under their pseudonym “Electric Powwow”, they opted to sample traditional drum beats over hip-hop sounds and dubstep-like synths, creating a genre of music that not only celebrates their culture, but puts a focus on Canada as a whole.  

During the show, five screens surrounded the stage and images on the screen moved quickly in sync with the fast-paced beats. The images depicted Indigenous people in popular culture; from DreamWorks’ Road to El Dorado to Michael Jackson’s “Black and White” music video.

Throughout the show, Tribe was joined on stage by a group of dancers who took turns busting a move to the break-beats. The dancers added to the overall experience with their dynamic set filled with hard-hitting drops, heavy bass and creative and magnetic sounds ripping through the venue. Within a few minutes it was easy to recognize this show had the vibe of a huge party rather than a concert. The audience was engulfed with A Tribe Called Red’s original and patriotic tunes. The show ended with two dancers in traditional Aboriginal clothing on stage. As the last note hit they threw their fists in the air and the crowd did the same. With hundreds of fists in the air, Tribe as well as the dancers cleared the stage. The Danforth dance party finally came to a close and A Tribe Called Red ended the weekend in a flawless fashion.

The group was nominated for a Polaris Music Prize in 2017. They will continue their tour in Los Angeles on February 19.

This piece was edited by Luke Elisio

Artist Profile: David Venn from The Kid Lickies

By: Valerie Dittrich

When a couple of high school kids from Windsor picked up a guitar and decided to start a band, they had no idea how far it would take them.

David Venn, a Ryerson journalism student, and Shane Owchar started the The Kid Lickies, back when they were only in the eighth grade. Since taking the stage at a charity performance in their first year of high school, Kent Wang and Marcus Stryland have joined the group and they’ve performed at high-profile Toronto venues such as The Phoenix Concert Theatre and the Horseshoe Tavern.

CanCulture got an exclusive interview with The Kid Lickies' lead guitarist and singer, David Venn, about how they started the band, the brotherly bond between the four of them, their inspiration and what making music means for the southern Ontario band.

Q: I think everyone probably wants to be in a band when they’re a kid, but you guys have made it pretty far. What inspired you to start a band?

A: Shane, our singer, met our bassist Kent at Seneca College. I met Marcus during first-year through mutual friends and we’ve hit it off ever since we met each other. Shane and I though -- we go way back. We’ve been friends since Grade 7. What inspired us to start [the band] was that we were young and we all loved rock and roll, and we were all playing instruments at the time -- not well though. We would basically just get together and make terrible noises and the idea was to just start playing shows and playing better noises and writing songs. We all had a passion for songwriting and expressing ourselves in that way and it just sort of clicked. We just wanted to keep it moving.

(Photo by Josh Cameron/CanCulture Magazine)

Q: Rehearsals must be really fun for all of you. What typically happens during one of your rehearsals?

A: If we have a show coming up, it is largely making sure our setlist is pristine and up to date. They’re normally around two to three hours. Shane and I are constantly writing songs; so if we have one that we think is ready to bring to the band, we’ll throw it down and we’ll start learning it for the next set. Rehearsals are pretty fun! We go to Rehearsal Factory at Front and Sherbourne, it’s a chain of rehearsal places. We have to have Studio 4. It’s the one we always get, it’s a cheap one, it’s the one we’ve made magic happen in. We’ve written and come together as a band. If magic wants to happen, we need to be in Studio 4. If there’s something coming up, it’s the must-have.

Q: You have a pretty diverse setlist in your shows and no two songs sound the same; it’s hard to narrow down a genre. That said, what influences and inspirations for your music?

