Category: Music

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Music

Christian French brings his first headlining tour to Le Ministère

Christian French is gearing up to hit the stage at Le Ministère on Sept. 11. Photos by Angela Kritikos

22-year-old Indiana singer-songwriter Christian French brings his alt-pop sound to Montreal 

Often times, an artist’s biggest dream is to travel around to different cities as the main act on a tour. For Indiana-born singer-songwriter Christian French, that dream is about to become a reality.

For the first time ever, the 22-year-old is going to be headlining his very own tour. After performing in various opening-slot shows on Quinn XCII and Chelsea Cutler’s latest tours, French’s “Bright Side of the Moon” tour is nearing its debut  on Sept. 4, in Michigan.

Set to hit Montreal’s Le Ministère on Sept.11, French couldn’t help but reminisce on some of the earlier parts of the journey that many often overlook when discussing artists and their success. For him, his latest tour is the product of all of the work that came before this, whether it be sleepless nights or awkward shows in front of not-so-stellar crowds.

Speaking with The Concordian, French credits his family with being the origin of much of his musical interest. His family always had music playing – a common thread amongst talented musicians and performers. His sister was a member of a successful band throughout his high school years, another thing he said boosted his understanding of the music industry and how things work in the competitive and sometimes inconsistent profession of a musician. Artists like John Mayer and Eric Clapton also had a heavy influence on him, as he admired their songwriting abilities and deep connection to their music.

He began dabbling in singing even before entering high school, posting acoustic covers of some of his favourite songs to SoundCloud, and teaching himself how to play the piano, his passion truly blossomed at Indiana University, where he studied pre-med, played on the school’s hockey team, and was a member of a fraternity.

“It was really difficult to manage at first, but like with anything, you get into a sort of routine that kind of normalizes everything,” said French. “I tried to keep a healthy balance and not burn out on any of the three, and I think that really helped me. Of course, there were a lot of nights where I didn’t sleep much, but I just knew what was important and what I had to get done every day to continue to elevate.”

Having that many responsibilities in university is demanding, to say the least. French continued to hone his musical skills, with the crucial support of a close group of friends. With their unwavering support from the start, he was able to push through the barrier of uncertainty and shyness that holds many talented musicians back from reaching that next level– one that gets them their very own cross-country tour.

“I’ve had a close group of friends that have been supporting me since I started making covers,” he said. “They didn’t know what to make of it at first, but after they saw me continue to pursue it, they knew how much I cared about it and were behind me. I was in a fraternity, and everyone in the fraternity supported my music, showing their friends across the country, and it allowed for a country-wide awareness a lot faster than it would have been if I wasn’t in college with supportive friends.”

French continued to balance a heavily-filled platter of responsibilities throughout university. Meanwhile, he was continuously uploading music to SoundCloud and was performing at small local venues. Then, he finally got his first big break. 22-year-old American singer and multi-instrumentalist Chelsea Cutler invited him on tour; this was proof that his hard work and perseverance had paid off.

As university students, many of us know what it feels like to have a lot of things to worry about on a day-to-day basis, whether it’s related to school, loved ones, hobbies, or passions. When asked if he had any advice to students going through similarly-demanding situations, French said one thing:

“Do not be scared to take a leap and follow a passion. It’s important to have a plan and to know what you’re going to do, but nothing is going to happen unless you take action. There is no better time to start than now.”

You can catch Christian French’s performance at Le Ministère on his BSOTM tour, on Wednesday, Sept. 11 at 10 p.m.

Tickets available online here:

https://fanlink.to/CFMontrealPresale

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Quickspins

QUICKSPINS: BROCKHAMPTON – Ginger

Following a brief venture into experimental territory, BROCKHAMPTON have returned with a much more focused album in Ginger. This isn’t a return to the bright, fun style the boy band perfected during their Saturation era. This is a brooding album with each track focusing on the struggles each member has had to deal with since the controversial removal of ex-member Ameer Vann. These struggles are best highlighted on the standout track “DEARLY DEPARTED” which features one of Dom McLennon’s best verses ever,

Setting the tone early, “NO HALO” is a dark, string-led track bringing the best out of each member.  The M.V.P. of this album is undoubtedly Bearface, whose vocals have reached new heights, especially on tracks like “BIG BOY” and “VICTOR ROBERTS.”

Ginger is a triumphant success that shows just how much America’s best boy band has grown over the last year.

