Musical Memories: The healing power of music

Music, in all different forms, has helped me cope with mental health struggles throughout my entire life. 

By Oliver Robbins

Trigger warning: this piece covers topics of mental health that may be triggering for some

When I’m in a stressful situation or I’m having a low day, an easy fix for me is to just breathe and listen to music (Image Courtesy of priyana)

Music has a unique ability to connect you with artists you have never met who are writing songs about experiences or feelings similar to your own. It can allow you to escape from your low feelings, or unhealthy situations and become closer with people in your life. For me, music in all different forms has helped me overcome my mental health struggles throughout my entire life. I don’t remember a time when music wasn’t what I turned to during my low points.

Being stuck in a very toxic home environment during the COVID-19 lockdown in 2020 and not being able to be with the people who helped me escape from this environment previously, was extremely difficult for me. Most days, I wouldn’t get out of bed, I would barely eat, and I didn’t have enough energy to do something as simple as responding to the messages from the people closest to me. 

During the summer of 2020, I discovered Phoebe Bridgers after coming across the song “Scott Street” from Bridgers’ first album Stranger in the Alps, and I was immediately hooked. I began listening to everything she had ever released and felt truly understood for the first time in my life. Bridgers has a way with her lyrics and production that makes you feel comforted and understood, and that is exactly what I needed during this time in my life; it felt as though I had found something to save me from this dark hole I was in. 

There was one time it really felt like she was saving me in some way. My family went camping with our trailer for a couple of days, being so close in proximity to them for this long was truly my worst nightmare. All I did for those couple of days was sit in the trailer alone or walk around the campground with my headphones on listening to Stranger in the Alps, specifically the songs “Demi Moore,” “Killer,” “Smoke Signals,” “Scott Street” and “Georgia.” These songs are all that got me through those couple of days, had I not discovered Bridgers’ music the week prior, I’m not sure I would have been able to cope even in the slightest. The experience and connection I have had with Bridgers’ music is unlike anything I have ever experienced, but there are still some other artists and bands who have been able to get me through hard times.

Concerts are some of the best cures for me when I’m at my lowest. I had the opportunity to see Bridgers in June of 2022 at the RBC Echo Beach venue in Toronto. That day changed my life. The anticipation that builds in the days leading up to the event, watching the countdown get smaller and smaller and feeling like you’re in a dream sitting on the GO train and standing in line outside of the venue; these are all things before the show even begins that makes you forget about your struggles. It felt like the world stopped for a second when I saw her walk onto the stage for the first time. Seeing your favourite artist in that space is an out-of-world feeling. Being able to feel the music and Bridgers’ voice through my body made my connection to her music even stronger. There is just truly no happier feeling than seeing your favourite artist right in front of you, singing the songs you have been listening to and connecting with for so long. For those couple of hours, I felt like nothing else mattered and I was the happiest I had ever been. 

I was also lucky enough to see Boygenius, a band that Bridgers is a part of along with Lucy Dacus and Julien Baker, at the Budweiser Stage in Toronto in June of 2023 with my girlfriend. They were touring for their most recent album The Record, which happened to come out the same day my girlfriend and I met for the first time. As sad as most of the songs on that album are, we really bonded through listening to it. Getting to see Boygenius live with my girlfriend was so special, and it made us both so happy to be able to experience music so personal and close to us, live. 

These shows made me feel like all my problems had gone away for a small period of time and that was exactly what I needed in those moments. Concerts are a great way to cope with mental health struggles and it’s also very helpful to have something so exciting to look forward to.

More recently, Radiohead has been a band I turn to when I’m struggling with my mental health. The distinct production of songs like “Weird Fishes/Arpeggi,” “Just,” “Jigsaw Falling Into Place,” “Exit Music (For A Film),” “Climbing Up the Walls” and “Spectre” encapsulate the low feelings I have. I’m able to connect with the music on a whole new level, focusing less on lyrics as the sound itself somehow makes me feel understood. 

As much as these depressing songs have helped me, there are times when I just need music to cheer me up and not to relate to. Tyler, the Creator is an artist whom I can always turn to when I need to switch my mood. I get excited every time I listen to any of his music because of how fun and experimental it is. His music allows me to escape from depressing feelings, and for a little while, I get to forget about all of my problems and just enjoy how good his music makes me feel.

