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Opinions

Musical influence in politics

Have you watched the Spanish hit series Casa de Papel? Although it’s about a robbery, the main theme in the show is a collective and bold revolution against the enemy of humanity: capitalism.

In one of the last episodes of season one, El Professor, the mastermind behind the greatest heist of all time, sat sipping a glass of wine with Berlin, one of the robbers. Agitated, anxious and trembling, El Professor looked terrified. Berlin then got up, grabbed his glass of wine, and sang:

Una mattina mi son svegliato

O bella ciao, bella ciao, bella ciao ciao ciao! 

The marxist revolutionary chant was a theme song throughout the series, inciting this rebellious feeling inside every listener. El Professor soon began singing with Berlin, the look of fear turned into determination and excitement. That’s the role of sound in politics.

And just like everything in this world, with a negative influencer comes a negative influence.

It’s no secret that I see the President of the United States as the epitome of a negative influencer. Whatever positive economic advantage people might bring up, in my opinion, it does not make up for the fundamental moral wrongs he brings out in the world. For one, since his election, there has been a universal rise in the far right, or the populists as reporter Simon Shuster wrote in Time Magazine

How did Donald Trump gain so much influence when he’s a businessman who was once part of a reality show? It wasn’t his eccentric character and lack of formidable vocabulary. It wasn’t his white, rich man charm. It wasn’t even his blatant racism and sexism, although that did play a role in making already-racist people feel comfortable being so. No, it was the subconscious manipulation of people during his rallies — the use of music.

According to an article in the Washington Post, people don’t really talk during these rallies; they’re too busy listening to the music. Trump’s playlist since 2016 included the likes of Neil Young, the Rolling Stones, and Journey. All rock, folky, 60s-reminiscent vibes. You might enjoy them as well, naturally. It’s good music.

But these are methodically picked to bring back the nostalgia of what it meant to be an American in the 60s. “Make America Great Again” is Trump’s slogan and his choice of music is meant to take people back to the time when America was great, in his opinion.

The 1960s was the decade of civil rights movements, when things began to fundamentally change. Blasting the greatest songs of that time while talking about building a wall and grabbing pussies connects the great feelings these songs bring with those words; they become one and the same. This is a theory called the Hebbian Rule, by neuropsychologist Donald Hebb.

“Neurons that fire together, wire together,” Hebb wrote in 1949.

Now, remember this is my opinion, although I am stating some hardly refutable ideas. It’s a natural reaction in people to associate feelings with a song they’re listening to, like a newlywed’s first dance and love, or the song you first had sex to and feelings of longing.

Trump vows to build a wall to detain ‘illegal immigrants’ while Journey’s “Don’t Stop Believing” plays in the background; it’s an inspiring song and what people are being inspired to in this context is racism.

In 2016, The Rolling Stones issued a statement demanding that the Trump administration not use their music. In fact, according to the BBC, Neil Young, Adele, Aerosmith, among others, were all against the use of their music at Trump’s rallies.

If Trump were a song he’d be the melody people sway to, and his beliefs would be the lyrics they sing along to as if it were their own.

 

Graphics by @sundaeghost

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Quickspins

QUICKSPINS: JPEGMAFIA – All My Heroes Are Cornballs

This album isn’t for everyone, but it’s one of the most ambitious albums of 2019

It’s hard to classify what kind of music JPEGMAFIA makes. There’s clearly rapping involved, but his newest album, All My Heroes Are Cornballs, defies any expectations one might have about a rap album. This project features some of the strangest beats of the year as well as some insane, loud, and in-your-face performances by Peggy himself. The album’s strangeness is most apparent on tracks like “Jesus Forgive Me, I Am a Thot”, where the song itself provides as many laughs as its title.

In contrast to his previous album, Veteran, Peggy’s new project is much more melodic, and he even flips TLC’s classic “No Scrubs” on “BasicBitchTearGas.” His new album isn’t for everyone. Frankly, it isn’t for most casual music listeners, but it is one of the most unique and ambitious albums of 2019.

8.5/10

Trial Track: “Jesus Forgive Me, I Am a Thot”

Star Bar: “Say what you said on Twitter right now (Right now, exactly, nigga)

You only brave with a board and a mouse (Uh-huh)

You wasn’t talkin’ when I put you in the ground (Sucker)

Don’t leave the house

Don’t get capped by a n*gga in a motherfuckin’ gown” (JPEGMAFIA on “Beta Male Strategies”)

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Quickspins

QUICKSPINS: Excision – Evolution

Excision delivers on the heaviest dubstep around

Excision is known to be one of the heaviest dubstep artists and he certainly keeps true to his reputation with his newest EP Evolution made in tandem with Wooli.