8.5/10

Trial Track: “NO HALO”

Star Bar:

“When somebody that you know throws you in the fire
How do you survive?
I kicked down the door inside a home I didn’t own just to save a friend’s life
Little did I know, the one who pulled the strings was once on my side
I had just moved to Texas, tried to make it right”

-Dom McLennon on “DEARLY DEPARTED”

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Quickspins

QUICKSPINS: Tones and I – The Kids Are Coming

Tones and I is a newcomer onto the music world’s big stage; although The Kids Are Back is exactly what the world needed from the pop singer since her lightning-fast rise to fame this year.

The 6-track EP highlights the Australian former busker’s creative use of her voice over both upbeat dance-style instrumentals and more melancholic, piano-driven tracks. Her ability to twist and bend words, almost deconstructing their pronunciation and transforming them into an unrecognizable musical sound, perfectly demonstrates her ability to use her voice as an instrument. Also, the fact that she touches on relevant themes, such as sexual discrimination and the importance of the youth, show that her understanding of music goes beyond her natural talent. Tones and I is here to stay, and this short EP was enough to prove it to everyone.

8.5/10

Trial Track: “Dance Monkey”

Star Bar:

“No one wants to listen to the kids these days

Yeah, the fibs these days, yeah

They say that we’re all the same

But they’re the ones to blame” (Tones and I on “The Kids Are Coming”)

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Quickspins

QUICKSPINS: Snoh Aalegra – ugh, those feels again

The title to Snoh Aalegra’s new album is a dead giveaway on what to expect from the Iranian-Swedish singer. Ugh, those feels again is a masterclass of retro-sounding soul music in which the recurring themes of loneliness and heartaches hit the listener like a tidal wave in hurricane season. “I Want You Around,” “Toronto”, and “Nothing to Me” put Aalegra’s elegant voice at the forefront while her instrumentals are smooth, soulful, and perfect for listening with headphones on under the stars. It’s a one-of-a-kind project that should rank high among many year-end lists.

9/10

Trial Track: “I Want You Around”

Star Bar:

“You and me go back and forth, that’s nothing new

I said I’m better on my own, there’s nothing you can do

What’s  at home if I’m alone? Baby, that’s it (Baby, that means nothing to me)

You’re  the type that can’t commit to nothing (That ain’t it)”

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Quickspins

QUICKSPINS: Jidenna – 85 to Africa

Nigerian-American rapper Jidenna’s second studio album 85 to Africa is an expertly-produced body of work, with each track significantly different than the next. A listen of the album is a journey – one that includes creative sounds with influences from all over the globe, including Africa and the Caribbean.

85 to Africa discusses many themes surrounding Pan-Africanism, as the title suggests. From the origins of black people around the world, to the description of his ideal woman, Jidenna’s ability to balance controversial political themes with ones of lust, love, and tenderness throughout a short 11-track album, is exactly why it’s worth a listen. Its creative musicality and lyrical content are what you look for in a body of work, regardless of the few lackluster tracks sprinkled throughout.

8/10

Trial Track: “Babouche” ft. Goldlink

Star Bar:

“Travel wide, travel wide

I and I, by and by, that my tribe

They tryna conquer all the tribe

We laugh and multiply, divide”

Categories
Music

Caribbean carnival season up north

Colours and feathers flourish at Carifiesta. Photo courtesy of Carifiesta.

Caribbeans in Canada use musical festivities to shine a global light on their culture

While Canada might be best known for its harsh winters and polite citizens, many seem to overlook the extremely diverse blend of people who make up many of our major cities.

One of the most influential diasporas in Canada is the Caribbean one, comprising about two per cent of the population, or more than half a million people. In metropolises like Toronto and Montreal, Canadians of Caribbean descent use “Carnival” – a festival of Caribbean culture and traditions most widely known for its bumping music and vibrant costumes – to give other Canadians, and the world, a taste of what being Caribbean is all about.

Caribbean culture is known to revolve around music, having birthed internationally popular genres like soca, reggae, and dancehall. Its Carnivals represent just that. The importance of musical celebration is highlighted in its people’s history and existence. Carnival is a physical representation of Caribbean culture.

Montreal’s version of Carnival, Carifiesta, began in 1975, in an attempt to bring the celebration of Caribbean people and culture to the diaspora in Montreal. Since its inception, Carifiesta has continued to grow as local Caribbeans and non-Caribbeans alike submerge themselves in the celebration of Caribbean nations’ music, creative expression, and vibrant energy.

