Tag: Music

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Concert Reviews Music

Concert review – The Barr Brothers x Gabrielle Shonk

The mellow dynamic duo indie folk artist and band everyone wanted.

Gabrielle Shonk

We sat down in our seats and right on cue at 7:30 p.m., the announcer read out the lineup. He had barely finished speaking when out came Gabrielle Shonk with nothing but a guitar and her voice. She immediately started to sing her first song, “How We Used To Be.” 

Afterwards, before singing “Reminds Me Of You,” she spoke about how the song was about anxiety and her history of panic attacks, which was ironic because she was able to control her voice in an awe-inspiring manner. Her voice was honestly the driving force of her performance, as her guitar playing was minimalistic to complement it.    

Her song “Aftertaste” was a bit different than the rest of her setlist as it gave off a more bedroom pop vibe. Moreover, instead of using the drum kit sound that was used on the two other songs, she used the infamous 808 kit. I was a fan. 

The Barr Brothers

Where do I begin? They had the oddest stage setup for a band that I’ve ever seen (except for King Gizzard, they are second to none in that field). Singer Brad Barr had a mic stand that was covered in vintage light bulbs, and lead guitarist Brett Lanier was seated for the majority of the show since he was using his lap-steel guitar which had its own generously sized pedal board. The drummer, Andrew Barr, had various percussion instruments, and Éveline Grégoire-Rousseau, the harp player, had a silly horse head mask on her harp. The most sensible person was bass player Morgan Moore with his simple P bass directly plugged into the amp. 

The Barr Brothers are constantly trying to adapt and make new sounds while still sticking to the folk genre. The intro song “Burn Card” involved Andrew playing the guitar while his brother pulled a string against the guitar strings, making the instrument sound like a violin. 

For “Half Crazy,” the singer performed what felt like a five-minute-long intro of playing an Egyptian scale on his guitar with a slide. Grégoire-Rousseau had a distortion pedal which sounded spectacular. Having listened to this song every day on Chom 97.7 in 2014 on my way to school, it felt like I had finally come full circle to be able to witness it live. The song took a different, more jammy turn which involved the Barr brothers soloing off each other. 

Their encore songs were “Beggar In The Morning” and their single “It Came To Me,” which, while overplayed on a lot of radio stations (namely Chom), they performed them a lot differently compared to the studio version. It was overall a wonderful performance and the crowd gave standing ovations to both Shonk and The Barr Brothers. I would highly recommend going to see either act separately.

Graphic by James Fay @jamesfaydraws

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Music Quickspins

QUICKSPINS: Love Sick – Don Toliver

The Houston artist goes R&B — which works until it doesn’t

Don Toliver is one of those rare enigmatic artists, where it can be difficult to predict what his next album (or even song) may sound like. Many fans were introduced to his unique voice on Travis Scott’s 2018 song “CAN’T SAY” — which prompted some hilarious comparisons to singer Akon.

While Toliver has released a few downtempo songs, his new record Love Sick is his full-length foray into the world of slower, more seductive R&B. On paper, it seems like a match made in heaven, given his now-signature voice and knack for catchy melodies. But in reality, his vocal performance is easily the most forgettable part of this album.  

Toliver’s voice is nice to listen to, but that’s about as far as it gets. While it is refreshing to hear him experiment with a slower sound, some songs can drone on and sound quite forgettable. So much so that the novelty of hearing Toliver on unfamiliar productions wears off quickly. This leads to a few bland tracks, especially as the album goes on. By the time we get to songs like “Cinderella,” he sings in circles, and his melodies end up going nowhere. On tracks like “Private Landing,” he flat out sounds disinterested.

It’s a disappointing showing for an artist whose greatest asset is his voice.

The production, however, is anything but forgettable. Instrumentally, we are hearing Toliver at his most experimental, which serves as the redeeming factor for a lot of songs. The Houston artist hops on Kaytranada’s production and New Jersey club-inspired beats, among other interesting choices.

Lush, moody, and layered soundscapes provide the backdrop for most of the album, whereas scintillating guitars shine through others. Songs like “Leave the Club” showcase a more familiar bouncy trap sound. The intro, “LoveSickness,” sets the tone by being somewhere in the middle.