A: That’s why we can’t put a label on our music -- it’s because we have too many. We all just have a stupid amount of influences. Everything we see and hear is an influence. Marcus is really into the early 2000’s pop-punk revolution stuff, while Shane and I aren’t the best technical players, but what we do really well is we can listen to something and really feel it and come up with our own version of that.  A lot of our influences come from, really anywhere. That’s the way it goes with us -- as you grow as an artist, a musician and as a person, you start to expand in every single area and you can get inspiration from literally anything. Our sound is the fact that we are our own band and we do what we want to do. We all have such different backgrounds, which is hard to find in other bands. We are all such different people that sometimes we don’t even come across as band, we look like just four people on stage. But we’re so close, we’re all such good friends and we come from such different places that in our songs there are so many different things we want to do and we have so many different backgrounds that we want to show it off musically.

David Venn from The Kid Lickies (Photo by Josh Cameron/CanCulture Magazine).

Q: You started playing guitar at a pretty young age and started the band when you weren’t even in high school yet. How has your sound and overall vibe changed from then to now?

A: We started off in Grade 8 and I started playing guitar in Grade 7. The first song we ever wrote and never even ended up playing it was called “I’m Not The Only One.” And it was awful. From top to bottom, everything was awful. But that’s why it was so much fun -- it was so innocent. We didn’t even know how to match power cords with regular cords or what a key was and we couldn’t even keep time properly. We knew nothing. And then the second was called “California Bound”... and none of us are California bound. I think we brought in a harmonica that wasn’t even in the right key, but everyone thought it was cool because I had one of those face masks where I could play guitar and play harmonica at the same time. Every song had four chords, no rhythm or melody whatsoever. The third song we wrote -- Shane wrote it -- and for the most part, we still play it today. We wrote it in Grade 9 and it was a big hit throughout high school. It’s called “Wasted Away” and it’s three chords and nothing else; E, B and A. We play it for the olden days, but ever since then we’re in a much clearer headspace now more than we ever were. Now that we’re out of high school and we’re able to grow as people and experience a ton of new things, you can hear it in our lyrics and in the way we’ll play our instruments now. There’s different melodies that we’ll have and they way we’ll change things up, and it’s cool to see the change from “Wasted Away” to our songs now like “Be My Friend”, “Let It Out” or even “Seafoam Skies”, they’re all songs that have grown so much. I couldn’t even imagine trying to write something like that when we were in Grade 9.

Q: Toronto’s underground music scene is pretty incredible. How did you guys get started in it and how has it personally helped your band and how you create music?

A: We got a break. We played at the Phoenix in August, which was a huge thing. It’s a big Toronto venue and if you’re a Toronto band, playing at the Phoenix is a big deal because it’s such a legendary venue. The Rolling Stones have played there. That was a huge, huge deal for us. After that, we had a ton of shows lined up and are now in the process of recording our first album and EP. As far as the underground scene goes, it’s helped Shane a lot, for sure, grow as a songwriter. Reid McMaster, the singer and frontman of the Fade Awaays, and he was playing drums for us when we first made the transition to Toronto before we found Marcus. [Reid] alone, I think, saved our band. It was a rough period of time for our band, and we almost called it quits but Reid and the underground scene really showed us what rock and roll was like in Toronto. What the underground scene shows you when you’re a performer rather than just a consumer of music, is that kind of lifestyle. If we didn’t have all these bands around us that we were playing shows with and hanging out with that were doing some crazy things, we would be fine with what we were doing; there would be no growth. That is what’s great with the underground music scene, is that it’s so strong and there’s so many people who care about it and love it and are consumers of it that it gives us the platform to be able to produce what we love producing. And that’s something I don’t believe that you can get in a lot of cities. You’ll have fans that’ll go crazy and buy your merch and it’s just a really special platform to be apart of.

Shane Owchar from The Kid Lickies (Photo by Josh Cameron/CanCulture Magazine)

Q: It’s pretty impressive that you have played at not only the Horseshoe Tavern most recently, but the Phoenix as well, both really iconic venues in Toronto. How did it feel for all of you to be playing on the same stage as rock legends?