At a Carnival’s main event, or “Grand Parade,” huge amounts of participants walk among massive, creatively-designed floats stacked with mega speakers, while each respective DJ blasts Caribbean anthems from the float. Participants dress in creatively-designed costumes with feathers and vibrant colours, walking side-by-side with the giant floats that flow down the streets on flatbed trucks.

Carnival’s origins can be traced back to the beginning of the 18th century on the island of Trinidad and Tobago. Many freed black slaves began to live among the Spanish and British settlers, carrying on their masquerade party traditions and taking it to a new level – one that still has its place in countries around the world today, as far as Switzerland and Japan.

The Carnival in Toronto takes shape in the form of the Toronto Caribbean Carnival, which began in 1967. With an extremely significant Jamaican population – about 71 per cent of Canada’s total Jamaican population –  Toronto’s Carnival is the nation’s largest, with an estimated 1.1 million attendees earlier this month. It attracts close to 200,000 tourists and has an economic impact of approximately $400 million annually, according to the event’s Chief of Public Affairs, Denise Herrera Jackson.

The Toronto Caribbean Carnival takes place during the first weekend of August, with various Caribbean-themed musical jams held throughout the Greater Toronto Area. The Grand Parade, the weekend’s main event, is held on the Saturday every year. It features the extensive street parade, which is essentially a huge musical party on wheels. People gather to admire the costumes and float designs, while others walk among the floats and dancing crowd in the parade.

“The Grand Parade is the expression of freedom reminiscent of the freedom expressed in 1834, when slavery was abolished throughout the British Empire,” said Herrera Jackson, who’s also the producer of the Toronto Caribbean Carnival.

“Music is an integral part of the Toronto Caribbean Carnival and all other Caribbean Carnivals,” Jackson said. “Each year, new music is created in celebration of Carnivals in English, Spanish, and French-speaking Caribbean countries. This has resulted in a dynamic and exciting exchange of Caribbean music among Carnival aficionados and the development and internationalization of Caribbean music on the world stage.”

Montreal’s version of Carnival, Carifiesta, began in 1975, in an attempt to bring the celebration of Caribbean people and culture to the diaspora in Montreal. Since its inception, Carifiesta has continued to grow as local Caribbeans and non-Caribbeans alike submerge themselves in the celebration of Caribbean nations’ music, creative expression, and vibrant energy.

For Jason Forbes, Carifiesta’s public relations representative and liaison to the city, Carifiesta is an important event to help Caribbean-Canadians demonstrate their culture and even build connections with others interested in learning more about it.

“Carifiesta brings a festive event to the city where travelers across Canada and USA attend,” said Forbes. “It provides Montreal a way, as a city, to acknowledge our diversity and support our heritage. It also brings tourism and economy into the city each year.”

It provides Montreal a way, as a city, to acknowledge our diversity and support our heritage. It also brings tourism and economy into the city each year – Jason Forbes

Carnivals in Canada are consistently looking to widen the scope of their influence and impact, welcoming participants and volunteers of all walks of life. This is something that Forbes puts a lot of attention towards, as the event’s public relations representative.

“Carifiesta is a community run organization,” he said. “I would encourage any and every young person who reads this, to take ownership of Carifiesta. Inform yourself on how you can be a member and help contribute to build this beautiful representation of your heritage. No matter who you are, Caribbean or not, we are all one family.”

According to 22-year-old Montrealer and self-proclaimed “Carnival junky” Dhantae Ashby, the recipe to Carnival’s success throughout Canada is not as complicated or premeditated as some might think.

“From what I’ve observed in the past 10+ years of [attending the Toronto Caribbean Carnival], non-Caribbean people love our music, food and love to take pictures with the costumes,” he said. “They always seem to enjoy the vibe.”

Both the Toronto Caribbean Carnival and Carifiesta are set to be held next year during their usual weekend in August and July respectively. It’s safe to say that many are already awaiting Carnival’s return to Canada.

 

Feature photo courtesy of Carifiesta

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Music

Osheaga 2019: A weekend review

The 14th annual music and arts festival featured various hidden gems and one breathtaking performance from a headliner

The initial March release of Osheaga’s lineup was met with mixed reviews as many disgruntled concert-goers believed the roster lacked the star power that prior years brought to the stage.