A few of the creative choices on this album are questionable: Justin Bieber’s insistence to “keep going” on “Private Landing” is one such instance. Fans hoping to hear Toro y Moi are also likely to be disappointed, as his vocals are heavily altered and thrown on the outro of “Cinderella.” The very numerous features, in general, are hit or miss.

Some tracks on Love Sick definitely demonstrate that Toliver can continue to make great music — “Let Her Go” and “Slow Motion” are shining examples. Unfortunately, tracks like these get drowned out by the album’s other underwhelming songs. While ambitious, the album falls far short of reaching its true potential.

Trial track: Slow Motion (feat. Wizkid)

5.5/10

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Music

The Grammy book of world records 2023

This year saw it’s fair share of new records

I wonder what goes through people’s minds when they say, “Oh I really want to watch the Grammys, it sounds like fun.” No it doesn’t. You proceed to sit on your couch for three-and-a-half hours and watch artists get award after award for their accomplishments. Most of the time the voters from NARAS (the academy responsible for the Grammy Awards) get things wrong (objectively speaking), but this time they were able to get some award/artist pairings right.   

So let’s start things off with American singer, rapper and flutist Lizzo. She just became the first Black woman in the 21st century to win Record of the Year. Her predecessor in the 20th century was none other than Whitney Houston for “I Will Always Love You.” When announced, Adele was the first to give her one of those big “I wrote 4 studio albums that are my age but you go Lizzo sister!” hugs and it was sweet.  

Actress Viola Davis, who starred in phenomenal movies such as Hidden Figures and The Help, got the EGOT status. What that means is, she is one of the few artists to have won an Emmy, a Grammy, an Oscar, and a Tony award. This is no mean feat, I assure you, as only 17 other people have achieved this status. She won a Grammy for the audiobook of her memoir “Finding Me” (how is that music? Anyways, every day we stray further from the light of God).  


Harry Styles beat Beyonce, Kendrick, Adele, and Lizzo, among others, for Album of the Year. This is now the fourth time that an artist has nabbed the “Album of the Year” award from the Renaissance artist. Clearly, Beyonce’s album did not get in formation last year just like how she was late for the award ceremony. 

But fret not, for Beyonce achieved a record for the most Grammy wins in history. This totals her collection to 34 awards! 

For those of you who don’t know, Questlove is an accomplished musician and producer, most known for being part of the group the Roots (they actually performed at JazzFest MTL last year). This year for the Grammys, he organized a performance that involved all of the legends from RnB and hip-hop. Artists like Queen Latifah, LL Cool J, Ice T, and many others graced the stage with their presence and MC skills that would make trap artists’ bones quiver. 

Also, shoutout to Randy Rainbow the comedian, who mispronounced the word “Valhalla” as “Valaha” in Assassin’s Creed Valhalla. 

Graphic by Carleen Loney @shloneys

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Music Quickspins

QUICKSPINS: This Is Why – Paramore

After five long years, Paramore treats fans with a new album

The past few years have been a rollercoaster for all of us, including the rock band Paramore. After five long years, Paramore has dropped the explosive album This Is Why in response to the world’s recent pandemic.

After dropping their lead single “This Is Why” in early September of last year, lead singer Hayley Williams has been teasing fans for months about the release of their latest album.  

The multi-layered hit “This Is Why” has been a rock anthem for fans since its release. In comparison to the softer tempo at the beginning of the song, Williams kicks off with the jarring lyrics: “If you have an opinion, maybe you should shove it, or maybe you could scream it, might be best to keep it to yourself.”

These bold words can be felt by the listener throughout the entirety of the track.

The second song (and most notable, in my opinion) is the track “The News.” The lyrics “Shut your eyes but it won’t go away, turn off the news,” clearly speak to the band’s experience during the pandemic and their inability to escape reality. This radical piece is yet another example of Paramore’s talent in the rock industry.

Paramore has been an inspiration in the world of punk rock since the early 2000s. Their sound has influenced a lot of today’s pop stars such as Billie EiIlish, Willow, and Olivia Rodrigo’s 2021 hit “Good 4 U.”

Although most of the album is made up of memorable work, the song “C’est Comme Ça” felt like a recycled beat from their 2017 album After Laughter. The song simply felt random and was inferior when compared to the other pieces.