A: We have a pretty solid track record going right now, we keep playing where the Rolling Stones have played! We’re following them from the Phoenix and now the Horseshoe. It’s been very surreal for us. It’s been a long, long, very long road and I know it’s only going to get longer. But just to have those benchmarks and those checkpoints and being on the right track, we can look back and say, “legends have played here.” It’s just a legendary venue. As soon as we walked in, I just remember I was looking at the stage and bringing in my equipment and thinking, “wow.” We’ve done some cool things up to this point, but this was pretty cool and it was the exact same feeling when playing at the Phoenix. Just knowing that our role models and influences have been there previously is reassuring.This is beyond what we ever would have thought we would have been doing at the age of 13. It’s a super rewarding experience.

Q: Being in band and playing music together is obviously something you’re all very passionate about. But what does it mean to you, personally, being in the Kid Lickies?

A: This band means a lot to me because I don’t play music because I necessarily love music. I mean, I do love music, I love playing it, but it’s not just about all that. I would prioritize the fact that I love my bandmates more than I love the music that we produce. Shane is my brother until the end of time, same thing with Marcus and Kent. Being in the band is more like I want to do this for the love of music and the love of eachother, keep this thing going. And to me, it just means fulfilling dreams and goals that I’ve had for a long time. For me, it’s an outlet where I can let loose and just enjoy life for a while. And for Shane, it’s very much his career, his passion, his everything. He’s going to do this forever. It’s something different to everyone in our band. It’s just that we’re The Kid Lickies and no matter where it goes or where it takes us, it’s always going to be that thing I did and I know I’m going to put a hundred per cent into. It means a lot to be able to experience life in this manner with people that you’re so close with.  

The Kid Lickies will be playing at the Supermarket Restaurant and Bar on January 31.

This piece was edited by Luke Elisio. 

Artist Profile: Ms. Teaze talks female empowerment in hip-hop

This interview is part of 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. 

Photo by Erin Buhr.

By Latoya Powell

Alberta-based hip-hop artist Ms. Teaze announced, during an interview with CanCulture, that she will be releasing a new album by the end of winter 2018.

Hailing from Red Deer, AB, the female lyricist has encouraged and empowered many people’s lives. In fall of 2015, Ms. Teaze released her debut mixtape titled Unity, Empowerment, Respect. Since then, she has performed at venues and music festivals such as; Edmonton Hip Hop Awards and the One Love Music Festival. Ms. Teaze has also been the opening act for many well-known artists such as Wu-Tang and Lloyd Banks, breaking barriers within the province’s hip-hop scene.

Check out CanCulture’s exclusive interview with Ms Teaze as she shares her journey, gratitude and message of unity, empowerment and respect.

Q: Why did you decide to start rapping?

A: "I was sitting in a chair in the basement, and I went into my brother's room. I grabbed the NAS CD, popped it in and Hate Me Now featuring P. Diddy came on. I kept on replaying that song over and over again, because I couldn’t believe how amazing it was. I was like, 'Oh my gosh, I want to be a rapper. This sounds so cool!' Then I started going for walks by myself and I would just freestyle while I was walking."

Q: How has being a female in the industry impacted your career?

A: "I love being a female in the industry. At first, I had to claw my way for respect. I asked one of the main DJs (to put) me on. When I did,  he was like “eh,  who are you? I’ve never heard about any female.” I (said), “Give me a chance! Give me a chance!” and he gave me a chance. There are not a lot of females in the industry, but I started to get the respect then the rest is history. It was great."

Q: What do you think is the highlight of your career, so far?

A: "There's so many great things that I’ve got to do. The highlight of my career was meeting and opening up for Jadakiss; that was pretty amazing. For years, I was talking about it [performing with Jadakiss] with my brother and he was like “no, they’ll never be allowed in Canada.” I’ve liked him since I was 15. My brother got me into him.  I phoned (my brother) and I said “guess what?  Your sister is opening up for D-block.” It was such a special moment in my career. I’ve been so blessed like, it’s unbelievable."

Q: How would you describe your image?