With questionable headliners and supporting acts, some Montrealers doubted whether they would attend the 14th annual music and arts festival. However, those that did were pleasantly surprised by Osheaga’s organization, accessibility and the hidden gems in lesser-known acts.

Osheaga’s relocation to their original site on Ile St-Helene after two years made a tremendous difference in the festival’s flow. Lines seemed to move quicker, travel time between stages was reduced and less congested, and the ground’s layout made everything more accessible than the years the festival took place on Ile Notre Dame.

Spread out over three days and six stages, Osheaga caters to all music lovers by hosting acts of many genres. With over 30 acts per day, people can expect to catch shows ranging from rock n’ roll, to hip hop, to EDM, to pop, and more. This year’s headliners included the Lumineers, The Chemical Brothers, and Childish Gambino.

Friday featured notable acts like Australian DJs Fisher and Flume, Atlanta rappers Gunna and Gucci Mane, 88rising solo member Joji, hip hop duo $uicideboy$, and The Lumineers closing out the main stage. As all the artists play at different locations, oftentimes overlapping in time slots, people were encouraged to download the Osheaga app to create their own schedules on their phone to remind them of the acts they wished to attend.

Atlanta rapper Gunna looks onto the crowd below him before one of his biggest hits. Photo by Jacob Carey

Hip hop artists Denzel Curry and JPEGMAFIA saw many of the same audiences flocking together from one stage to another in the early hours of the festival. In the scorching hot sun that blessed attendees all weekend long, hoses fired water onto the crowd to cool them down. While necessary at times, the hose seemed like overkill on other occasions, causing people to back away to avoid drenching their festival outfits (and photographers’ cameras!).

However, the hose seemed most necessary during trap rapper Gunna’s performance – one that had the most energetic crowd of the day due to the success of his recent hits (“Drip Too Hard,” “Speed It Up”) that have gained massive popularity in the teenage demographic. While one would have expected the same from veteran rapper Gucci Mane, his stage presence was not as enthralling despite it being his second-ever performance in Canada following years of legal issues.

Gucci Mane salutes his audience in his second-ever Canadian performance. Photo by Jacob Carey

Saturday saw a slew of singer-songwriters dominate the main stage, including Ravyn Lenae, King Princess, and City and Colour. During the intermissions, people could turn their attention to the adjacent stage to catch performances from Young the Giant, Janelle Monae, and Logic. All the while, the Scène de L’Ile stage featured nonstop electronic music acts from 1 p.m. until the festival’s close just before 11 p.m.

The last rapper to take the stage was New York native A Boogie wit da Hoodie, who recently secured his first Billboard number one album with the release of Hoodie SZN. Speaking to the Concordian following his performance, A Boogie spoke about what it’s like to get into the studio with veteran rappers such as 50 Cent.

“It’s really motivational in a way where, it’s like going to see a psychic basically,” said A Boogie. “You’re going to see the person that you’re going to be in the next 10 years, depending on who you’re talking to. So, I was talking to 50 Cent right before I got live and everything, and it made me feel like ‘Alright, he’s telling me the steps. He’s telling me how this shit is, so how can I go wrong?’”

“Canada – I come here, I feel like, a few times a year – and every time I come here they feel like I’m in New York,” A Boogie said. “When the lights come on and the show comes on, it’s like the same thing. New York’s probably a little more lit,” he laughs. “But you know, if I’m comparing this to that, there’s really something special here.”

Sunday’s lineup showcased various Montreal talents including Jerico, The Franklin Electric, and singer-songwriter Mac DeMarco. Producer Kaytranada also attracted a massive crowd, who came to show their support for the hometown hero who has gained worldwide success over the past few years.

Young Thug croons into his microphone on a blistering hot summer day. Photo by Jacob Carey

Yet, Sunday’s lineup would be nothing without the mention of the festival’s final act and weekend highlight – Childish Gambino. The writer-turned-actor, turned-television-director, turned-rapper is a man of many talents. One can’t help but see these talents blend into his performances. Gambino told the crowd early on that he would be taking them on a “church experience,” and nothing seemed more fitting.

Rising from a platform in the middle of both stages, shirtless and surrounded by white fog, Gambino’s raw vocals were enchanting enough to convince anyone that this man is much more than just a rapper. His beautiful falsettos and the church choir who performed backup vocals were crisp and powerful. His interaction with the crowd appeared genuine and heartfelt, urging us all, following a weekend of multiple mass shootings in the United States, to simply “have fun and love yourself…and put down your phones. This is for us right here.”

