Category: Music

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Music

The Eras Tour: from Blockbuster Tour to Movie

Cineplex hosts The Era’s Sunday night tour, where the Usher’s primary weekend role is to get the audience up and dancing. PHOTO BY KAITLYNN RODNEY // THE CONCORDIAN

Concordia students dish on experiencing the year’s biggest concert film.

Taylor Swift has been inescapable for months now. Since kicking off in March, her wildly successful Eras Tour has been flooding social media feeds while heading towards becoming the highest-grossing tour of all time. Swift’s blockbuster brand recently saw another expansion as she quite literally put one out. On Oct.13, her concert film Taylor Swift: The Eras Tour hit theatres across the globe, serving as a rendezvous for all Swifties. The Concordian spoke with Concordia students who attended select screenings.

The film captures the first three of Swift’s six performances at SoFi Stadium in Inglewood, which took place from Aug. 3-5. It is a near-exhaustive representation of an Eras Tour show from start to end, with a nearly three-hour runtime. 

The magnitude of Swift’s career is not only showcased by her setlist and the many albums she navigates through but also the camerawork. Swift is filmed up-close and personal in crystal clear quality, but also from far and above, which illustrates the immensity of the stadiums and crowds she is playing for. The cameras also highlight the grandiosity of the stage design, the complex world-building done for each era and the intricacy of each detail that is included. 

Yasmine Messaoudi, a first-year psychology student, praised the aerial and overhead shots due to their wide coverage of the visual effects that are projected in tandem with the stage. “It makes you realize how much it adds to the whole performance,” she said. 

The in-theatre experience has also become a communal event for Swifties. Emma Megelas, one of The Concordian’s news editors, explains how fans lit up the theatre by treating it like a true musical event: “Everyone was dancing, cheering, it felt like we were at the concert.” 

Journalism student Casey Kiss adds that fans also carried over the in-show tradition of trading friendship bracelets, further simulating a true Eras Tour environment from within movie theatres.

The movie experience essentially served as an alternative to attending the actual concert. Kiss was especially motivated to catch a viewing due to “How difficult and expensive it is to get tickets to the actual concert.” While some tend to view the Eras Tour movie as a spoiler of the actual show, both Kiss and Megelas noted that clips of the show are already all over TikTok and practically unavoidable. This sentiment was equally shared by communications student Maria Luisa Velez, who is set to attend one of Taylor Swift’s Toronto concerts next fall. She considers both experiences to be separate, with the movie being a good preparation for the concert and adding that it made her more excited. As put by Kiss, “Nothing can replicate the feeling of attending a stadium show like that.”

With shows lined up through next fall and the fresh release of 1989 (Taylor’s Version), Taylor Swift, her Eras Tour and their immense hype are clearly here to stay for the foreseeable future.

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Music Quickspins

QUICKSPINS: Bad Bunny – nadie sabe lo que va a pasar mañana

Courtesy of Apple Music

Nobody knew the Latin sensation would release this unexpected album.

On October’s mysterious Friday the 13th, Bad Bunny released his fifth solo studio album nadie sabe lo que va a pasar mañana, which translates to “Nobody Knows What Will Happen Tomorrow,” once again defying the laws of the reggeaton sound. 

Fans only got a few days’ notice of the album’s upcoming release, insinuating that nobody really knew what was going on. But the Latin sensation is back with a new album—Bad Bunny caught fans off-guard. 

Steering away from the traditional reggaeton sound, Bad Bunny brings classical harmonies in the intro track “NADIE SABE” (nobody knows) and in “MONACO.” “NADIE SABE” is solely composed of violin and cello while Bad Bunny sings about living in the present moment and taking control of your own life. 

“MONACO” pays a heartwarming tribute to the late French singer, Charles Aznavour, with the classic violin intro to “Hier Encore” starting the song, only to switch gears to hard rap. The song’s interlude is a passage from Aznavour’s classic, referring to how he “caressed time and played with life like we played with love and lived the night.” 

“MONACO,” “NADIE SABE,” and “TELEPHONO NUEVO” are the more mysterious tracks as they start with softer tempos before and then they catch you off guard with a rougher tone. He uses a lot of dialogue and sound effects to transition from both beats, namely a Formula One car engine playing on top of the interlude and a phone dial saying “the number you have dialed has been changed.”

“TELEPHONO NUEVO” starts off with a softer beat until he announces “[he’s] gonna change his number, we’ll call later” before Luar La L’s new number dials in with hard rap. “VOU 787” starts off with Madonna’s “Vogue” intro, accompanied by claps before the beat drops and Bad Bunny attributes how “now [he’s] a model, a photo for Vogue.” “SEDA” (silk) is slow and sexy with a pop flare, holding a “hiding in the sheets” energy. All three tracks add an expensive connotation to the album: silk as the “fancy” material, fashion dominatrix magazine Vogue, and a brand new phone. Bad Bunny gives riches a new sound. 

