Concert Review: Tyler, The Creator: Call Me If You Get Lost tour, Place Bell, Laval

Tyler, The Creator performing at Place Bell in Montreal last week. GUILLAUME LABERGE

Tyler, The Creator lit up the Place Bell on Wednesday

After Montreal have been deprived of large arena concerts for the better half of three years, Tyler, The Creator and friends made up for lost time with an electrifying performance at Place Bell on March 9 for the Call Me If You Get Lost tour. Fresh off the release of his massively successful 2021 record of the same name, it was only right for Tyler to go around the world to perform his beloved hits.

Before seeing Tyler play his set, fans were lucky enough to have three opening acts, courtesy of Teezo Touchdown, Vince Staples, and Kali Uchis. As the first of four acts, Teezo really set the bar high for the performing artists to come with an energetic and highly interactive performance centered around a construction theme decor. Following him was Vince Staples, who despite having a catalogue to deliver an interesting performance, had next to no stage presence. While the songs themselves made up for the lackluster performance, he was still the least interesting act of the concert. Last opening act but not least Kali Uchis was magnificent. She gave a sensual rendition of her material that saw her go back and forth between her biggest hits and her most recent Spanish cuts, all of which were executed graciously in both languages.

Now up to the showstopper. The stage was set to fit the luxurious vibe of Call Me If You Get Lost, fitted with a manor and balcony, a teal Rolls-Royce and even a boat which was fixed to the floor. Tyler was using the props in really interesting ways, navigating to the other smaller stage with the various means of transportation. The Californian rapper began his set with a couple of tracks from Call Me If You Get Lost like “SIR BEAUDELAIRE,” “CORSO” and “LEMONHEAD.” He followed by touching every studio album in his discography, performing at least one song from each of them, delivering some of the strongest material from his 15 year career.

A thing that makes Tyler stand out from others is his flashy personality. It is a well known fact at this point that he is one of the funniest rappers in the industry. Whether he is cracking jokes, interacting with his fans, or even getting booed at, which is something he likes, he always manages to be entertaining even when he isn’t performing. His stage presence is on another level and his good energy and solid dance moves play a significant role in why this man is such a captivating individual.

Tyler kept fans engaged from start to finish and the crowd’s passion and ardor were at peak form. It was definitely special to see live music again and Tyler was the perfect candidate to remind us how great concerts are. 

Photo by Guillaume Laberge


The Concordian’s albums of the year

The Concordian staff delve into their 2021 favourites.


Silk Sonic – An Evening with Silk Sonic

Guillaume Laberge – Music Editor

With life returning to more or less normal, 2021 was an incredible year for music that saw the release of countless quality records that I will be coming back to in the upcoming years. While Tyler, The Creator and Kanye West dropped some of the best albums of the year, it is Silk Sonic that takes the cake with An Evening with Silk Sonic. Bruno Mars and Anderson .Paak team up to deliver nine ‘70s R&B/soul and funk infused tracks that make you want to put on the tightest pants possible, a silky shirt, and go dance all night at your local club. The nostalgic, sexy, and luxurious sound it provides is unmatched and this album has been assembled meticulously to near perfection.


The War On Drugs – I Don’t Live Here Anymore 

Saro Hartounian – Assistant Music Editor

Four years after their release of A Deeper Understanding, Philadelphia-based rock band The War On Drugs came out with their fifth and latest LP I Don’t Live Here Anymore. Frontman Adam Granduciel stays true to his writing style filled with melancholic lyrics of grief and the epic quest for love that, during COVID, sounds nigh impossible. The influence of shoegaze bands like Slowdive and Cocteau Twins explains the record’s tragically bittersweet undertones. Adam and his band are revitalizing the ‘80s genre of yacht rock with their Bruce Hornsby-esque lyrical stories and Christopher Cross-like rhythm. Heck, even the intro of their fourth track “I Don’t Wanna Wait” sounds like Phil Collins’ “In the Air Tonight.”   


Billie Eilish – Happier Than Ever

Maggie Morris – Managing Editor

Sorry not sorry, this album was everything I needed in 2021. While some fans were disappointed by the change of vibe from Eilish’s last album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, I found it to be the perfect next step for the artist. As Eilish matures, so does her voice, and this album showcases the vocalist at her best. The title track is probably my favourite off the album, but shoutout to “Billie Bossa Nova” and “Getting Older” (I mentioned that she’s maturing before our eyes right?).