Watching from the back hill of Osheaga’s main stages on a widescreen display, the whole of Gambino’s performance felt like an extended version of his ground-breaking “This Is America” music video. The artist stared deep into the camera’s soul. His dance moves were impeccable and captivating. In a crowd of thousands, Gambino somehow made you feel like he was speaking directly to you.

Anyone who had been skeptical of Osheaga’s choice of headliners was immediately corrected as they left Ile St-Helene late Sunday night; if not for the entire set, then solely because of the stellar performance that Childish Gambino gave to everyone willing to listen.

 

Feature photo by Laurence Brisson Dubreuil

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Music

Eight underground artists not to miss at 2019 Osheaga Music and Arts Festival

Sunday, Aug. 4th performer Tierra Whack. Photo provided by Osheaga Arts and Music Festival.

Though The Lumineers and Childish Gambino are headlining the festival, many of the smaller acts should not to be overlooked.

The 2019 edition of Montreal’s Osheaga festival features big name headliners such as The Lumineers, The Chemical Brothers, and Childish Gambino. While these acts are sure to draw a crowd to the three-day event, other smaller acts will be fighting for the spotlight to expand their fanbase with festival-goers. Here is a list of eight underground artists to keep an eye out for next weekend:

 

Anders

 

Toronto R&B singer Anders is perhaps most recognized for his vocals on DJ duo Loud Luxury’s track “Love No More,” but the artist has a play-worthy repertoire of his own. With two EPs released (669 and Twos) and various singles under his belt, Anders most recently performed at the 2018 iHeartRadio Jingle Ball and the 2019 Juno Awards despite only performing concerts following the release of his two projects. The young songster is a crooner at heart, whose sound and voice are most notably compared to fellow Torontonian the Weeknd’s in his earlier work. His set is a must for any R&B lovers wishing to discover new talent.

 

JPEGMAFIA

 

JPEGMAFIA is synonymous with insanity. Well, not really. But when you listen to his music, you’ll understand. He’s not the kind of rapper you’d see on the charts. He’s the kind of rapper you’ll see breaking barriers and blending in sounds you’d never expect on a hip hop track. The rapper is also part troll, best heard on the short track “I Cannot F***ing Wait Til Morrissey Dies.” Peggy isn’t for everyone and his music may not stick during a first listen, but his performance at Osheaga should rank among the wildest, most unpredictable shows of the festival. Also, his song with other Osheaga performer, Flume, called “How to Build a Relationship” is an absolute banger.

 

U.S. Girls

 

The latest release from Meghan Remy’s musical outfit U.S. Girls is an accomplishment in pop music. It’s a forward-thinking album that establishes modern feminism as a key theme. The instrumentals are sweet and somewhat reminiscent of the 80s. While not charting like many other pop outfits of the decade, U.S. Girls don’t need to. Their messages and sounds live strong in the context of their albums and the beautiful production across their records should translate to a fantastic show.

 

Ski Mask the Slump God

 

Ski Mask began gaining popularity upon his formation of Members Only, originally a South Florida duo between himself and the late controversial XXXTentacion. The two were originators of what is now coined “Soundcloud rap.” The artist combines ad libs, screamo and rapping to make a sound quite unique to himself. His most recent album, Stokeley, boasts features from some of the industry’s newest young guns such as Juice WRLD, Lil Yachty and Lil Baby. Ski Mask’s live performances are sure to be filled with high energy and a chance of mosh pits.

 

Yellow Days

 

In 2018, a trailer for Donald Glover (headliner Childish Gambino)’s show Atlanta featured a light and trippy indie rock song called “A Gap in the Clouds” by Yellow Days. At that point, the song was already two years old, but it put the British singer on the map for the rest of the world to see. Backed by a powerfully deep voice and sweet guitar riffs, Yellow Days already has two beautifully produced projects under his belt. Since then, he’s released multiple singles that may  wind up on a new album. Whether it debuts before Osheaga remains to be seen, but a live rendition of his excellent “A Little While” should make it all worth it.