This Is Why takes a dramatic turn halfway through with the song “Liar.” The combination of acoustic guitar, which isn’t often included in Paramore’s music, and Williams’ gentle lyrics truly make for a heartfelt piece outside the band’s usual vibe.

The album concludes with my favourite piece “Thick Skull.” While the beat keeps a slow, melodramatic rhythm at the beginning, it picks up halfway through with the addition of the drums and electric guitar. Paramore seems to be dipping their toes in the indie world with this one and I’m definitely here for it.

I by no means think This Is Why is Paramore’s best album, but I do think it satisfied fans for the time being. While Paramore’s music has clearly evolved since their first album in 2005, their songs will forever be infused with their punk attitude.

Trial track: “Thick Skull” 

Score: 7/10

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Interview Music

Upon releasing her fourth studio album, The Rodeo wants people to stay curious

Picture courtesy of the artist

Parisian artist The Rodeo explores solitude and uncertainty in her fourth studio album Arlequine

The COVID-19 pandemic hit the music industry hard. With live shows and concerts being canceled, many small performing artists were struggling to make a living. This was the case for French indie musician Dorothée Hannequin, who goes by The Rodeo onstage. Despite the pandemic’s challenges, she has continued to create and release music, and her dedication and passion have kept her going through these difficult times.

Hannequin began her musical career at the age of 15 while she was still in high school. Growing up in Paris, she was influenced at a young age by her uncle, who gave her her first-ever guitar. She credits her Vietnamese and French heritage helping her discover a diverse plethora of music, influencing her love for the indie genre.

“I was really shy as a teenager and I met a bunch of people in high school playing music. It really helped me a lot to get out of my shell. I’m a self taught musician so we started a band playing with all these friends. I wrote a lot of songs and I proposed them to the band,” said Hannequin.

After nine years with her first band Hopper, Hannequin released her debut solo album Tale of Woe under the name The Rodeo in 2014.   

When speaking with The Concordian, Hannequin revealed that the indie music scene in France is much smaller than Montreal’s. 

In France the main genres of music people listen to are Rap and a lot of techno. According to Hannequin, there are around three bars where you can listen to indie music in Paris.

 “Everyone knows each other here. So maybe a good thing is that there’s maybe less competition than in bigger cities.”

In June, Hannequin will be on tour in Vietnam, where she will be working on songs with local artists. 

Her fourth and latest album, Arlequine, focuses on Hannequin’s struggles throughout the pandemic, isolation and a recent breakup. When asked if hard times helps artists be more creative, she jokingly replied: “I’d almost recommend that to other artists.” 

The pandemic gave her a lot of time to create. Her newest album represents not just Hannequin’s experiences, but also stories, phrases and ideas from things she’s read, watched or observed. 

It’s a mix of loose facts and her own life. “There’s a song on the album about a jealous woman, which I’m not. But it was interesting to have this character on this album. It’s a fictional character, but it’s interesting to be in that skin.” 

Hannequin says that she wanted different portraits of different women. “It’s like a harlequin, with different faces of humans or different humans in one outfit.”

She insists that the main driving force for her new album was the feeling of isolation. During the pandemic, artists had a lot of time to create, but could not play live in front of audiences. That was the main joy in Hannequin’s artistic experience: going to concerts and singing in front of a crowd. It’s also why the first song on her new album “Courir Courir Courir” is her favourite. 

”It’s my favourite because of the vocals. I feel the words are really powerful and I love the solo part. And I have to admit, it was one take for the solo. There’s no trick,” she said.

During the pandemic, she tried to do what other big artists had done: play a small concert remotely in front of her computer. But the feeling wasn’t the same. “It was a nightmare!” Hannequin said. 

“I think now, due to the pandemic people just want to get out and feel the music. The sweat, the heat, the energy. Maybe for techno or folk music, you can be at home. But when you want to have a live show, you have to be there in person.” 

Hannequin says that her new album is about feeling better. She loves the uncertainty the future represents and says listening to her new songs should feel like 

“Imagine taking a ride on a horse to who knows where,” she said. 

Go check out Arlequine down below.

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Community

Montreal en Lumière’s 2023 festival plans

People dancing near the DJ booth at Montreal en Lumière near Place des Arts. Photo by Dalia Nardolillo/ THE CONCORDIAN

Are you going to go out and visit?

This year’s edition of the Montreal en Lumière festival is back bigger than ever. The festival is on from Feb. 16 until March 5.