Genesis Owusu – Smiling with No Teeth

Evan Lindsay – Co-News Editor

I had never heard of Genesis Owusu before this album, and I don’t know if many people had, considering this is his debut record — and what a debut it was. Smiling with No Teeth successfully delivers an incredible mix of alternative hip hop, R&B, pop and rock in a way that feels entirely original and familiar at the same time. Wearing his influences (like The Talking Heads) on his sleeve in a way that’s entirely his own, Owusu’s sound is frantic and chaotic in all the best ways, with dark and hard-hitting bangers like “The Other Black Dog” and more soulful R&B tunes like “Waitin’ on Ya.” There’s a little something for everyone on this album (there is also a song about his love for fishing if that sounds like your bag). Constant stylistic changes and themes of racism and depression create an ambitious and engaging concept album that should not be missed. This album felt so fresh, new and exciting to me that it had to be my album of the year. Go listen to it, it’s sick. 


Feu! Chatterton – Palais d’argile 

Ashley Fish-Robertson – Arts Editor

I’m the type of person who, after finding a catchy album, will play it on loop every morning during my commute. When I first heard “Un Monde Nouveau,” Palais d’argile’s opening track, I was instantly hooked. Lead singer Arthur Teboul’s voice is absolutely haunting, especially on “Avant qu’il n’y ait le monde” and “La mer,” as he churns out surreal lyrics that sound as if they were plucked directly from a Louis Aragon poem. This album offers something for every mood, whether you feel like dancing or curling up in the fetal position while fretting over all the assignments you have yet to start.


Taylor Swift – Red (Taylor’s Version) 

Mélina Lévesque – Features Editor 

She’s happy, free, confused and lonely at the same time and I am living for it. Taylor Swift’s Red (Taylor’s Version) reminds listeners of the growing pains of getting older, falling in and out of love, and learning about who you are during this journey we call life. Yes, I absolutely adored Red in 2012, but Red (Taylor’s Version) radiates a different level of poetic perfection. 

Whether it’s the new badass breakup anthem “I Bet You Think About Me” featuring the one and only Chris Stapleton, or the tear-jerking “All Too Well (10 Minute Version),” this album has both broken and filled my heart in more ways than I could have imagined. Swift’s superpower truly lies in her ability to reflect moments from her life through her music and unite listeners through the emotion in her songs. As a life-long Swiftie, I am incredibly grateful that this woman exists and continues to bless us with her passion for storytelling. 


Hans Zimmer – Dune (Original Motion Picture Soundtrack)

Hunter Walwaski – Head Copy Editor

2021 saw my purveying love for music take somewhat of a backseat to my newfound interest in film, so it only made sense that my AOTY pick followed suit. While Denis Villeneuve’s masterful take on the Dune-iverse shouldn’t go unnoticed, Hans Zimmer’s accompanying score played a major role in the film’s enveloping atmosphere. From the Sahara-tinged operatic screams on “Gom Jabbar” and “Ripples in the Sand,” synonymous with the spiritual mysticality of the planet Arrakis, to the clockwork-like percussion on “Blood for Blood,” Zimmer helped bring chills to my (multiple) viewing experience of this film. Without a soundtrack as solid as this, it’s fair to say that one of 2021’s biggest flicks wouldn’t have been nearly as impactful, making the album deserving of a spot on this list.


Radiohead – Kid Amnesiae

Cris Derfel – Copy Editor

Bundled together with a double reissue of Kid A and Amnesiac is Kid Amnesiae, Radiohead’s love letter to their own most important albums. Not only have I had new tracks like “If You Say the Word” on repeat since release, I’ve rediscovered songs I’ve listened to hundreds of times — “Like Spinning Plates” reimagined as a haunting piano arrangement was an instant favourite, as was “How to Disappear into Strings.” The album somehow manages to evoke both the frigid emptiness of Kid A and the uncanny nostalgia of Amnesiac while simultaneously bringing something new to the table, and with each listen I notice something new. Radiohead continues to reinvent themselves, and I’m here for it every step of the way. 