This album is quite different from the previous four, steering away from the tranquille summer vibes and reggaeton beats, to the eccentric pop, hard rap and classical. Bad Bunny makes several references to pop culture and powerful, strong figures such as Rocky Balboa, Lionel Messi and Diego Maradonna, who are mentioned several times throughout the album. 

nadie sabe lo que va a pasar mañana is a mystery album where each song is different, yet their unique style represents who Bad Bunny is as an artist. It’s an experiment of different genres, styles, and themes, questioning what it means to live life. It’s an anthem about what the album is truly about—a giant question mark that all you want to do is find the answer to. No one knows how or if they can put their finger on it, but that’s the beauty of album number five. 

Trial track: MONACO

Score: 9/10

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Music

The Dark Side of the Moon in a dome

The Society of Arts and Technology's dome featuring various space themes during The Dark Side of the Moon immersive experience. Courtesy photo by Myriam Menard.

Pink Floyd’s 1973 album was made into an immersive experience in Montreal.

The 50th anniversary of Pink Floyd’s The Dark Side of the Moon was prominently highlighted, to say the least. Montrealers had the chance to experience a grand audiovisual experience in the Society for Arts and Technology’s (SAT) Satosphère, which is one of only 100 domes and planetariums in the whole world presenting it. The company Hubblo, a local initiative that aims “to address the explosive worldwide production of immersive and interactive experiences,” was also in charge of putting the project together. The projection took place most evenings, welcoming the first wave of audiences since August and soon on Oct. 27. 

With its 18 meters in diameter, 13 meters in height, eight video projectors and 157 speakers, the SAT’s dome exclusive show was indeed mesmerizing. As stated on the event’s page, the band warmly welcomes the concept of “juxtapos[ing] the album’s musical framework with striking images of space.” The goal was to accompany each track of the 43-minute-long album with a futuristic visual component and as “a nod to Pink Floyd’s retro visual iconography.” 

Not only did the show make me hear the album as if it was the first time but it was indeed planned to remaster the album in surround sound for this 360-degree environment. The SAT in Montreal also describes the aim to offer “an unparalleled 360-degree experience to plunge into the heart of Pink Floyd’s sonic and visual universe,” especially after the dome closed its doors for several months due to renovation and equipment installation. Statera Experience shares that “NSC Creative studio handled the visual production of the show, working closely with Aubrey Powell, a longtime Pink Floyd creative accomplice at Hipgnosis.”

Since the seats in the Satosphère dome are unnumbered, the first thing to do was to choose a spot among the many bean bag chairs. When it started, the lights dimmed to bring focus on the first projection approaching on the dome ceiling while the intro track “Speak to Me” echoed. A futuristic pyramid in space got bigger and bigger only to introduce the many other visual elements that constituted a cohesive and refreshing sight. Staggering images of the solar system were at the core of the show, from the moon—hinting at its inclusion in the album title—to the different planets and much more. Distinct themes of each song were exploited such as elements of money and consumerism with the track “Money” playing. Each sight presented a temporal and spatial experience, adding depth to the lyrics and sounds used in the production of the album.

The colour theme of the projections was both dark and space-themed with pops of vivid colour to immerse the viewer. The rainbow from the album cover was thus used to provide enhanced visual stimulation. As for the audio quality and experience, it was overall balanced and synced perfectly with what was portrayed on the ceiling.  

My personal outtake was definitely how smooth the transitions between each projection played out. The shifts between songs merged smoothly and creatively with the graphic theme of the following track on the album. I especially loved some of the cohesive elements that kept coming back throughout the show, such as a visual of an astronaut with Earth mirrored on the helmet. The imagery was striking due to its crisp quality and lying down while seeing our planet through someone else’s eyes was dazzling in the best way. A Thursday evening during the fall break was definitely a good moment to be a little existential while being sonically embraced throughout a stimulating experience and celebration.

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Concert Reviews Music

Montreal rappers bring on the “Beats & Bars”

CHUNG, Jo Dolo, Mike Shabb, Jo Compadre, and Mr. Severe performing at Ausgang Plaza for "Beats & Bars." Photo by Stefano Rebuli / The Concordian.

Mike Shabb, Jo Dolo, CHUNG, Jo Compadre and Mr. Severe showcased the city’s broad range of hip-hop sounds, styles, and talent at Ausgang Plaza.

The Astred collective is home to some of Montreal’s best up-and-coming artists. It notably includes Jo Dolo and Mr. Severe who both performed at the city’s Metro Metro Festival earlier this year. On Oct. 7, they hosted a live show at Ausgang Plaza in Montreal’s Rosemont neighbourhood for a crowd of around 150 people. They were joined by Jo Compadre, CHUNG and Mike Shabb.