The Concordian had the chance to sit down with Julie Martel, the director of the gastronomic programming of the festival. Martel has been organizing the festival’s food for the last five years.

“It’s an important edition of the festival, because it marks the full return of the program outside of the pandemic context,” Martel said. Due to previous restrictions that were in effect at last year’s festival, the organizers were limited in programming. Most had to get a little creative with how they put it together.

“This means we are welcoming back international chefs. We have 40 international guests — not only chefs but winemakers from all over the world.”

Martel emphasized that one of the highlights of the gastronomy part of the festival was Indigenous cooking, which was introduced for the first time in last year’s edition of the festival. 

“We have planned for a full day of for the Indigenous cooking on Feb. 25 at Quartier Gourmand. This year also marks the return of the Quartier Gourmand, which is a free space that people can visit in Place des Arts,” Martel said.

The free space is very important to the festival because it is a way to democratize local food. Another interesting aspect of the Quartier Gourmand is that on specific days, there will be different themes. For example, one of the themes that will be covered is sustainable food. Martel wants to make that information available to all the guests of the festival.

“At Quartier Gourmand, it’s always free tastings and visitors can meet with the local chefs and producers,” Martel said.

Quartier Gourmand at Montreal en Lumière near Place des Arts. Photo by Dalia Nardolillo/THE CONCORDIAN

Martel is very proud of the fact that the Quartier Gourmand is free for visitors. She recognizes that even though the festival has 40 participating restaurants, it might not be affordable for everyone.

If the food part of the festival doesn’t pique your interest, Maurin Auxéméry, the director of the musical programming of the festival, promises some surprises for this year. 

“Music is back this year, and last year due to COVID we didn’t have any special shows,” Auxéméry explained.

He emphasized that in this year’s edition of the festival there will be two types of programming, the outdoor sites and the indoor shows.

The outdoor sites around Place des Festivals and Quartier des Spectacles will have DJs every night that play a different kind of music. The first nights will debut Latin music while towards the end of the festival there will be more French music.

The highlight of the musical programming is the indoor shows which includes all the live performances.

“I can’t remember the amount of indoor shows that we have right off of the top of my head but I do know that we have three nights at the Wilfrid-Pelletier concert hall with a symphony show,” Auxéméry said. 

There is absolutely no excuse for boredom for this upcoming March break. Montreal en Lumière packs a punch in terms of programming this year. For more information please click on this link.

Outdoor site at Montreal en Lumière near Place des Arts. Photo by Dalia Nardolillo/THE CONCORDIAN

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Interview Music

It’s jev.’S world, and we’re all living in it

the color gray. by jev.

 If jev. was a stock, now would be the time to invest

Since the beginning of the year,  jev. has been a name on the lips of most underground rap fanatics . From having one of his songs at the number one spot of the Top 50 US Viral Songs to now having over 700,000 monthly listeners on Spotify, it’s safe to say that Jephté Kweto, A.K.A. jev., has been blowing up over the past few  weeks.

The African-born rapper spent the majority of his life in Africa, growing up in the Democratic Republic of Congo and South Africa before moving to Canada with his family in late 2019. jev. has been making music since 2009, but it’s only in 2015 that the moniker jev.  took form. Despite the colder weather, the move to Canada was actually beneficial for the young rapper

“You find yourself a lot in the house so it gives you time to be creative and come up with ideas, so for me it worked out well especially during the pandemic,” he said.

For those who don’t know jev. (yet) the 22-year-old rapper is an up-and-coming figure in the new generation of young rappers influenced by both old school hip hop and the rap scene from the 2010s. In this era where the boom bap drums and chopped-up soul samples are making a comeback, jev. thrives on this type of instrumental with his varied flows, brilliant wordplay and energetic delivery. You can hear the influence of some of the greats in his music: artists ranging from the likes of Nas to Joey Bada$$ and Kendrick Lamar are only a few inspirations that can be heard on his tracks. 

Even before coming to Canada, jev. had already started to work on his last project the color grey. which released in late December 2022. While most of the songs came together over the pandemic, he first started mastering his craft in 2018, recording “aitd – demo,” the final track, on his phone.

jev. has been turning a lot of heads recently, which can mostly be attributed to all the love his song “where’s the confetti?” is receiving. As of now, the song has been streamed nearly 2.8 million times on Spotify since its release in July 2022. 