Tyler, The Creator – CALL ME IF YOU GET LOST

Victor Vigas – Former Music Editor

Akin to 2020, 2021 was a great year for music; we as listeners got to reap all the creativity that was brewed over months and months of shutdowns. Thankfully, Tyler was there to headline it with CALL ME IF YOU GET LOST. I know, I know, Tyler and album of the year have felt synonymous since Flower Boy, but I can’t think of another record that surprised me more than this, especially as a follow up to 2019’s Grammy-winning IGOR. There’s just something about DJ Drama making his voice heard from top to bottom alongside a Tyler that raps introspectively over beautifully executed samples that takes the cake for me. I do have to give credit to Little Simz, Young Thug, Twenty One Pilots, and Silk Sonic, though.


The Weather Station – Ignorance

Aviva Majerczyk – Former Commentary Editor

The Weather Station, a.k.a. Toronto-based singer-songwriter Tamara Lindeman, is at the peak of her form on her latest album, Ignorance. Backed by a jazzy band, Lindeman’s heartfelt singing feels painful and urgent. The instrumentation of this album is dissonant as fluttery melodies are overlaid by Lindeman’s themes of heartbreak and loss. However, it is more than just a breakup album, as Ignorance’s lyricism parallels the loss of a relationship to the existential loss of our planet to climate change. The perfect album for a crisp, moody fall day, Ignorance is A-tier folk rock. 


Graphic by James Fay



Some premature Grammy predictions

The Grammys are predictable, and here’s what’s likely to happen

Love or hate them, the Grammys are the music industry’s biggest night. This ceremony rewards artists for their releases throughout the year by nominating them into separate categories where they have a chance to win a trophy for their accomplishments.

On Sept. 30, 2021, the 13-month eligibility window closed, meaning albums released after this date won’t be eligible to be nominated for the 64th annual Grammy Awards.

That being said, despite the Grammys happening in late January, here are some way-too-early nomination predictions for the Album of the Year category. As predictable as the Recording Academy can get, (I’m looking at you H.E.R. nominations in at least two of the four biggest categories), there are rarely any surprises when it comes to the nominees in this category. Before beginning, there are a couple of different groups of candidates that I’d like to classify when it comes to nominations done by the jury: The Grammy Darlings, The Newcomers, Rap Albums That Have No Chance of Winning, Even if It Was the Greatest Album Ever Made, and The Wildcards.


The Grammy Darlings

This group includes albums from artists who have won in the past or that are often nominated in this category. Whenever these artists drop a project, they are almost always guaranteed at least a nomination (unless you’re The Weeknd and you decide to perform at the Super Bowl instead).

Billie Eilish – Happier Than Ever

Despite not being as popular as her debut album WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? (for which she won five Grammys, including Album of the Year), Happier Than Ever is still a solid record and could have been talked about a bit more over the summer. This album is an automatic lock in the category because of her last album winning the award.

Taylor Swift – evermore

Swift is the current holder of the Album of the Year award. She first won the award in 2009 with Fearless, then went on to rob the award from Kendrick Lamar’s To Pimp A Butterfly back in 2015. She won again in 2020 with her more folk-oriented folklore. Swift’s change of style had a little less commercial success than her more pop-oriented records, but received more critical success instead. Now she’s looking to go back-to-back in the same category.

Ariana Grande – Positions

Ariana Grande has a strong advantage over other artists in this category, by being one of the largest pop stars in the world, (pop albums have been favoured by the jury over the years). The sex-infused Positions saw the Florida singer top the charts in the tail end of 2020. Her last album, thank u, next, was nominated in the Album of the Year category two years ago.

Others in this group include: Justin Bieber’s Justice, Megan Thee Stallion’s Good News, and H.E.R.’s Back of My Mind.


The Newcomers

This group includes artists that have been bursting onto the scene with their first studio albums, gaining massive commercial success in doing so. The Recording Academy particularly likes this group of artists since they have a higher chance at becoming supernovas.

This list includes albums such as: Olivia Rodrigo – SOUR,  Lil Nas X – MONTERO

Both albums had chart topping singles. Rodrigo even had two No. 1 hits with “drivers license” and “good 4 u,” while Lil Nas X only had “Montero (Call Me By Your Name).” Both records also received commercial and critical success, showcasing the massive talent and potential of both artists. Both of these entries are also guaranteed locks at being nominated.