 

Young Thug

 

Young Thug may be the most influential rapper in recent history, inspiring the sound behind countless artists in hip hop, especially those currently emerging from Atlanta. The rapper gained popularity in his early days due to his vocals that at times sounded like pure gibberish. Years later, listeners recognize this authentic style as being ahead of its time, one-upping mumble rappers with clever wordplay and tongue twisters. Barter 6 and Beautiful Thugger Girls are essential albums for anyone wishing to hop on the Thug train. The rapper is also credited with being one of the most fashion-forward in the industry, constantly pushing the boundaries of what others deem to be men’s or women’s clothing. His set is not to be missed and anyone who is a fan of rap will surely be surprised by how many songs of his they recognize.

 

Two Feet

 

New York native Two Feet is an alternative singer whose 2018 hit single “I Feel Like I’m Drowning” reached No. 1 on the U.S. alternative charts. The music seems inspired by jazz, blues, guitar and something a bit more sinister. His first EP, First Steps, along with the success of its single, “Go F*ck Yourself,” led to Two Feet’s signing with Republic Records. The artist was originally scheduled to perform at last year’s Osheaga, but a medical emergency caused him to cancel his set. Fortunately, Two Feet has released an album since and therefore will have a wider catalogue of material to choose from for this year’s performance.

 

Tierra Whack

Tierra Whack’s Whack World is one of the most creative and innovative albums of the decade, mixing hip hop, R&B, and a little inspiration from many other genres. Her music exudes originality. Each song on the album clocked in at 60 seconds and had an accompanying video, making this audio/visual project one to remember. In 2019, Whack released five new songs in five consecutive weeks, only this time the songs are full-length. Recognition for the 23-year-old Philadelphia native is only increasing as she was most recently included in the Beyonce-curated The Lion King: The Gift album on the track “MY POWER.” She’s received co-signs from many greats including fellow Philly rapper Meek Mill.

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Music

Navigating beyond rough waters

NAV and DJ T-Jizzle perform a sold out show at MTelus. Photo by Immanuel Matthews

Toronto rapper NAV has come a long way since his performance at Osheaga in Montreal a mere 10 months ago – and he knows it.

The XO signee took to MTelus last Tuesday night to a wildly enthusiastic crowd. Following a high energy performance from fellow Torontonian rapper Killy, there seemed to be a lull in the audience as fans grew impatient during intermission. As water bottles began to be tossed and “Let’s Go Raptors!” chants filled the room, NAV’s official DJ, DJ T-Jizzle, took to the stage.

With the task of warming up the crowd for the main act, T-Jizzle provided them with their appetizer – a medley of some of hip hop’s biggest hits. The first notes of “Suge (Yea Yea)” by North Carolina rapper DaBaby was enough to knock the fatigue out of everyone there, and the vibe surely did not die down as T-Jizzle played the obligatory “XO Tour Life” anthem by Lil Uzi Vert. As mosh pits broke out track after track, fans were already dripping sweat and removing layers of clothing when it was time for the main act to show face.

NAV adjusts his earpiece as fans take pictures and throw up their XO hand signs. Photo by Immanuel Matthews

Enter NAV, dressed in an all-black track jacket, black jeans and a thick XO diamond chain that glistened as it caught camera lights. However, the lights in the crowd died down as the seconds ticked on. Fans knew that it wouldn’t be wise to keep their phones out – the risk of dropping them was too high. Beginning his set with “To My Grave,” the opening track off his most recent album, Bad Habits, the crowd erupted into a frenzy unlike many before. Fans were not just pushing and dancing anymore; the standing crowd, as a whole, was swaying back and forth. As shoves came from behind and everyone squished like a can of sardines towards the stage, those who got there early enough to secure front-row spot retaliated by pushing back. From the balcony, this would look like an uncomfortable and non-consensual version of the wave that fans start at hockey games.

NAV did not lack any new material at his Montreal show. His most recent album, which debuted at #1 on Billboard album charts, is 24 tracks of new material to perform for his fans. Bad Habits became the artist’s first number one album, and you could see it in the way he carried himself. NAV stood with his shoulders high. He danced by getting low. Often times, he’d stop singing with a smile on his face as he soaked in the lyrics from the crowd that sang back at him.

The rapper’s newfound spotlight surely brought in new fans to the show but NAV nonetheless treated his day ones to older material. The artist’s debut in 2017 with his eponymous EP NAV generated a buzz for the auto-crooner early on in his career. However, mixed reviews of his debut album Reckless put the rapper’s fate in jeopardy with critics doubting his longevity. Now, after having bounced back with the reception of Bad Habits, NAV felt it necessary to thank his loyal fans with tunes that they would be most familiar with. Many were, perhaps, most ecstatic to hear the Travis Scott assisted song “Beibs in the Trap” whose bass was so loud that the floor felt like it was on the verge of caving in.