Mr. Severe kicked off the show, proving his talent as an MC. His backing track proved unnecessary as he ripped through all his verses with a bold, captivating delivery. He did not miss a single beat and his fierce vocal presence persisted through all sorts of production, from vintage 50 Cent-style cuts to trap beats.

Jo Compadre joined Mr. Severe for their collaboration “Nothing Lasts Forever” before taking the stage on his own. He performed songs like “For The Cause” and “Palo Santo” with a strong and well-articulated voice, despite sometimes ad-libbing along to parts of verses rather than rapping them. His performance showcased an impressive, rapid and focused flow that he tackled with a brazen demeanour.

CHUNG’s stage presence was stellar. Her delivery was simultaneously slick and sexy, yet cutthroat and poignant. It is perfectly complemented by her beat selection, composed of smooth soul samples. Most of her setlist was taken from her recent mixtape Chung Shui II with Cotola. The grooves on “Everyone” and “You Know I Gotta” rung out irresistibly through the speakers. “The Drum Sound” paid homage to her Jamaican heritage with its reggae beat and her use of patois on the track. “Sweet Dreams” contrasted as an ominous, hard-hitting boom-bap cut. 

Jo Dolo brought a change of pace and a burst of energy by starting off with French-language drill music. His tone was remarkably cold, which allowed him to equally shine over slow-paced, gritty boom-bap production. Dolo successfully drew energy from the crowd, regardless of musical style. Fans in the crowd bounced their hands as he spits introspective rhymes and jumped around, energetically swinging his dreads.

Mike Shabb closed out the show with a showcase of his sonic versatility throughout the years. He performed his melodic rap hit “SPORTS!” (2019) before launching into material from his recent collaborative EP Shadow Moses with Montreal producer Nicholas Craven. Craven joined him onstage for a triumphant and proud display of the fruits of their creative alliance. He also premiered two new songs: the grim “Hurry Up,” produced by Belgian rapper JeanJass, and the lighthearted, jazzy “Hey Young World, Pt. 3.” He also paid tribute to fallen friend and frequent collaborator Jeune Loup, performing his viral tracks “Sensuelle” and “Back sur le BS”: two of the biggest rap tracks to ever come out of Quebec.

All in all, the event was a success, bringing together a handful of local MCs equipped with a variety of impressive flows, sounds, and styles.

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Music Quickspins

QUICKSPINS: Westside Gunn – And Then You Pray For Me

Courtesy by Apple Music.

The Buffalo MC balances tradition with a new direction in the sequel to Pray for Paris.

In 2020, Westside Gunn’s third studio album Pray for Paris was released, quickly becoming a favourite among fans. Famed designer Virgil Abloh was the catalyst behind this album: he not only created the artwork but also invited the Griselda Records founder on a life-changing trip to Paris Fashion Week, which inspired the album’s creation. Nearly two years after Virgil’s passing in 2021, Gunn spent most of 2023 travelling around Europe, also stopping in Egypt and Dubai. This prompted the recording of his latest album And Then You Pray For Me. Released on Oct. 13, it is the sequel to Pray for Paris.

Many tracks on And Then You Pray For Me recall the plush and expansive soundscape on Pray for Paris. Songs “FLYGOD 2x” and “Babylon Bis” combine melancholic xylophone and piano loops with dusty boom-bap drums, resulting in the same gritty yet elegant soundscape that graced Pray for Paris. “House of GLORY” features a sunny and shiny classical music melody that adds a degree of fun to both Gunn’s and featured artist Stove God Cooks’ unorthodox singing. Gunn’s entrance is especially entertaining as he abruptly begins singing “baby” in a high-pitched voice. The orchestral loop on “KITCHEN LIGHTS” is stunning and provides the same duo with a luxurious backdrop. The instrumental’s beauty radiates the Parisian opulence that Gunn aimed to emulate on Pray for Paris: the resulting song sounds like a masterpiece. Elsewhere, several tracks follow the usual Griselda formula and the outcome is as solid as usual. “Mama’s Primetime” is an ominous boom-bap cut that would fit perfectly on WWCD, the 2019 album released by Griselda (as a trio composed of Gunn, Benny the Butcher, and Conway the Machine). “Suicide in Selfridges” is the latest of many fun, upbeat tracks where Gunn raps over quirky beats from his frequent collaborator, producer Conductor Williams.

The rest of the album sounds drastically different, as And Then You Pray For Me sees Westside Gunn extensively venturing into trap music—a style he has seldom dabbled with on his existing solo material. Although it is not inherently bad, Gunn’s delivery over trap beats is notably slow-paced and tends to veer off-beat. It quickly becomes redundant as he approaches many of these tracks in the same way. The production itself is also a make-or-break factor: Tay Keith’s production on “Kostas” feels like a grand event, yet the Miguel The Plug beats on “LL BOOL GUN” and “Ultra GriZelda” are painfully basic. Gunn’s inclusion of veteran trap artists (Jeezy, Rick Ross) and DJs (Drama, Holiday, Swamp Izzo) is an intentional homage to trap music’s early prime in the late 2000s. The album’s trap component is built upon a strong foundation, although its execution is occasionally shoddy.