Rap Albums That Have No Chance of Winning, Even if It Was the Greatest Album Ever Made

This group brings together some amazing rap albums that should be considered as potential winners, but are only on the list because it looks good for the jury to have multiple genres in the category. The same goes for country music, where they’ll often put an album in the mix just to look versatile. After all, artists have made it clear in the past that they’re not happy with how the Grammys categorize them.

This list includes albums such as: Tyler, The Creator – CALL ME IF YOU GET LOST,  Kanye West – Donda, Drake – Certified Lover Boy

Despite how underwhelming and flavourless Certified Lover Boy was, I’ll still include it here for the sole reason that it’s Drake: he does numbers and the jurors usually like him.

As for the two others, they both deserve a nod in the category for being outstanding albums that are in the conversation for the best albums of 2021. Though they each have a good chance of winning in the rap categories, it’s just sad that the Grammys won’t acknowledge them even further because they deserve to have a real shot instead of only serving as placeholders in the category in an attempt for the awards to seem diverse.


The Wildcards

These albums could very well compete for the award but all for different reasons. Whether it’s Bad Bunny’s EL ÚLTIMO TOUR DEL MUNDO for its commercial success, while also being a nod to Spanish music, or even Kacey Musgraves’ divorce-themed star-crossed, it wouldn’t be surprising to see one of these albums being nominated.

Honorable mention : Doja Cat’s Planet Her


The Verdict

While all of these have a shot at the title, on Jan. 31, 2022, at the 64th annual Grammy Awards, the host will read, “and the winner for the Album of the Year is… SOUR by Olivia Rodrigo.” Mark my words.


Graphic by James Fay


A short glimpse of this summer in music

Five albums that defined summer 2021.

With life returning to a more or less normal shape, summer 2021 was an eventful one in every sphere of society. We as fans got to reap the fruits of what artists had been creating over the past year and a half of COVID-19.

The Off-Season – J. Cole

Released May 14, 2021

J. Cole’s The Off-Season was long awaited, and it did not disappoint. As one of the most praised figures in hip hop, this album is an improvement on all fronts from his last project, KOD. With his first release since 2018, J. Cole made his return to form with this project. It leaves behind any memory of KOD, a project that left fans and critics with mixed feelings. This project is bolstered by Cole’s confident and assured delivery, appealing storytelling, and the triumphant instrumentals using many samples throughout the album. The Off-Season marks the first time Cole welcomed different artists to feature on his songs since Born Sinner in 2013. This adds a new dimension to the work that was missing from his previous records.

Trial track: “l e t . g o . m y . h a n d”

SOUR – Olivia Rodrigo 

Released May 21, 2021

From a Disney star to one of pop’s most promising young talents, Olivia Rodrigo’s ascension to fame was immediate. The hype around SOUR was immense with all three of her singles reaching the Billboard’s top ten songs chart. Two of them even sat at the number one spot with the worldwide hits “drivers license” and “good 4 u.” On SOUR, listeners get a glance at a deep hurt. Tender lyrics of torn feelings towards an ex-lover make Rodrigo a compelling narrator and most of the record’s success is due to this. The instrumentals are most of the time either mellow and charming piano and guitar ballads, or Paramore-influenced bangers. As a whole, SOUR is one of the defining records of the summer.

Trial track: “good 4 u”

CALL ME IF YOU GET LOST – Tyler, The Creator 

Released June 25, 2021

Two years after his Grammy-winning masterpiece IGOR, Tyler, The Creator came back swinging. CALL ME IF YOU GET LOST marks The Creator’s sixth studio album, and brings him back to rapping form. DJ Drama is featured all across the record with ad libs in a DJ Khaled fashion, but Drama is actually pleasant. Tyler Baudelaire, his alter ego for this record, raps mainly about travel, and pinpoints love as the main thing missing from his life now that he has reached mogul status as an artist. The production is absolutely stunning, as you would expect from a Tyler, The Creator project. Tyler surpasses himself on every beat by always adding a lot of layers to the mix. This album contains a strong mix of hard-hitting tracks and laid-back beats that see an honest Tyler rely more on storytelling. No matter what direction he decided to go in, every track on the record found a way to keep it interesting for the listener.