Another musical outlet that has helped me when I am struggling with my mental health is playing guitar. Since I feel so connected to a lot of the songs I listen to, it is often very beneficial for me to learn these songs and be able to play them on the guitar. Playing music releases so many more emotions and allows me to connect even further with songs that hit me so deeply. I find distractions to be very helpful when struggling with my mental health and playing guitar is a great one. Choosing a song and putting all of my attention into learning it has been an incredible tool to help me at my lowest points; it allows me to close off from the world and feel like it is all that matters for a few moments. 

Playing guitar has also brought me much closer with my uncle which has been very important to me since I don’t have a very good relationship with most of my family members. Being able to have that relationship with him through playing guitar has made a lot of the mental struggles I face surrounding the lack of relationship with my family a little bit better, and when you’re feeling that low, a little goes a long way. The feeling of finally mastering a song that I’ve been practicing for a while can also improve my mood so much. Knowing that I’m capable of accomplishing something can mean so much to me when I’m not doing well mentally. 

Music is one of the most important aspects of my life and without it, I would not be able to cope with any of my struggles. It is always there to bring me out of darkness and it is comforting to know that it will always be there. While music is such a helpful resource when struggling with mental health, it is still incredibly important to engage in professional help and use any resources around you to help you get there. The impact that artists like Phoebe Bridgers, Radiohead and Tyler the Creator have had on my mental health is greater than words can explain and I will forever be grateful that I have music as my support through hard times.

If you're struggling with your mental health, you can find helpful resources on this City of Toronto page. You can also find Toronto Metropolitan University specific resources here. 

Earworm Extraction 101

The art of rebound relationships in music

By Melanie Nava Urribarri

Earworms, not to be mistaken for earwigs–who have a poor reputation from the old European myth where these creatures burrow into the ears of sleeping people and lay eggs in their brains–can be perhaps one of every day’s greatest nuisances. Though they aren’t literal creatures, these tunes can certainly feel like wiggling, persistent worms that won’t go away, making a home in your head and adding yet another voice to block out.

Luckily, there are ways to fix this problem. Like finding a good rebound to get over that pesky ex, here are some Canadian earworm remedies that will have you swooning for another song in no time.

The Classic

How many times have you had that song on replay? Have your family and friends already begun to give you the stink eye? Oh, what’s that? You just can’t get it out of your head? Well, have you tried the musical version of “Have you turned it on and off again” by simply playing a different song on repeat? This classic solution can be more effective than you think if you play your cards right. For example, if you’re stuck in 2012 with an infamous Canadian earworm like “Call Me Maybe” by Carly Rae Jepsen, there’s no need to change decades for the right counterattack. Stay in the year of the theorized apocalypse with Grimes’ promotional single “Oblivion”. A much more difficult Canadian song to hit the notes to, perfect for erasing numbers.

Change your environment

Just as being in a room for too long can suck away your energy and creativity, sometimes, the problem might not be you at all but your surroundings. How can you get over Avril Lavigne’s song “Girlfriend” if you’re stuck in the angry energy of your bedroom with all the memories of them? Get out and have some fun! Maybe go to your kitchen and treat yourself to something sweet with Nelly Furtado’s “Maneater”. Change your looping song from desiring to being desired and cure that earworm by switching locations and moods.

Chew

Stuck on 2010s Canadian heartthrobs like Justin Bieber or Shawn Mendes? According to the UK Counselling Directory, chewing gum or eating can create a new sensory experience, diverting your attention and possibly helping with a bad earworm. Instead of looping “As Long As You Love Me” with your young, hopeless romantic heart or “Treat You Better” –an earworm that peaked on the Billboard charts in 2016 and became a lovesick anthem–try eating the worm away like you might eat ice cream after a bad breakup.

Read a Book

Yes, reminiscing on the “best days of [your] life” with Canadian singer Bryan Adams and his recorded song “Summer of ‘69” can be all you need on a dreary day, but what happens when you simply can’t stop? Choosing a new distraction that requires new concentration can be just the way to do it.f you still want to do some nostalgic reflecting, maybe you can pick up Canadian author Lucy Maud Montgomery’s Anne of Green Gables for a heartwarming, coming-of-age other than your own.

Make a Playlist

Play games with your brain and battle the earworm with a combination move called “the playlist.” Much like simply playing a new song for your brain to catch, this strategic tip gives your mind something new to set its sights on– or many new somethings. Feel new adrenaline and satisfaction with a good playlist, such as one created by The Guardian with 30 of Toronto rapper Drake’s best songs. 