A: "My image is, I’ll wear whatever the hell I want. In fact, I was performing at the Hip-Hop Awards in Edmonton last year. Everyone was dressed to the nines and I’m like, “you know what? …” I took my shoes off and I performed on stage with my shoes off. I do not care what people think! I feel comfortable in an Adidas sweat suit or a white t-shirt and black pants. You’ll never see me dress, you know?  … just so sexy. Not to degrade anything of what’s going on. But I do see female artists in the industry that are a lot bigger (and) they (choose) to sell their bodies a little bit and I will never do that. That’s just not who I am. But I need a pair of nice fresh kicks; that’s my favourite!"

Q: What kind advice would you give to women who are in a male dominated industry?

A: "I have my CD that I’ve released it’s called Unity, Empowerment, Respect. That is just so powerful to me - unity empowerment and respect. I believe that women in this industry need to really be themselves. I always say be unique, be yourself and be somebody. Those are three that I think are powerful. Be yourself - don't wake up in the morning and act like someone else because this industry can kill you. Being a female too, there are males that are getting jealous; you have to kind of see that and say, "Hey I’m not out here trying to dominate you or anything like that. Let’s work together." Unity, right? I’ve been so blessed to get the respect that I want in this game."

Q: In some of your songs you talk about overcoming insecurities, difficult relationships and situations. What is something you are most proud to have overcame and why?

A: "Music has saved my life and it’s just such a powerful message. If I didn't have music, I wouldn't know where I would be. I’ve overcome lots of things. My life is not a walk in the park. I have seen things that people wouldn't even believe, but I have music as my outlet. That is my safe spot, because nobody can take that away from me. That’s why music is such a strong passion for me. You can break up with me, you can take my belongings, my home and (I can) lose a job, but you cannot take my voice away, unless you take my voice box. That’s the one thing musicians have and no one can take that away from them."

Photo by Erin Buhr

Q: What is your favourite song, published or unpublished, and why?

A: "I really like my song Last Laugh. I released it a couple years ago and it’s powerful to me. I got out of a long term relationship with my first love. I wrote that song right after and even today I’m inspired by my own music, which is kind of rare. A lot of people have came up to me and (said), “Your music has helped me.” That's why I make music, for people to be inspired and kind of relate to me."

Q: What’s next for you? 

A: "December 1st I am opening up for Sean Kingston and that’s going to be a great show in Red Deer, my hometown. I’m (also) releasing a CD. I can’t wait! I already have the name for it and I’m not going to get too much into it. But I’m going to take my time on it[CD] because I feel like I can take my time. I have enough respect to fall off for a few months and just come back. I want to take my time and get it out by February. Be on the lookout for my new CD."

Q: Anything else you want people to know?

A: "You can do anything you set your mind to. If you have a passion please follow it. Depression is so out there right now, it's unbelievable. Find a passion, stick to it and work hard."

Toronto rappers make debut in VICE documentary, 6ix Rising

By: Andrea Josic & Raizel Harjosubroto

Toronto’s TDOT era is coming to a close after rappers like Kardinal Offishall and Rascalz coined the term “T.O.” a decade ago. When artists like Drake and The Weeknd put the city on the map, The ‘6ix’ became Toronto’s new nickname. 6ix Rising, a new documentary by VICE, follows the journeys of the city’s emerging rappers and how they made a name for themselves on the rap scene.

The documentary features artists Prime Boys, Friyie, Big Lean, CMDWN, Jazz Cartier and Pressa. Director Shawney Coney explores their stories, how the city influences their music and how they are on the verge of fame.

It opens with Jimmy Prime of Prime Boys, a rap collective consisting of himself, Donnie and Jay Whiss. A rap collective is different from a rap group because while the rappers collaborate to make music, each artist has their own discography as well. Growing up in the Esplanade, Prime and his friends created Prime Boys and focused on rap in order to stay out of trouble.

Jimmy Prime in 6ix Rising. (Courtesy of Noisey by VICE)

“I invented the ‘6’,” says Jimmy Prime. “The ‘6’ is a new brand for the city. I felt like no one was taking the city seriously.”