NAV teased his fans by telling them that it was time to go home, but the roars continued as strong as ever five songs later. The rapper paid homage to his label head, The Weeknd, by performing their single “Price on My Head,” and closed the night with the Meek Mill assisted track, “Tap.”

NAV exited the stage with his pearly whites shining as bright as his pendant, proud of the progress he has made in his neighbouring city.

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Music

New age of Fantasia

Disney classic is backed by a live orchestra at Place Des Arts

“You have to kind of take a leap and go experience it,” says Francis Choinière, president and co-founder of GFN Productions. On June 22, Choinière and his team will bring Disney’s classic Fantasia to life with a live orchestra at Salle Wilfrid-Pelletier in Place des Arts. As a classically trained chorist and conductor, Choinière has branched out into producing orchestral concerts set to popular films.

Last year, the company sold out two nights of a live orchestral version of Lord of the Rings: Fellowship of the Ring with over 80 musicians and 150 singers. It was GFN’s first production, and Choinière was in charge of preparing the choir. This time around, he has opted to direct the show offstage, with conductor Alain Trudel. Choinière says that although he prefers conducting over directing in the long run, the two serve a similar role. “Conductor is the role of a facilitator,” he says. “It’s to help find one thread of musical expression that unifies everyone.”

After the success of Lord of the Rings, Choinière sees the power in fusing cinema and symphony; the cinematic element tends to bring a new kind of crowd to orchestras.

“People who come to see Lord of the Rings are not necessarily people who come to see a symphony orchestra or have ever seen a symphony orchestra,” he says. “For them, it’s a new experience to see live musicians like that, so for us, that was really important.” As a student beginning his masters in Orchestral Conducting, Choinière says he sees a decline in the mainstream appeal of orchestras, even citing the Montreal Symphony Orchestra’s difficulty in filling their hall. “This visual aspect is an interesting way of keeping things fresh,” Choinière says. The addition of a live orchestra to GFN’s production of Fantasia is in the innovative spirit of the film’s 1940 release, when it was the first commercial film released in stereo sound, a novel way to immerse audiences.

Choinière has come to terms with the fact that symphony orchestras are competing for more casual music fans. “We’re much more visual now than we ever have been,” he says. Enjoying a symphony is an auditory experience, although the orchestra itself can be visually fascinating. Having a narrative to grip onto will surely ease some newer fans into the world of classical music.

GFN’s Fantasia will blend the 1940 classic with Fantasia 2000, the millennium reboot. “Fantasia is one of those films that helped people discover classical music,” says Choinière. “We’re touching two different generations.” The blend of live orchestral Bach and Tchaikovsky with Disney’s dreamlike animations is sure to be timeless.

Tickets for Fantasia at Place Des Arts can be purchased here.

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Music

The voice from Toronto to Montreal

On April 2, Avery Florence performed for a small crowd at La Marche à côté. Photo by Britanny Guiseppe-Clarke.

Singer-songwriter Avery Florence has brought her sound to the city

La Marche à côté, a bar on St-Denis St., was transformed into another universe on April 2 for one of Avery Florence’s shows. Even bypassers couldn’t help themselves from peeking into the window to see where the enchanting voice was coming from.

Since July 2018, 28-year-old singer-songwriter Avery Florence has called Montreal home. As a teenager, she loved the city and found inspiration every time she visited from Toronto. She has finally settled on the island for good after three attempts. It seems third time’s the charm.

“People are more open to connecting with others and it’s easier to build a community here,” Florence said. As a native Torontonian, she feels everyone is more laid back in Montreal. “Everybody is sort of an artist here because they have more time. Without time, being an artist just isn’t possible.”

Florence found her passion for music much later in life; she had no musical training as a child and wasn’t from a musical family, yet she felt a connection to music. She started playing guitar in university and after just a few weeks of lessons, she was already writing songs. “I’m so thankful that I found my passion. It changed my life completely,” Florence said.

Florence has an undeniable gift for music. Her voice resembles that of an angel gone wild, powerful and raw, yet pure and honest. She comes across as a genuine person and this translates into her music. Her shows are very intimate and she isn’t afraid to be vulnerable, allowing the audience to delve into her little world. When she performs songs like “Black Waves” and “Woke Up This Morning,” it’s almost impossible not to get in your feelings.