“From 0 to 100,000 was probably the hardest, but from the 100,000 to a million was easy as I think it was two weeks[…] But 0 to 100,000 was like three or four months. It’s exponential growth,” he said.

“where’s the confetti?” is a hookless song that sees jev. celebrate. Once he starts rapping, he never stops, laying clever one-liners after another over a simple drum beat and looped sample. In the past couple of weeks, this track has been circulating everywhere. Whether on TikTok, Instagram, or in various Spotify playlists, this massive exposure helped the song claim the number one spot of the Viral 50 – USA playlist on Spotify. 

“I didn’t know how to react at the time, I was kind of in shock, but I’m super grateful for everybody that has played it and added it to their playlists and everything. It’s crazy,” he said.

With all the success he’s having, you may think that jev. gets help from other people or works with a team, right? Well, you would be wrong. Aside from working with certain producers on his songs, everything else he does, he does it alone. From promoting his songs on his different social media accounts, to reaching out to brands, to creating his songs, he does it all by himself. 

jev. is his own team, so much so that he has started his own brand: LONER inc., a project that allows jev. to have full creative control of what he does, in every sphere.

“LONER inc. was gonna be this umbrella of me just being as creative as possible. Movies, music videos, TV, film, fashion, clothing, music, and music is the main thing right now, that’s where it was born from,” he said.

Despite being fully in charge of his music career, jev. is much busier than that. Not only is he a full-time student, currently studying marketing at Carleton University in Ottawa, but he works part-time at Staples.

With his combination of skill and a tremendous amount of talent, mixed with a balanced work ethic and a burning passion for music, be on the lookout for jev. as he might be the next big name in rap you wish you had discovered earlier.

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Concert Reviews Music

Super Bowl LVII halftime show: Rihanna delivers

Photo credit to Shutterstock

 Rihanna’s performance could have been perfect if only for one extra thing

Everyone tuned in to Super Bowl LVII on Sunday, not necessarily for the football game, but for Rihanna performing at the halftime show.

From the moment I heard she was going to perform, I knew it was going to be good, and so did everybody else. But that also came with high expectations, at least from my end, because well, it’s Rihanna. And after last year’s iconic show with Dr. Dre, Snoop Dogg, and Eminem, just to mention a few, I was ready to witness another flawless performance.

There were many speculations as to how the show would start, but Rihanna chose to open it with “B*tch Better Have My Money,” as she stood on a moving platform with lights that couldn’t have been any better. It gave everybody chills and set the tone for what would be an amazing show.

Rihanna has so many top hits that people were worried she wouldn’t be able to play their favourite songs, but the list of songs she performed was spot-on: banger after banger.

For me, the “O.M.G. Rihanna is performing and it’s absolutely iconic” moment hit when the intro to “Run This Town” started playing, and her ending the show with “Diamonds” was just the cherry on top.

But as much as I enjoyed her performance, something was lacking: a surprise guest.

There’s no denying that her baby being the surprise guest isn’t adorable, but a guest who could’ve performed with her (Drake, Jay-Z, where you at?) would have been the it factor that would have brought this show to the next level.

So when she transitioned from “Rude Boy” to “Work,” I was disappointed not seeing Drake appear on stage. It was the same when she started singing “Run This Town.” Having Jay-Z perform with her, followed by “Umbrella,” would have made the show as close to perfect as it could’ve been.

In the end, Rihanna still did it all. She sang, danced, performed, and levitated on platforms — all while being pregnant. The backup dancers and outfits really brought the whole thing together.

Overall, it was an enjoyable halftime show that gave everyone chills. And just like she always does, the queen delivered.

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Music Quickspins

QUICKSPINS: I and II – John Frusciante

 RHCP guitarist delivers an album out of left field

If you like ambient noise or are a synth nerd that likes fiddling around with drones and beep-boop chatter, then you’ve come to the right place. John Frusciante, most known for his role as guitarist in the band Red Hot Chili Peppers, just released his 13th studio album.

While this album might give people like my girlfriend anxiety, I can safely say that it helped me zone in on tasks that I had to accomplish (for instance, this review). 

Frusciante is known for his creative prowess in writing music, namely on guitar. However, this album takes it one step further in the realm of ambient synth music.