Embrace it

People are wired to look for patterns. Our brain likes consistent stimulation, and as stated by Harvard Medical School, some songs are created with specific musical intervals and tempos that are just more appealing to us subconsciously. Earworms can be harmless, and, sometimes it’s really not that serious. So if you can, embrace your earworm! Listen to that song on a loop and dance the annoyed glares away. The artists receiving a rush of streams on their songs might just thank you.

Canadian Artists to Look Out For At Coachella 2024

 Could this be the start of a Canadian Invasion?

By Rebecca Draper

Seeing Canadian artists take on big stages around the globe always warms my heart. There’s no doubt that they are leaving an international impact with their talents, and Coachella 2024 is no exception. The lineup was released recently, with plenty of prominent names, some newbies and some expected regulars.

The annual festival is taking place from April 12-14 and 19-21 in the desert city of Indio, California. Headlining this year: Lana Del Rey, Tyler, The Creator and Doja Cat along with a special reunion from No Doubt. The festival showcases some of the music industry’s biggest artists of all genres, creating the ultimate live music experience. Canadian artists such as Kaytranada, Testpilot (Deadmau5) and Chromeo were some of the big names featured last year. Here are some artists repping Canada on the lineup this year.

Nav

Nav is a rapper, singer, songwriter and producer born and raised in Toronto to a Punjabi Jat Sikh family. He first came onto the music scene in 2015 co-producing Drakes’ hit single “Back to Black”. In 2016, his song “Myself” went viral on Soundcloud and he was later signed to XO, a record label founded by The Weeknd. He’s no stranger to the Coachella stage, with his first-ever solo public performance being at Coachella 2017—also guest performing alongside The Weeknd and Travis Scott.

AP Dhillon

AP Dhillon is a singer, rapper, songwriter and record producer originally from Punjab, India, he later moved to British Columbia to continue his studies while pursuing music in 2015. AP Dhillon became a significant new artist in the Punjabi-Canadian community when he was the first artist to sing a song fully in Punjabi at the 2023 Juno Awards, putting Punjabi music on the international map. He later released his first single “Fake” in 2019 under the Canadian independent record label Run-Up Records. "I moved here with two suitcases and one dream, and that was just to do something that can inspire people back home," Dhillon told CBC News at the Juno Awards. This will be his first time performing at Coachella.

Blond:ish

Vivie-ann Bakos, known by her stage name Blond:ish, is a Montreal-based producer and DJ. Alongside being a praised house/techno artist, she is also an environmental activist and founded Bye Bye Plastics, a grassroots organization aimed towards eliminating single-use plastic from music venues and events. The artist recently released a lively single called “Sorry” featuring none other than the “Queen of Pop”, Madonna. She will be returning to the festival after making her debut in 2019. 

Grimes

This acclaimed Montreal native is familiar with performing on big global stages. Her musical style is a blend of several genres, including electronica, synth-pop, and hip-hop. Her most recent release is the upbeat single “I Wanna Be Software”, produced by Calgary native IIIangelo who is also known for his frequent collaborations with The Weeknd. She last performed at Coachella in 2016, featuring guest appearances from Janelle Monae and Aristophanes for an eclectic performance. 

This lineup offers some of the best talent Canada has to offer, and the diverse range of music exemplifies the country’s multiculturalism. Hopefully, this growing exposure in the global music scene will leave a lasting imprint on future music stars and give Canadian artists the recognition they deserve.

Masthead Wrapped: CanCulture’s top Canadian songs of 2023

13 Canadian tracks encapsulating our year 

By Nalyn Tindall

With Spotify wrapped, making waves once again, and exposing the most vulnerable for their fascinating taste in music, the masthead decided to do them a favour and compile our favourite songs. Who cares if your top artist of 2023 was “Brown Noise,” tell your friends you listened to these Canadian hits instead. Here are our top picks for our favourite Canadian songs this year. 

Anna-Giselle Funes-Eng, Multimedia Editor

“I’d Have to Think About It” by Leith Ross

I love Leith Ross with all my heart! I got to see them play live in June and they are majestic. I love how romantically dramatic this song is. I listen to it whenever I feel like screaming in a soft indie-folk way.

Caelan Monkman, Managing Editor

“Gigafire” by Half Moon Run 

Half Moon Run is a band that continuously impresses me. The Montreal trio is consistently reinventing itself, with their latest album, Salt, being no exception. While the album is full of solid tracks from start to finish, “Gigafire” is a personal favourite of mine. The deep growls of the electric guitar paired with a lush arrangement of strings and piano make for a truly cathartic listening experience, not to mention frontman Devon Portielje’s stellar vocal performance on the song. 