Like other Gunn projects, there are many features, many of which bring their A-game. JID is a show-stopper on “Mama’s PrimeTime” and all the Griselda Records mainstays fulfill their usual duties effectively. Trap veterans Jeezy and Rick Ross feel right at home on their respective tracks, and Denzel Curry brings a load of energy to “Ultra GriZelda.” The Westside Gunn sex song “Chloe” returns on an ostentatious, wildly graphic duet with Ty Dolla $ign. The title track is an amazing closer courtesy of KayCyy. He sings and raps softly over a soothing, ambient soundscape backed by hints of church bells. The whole thing evokes a closing sermon and wraps up the album on a perfect note.

Overall, And Then You Pray For Me is half the sequel that it sets out to be. The album starts off strong with the traditional Griselda sound, recapturing the greatness of Gunn’s existing catalogue and the high-class sound of Pray For Paris. The trap cuts essentially bog down the album’s midsection and most of the latter half. Gunn’s new direction showcases potential but often borders on being a cheap execution of a certain sound. Thankfully, the closing track catches up to round out the album nicely. The takeaway is that Gunn’s stylistic change is by no means bad: it just requires refinement.

Score: 6.5/10

Trial Track: KITCHEN LIGHTS (feat. Stove God Cooks)

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Music

How Brazilian funk groove in the Montreal party scene

Rabaterapia Dance Studio applying Brazilian funk through dance. Courtesy photo by Rabaterapia.

Even more powerful than the language of the songs is the catchy beat that crosses borders.

In the heart of Montreal’s vibrant and diverse nightlife scene, a new rhythm is electrifying the city’s dance floors: the Brazilian funk. The genre that has been synonymous with the lively streets of Rio de Janeiro, is fast becoming the latest sensation in Montreal’s buzzing nightlife. From the shores of the favelas to the lively atmosphere of the city, the infectious beats of this genre have found a new home in this Canadian metropolis showing that Brazil has progressed far beyond samba or bossa nova.

Scottie Tippin is a resident DJ at Le Mal Nécessaire, a bar on St. Laurent. “The resurgence of disco and funk in 2023 in Montreal is massive,” he said. “I have a ton of funk as an influence because it is a genre good for everyone. It’s in no way polarizing for an audience.” 

The artist said that once you start playing anything funky, the requests come in spades. “I’m fully invested in funk following the steps of amazing DJs like Shogo, Walla P, and Akpossoul,” Tippin added that Brazilian samples inspired by Bossa Nova are also part of his inspiration. 

Renowned artists who incorporated funk references into their songs gave space for new artists to enter the music scene. Madonna, for example, joined Brazilian artist Anitta on “Faz Gostoso,” a song that not only invested in the funk beat but also sang sections in Portuguese. Anitta, in turn, not only took advantage of this chance but also worked alongside other artists such as Maluma, J Balvin, Cardi B, Major Lazer, Saweetie and Becky G, among others, in order to promote the genre through other languages, such as English and Spanish. The singer is currently the winner of two VMAs for Best Latin Video and was nominated for a 2023 Grammy as Best New Artist. Funk has room to grow.

In Montreal, Rabaterapia is a strong funk reference. The project started last year with the mission of bringing people together through the power of dance, specifically Brazilian funk and pop music. “Montrealers have shown interest in our classes, predominantly fueled by their intrigue for Brazilian funk,” CEO of Rabaterapia Priscilla Sanchez said. “We believe that this genre has a universal appeal that helps people to transcend borders.” 

According to her, introducing funk to Montreal has allowed Rabaterapia to add another layer to the eclectic art scene, offering Montreal an opportunity to dive into a dance form that is both exciting and deeply rooted in cultural significance. “We feel very proud of introducing a piece of Brazilian culture here. Every beat and move of funk is an expression of our spirit,” Sanchez added. “Our project aims to serve as a cultural bridge introducing them to the dynamism and vibrancy of funk while fostering a sense of community and shared experience.”

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Concert Reviews Music

James Blake thrills L’Olympia

James Blake performing live in Montreal on October 10 at L'Olympia. Photo by Tabéa Benlakehal / The Concordian

Montreal welcomed James Blake with open arms at a striking concert on Oct. 10.

English musician James Blake wears many hats, notably being a singer-songwriter, multi-instrumentalist, producer, composer and DJ. His last visit to Montreal dates back to 2019, when he performed at L’Olympia on Saint-Catherine. Back at this very venue four years later, James Blake came to town following the release of his sixth studio album Playing Robots Into Heaven out on Sept. 8. 