Evolution is four-tracks of headbangers with some EDM drops courtesy of Trivecta and Seven Lions, some of the artists that collaborated with Excision to create the EP. The tracks take the listener on an intense trip that makes you say, “what just happened?” when the 14 minutes are over.

The opener “Lockdown” immediately indicates what the listener is getting themselves into with a long build up, a style technique that Excision uses on his heavier songs. Evolution comes out just a couple of weeks before Excision’s festival “Lost Lands” – patrons beware, headbanging hangovers, or “bang-overs” are likely to happen when he debuts these tracks live.

8/10

Trial Track: “Evolution”

Star Bar: “Throwin’ bones in the pit, you ain’t jumpin’ in. Break my neck with grace, will you make some space. Every time I throw down to the bass, let it burn your face!” (Sam King on “Evolution”)

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Music

PHOTO GALLERY: Tyler, the Creator at Place Bell

Tyler, the Creator at Place Bell on September 12, 2019

Photos by Mackenzie Lad (@macklad)

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Music

Fentanyl still killing our favourite artists

Mac Miller should be remembered for his honesty and talent – not his death

Mac Miller shouldn’t be the subject of your addiction jokes. Following the arrest of Cameron James Pettit on Sept. 4, Twitter came to life as fans lauded the arrest, while others took this as a golden opportunity to mock drug addiction and its victims.

Arresting one dealer won’t actually change anything, though. While Petitt may or may not have been complicit in lacing the drugs given to Miller, the problem lies in the production and overall distribution of fentanyl-laced drugs. On Aug. 29, the largest federal fentanyl and heroin seizure in Delaware took place with authorities finding more than 14,000 counterfeit oxycodone pills. Even if Pettit never sold drugs, someone else would have taken his place and sold the laced drugs regardless.

Still, even with an obvious crisis at hand, people make light of addiction claiming that the simple solution is to ‘stop taking drugs.’ Like many things, it isn’t that easy.

YouTuber Shawn Cee wrote a lengthy series of tweets detailing how his brief stint in the hospital for lung surgery nearly killed him because of a nurse’s misuse of prescription drugs. He also explained how, upon his release, he saw numerous dealers outside the hospital looking to sell cheap counterfeit prescription drugs to patients. These patients believe the prescribed amount of medication isn’t enough for them to feel their effects, so they look for cheaper alternatives elsewhere.

Miller was transparent about his drug use, making it clear that he craved the high on songs like “Jet Fuel” off his last full-length album, Swimming. The entire project saw a depressed and struggling Miller trying to cope with his mental illness through the use of alcohol and drugs, but at no point did it ever come across as a suicidal album. He never alluded to taking his own life. Despite being a somber LP, Miller sprinkled it with hope all across its 13 tracks.

Mac Miller was afflicted with addiction, but make no mistake, it was fentanyl that killed him. The incredibly strong and potent drug only requires small amounts to take a person’s life. In the United States especially, the government has struggled to keep up with this crisis. Without proper universal healthcare and a lack of necessary tools available to test drugs, the problem is only getting worse and more widespread as Canada is also experiencing a crisis of our own.

Fentanyl is arguably the most dangerous drug available right now – and it’s often not known when it’s being consumed as a dangerous additive. In fact, the Canadian government warns that the fentanyl test strips aren’t 100 per cent conclusive and that test results should be taken with a grain of salt.

As the one year anniversary of Mac Miller’s haunting death approaches, it is more important than ever to understand that fentanyl is one of the biggest drug related issues plaguing North America. While fentanyl addiction is necessarily the culprit, addiction to drugs such as cocaine, xanax and oxycodone opens the door for many accidental overdoses to occur.

If you struggle with addiction, please visit https://www.canada.ca/en/health-canada/services/substance-use/get-help/get-help-problematic-substance-use.html for more info on how to get help.

Additionally, Naloxone, Fentanyl’s antidote, is available in many Quebec pharmacies for free.

 

Photo by J. Emilio Flores

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Music

John Jacob Magistery rock out in a sweaty Turbo Haus

Three years after its release, the Montreal natives play their debut album in its entirety

On Aug. 29, Montreal rock band John Jacob Magistery performed the entirety of their debut album Phantom i / Are You Too Sensitive? for the first time ever in front of a sold-out audience at Turbo Haus.

Following an opening set by Montreal’s Frisco Lee, the N.D.G.-born singer-songwriter and frontman Johnny Griffin aptly began the night with the album’s opening track, “Captain of the Sea.” Despite John Jacob Magistery’s main formation containing only three members (Griffin, MacKenzie Myatt on violin/synthesizer, and Anthony Lombardi on drums), the trio was also accompanied by three other musicians; including a guitarist, cellist, and an erhu player (also known as a Chinese violin).