Vince Staples – Vince Staples

Released July 9, 2021

Vince Staples waited until his fourth studio album to release a self-titled record, which was most appropriate considering this new project might be his most introspective body of work to date. Staples, known for being a curious name in hip hop, has a style that stands out from your average rapper. His past release, Big Fish Theory, flirted with the lines between hip hop and house music. On Vince Staples, he continues to stand above the pack with clever one-liners and by opening up about himself, which all makes for an inviting listening experience. Production-wise, Staples plays it pretty safe here by using basic yet captivating trap flavoured instrumentals. The record’s short length makes for an album that is easily approachable.

Trial track: “TAKE ME HOME”

Sling – Clairo

Released July 16, 2021

Sling now marks the first record since Clairo’s 2019 breakout debut album, Immunity. Sling is a complete departure from the sound that got her bursting onto the scene. This new album adopts more of a singer/songwriter approach, one that builds off of the gentle and languid sounds of her debut project. The album’s production comes from none other than Jack Antonoff, a renowned producer whose influence is likely responsible for this sudden change of pace. Antonoff does a great job at making the most of a talented Clairo, with sounds that complement and hug her strengths, tying listeners into the album. A large portion of Sling is dedicated to Clairo’s dog, Joanie, which is also the name for one of the tracks. Sling’s best quality is this level of intimacy, and while it is simple and not too flashy, this is in the best way possible. 

Trial track: “Amoeba”


Graphic by James Fay


The power of Waves’ soundtrack

How Waves soundtrack elevates the film’s themes of teenage angst and depression

*Spoilers ahead*

The trailer for Trey Edward Shults’ film Waves scared me, initially. It was vague and cluttered with songs that most teens would compile into a generic Spotify playlist entitled “Vibes.” When I finally watched the movie last week, I was shocked. The movie wasn’t as corny as the trailer made it out to be and the soundtrack, to my surprise, elevated the film’s themes of teenage angst and depression.

The opening scene shows the protagonist Tyler (Kelvin Harrison Jr.) driving with his legs out on the freeway as his girlfriend Alexis (Alexa Demie) sings along to “FloriDada” by Animal Collective. The track encapsulates the ever-freeing sentiment of being a teenager in love.

In the first truly pivotal scene of the movie, Tyler receives news from Alexis that she’s planning on keeping a baby that they accidentally conceived not long before. After a failed attempt to convince her to get an abortion, “IFHY” from rapper Tyler, the Creator starts playing as the protagonist gets up off his chair and begins to trash his room.

There could not be a better song to go with the scene as Tyler’s newly-formed resentment to his now ex-girlfriend fits perfectly with the “IFHY” about hating then loving a woman he dreams to be with forever. The track bounces back and forth from soft melodies to an aggressive hook where he yells, “I fucking hate you, but I love you.”

The movie quickly switches courses when Tyler, who can’t cope with the idea that his girlfriend is seeing someone (she isn’t), goes out to a party that leads to his eventual arrest.

Unsurprisingly, Frank Ocean leaves his mark all over the A24-produced film. Many tracks off of his beautiful Blonde and Endless projects make their way onto the film, especially in the first half, with songs like “Mitsubishi Sony” and “Rushes” eerily pointing out what comes next in the heartbreaking film.

The second half of the movie deals with the aftermath of Tyler’s actions. Particularly, it focuses on Tyler’s sister Emily (Taylor Russell) and how her brother’s arrest has forever changed her life. She meets Tyler’s old teammate, Luke (Lucas Hedges) and falls in love with him. The second half also puts Frank Ocean’s Endless on the forefront as three tracks from the project play in succession.

The ending of the movie pairs Radiohead’s beautiful “True Love Waits” with Emily trying to make amends with her estranged mother. The two had a falling out after Tyler’s indictment and hadn’t spoken to each other until Emily sent a tear-jerking text that paved the way for a hopeful, yet still depressing ending.

Waves’ reliance on a 2010s-heavy soundtrack is a sign that the movie is for our generation. Frank Ocean, Kanye West, Tame Impala, and H.E.R., among many others, make their mark on the heavyweight film that will resonate with the youth more than it might with adults. The story is universal; everyone will understand it. The soundtrack, however, is a direct glimpse into how music affects our thoughts and actions.

Waves is for everyone, but really, Waves is for the kids.

Graphic by @sundaeghost.


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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