While Frusciante isn’t wading in uncharted waters with synthesis, vinyl-only I and digital/CD release II take the cake for his approaching a different method of songwriting. In his words, he “listened to and made music where things generally happen gradually rather than suddenly.” He used two analog synthesizers or groove-boxes from the company Elektron to make this ambient album. 

The album starts off with a harsh cicada-like synth on “Golpin.” The “trees are screaming” sound slowly evolves, allowing a sub-octave oscillator to fit in the mix. Five minutes into the 12-minute track, the wave takes an eerie turn with a slowly descending plucked sound, giving me the feeling that I’m being watched and followed.  

“Blesdub Dot” first starts off with what sounds like a two-oscillator waveform that has a smooth low-frequency output. What that means is that the sound rhythmically switches to a lower frequency at a set interval. Throughout the song, Frusciante implements a high-frequency wave with high-pass treble glitch noises. They sound like white noise chatter. 

This album is a bit weird for me to have a favourite track on. I would rather choose the songs that were busier than others. The first one being “Pyn,” for its ’90s-style chatter that tickled my brain the same way that “Bucephalus Bouncing Ball [Chosen by Warp co-founder Steve Beckett]” does with its rounded percussive notes. My next recommended song is “Clank” because it would fit right into the official soundtrack of a thriller or eerie movie.  

Honestly, I can say I enjoyed listening to this album. It’s not an easy listen for sure. In an age where music has to have a lot of shock value (trap stars I’m looking at you), and has multiple sharp twists and turns per song, this LP takes time to introduce new ideas to you. Best for working on programming, writing Stephen King-esque novels and cramming for exams with forbidden white noise.

P.S. Don’t listen to “Glavation” if you get easily overwhelmed.  

Trial track: Pyn 

Rating: 8/10 (for ambient drones’ sake!)

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Music Quickspins

QUICKSPINS – ATUM Act II by The Smashing Pumpkins

The ’90s post-grunge band releases the second act of their Opera Rock concept trilogy

The rock opera album ATUM (more like synth-wave opera) returns for Act II of III, after almost three months of anticipation since the first act. The story of said Opera Act is of an “epic interplanetary story set in the not-too-distant future,” according to Tinnitist. 

The first track is “Avalanche,” and let me just say, it could not be a sweeter start to the second act. Billy Corgan’s daughter steps into the limelight for the first 30 seconds, chanting the mantra “We hope someday we’ll find out what happiness means.” This was done by Corgan to ensure that his daughter didn’t get jealous. Why you may ask? Well, her brother (Corgan’s son) got a chance to sing on a previous album CYR, so naturally, Corgan had to include her. 

After a reiteration of the quote with a vocoder, a ’90s midwestern post-grunge riff leads the song into a wall of symphonic rock. You gotta give it to guitarists Jeff Schroeder and James Iha to give a feeling of carefreeness that really captures the story that Corgan wanted to convey.    

The album takes an edgy turn with “Moss.” Guitarist Iha employs a sinister chord progression. There is a backup singer by the name of Katie Cole who literally sings the word “meow” in the song. The main lyrics start, “You didn’t see what you saw, you didn’t hear what you heard,” which sounds like Corgan is showcasing how social media distracts you from big conflicts and bad things going on in the world with cat videos. 

“Night Waves” was one of the tracks that’s heavily pop-ified. Starting off with synth arpeggio — which wouldn’t seem out of place in a Wreck-it Ralph movie — the verses combine  Jimmy Chamberlain’s drums that have been bit-crunched to sound as though they were part of a similar retro 16-bit video game.   

The most notable songs on the album for me have to be “Empires,” “Moss,” and “Beguiled.” My favourite is “Beguiled” because it has the perfect blend of Siamese Dream / Melon Collie Smashing Pumpkins and synthp — sorry, rock opera Smashing Pumpkins. Sorry, Billy, you can’t fool some of us. The heavy buzz-saw guitar chugs with dark pad synths? Classic you!

Although it fell just short of what it could have become, as the peak of the trilogy (since it is the second act), the album just shows that they were able to adapt. The band was able to try something new and they were not afraid to put it out. For this, I thank The Smashing Pumpkins for not fading away from the limelight due to stubbornness. 

Trial Track: “Beguiled.”