Talia Saley, Food Editor

“Sk8er Boi” by Avril Lavigne 

I grew up listening to Avril Lavigne and she has been an iconic Canadian artist in my life. Whenever I hear her songs on the radio, or in public, I’m transported back to my childhood. It makes me feel rebellious whenever it listen to her!

Vanessa Tiberio, Social Media Manager

“Fever Pitch” by Hotel Mira

This song is by Vancouver-based Indie-rock band Hotel Mira, one of my favourite bands for the past six or so years. “Fever Pitch” catapults listeners into the sunny embrace of summer vibes with upbeat melodies and a strong, boppy chorus. I can’t help but nod my head along to the beat of this song while a smile inevitably forms across my face when I listen to it.

Mariana Schuetze, Editor In Chief

“Edge of the Earth” by The Beaches

One of my top songs from this year is “Edge of the Earth” by The Beaches. In 2023 I started working at TMU’s radio station, Met Radio, so I’ve been slowly getting introduced to a variety of new songs. The Beaches’ latest album, Blame My Ex, has been charting on Met Radio’s charts for a bit now, so I came across their songs a couple of times. Ever since I listened to “Edge of the Earth,” it hasn’t really come out of my mind. It’s a really fun song, I really like the beats and their vocals on this song, really makes me want to get up and dance.

Grace Henkel, Arts Editor

“A Case of You” by Joni Mitchell

I love it because the lyrics and guitar strumming are so raw. Joni’s vocals tell a painful and beautiful story that feels timeless. I have so much nostalgia attached to that song. 

John Vo, Managing Editor

“Say it Right” by Nelly Furtado 

In the plethora of proclaimed quintessential“pop princess” albums, Nelly Furtado’s Loose remains a classic on 2000s playlists and in any trashy club wanting to appeal to the masses. For me, “Say It Right” is the perfect representation of the album: sensual, confident and catchy as heck.

Khushy Vashisht, Features Editor

"i wanna be your right hand" by Nemahsis

This has been my favourite Canadian song of the year because of the imagery it sets and how it perfectly captures feelings of turmoil, inferiority and determination fuelled by said turmoil.

Sarah Grishpul, Film Editor

“You Ain’t Seen Nothing Yet” by Bachman-Turner Overdrive

This song brings me back to memories of my dad and my weekly driving trips. We would blast “You Ain’t Seen Nothing Yet” on the radio along with several other classic hits from the '70s, '80s, and '90s. During these trips, we'd often break out in rhythmic headbanging and off-pitch singing while tearing down the road to the public library. Since moving away from home and adopting a public transit commuter lifestyle, those small memories of carpool karaoke feel utterly nostalgic.

Tara Khoo, Social Media & Graphics Director

“Music Box” by Leith Ross 

I saw them live this year and it was the most beautiful experience ever. I love listening to this song after a long day.

Sena Law, Fashion Editor

“glo up +” by dci. and damn drone

Featured briefly in Spotify’s Rap Caviar playlist, “Glo Up +” is featured on Different Dimensions 1.5, a summer collaborative project by Toronto artist damn drone and dci. from Montreal. This energetic track features dynamic vocals over an enchanting instrumental, taking influences from genres of hip-hop, pop and plug-n-b. The two artists compliment each other in their vocal deliveries and range, giving us this summer (and frankly, year-round) bop. 

Khadijah Ghauri, Graphic Design Manager

“Virginia Beach” by Drake 

This is my favourite song because I’m a huge fan of Drake, and he’s truly my Canadian legend! 

Nalyn Tindall, Music Editor

“In Too Deep” by Sum 41 

Whenever I feel the need to dive back into childhood nostalgia, this song does the trick. The raw intro instantly transports me to the back of my parent's 2005 Ford Focus, driving to elementary school and listening to the local radio station playing rock hits from “the 80s, 90s and now.” To me, Sum 41 is the epitome of early 2000s Canadian rock. I can turn on this hit any time throughout the year to gain an instant burst of energy. From the epic guitar riffs to the catchy chorus, this song will always be a masterpiece in my books.  

What was your top Canadian song of 2023? If you’re having trouble deciding, listen to the playlist of our favourite Canadian songs here on Spotify. 