Rapper Friyie was inspired by the different cultures and musical sounds in his neighbourhood of southside Jane and Finch to make music.

A few months after he graduated from York University, Friyie performed his hit single Money Team at the T-Mobile arena before the Floyd Mayweather and Conor McGregor fight in August.

“It’s crazy how life works,” said Friyie after watching Mayweather working out to his music. “I was a young kid just working and trying to spit motivational music and it was able to motivate a legend like Floyd Mayweather.”

In December 2015, rapper Big Lean lost his close friend, Lotto Max, in a drive-by in Parma Court, a public housing project neighbourhood in Scarborough. Although he lost the partner with whom he created the rap collective Da Degrees, Big Lean stays motivated to pursue music.

“I’m going to go hard for what he wanted and what I wanted,” says Big Lean. “He’s working up there and I’m working down here until we meet again.”

CMDWN, pronounced “come down,” a Toronto rap collective consisting of Fiji and Ca$tro Guapo, was originally known for hosting house parties in a one-bedroom apartment above a bar.

Ca$tro Guapo’s family is from South Jane and Fiji’s mom lives on Parliament and Shuter. Coming from rough parts of the city, CMDWN uses music as an escape.

“Music, to us, is a gateway to freedom to do what we want and live how we want,” said Fiji.

As the duo’s personalities gained laughter from the audience throughout the screening, it’s evident that CMDWN’s chemistry attracts various crowds.

“We’re opening doors for people that are different,” said Fiji. “Our fans vary from hipsters to weirdos, to hood n*****.”  

Toronto-born Jazz Cartier claims the city as his home. He looks down upon artists who leave Toronto for the U.S. to pursue music because when they return, he feels they can’t claim the city as their own.

Jazz Cartier in 6ix Rising (Courtesy: Noisey by VICE)

“Your city has to f*** with you before anyone f***s with you,” said Cartier, in regards to creating music in your hometown.

Despite the respect he has for the city, Jay Whiss of Prime Boys feels that an artist needs to go to the U.S. in order to make it big.

“We get caught, we can’t go to the States,” Whiss stresses the importance of keeping a clean record. “That’s the number one market. So if we can’t get there, it’s useless. There’s only so much you can do in Canada.”

Pressa originates from the Driftwood neighbourhood near Jane and Finch. Pressa has been unable to tour in the U.S. because of a criminal record.

His career started as an opening act on Drake’s Boy Meets World tour. Last May, Pressa’s show in London, England was cancelled due to negative press around his arrest in early 2016.

Pressa in 6ix Rising. (Courtesy of Noisey by VICE)

“I have better things and better plans for my future,” Pressa said when reading his allegations. “I’m just trying to work and have a better life than where I came from.”

While these rappers have gained local attention, they have yet to take their fame outside of the country.

Whiss acknowledges that it’s difficult to break through. “A lot of people in Toronto have a spotlight as if they’re a big artist already,” said Whiss. “The pressure of having to take it to that next level and getting there, it’s hard.”

In a Q & A session after the screening, Coney said that he is looking into making a documentary about music producers who are more established, with 10 or more years of experience in Toronto’s music industry.

The full Noisey documentary can be viewed here.

Hitting Pause: Why Music Festivals Like WayHome are Losing Revenue

By: Tim Falco Music festivals have become an integral part of the summer season. And after all, spending a weekend outdoors, enjoying the warm weather with friends, all while seeing your favourite artists and bands perform live can be a truly unforgettable experience.

That was certainly the case at the third annual WayHome Music and Arts Festival, held in Oro-Medonte, Ont. just north of Toronto. But the enthusiastic festival-goers in Oro-Medonte were blissfully unaware that the future of WayHome was uncertain to say the least, and that the 2018 festival would end up being cancelled.