Rating: 7/10

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Music

 Rick Astley sues Yung Gravy

 Did Yung Gravy just rickroll himself into a lawsuit?

What is Yung Gravy up to this time? Is he dating a pornstar? Is he taking Addison Rae’s mother to the 2022 MTV Video Music Awards? Nope. Rick Astley is suing him. You heard me right, the ’80s singer is suing Gravy for his song “Betty (Get Money).”

Astley filed the lawsuit on Jan. 26. Yung Gravy  — who’s known formally as Matthew Raymond Hauri — and his team had procured the rights to record similar parts of the melody and lyrics for the core part of the song’s backing track. In music, this is known as “interpolation.”

After all, it’s not uncommon for rappers and hip-hop artists to sample other musicians’ work, right? Unfortunately for Gravy’s case, it happens to be more complicated than that. In “Betty (Get Money),” you can hear singer Nick Seeley (Popnick) impersonating Astley, singing “Get Money” in the chorus. That was the final straw that led to the lawsuit.
According to SkyNews, Astley says he wants “the profits of the song.” He also wants the  “millions of dollars in damages.” Apparently, Yung Gravy had gone overboard. He toed the line, stole Astley’s voice, and had Popnick impersonate him, instead of just using the melodic track. It’s too soon to know the fate of the Rochester, MN native rapper. What do you think — did he do it for the rickroll clout?

Graphic by Carleen Loney @shloneys

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Concert Reviews Interview Music

Erin Marcellina and Hank’s Dream at Quai des Brumes

Erin Marcellina playing at Quai Des Brumes. Alexandra Blackie/The Concordian

The musician debuts their newest EP “Book of Open Tuning” in concert 

Erin Marcellina and the band Hank’s Dream came together last Friday, Jan. 27, to create an unforgettable experience for their fans at the bar Quai des Brumes located in the Plateau Mont-Royal.

Unlike most performers who stay backstage before their shows, Erin and the band were at the front of house. They were greeting guests and introducing themselves to their dedicated fans, who consisted primarily of supportive family and friends. If they were nervous, there was no indication of it. The group couldn’t have looked more in their element.

“I was super nervous before the show. Everything was racing. But the moment I started performing, it was so much easier,” said Marcellina.

Marcellina kicked off their performance with the important piece “I Should’ve Told Him” on their newest EP. Inspired by one of their close friend’s suppressed memories of being sexually assaulted, the acoustic guitar paired with Marcellina’s soft vocals made for a tear-jerking performance and the perfect way to start the show.

This was followed by a noteworthy rendition of Bruce Springsteen’s hit “I’m On Fire,” which created a feeling of nostalgia for the older demographic and revisited personal memories for Marcellina’s father since they listened to this song religiously during a family trip in Ireland.

“I’ve been playing this cover my whole life.  It’s a childhood song and very nostalgic to me. It was easy for me to place it in the set because I know I’m going to play it well,” Marcellina said.

They broke up their performance by entertaining fans with the song “Mommy” that has yet to be released. They expressed to the audience how the song stemmed from them being recently rejected.

Marcellina also sang a spectacular cover of “Suddenly I See” by KT Tunstall, which animated the crowd as they began to dance in groups on the compact dance floor.

“I chose this one because I had recently watched The Devil Wears Prada and this song was on the soundtrack,” said Marcellina.

Marcellina concluded their set by playing “Your Drug,” the last song on their latest EP, along with a special feature by Hank’s Dream who played accompanying instruments. The combination of Marcellina and the band created a unique take on one of their most popular pieces and demonstrated an undeniable connection between the band and themself.

“Hank’s Dream is made up of such talented musicians and they’re such nice guys,” Marcellina said. They added that this was their first experience performing one of their songs with a full band. “It felt like everything fit really well,” they said. 

As soon as Hank’s Dream walked on stage, the crowd gravitated towards the front rows to watch them perform some songs from their self-titled debut.

They delighted their fans with an exceptional performance of Miley Cyrus’ hit “Party in the U.S.A” which caused the audience to break out into song, almost making it hard to hear the band at all.

This was Marcellina’s third concert and second time at Quai des Brumes. By the end of this show, they had definitely left their mark that evening. 

With the hope of performing once again with Hank’s Dream and a single on its way, Marcellina is truly making a name for themself.

Photo by Alexandra Blackie

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