Indie music thrives at Grounders Music Festival

From sunlit stages to twilight tones, the Grounders all-day experience was one to remember. 

By Nalyn Tindall 

Musician sings into a microphone while playing guitar

Emma Beckett Takes the stage at Grounders Music Festival (Nalyn Tindall/Canculture)

Grounders Music Festival brought life to OBJX Studio, showcasing the talent of nine artists from across the Greater Toronto Area (GTA). Conceived by two Toronto Metropolitan University students, the festival seamlessly blended various genres, ranging from indie to synth-pop, creating a dynamic and inclusive atmosphere that resonated with both attendees and artists.

As the festival kicked off, the venue was bathed in sunlight streaming through the floor-to-ceiling windows, casting a warm and inviting glow upon the bustling crowd of students, community members, and artists. The festival's commitment to community building and inclusivity was evident throughout the event, reflecting the passion and dedication of its student creators.

Shoshana Glory set the tone for the festival with her ethereal voice, accompanied by strong guitar skills, creating a mesmerizing atmosphere that reverberated with indie charm. The seamless cohesion of her bedroom pop sound conveyed both finesse and power, with each note flowing effortlessly into the next. Glory’s performance not only showcased her technical proficiency but also created a tranquil ambiance, leaving attendees immersed in the soothing embrace of her music.

Sofia Aedon emerged onto the Grounders Music Festival stage with a magnetic presence, infusing the atmosphere with a bold and assertive energy that demanded attention. Her performance was characterized by deep, resonant vocals that seemed to echo through the venue, leaving an indelible impression on the audience. What set Aedon apart was not just her vocal prowess but also her remarkable versatility as a musician. In a display of skill, she effortlessly swapped instruments, showcasing a level of artistry that added an intriguing layer to her set.

Two musicians play guitar and bass standing side by side 

Sofia Aedon shines at Grounders (Nalyn Tindall/CanCulture)

Emma Beckett's performance was nothing short of mesmerizing and stood out as my personal favourite. With her skillful use of a looping pedal, she crafted intricate layers of sound that enveloped the audience in a dreamy and soulful atmosphere. Her authentic sound, a refreshing departure from the mainstream, resonated with a genuine and heartfelt quality that elevated the entire festival experience. The dynamic highs and lows of her music created a sonic journey, guiding the audience through peaks of emotion and valleys of introspection. What truly set Beckett apart was not just her technical prowess but also her lyrical authenticity. Each word she sang felt like a personal revelation, weaving a narrative that resonated with the collective experiences of the audience.  Including the lyrics in the song “Little Ways,” which tell the story of sacrificial love with impactful lines like “I hate to lose but you can beat me if you want.” 

Curt James, featuring an eclectic three-piece setup, delivered a mellow and smooth performance, complemented by the venue bathed in a purple sunset. The combination of soothing harmonies and driving rhythms not only showcased musical richness but also seamlessly transitioned the atmosphere into a nighttime mood, adding an extra layer of beauty to an already impressive performance.

Singer sneers while singing and playing guitar 

Curt James ushers in the sunset during his set (Nalyn Tindall/CanCulture)

Nia Nadurata fearlessly embraced intensity and authenticity throughout her performance. With unbridled passion, she navigated the realms of raw and authentic rock. The powerful instrumentation served as a driving force, complementing Nadurata's emotive vocals. In a particularly noteworthy rendition, their cover of Amy Winehouse’s "Valerie" not only paid homage to the original but also showcased their ability to infuse a classic with their own unique flair. Nadurata's vocal prowess, coupled with the band's adept instrumentation, created an emotionally charged rock performance. 

City Builders brought an EDM flair to the festival, featuring airy vocals and a drum pad. The duo's stage presence was palpable, creating an electric atmosphere that resonated with the crowd and, much like a couple deeply in love, their synergy elevated the performance, making it a standout moment in the vibrant lineup.

Jules Auckland commanded the stage with undeniable charisma, boasting a great stage presence that captivated the audience from the first note. Her beautiful voice resonated throughout the venue, adding a melodic and enchanting quality to her performance. The fusion of fun indie pop and rock elements in her sound created an energy that was both invigorating and infectious, making it impossible for the crowd to resist moving to the rhythm. 