The return to electronic roots follows up on his 2021 album Friends That Break Your Heart which did not receive a live show in Montreal. Long time fans and admirers of Blake’s music journey were ecstatic to finally see him in the flesh, this time to experience “a little bit of everything,” as Blake himself put it. The tour started off in Europe in mid-September and will end a month from now in Los Angeles, California where Blake is currently based. 

From his emergence in the dubstep scene in South London, James Blake has since contributed to countless artists’ projects as well as collaborating with many others from different realms of the music world. The list includes Beyoncé, Rosalía, André 3000, Metro Boomin, Kendrick Lamar, Mount Kimbie and Bon Iver, just to name a few. Blake is renowned to be a chameleon of his own calibre, and comparing him to anyone would be unfair. 

After an hour’s wait in the front row, the unannounced opener of the evening walked onto the stage. For about half an hour, electronic producer Rob McAndrews under the alias Airhead—Blake’s childhood friend who has worked alongside him for many years—offered the audience some electro-ambient tunes from his recent project Lightness full of varied tempos, reverb and bass with catchy guitar riffs. 

After Airhead had left the stage, the very last track of Blake’s brand new album resonated in the entire theatre, announcing his composed arrival on stage with a smile and waving hands. His station was to the right of the stage, with a keyboard and synths at his disposal. Opener Airhead was back for a second shift, this time handling the modular synth and guitar on the far left, which left the centre space for the drummer. 

The soothing and experimental instrumental track transitioned to “I Want You To Know,” a track with an equal amount of gorgeous harmonies and synths with experimental electronic touches. Some of the prominent bass in most tracks also pierced right through my body, making the whole room appear to be vibrating. 

The singer pleasantly surprised everyone by playing “Godspeed” by Frank Ocean, which he wrote, as well as doing an acapella and piano version of “Say What You Will” right after fans asked for it to be performed. Songs from his new album continued, but key tracks such as “Love Me In Whatever Way,” “Can’t Believe The Way We Flow,” “Retrograde,” and “Limit to Your Love” from past albums were also part of the setlist. The gifted artist concluded his concert with an experimental high-tempo remix to finish the night on a high.

James Blake’s singing was controlled throughout the entire show, conveying lyrics full of introspection and pensive vulnerability while he simultaneously played the keys. Effects ranged from soft and delayed vocals to more powerful and raw singing. Opposed to the so-called “sad boy” title that some people have given him, Blake confidently shares melancholy and heartache messages without being “afraid of being seen as weak or soft,” as he expressed in a 2018 tweet. To this day—and all over his stage presence at L’Olympia—Blake is in tune with himself and proudly exchanges his catalog with the crowd. 

One of the key takeaways from the concert, which made it extra special for me, was the decision to not incorporate any computer in the live performance despite it being a heavily electronic set. As for stage lighting, the simple but effective use of light bulbs around the perimeter of the theatre’s structure created this tinted barrier of light play between the crowd and the artists on stage. The audience, and me included, vividly cheered and eagerly clapped in between each track. Blake commented on the passionate response saying that he and the band were more than happy to be back in Montreal. 

“We got off stage and we all said to each other this is just the best gig we’ve done in ages,” James Blake expressed to the audience when returning from the encore intermission.

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Concert Reviews Music

Lil Yachty Takes Montreal on the Field Trip Tour

Lil Yachty performing at the MTELUS stage on Sept. 27. Photo by Stefano Rebuli / The Concordian

The Georgia rapper blends psychedelic rock with rap in an electrifying fashion on his first tour to stop in Montreal.

On Sept. 27, Lil Yachty brought his Field Trip Tour to Montreal. Nearly 2,000 fans gathered at MTELUS to witness the artist’s musical creativity, as well as his ability to send people into a mosh pit-filled frenzy through a series of consecutive hits.

The show was preceded by two opening acts: the first was the Concrete Family, composed of artists signed to Yachty’s Concrete Boyz label. Camo31, KarrahBooo, DC2Trill, and Draft Day each delivered personality-filled performances, complementing each other’s energy and introducing each other to maintain the hype they established. Nick Hakim, an alternative artist who helped produce on Yachty’s most recent record Let’s Start Here followed up, although his style translated less with the hip-hop-oriented audience.

The show was opened and closed by music from Yachty’s latest album, a psychedelic rock effort. Yachty appeared onstage when his song “drive ME crazy!,” was being played by his live band composed of vocalists, a bassist, and a guitarist. The track’s irresistible groove and catchy chorus were harmonized by lights of all colours and hypnotic background visuals, all of which enhanced the album’s psychedelic sound in a live setting. 

Yachty’s vocal performances impressed as he belted out the hooks to songs like “the ride-” and “sAy sOMETHINg.” The latter received a stripped-down rendition that highlighted the singer’s bright and bubbly vocals on the track—vocal qualities that call back to his breakout 2016 mixtape Lil Boat.