Whether it’s a moment of sadness and despair, or a moment of wonder and inspiration, Florence said most of her songs are rooted in personal experiences and emotions. In more emotional situations, she’ll pick up an instrument and start playing a few notes or start humming a melody. “I think all of my best songs have come out in one go. I’ll have an instrument with me and then I’ll just let the words come out,” Florence said.

Recently, Florence participated in the most intense musical experience of her life.The CTV Network created The Launch, a new music show where contestants audition for Canadian artists like Bryan Adams, Sarah McLachlan, Marie-Mai, and more. Participants only have a few minutes to sell themselves and their music to the judges—needless to say, it’s a lot of pressure.

“It was really high highs and really low lows,” Florence said. She thought it was a scary thing to have something so personal out of her control. Contestants only see the final product on national television, at the same time as millions of other Canadians. “Literally right after I saw my part on TV, I felt a physical relief in my body that I had been holding onto for six months,” she admitted.

As the sun starts to reappear and spring settles in, keep your ear out for a voice that pulls your heart strings. Pay attention to the buskers on the street—Florence could be right under your nose.

Categories
Music

FKA Earl Sweatshirt

“I don’t wanna see no struggle hands for this,” said Kgositsile.

Rapper Thebe Kgositsile tries to move past his pseudonym and his past music

“Mask off, mask on, we trick-or-treatin’ / back off, stand-offish and anemic.” These lines broke the four-year gap between Thebe Kgositsile, known as Earl Sweatshirt’s 2015 album I Don’t Like Shit, I Don’t Go Outside and his most recent Some Rap Songs. The grim imagery, disjointed syntax and nine-syllable close rhyme are tools of Kgositsile’s trade.

With his latest album and tour, Kgositsile has tried to distance himself from Earl Sweatshirt, the moniker that symbolized his come-up in 2010 alongside Odd Future. At 16, Kgositsile was spitting horrorcore bars about knocking blunt ashes into the caskets of catholics. His lyrics were as brash and boorish as they were vivid and dense, with a monotone that magnified their intricacies. After his mother sent him to a reform school in Samoa for acting out, he came back to release three of the best rap albums of the decade. As Kgositsile grew up, his maturity came with reclusion. Once a foul-mouthed delinquent, he wrestled with depression and his music became more lucid and introspective.

Some Rap Songs deals with the death of his father in January of last year, who was a lauded South African poet and absent during Kgositsile’s childhood. The ensuing album is predictably dark, but where I Don’t Like Shit, I Don’t Go Outside was brooding and focused, Kgositsile’s footing on Some Rap Songs is unsure. The album cover is a blurred closeup of his face, and much of the tape has him sorting through wreckage and piecing his story together. His bars come across as poetic and that’s because they’re intended to be: “It’s really dense. It can be overwhelming and have an air of exclusivity to it, a pompousness that I feel is only balanced out by me being like, I know what I’m doing to you. So I’ma sprint for you. I’ma act like your time is valuable,” Kgositsile told writer Sheldon Pearce.

Photo by Simon New

Kgositsile entered stage in a flannel, sweats and Air Force 1’s. His lyrics rang out with a force like flowing water, these were his truths. He moved slowly, like a wise elder and had no time for the extraneous. Every word hit even harder than on the album and there was no sign of backing vocals. He took playful jabs at the audience, almost trying to calm them down. I overheard a conversation about how a girl was switching lockers to be next to her boyfriend. These were the kids that he had made fans as the best rapper in Odd Future. It felt like Kgositsile was a prophet that had grown up simultaneously with the crowd but not alongside them. He was telling tales of pain and tumult as well as a spectrum of fame and experience that were just beyond the audience’s grasp. As he shuffled from one side of the stage to the other, he would rap into the air and, as he glanced at the audience, would look away as if he couldn’t face them. It was powerful to see the struggles in his music manifested.

Kgositsile played consecutive songs from the new album, dipping into I Don’t Like Shit, I Don’t Go Outside, and hesitated to go back further in his catalog, even though tracks from 2013’s Doris had the crowd the loudest. Kgositsile was evading a past that his fans haven’t let go of. Some Rap Songs is Kgositsile’s definitive album; it is unique in how excruciatingly personal it is. Hopefully as Kgositsile takes the mask of Earl Sweatshirt off, his fans will embrace the storied character of Thebe Kgositsile.

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