The Beans took the stage with an infectious blend of funky grooves and rock rhythms, channelling the spirit of the 70s with a brashy, retro vibe. Their performance resonated with a distinct energy that reverberated through the venue, creating an atmosphere reminiscent of the golden era of rock. As a collective, The Beans showcased remarkable strength, seamlessly intertwining their individual talents into a cohesive and dynamic sound. The audience was treated to a musical journey that not only paid homage to the past but also injected a fresh and invigorating new spirit into their music. 

Heavenly Blue closed the festival on a high note, leaving attendees with a memorable musical experience. The band's indie rock charm infused the closing moments with an irresistible energy, uniting the audience in dance and high-energy music that added the perfect final touch to the vibrant atmosphere of Grounders Music Festival.

A singer stands holding a microphone stand singing into a microphone, behind her are a guitarist and drummer 

Nia Nadurata ushers in the nighttime set (Nalyn Tindall/CanCulture)

The festival not only delighted the senses with its eclectic musical lineup but also provided a shopping haven for attendees. There were multiple vendors offering an array of handcrafted goods, vintage clothing, and even a booth equipped to apply tooth gems. As festival-goers explored the diverse offerings, they were treated not only to the sounds of the live performances but also to the visual and tactile delights of unique, locally crafted items. There were also free refreshments as well as a bar offering a variety of locally crafted drinks, further enhancing the communal and celebratory atmosphere of the festival.

The meticulous recording throughout the festival ensures that the artists' performances can be enjoyed beyond the live event. This thoughtful approach aligns with the festival's goal of creating a lasting impact on the community and providing a platform for underrepresented voices in the music industry. Overall, Grounders Music Festival succeeded in bringing together a rich tapestry of impressive musical talent, creating a memorable and inclusive event for all. The nine artists showcased during the festival were able to bring their own charm and sound to what was overall a very cohesive line-up of spectacular local talent.

Kip James might just have a fighting chance

The Toronto busker is making his mark one song at a time 

By Nalyn Tindall 

Kip James wearing sunglasses and playing acoustic guitar in front of a blue sky. Edited behind him is his name repeated in a bold font.

Kip James playing guitar on a beach in Algarve, Portugal. (Photo assets courtesy of sot.d_ / Instagram, graphic by Nalyn Tindall/CanCulture)

If you attended a concert at Budweiser Stage this summer or ventured outside the Rogers Centre after a Blue Jays game, chances are you’ve likely encountered the vibrant musical force that is James Flannagan, better known as Kip James. “Kip,” being the name he was almost given as a child, one he feels holds more star power.

Amplifier humming with live drum backing tracks boasting and his guitar and vocals soaring above it all, he’s hard to miss, and that’s exactly what he’s aiming for. 

Kip James, a self-described entertainer, is on a mission to inject positivity into a world that often feels chaotic and divided, uniting people through the power of music. His performances go beyond mere entertainment; they generate a profound sense of unity that transcends the boundaries of spoken language in a way only music can. 

Busking, the activity of playing music in the street or another public place for voluntary donations, is a testament to the unity art can inspire, even amid chaos. As James speaks of protests and counter-protests, he contrasts the harsh, divisive scenes with the harmonious interactions he fosters through his performances. "I'm doing the exact opposite,” he says. “The unity of it is so beautiful.” 

Audiences can be found dancing together and singing along to his covers, a reminder that music has the power to bring people together in spontaneous ways. He hopes his music can remind people to come together, share their love for music and enjoy a moment of unity, no matter how different they may be.

His "make it happen" attitude is reflected in every aspect of his musical career, demonstrating his steadfast dedication to his craft. During the summer, he diligently tracked the major events unfolding throughout the city's core, recognizing the prime opportunities to connect with his audience. This led him to perform before and after every baseball game this season and for the crowds ushering out of the concerts of notable stars who played in Toronto this summer. James could always be found gracing the streets with his music and fostering a communal ambiance, riding on the good vibes generated by these events.

Among the memories etched in James' mind, one moment stands out. An older man, possibly in his late 70s or early 80s, approached with his daughter. "Can you play 'Pretty Woman' by Roy Orbison?" the man requested. James enthusiastically obliged, and the music profoundly impacted the man. Unbeknownst to James, this outing to watch a ballgame marked the older gentleman's first venture outdoors in a year, following the loss of his wife. James' performance had allowed him to hear his favourite songs and, for a brief moment, ease the pain of his loss.

Inspired by his dad’s classic rock CDs which made up the soundtrack of his childhood, James picked up the acoustic guitar at the age of 12. With determination and passion as his only guides, he taught himself the songs that formed the core of his musical upbringing. Many of these songs make up his busking repertoire today. 