JJM’s hit “Carol,” the second song on their track list, started the night on a high note as everyone in the sardine-packed room sang along to the album’s most recognizable song. Although Phantom i was released over three years ago, the songs felt fresh and improved with the addition of the accompanying band. Griffin interacted with the audience, asking them to dance and move closer to the stage, and thanked them for their hometown support.

John Jacob Magistery’s latest record, Harmoney, was released in 2017. However, Griffin promised new material is coming soon.

“I’m going to be putting out some singles,” Griffin told The Concordian. “I was in the studio [today] finishing up some songs. I’m going to be putting out a video. I have a couple of tunes that’ll be coming out soon, but there’s no release date.”

“[The next project] is kind’ve divided into two,” Griffin continued. “One of the things is going to be very singer-songwriter. Analogue. All live, kind of the way I did the [Narcissism Unto Loneliness] EP, so live off the floor. The way Bob Dylan did shit. Acoustic instruments…That’s one of the things I’m doing, and the other thing is digital, using drum samples and doing everything in my bedroom on Ableton.”

The singer-songwriter genre is all original material from Griffin, while the rest relies on using samples from a music production software.

“[They’re] totally different processes,” Griffin said. “The singer-songwriter stuff is just me and a guitar. The other stuff I make by getting inspired by sounds on Ableton and drumbeats. Clips and samples, and shit like that. So that’s a totally different thing. The Ableton stuff – I could do basically all on a computer.”

The band finished their album’s entirety with their first-ever live performance of the closing track “Are You Too Sensitive?;” While they thanked the crowd and made their way towards the exit, they were urged to come back for more. John Jacob Magistery finished off the night with their biggest track, “Greatest Story Ever,” and “Harmoney.”

The morning following the show, JJM posted to their social media letting fans know that they had to decline people at the door due to capacity, and as a result added a second show date for the following Monday, Sept. 2.

Photos by Jacob Carey

Video by Calvin Cashen

 

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Arts

MUTEK: Future of Immersive Spectacle Panel 2019

Video by Calvin Cashen

Feature photo by Sébastien Roy

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Music

The soundtrack to my summer

5 songs describing the highs and lows of a student’s summer

Summer’s officially over with the fall semester up and running again. I did a little reminiscing and compiled the five songs I had on repeat for the past four months, to graze over before the real grind begins. Maybe you can listen to them too while you compile photosets of your summer extravaganzas.

“Cattails” – Big Thief

This was the perfect song to lounge around on sunny afternoons in the park. From Big Thief’s new album UFOF, nature is a central theme but this is definitely the warmest track on the album. Maybe it was the lyric “You’ll be riding that train in late June/With the windows wide by side,” or the simple acoustic guitar work and light drumming created a sense of light motion- the way we should all move about in summer.

“Willow’s Song” – Magnet

I find the summer is also the perfect time to binge-watch movies. Around the time of the summer solstice, I decided it was a good time to watch The Wicker Man again, a classic folk-horror film about a policeman who investigates a murder case in a Scottish pagan town during the summer solstice. “Willow’s Song” is a slow lullaby/love-song from the film that perfectly fits the whimsical and carefree nature of summer on the quieter warm nights.

“Tears” – Nilufer Yanya

This song is about embracing your sensitivities with flare. I don’t know about you but I always get a little emotional during the summer months – there’s almost too much time to sit around and think. But this song inspired me to embrace my emotional side. The production is very 80s-synth inspired, with a colourful and bouncy sound. It definitely pumped me up to leave the house on those inevitable low-mood summer days. Nilufar Yanya’s debut album Miss Universe, which came out in March, is full of other tracks that made it to my summer listening list.

“Champagne Coast” – Blood Orange

I listen to this song almost every summer- it just reminds me of a steamy summer romance with the backdrops of a hazy orange and pink sunset. Something to do with Devante Hynes’ dreamy synths and guitar licks make it all the more sensual, opening up the possibilities of a romance only summer could bless you with.

“Dress You Up” – Madonna

I’d listen to this classic dance-pop song on hot summer nights. I think it’s no coincidence that I felt the need to listen to this when Leo season started up – all the glamour in the air and feeling like the center of attention. This drumbeat-driven track has an iconic 80s guitar solo and backing choir that screams Madonna, and you can’t go wrong with Madonna when you want to spend the summer night dancing.

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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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Music

Caribbean carnival season up north

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

Categories
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

Categories
Music

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