After a brief interlude by the band, Yachty headed into a medley of his rap material, kicking off with recent hits “SOLO STEPPIN CRETE BOY,” and “Slide.” He cycled through one banger after another, keeping the crowd invigorated as they moshed and jumped around. He also ran through collaborations with various rappers such as Future and Playboi Carti. 

Before playing “Yacht Club,” a song featuring Juice WRLD, Yachty gathered the crowd for a moment of silence to pay tribute to the Chicago rapper who passed away in 2019. Yachty then revisited some of his earliest viral guest features on KYLE’s “iSpy” and DRAM’s “Broccoli,” as well as his recent viral solo tracks “Poland” and “Strike (Holster).”. The crowd was notably pushier and harder to navigate through during the rap section, with mosh pits opening at every turn.

The show’s final leg made room for psychedelic rock once again. Lil Yachty’s stage presence during his psych-rock bits was notable, with him bobbing around and rocking out energetically to the instrumentals. The bright lights and visuals returned along with the live instrumentation, which continued to elevate the tracks on Let’s Start Here. 

The album’s intro “the BLACK seminole.” made for an impeccable closer. With its succession of groovy guitars, an electric guitar solo, and a hard-hitting drum breakdown complete with a solo by Yachty’s guest vocalist, the song played out as a magnificent send-off.

It perfectly demonstrated the unique and powerful artistic evolution that Yachty was able to execute not only with this last album, but also with this tour. It was an audiovisual experience filled with live instruments, quality vocal performances, and eye-catching visuals—with a handful of rap bangers to complete the recipe.

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Concert Reviews Festival Review Music

Sophie Ogilvie with Bodywash at Tiny Fest 2023

Sophie Ogilvie and Bodywash on the Casa Del Popolo stage at Tiny Fest 2023. Photo by Tabéa Benlakehal / The Concordian

Montreal musician and Concordia student hits the stage at Tiny Fest’s third edition.

Even with summer behind us, musical festivities in Montreal are far from taking a break. Tiny Fest, a local music festival featuring bands and artists, presented its third edition on Oct. 6–7. It was hosted and produced by Worst Dad Ever, an event organization that puts together independent shows, tours and gigs for touring bands. Among the same venues from last year, La Sala Rossa and La Sotterenea, the small but cherished venue Casa Del Popolo got added to the mix this year. 

I had the chance to attend the festival on its last day. Montreal singer and songwriter Sophie Ogilvie was the last act on the Saturday evening’s lineup. Bodywash—a local band with airy vocals and atmospheric sounds—played their respective show on the previous day and happened to be the backing band for Ogilvie’s gig. Concordia was also definitely in the house owing to the facts that Sophie Ogilvie herself is a current MA student, Bodywash’s Rosie Long Decter is a recent graduate and Concordia’s radio station CJLO 1690 AM was on the event sponsor list.

Before the final and main act of the night, I was able to catch a glimpse of the set from Toronto’s Westelaken. The “post-country” band set the mood for the rest of the evening, notably with their poignant and raw vocal delivery from frontman Jordan Seccareccia accompanied with sweet piano chords and handled rhythm with the drumset. Most of the songs were from their album I am Steaming Mushrooms released early this year. 

As for Sophie Ogilvie, her recent project Coming Up, Crocus was at the core of the live performance. Labelled as an indie rock artist on streaming services, Ogilvie has effectively merged jazz, R&B, and 90s alternative into her debut EP. Fellow friends of Ogilvie in the band Bodywash accompanied her with background vocals, bass, guitar and keys. Chris Steward from the band also worked on Coming Up, Crocus and as Sophie Ogilvie puts it, the album is “a labour of the two of us mostly.” 

Throughout the set, the singer promoted the delicate EP which, as stated in her Bandcamp bio, “chronicles how one season passes into the next and how a relationship resolves itself into something gone.” The single “Milk Glass” highlights exactly that, notably with my favourite lyrics—“And I don’t want to need anything I take from you, but I do.” The catchy harmonies of “I do” repeating only enhance the vulnerable message. 

The concept of change in motion is a prominent theme in the EP as well. The set went from featuring acoustic tracks like “New Friend,” putting forward Ogilvie’s soft vocals and guitar skills, to the most energetic track “Lash” which the Montreal artist asked the audience to dance to. 

Despite the unfortunate rain that weekend, attendees were definitely still present in showing their support for the young artists. Many fellow students, acquaintances, and friends of the starring musicians came together for the close of the tiny but mighty festival. 

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Music

Staff Picks: Study Music Preferences

Graphic by Keven Vaillancourt @kindaokev / The Concordian

Learn how The Concordian’s team enjoys music during midterm season.

It is no secret that music can boost motivation and increase energy while also proving soothing and stress-relieving. Here is how some of our staff choose to listen to music with schedules packed with midterm deadlines. Whether you are simply curious of disparities between music listening habits in high stress or seek new focus and concentration music to add to your playlists, look no further! 