Even with performances by popular artists like Imagine Dragons, Flume and Solange, plus a long-anticipated performance from the elusive Frank Ocean, many seemed to feel that there was a drop off in the quality of artists from previous years. When compared to the likes of The Killers, Kendrick Lamar, Arcade Fire and Sam Smith, it was no secret that the 2017 festival wasn’t going to draw the same massive crowds of previous years.

The numbers told the same story. This year, an estimated 15,000 people attended WayHome according to CTV, a fraction of the 35,000 in the inaugural 2015. WayHome was an incredible economic success in its beginnings, but the announcement of 2018’s cancellation left many wondering what went wrong.

WayHome announced that it “will be on pause in 2018” on September 5 this year.

A statement on the festival’s website says, “Thank you for the love and support the community of WayHomies have shown over the last three years. The millions of magical moments we created and shared together will sit in our memory banks to be relived for years to come”.

The company emphasized that “This isn’t goodbye, just see you later”. However, questions surrounding the future of the festival remain.

The announcement raised suspicion about the real reasons for the festival’s cancellation, with some speculating that it was not generating enough revenue.

Zoe Thornton, a first-year social work student at Ryerson, has attended WayHome for all three years since its inception.

“I found the quality of the festival definitely decreased this year, probably because they had less funding, which was publicly known,” she said. "There were fewer of the shops, art, activities and games that they had in other years.”

WayHome was definitely a smaller production in 2017, and this was evident in their use of space. The iconic ferris wheel from previous years was gone, and one of the stages was removed. Not to mention the significant decrease in big name headliners. A smaller and cozier festival is not necessarily a bad thing, but it can lead to loss of revenue.

Thornton believes that the reason for WayHome’s lack of funding in 2017 might have to do with a massive inaugural year, followed by a slightly smaller 2016 festival. Their first year featured Kendrick Lamar, Sam Smith and Alt-J as headliners, an absolutely enormous lineup that could have easily raised the bar too high for the future years.

“In their opening year, they came out with so many headlining artists, they might have outdone themselves a bit,” explained Thornton. “Then in their second year, it shifted to a more ‘festival’ feel, with smaller alternative artists.”

Indeed, a shift to a more alternative vibe – with the three headliners this past summer being indie/rock bands LCD Soundsystem, The Killers and Arcade Fire – and the smaller budget that came along with it could have played a role in the lost revenue.

With less funding, festivals are forced to book smaller artists, which causes a drop in ticket sales, according to Neil Knudsen, a volunteer for RBC Royal Bank Bluesfest in Ottawa. Knudsen emphasized how revenue decreasing from year to year can quickly send a festival down a slippery slope. He said that since Bluesfest began in 1994, they’ve found the perfect economic balance to maintain their success.

“Ottawa Bluesfest has a very clear-cut policy that they work with, and they don’t deviate from it very much,” Knudsen said. “From the contracts that they use, to volunteers, to how they hand out tickets and passes, they stick with it pretty religiously.”

Ottawa Bluesfest averages 250,000 attendees every year, with over 300,000 people showing up in 2015 to see Kanye West, The Tragically Hip and Chance The Rapper.

Surely, for a festival to continue running annually for over two decades, the organizers must be doing something right. Knudsen also pointed out that some festivals aren’t as particular with their planning, leaving them susceptible to financial issues.

“I’ve worked with other festivals that didn’t have the same approach [as Bluesfest]. The previous incarnation of the Ottawa folk festival seemed much less strict about their process, and they ended up going bankrupt.”

Gabriel Mattacchione, President of Beyond Oz Productions and founder of Ever After Music Festival in Kitchener, Ont. takes another approach. Instead of sticking to one method, constant change and evolution are extremely important. He wants to continue to branch out as the festival gains traction and popularity.

“Ever After has always been a living, breathing project. We are always trying to stay ahead of the curve in every aspect.” said Mattacchione in an email. “Steps into the technological world are appropriate ones to keep the forward momentum of the business. We try to expand or ‘add’ something new every year for our crowd to enjoy.”