Emma, News Editor: “I usually like an upbeat tune playing on my record player. If I listen to slow songs or classical music, I won’t be able to concentrate. When I’m studying, I’ll play Bad Bunny’s albums, “The Queen is Dead” by The Smiths and some of their singles. My record player has a bluetooth setting, so I’ll connect my phone to it and play Bad Bunny or I’ll go through my vinyls and play The Smiths. It’s such great motivation music and I feel like I can get through my homework and anything by going all out with what I’m listening to. I also have ADD and sometimes it’s hard to stay focused all the time, but for me, upbeat music keeps me motivated to get things done.”

James, Creative Director: “I have always listened to Homework by Daft Punk when I want to get in the groove of an essay or big project! The fact that it says “HOMEWORK” on the album cover serves as a reminder to stay focused every time I look at my phone and I find the repetitive but energetic energy of the music to be a great way to keep me on track. The sound is a little abrasive, so I don’t fall into the trap of getting too comfortable and getting distracted and it also doesn’t have too many words so my brain can focus on the words I’m trying to write!”

Matthew, Assistant News Editor: “I like listening to jazz while I study and do things. It fits the atmosphere very well especially since the weather is getting colder. Chet Baker is my go-to, otherwise I mostly exclusively play instrumentals. Another favorite is the artist Sewerslvt, who is retired now but she has a wide array of electronic music. It ranges from really hyper to slow and melancholic. For me, this music is mainly for writing while jazz is for studying!”

Stefano, Assistant Music Editor: “When it comes to studying, I either opt for specific albums and playlists or no music at all. Benny the Butcher’s Tana Talk 3 (2018) has always been a go-to for me due to its simplicity. The album is mostly boom-bap beats with a minimalist, nocturnal, and airy sound. Alfredo by Freddie Gibbs & The Alchemist is another example: at only 10 tracks and 35 minutes, it creates an entrancing, moody atmosphere—thanks to a combination of jazzy, soulful instrumentals and grittier boom-bap inspired ones. This explains why I also listen to The Alchemist’s instrumentals to study: the genres in these instrumentals are soothing, relaxing, and even hypnotic when looped into a full beat. The cohesive mood and setting created in these projects also makes them optimal for full listens since the slow-tempo and groovy qualities are calming, which allows me to focus. I use headphones very often, although sometimes I tend to let my vinyl collection just spin in the background. Plus, getting up to change the records helps put little breaks in between my studying, creating intervals (which is often recommended by professors & professionals).”


Mackenzie, Copy Editor: “Normally, if I’m in a noisy and busy environment, I’ll prefer to put on music in my AirPods with noise cancellation. Music is always better than the buzzing of activity for my concentration. I’ll choose either a lo-fi comfort playlist or my Autumn Vibes playlist, which currently consists mainly of indie folk songs. However, the music I pick for studying always has to be very familiar to me to avoid me getting irritated by unknown sounds and lyrics. If I’m home and it’s relatively silent, I usually stick to the silence. I feel that adding music in this situation only makes it harder to focus and I spend more time choosing music than actually working. If I do decide to put on music in a quiet place, I prefer instrumental lo-fi playlists that I’ve precurated. I used to always have music playing when I studied in high school or cégep, but university made me a bit more tired and overstimulated, hence the newfound pickiness.”

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Music Quickspins

QUICKSPINS: Drake – For All The Dogs

Courtesy of Apple Music

The Canadian rapper’s eighth studio album is occasionally great, yet bloated and mediocre like his other recent releases.

When the Toronto native began teasing For All The Dogs, he proclaimed, “They say they miss the old Drake, girl don’t tempt me.” Released on Oct. 6, 2023, his eight studio album contains glimpses of the quality of his older acclaimed material, yet suffers from the same major drawbacks that have plagued his recent releases.

The album starts off on a decent note, with Drake attacking a series of rap tracks with good performances. “Fear Of Heights” and “Daylight” notably feature high-energy trap beats and Playboi Carti-esque adlibs.  The artist’s rapping is adequate overall, though his usual ridiculous puns do appear throughout the album; some of the most ridiculous examples being “I wanna slide in your box like a vote” (“What Would Pluto Do”) and “Feel like I’m bi ’cause you’re one of the guys, girl” (“Members Only”).

Drake’s good performances are met with even greater guest appearances: J. Cole helps elevate their anthemic trade-off on “First Person Shooter” with a bold demeanor and clever bars, whereas Teezo Touchdown’s sermon-like singing on “Amen” is soothing and plays off Drake’s usual relationship-based humour. 

The album’s midsection is where Drake truly shines. The run from “Slime You Out” to “Members Only” features a handful of low-key and laid-back R&B tracks where Drake gives smooth and soft singing performances over slow, wavy instrumentals. “Members Only” is an atmospheric, nocturnal and wavy R&B track that would feel right at home on Drake’s 2015 mixtape If You’re Reading This It’s Too Late, complete with a feature from OVO signee PARTYNEXTDOOR.