Ever After has indeed been a success story for music festivals in recent years. It started the same year as WayHome, and has only seen increases in attendance since its first year. In 2016, the electronic music festival managed to pull 21,000 people on each of its three days.

Perhaps the constantly changing model that Ever After puts forward is just another possible path to growth as a business.

North by Northeast Music and Arts festival in Toronto is another example of a music festival undergoing a dip in attendance recently. They changed several of their venue locations in 2015, and the festival hasn’t seen a return to the 350,000 people that it drew in 2014.

“Usually festivals can suffer a loss for a year or two, but it can quickly become a vicious cycle,” Knudsen said. “If you lost money last year, you don’t have a lot of money to book artists this year.”

Maybe a “pause” is a necessary solution to financial problems for WayHome. A chance to reevaluate artist booking, set design, stage planning and other important tasks could end up being a stepping stone to repairing the festival. Meanwhile, the parent company Republic Live Inc. will continue to run its annual Boots and Hearts Music Festival, the popular country music festival held each year in Oro-Medonte.

While music festivals continue to draw thousands each year, some have seen failures that lead to loss of revenue. Republic Live Inc. and North by Northeast will need to come up with dynamic ways to draw the impressive numbers they used to have. Perhaps a pause this year to book more popular artists and invest in a better atmosphere will give festivals like WayHome a reason to hit play again.

Album Review: The Space Between by Majid Jordan

By: Krizia Ramos Signing with Drake’s OVO Sound gave them a name in 2013 and now the R&B duo Majid Jordan, comprised of Majid Al Maskati and Jordan Ullman, are back with their second studio album titled The Space Between released on Oct. 27, 2017.

The new album is composed of 13 tracks including features from PARTYNEXTDOOR and dvsn.

The album starts with an intro of pure synthetic pop sound. The sound of a motorcycle or a revved-up car engine in the distance can be heard like a scene from a Steven Spielberg film. It transitions smoothly into the next song “Gave Your Love Away.”

Sticking to their R&B sound, their sophomore album is just as dark, smooth and mysterious as their previous. Compared to their other music, this album reminds you less of an eerie underground disco vibe and provides slower paced jams coupled with steady backbeats in “You,” “Asleep” and “One I Want.”

Aside from the previously released singles “Body Talk,” “One I Want” featuring PARTYNEXTDOOR and “My Imagination” with dvsn, “OG Heartthrob” is the best song on the album. The catchy chorus and feel-good beat and kicks make it sound like the next party anthem and can even help heighten your mood. The lyrics are pretty average, your typical song about a girl, however, the song ends up working out well with the overall production. The claps and snares in the hook continuously make you want to nod your head to the beat.

At three minutes and 30 seconds, where structurally a bridge would be, the song shifts, which is typical of Majid Jordan. They’ve done it on other hit songs like “Hold on We’re Going Home” with Drake. The original beat and hook disappear and a one worded echoed voice sings the rest of the song. It’s reminiscent of some songs of The Weeknd or PARTYNEXTDOOR, which is what makes OVO Sound unique.

All it takes is pop electro synths to carry a steady beat before PARTYNEXTDOOR starts in “One I Want” to make it a strong track. The old-school R&B sounds add flare to the beat and the vocal skills are highlighted in this collaboration when Majid sings emotionally and hits those high notes with smooth ad-lib runs.

If the goal is to transport the listener to a far-away galaxy, it’s working with this album. “What You Do to Me” is a prime example of being transported somewhere else. Rhythms bounce and wave in a way that makes you feel like you’re not on earth anymore. The vocals are smooth and sexy against the strong bass and crazy mixed electronic production. 

https://www.instagram.com/p/BawxK6Rnu6a/?taken-by=majidjordan

Majid Jordan fans will appreciate the effort the duo put into this album. In an interview with Billboard, the duo said that with this album they wanted to make a musical journey from their experiences -- after all, it is called The Space Between. And like being in a dark space or an alien film, you really do feel like you’re on a journey. Majid Jordan’s album tells a story and listening to their music is like being in a different world.

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.