Unfortunately, there are many gripes to be had with For All The Dogs. With 23 tracks and over 80 minutes of runtime, the project essentially sets out to be bloated with filler tracks. Drake is absolutely asleep at the wheel on “7969 Santa,” wasting an airy, atmospheric beat on a mind-numbingly boring flow where he even begins to drone off-beat. Many features are notably downplayed or misplaced altogether. 

The sample of Chief Keef’s “I Don’t Like” on “7969 Santa” is a head-scratcher, as is the scantness of Keef’s contribution to “All The Parties.” The Chicago rapper delivers a greatly sung bit, yet Drake ends up changing the song’s key and singing Keef’s bit himself later on, making the feature feel unnecessary.

“IDGAF” is another curious case. The track begins with a minute-long ambient intro that proves to be virtually useless when it abruptly cuts to Yeat rapping. Drake’s sudden introduction on the track feels out of place and his appearance lasts only 40 seconds out of four minutes—making it nonessential. Drake simply tacked himself on a track by Yeat, who gives a far more enthralling performance.

“Calling For You” is also a huge waste of potential. The track starts off as one of the most fun moments on the record with Drake hopping on a lighthearted, R&B-infused drill beat from Cash Cobain. Unfortunately, 21 Savage is put over a separate, generic beat, which prompts an average and predictable performance. To make matters worse, both sections are bridged by an obnoxious, two-minute rant from a Mississauga Instagram model who complains about flying economy and likens eating oxtail and jerk chicken everyday on vacation to being in jail—talk about first world problems.

“Gently” featuring Bad Bunny is easily the worst offender. Drake’s performance is a stereotypically basic mish-mash of Spanish words so ridiculously cliché that it feels like a parody. Bad Bunny absolutely does his thing in the second half, proving that the song would be an easy hit if released on his own album a week later without Drake’s verse.

For All The Dogs is decent overall. There are some great tracks—as proven by the R&B material—although they are sandwiched between questionable feature placements, random beat switches, a mix of inconsistent sounds, and several mediocre tracks. Sure, the old Drake is still capable of coming back, but he only appears for one out of every 25 tracks that he releases.

Score: 6/10

Trial Track: “Members Only (feat. PARTYNEXTDOOR)”

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Music Quickspins

Quickspin: Elisapie – Inuktitut

Apple Music

Inuk musician Elisapie Isaac explores the music of her childhood reimagined in her native language. 

On Sept. 15, Inuk singer-songwriter and filmmaker Elisapie Isaac released her latest album: Inuktitut, with 10 songs from her childhood covered in her language of Inuktitut. Each one of the songs on the album has the memory of a time in her life attached to it.

Growing up in Salluit, the second northernmost Inuit community in Quebec, Isaac’s uncle—a lead singer in the Canadian rock band —had a heavy influence on the music of her childhood. This album is filled with her uncle’s classic rock influences like Led Zeppelin, Pink Floyd and Metallica.

The album has the undertones and the melodies of the original classics, but in Inuktitut, they bring out a completely different emotion. And, for a non-Inuktitut speaker, this album is a perfect introduction to Inuktitut music.

It can be hard to branch out to music in languages that we do not understand but with this album—even if you do not speak Inuktitut—you are moved by Isaac’s powerful use of emotion. Having the undertones of the originals, the songs feel even more potent. Mixing lyrics and throat singing in the background of the “Isumagijunnaitaungituq (The Unforgiven),” the song takes an even more somber tone than the already morose original. 

Her mother had said this when she first heard The Unforgiven cover: “I think if your stepdad was alive, he would have thought that you wrote the song for him.” That comment meant a lot to Elisapie since her 72-year-old Inuk mother was now able to truly connect to an already poignant song in her community—all thanks to the translated lyrics. In an interview with Rolling Stone, she said, “The band’s music allowed us to delve into the darkness of our broken souls and feel good in there. It felt like we were being told it’s okay to be sad.”

Although this is not her first time producing powerful works. She had the chance to interview Metallica at 15 for her local radio station, and from there wanted to pursue a career in journalism. Moving from Salluit in 1999 to take communications at John Abbott College in Sainte-Anne-de-Bellevue. She then went on to make a short documentary, “If the Weather Permits,”, in 2003 on the life of the nomadic Inuit in Nunavik dealing with the confines of settled life. Her film won the Rigoberta Menchu Prize at the Montreal First People’s Festival in 2003. Recently in 2023, she received an honorary degree from Concordia University.

Isaac will be touring Quebec, the US, France and the rest of Canada till the end of 2024 so there will be many occasions to see her perform live. Although all her shows in and around Montreal are sold out, you can still grab tickets for her concert in Quebec City at the Grand Théâtre de Quebec on Dec. 20, 2023.

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