Kip James' journey would not be complete without mentioning his band, Fighting Chance!, which he formed during his university years. Acting as headman and bass player of the indie band, he has joined forces with his younger brother Joe on the drums. 

The band members, including guitarists Dylan Duthie and Ryan Walsh, have diverse influences, each bringing their unique styles to the table. According to James, the band chooses not to subscribe to a particular genre; their repertoire spans classic rock to modern indie, allowing them to craft an eclectic sonic identity that resonates with a diverse audience. Their Spotify describes their sound as “90's radio rock with early 70’s powerpop,” while their Instagram bio identifies the group as “college radio rock revival.” 

Their most recent single, “Spin Me Round,” has been warmly received by the many fans James has acquired throughout his busking endeavours. The band aims to release a single every month and plans to tour next year. 

Kip James' journey isn't tethered to Toronto, however. Fleeing the cold weather, James has taken his act international. He recently made his way to New York City, busking in iconic spots such as Times Square and Madison Square Garden. He then headed overseas to play the streets of Portugal, serenading folks across the world. But true to his roots, he’s returned to Toronto, reuniting with Fighting Chance! to play a small tour throughout Ontario this month. 

The path Kip James treads is marked by sheer dedication and unwavering persistence. He is far from content with standing still, instead tirelessly working to turn his dreams into a tangible reality. His performances, whether they be on the streets of Toronto, NYC, or Lisbon, are a whirlwind of good vibes, beginning with the first strum of his electric guitar and gaining momentum with each passing note. Keep an eye, or rather an ear, out for the eclectic busker the next time you find yourself at a major event downtown Toronto, and don’t be afraid to sing and dance along. 

The freaks of Queen Street West: Toronto’s goth music history

In the heart of Toronto, the freaks and ghouls roam the streets… and the nightclubs!

By: Klea Pinari

The first chilling strum of gothic guitar is your opening to a world of darkness – a world cloaked in black, but one that still feels unequivocally bright. 

When many people hear the word ‘goth,’ they conjure the same image: skin pale as a ghost, eyelids painted jet black. All that comes to mind is a jarring set of traits, a bold and enthusiastic stand against mainstream culture.

This image is, more or less, an accurate depiction of many goths in the scene. However, the core of goth culture is not their heavy eyeliner or their billowy Victorian sleeves, even though style is an important aspect of being goth. The core of the culture itself is the music. 

The goth scene is a revolutionary subculture that started its journey back in the ‘70s before bursting into the ‘80s with flair. Goth music originated in the U.K. as a result of the post-punk movement, blooming into a large scope of closely related genres that all held the same musical heart.

Some of the most iconic musicians making up the goth scene include Bauhaus, Siouxsie and the Banshees, the Cure and Joy Division. Genres including post-punk and dark wave, along with glam rock and hard rock, are key components of goth’s musical sound and some of the driving forces behind the creation of goth rock. These genres are saturated with moody and experimental resonance. Goth music is unique in the way that it does not bend to the will of any conventional sound – it simply hands itself to the listener.

This music does it all and explores the dark crevices of musical sounds and themes that popular music is too afraid to peer into. The harsh melody of the distorted guitar and the lilted tune of the singer’s voice come together to create an experience that can only be explained in simple words: haunting and beautiful. 

Goth first emerged in Toronto in the ‘80s, but it wasn’t always known as goth. Toronto goths go by a handful of names, including “Batcavers,” as stated by the Encyclopedia Gothica. Batcavers is an ode to The Batcave, a London club that kickstarted the goth movement.

Goth music brought forth a culture of goth clubbing, followed by goth dancing and accentuated by goth fashion. The defining feature of each is goth’s incessant need to be completely authentic.

Clubbing is not only an integral part of the goth scene, it’s the home for all things goth. In the ‘80s, there was an influx of after-hours alternative clubs, as discussed by journalist and DJ Denise Benson in her article Then & Now; Voodoo, which highlighted the history of one of the early Toronto clubs named Voodoo. Many other clubs could be found along Queen Street West and other parts of downtown Toronto, playing underground goth rock, post-punk and more.   

Some of the most iconic clubs included Sanctuary: Vampire Sex Bar and Nocturne, which could be heard booming into the early hours of the morning with the beat of stripped drums. These clubs unified the lonely Toronto batcavers under the safety of the music and a shared understanding of their darker side. For the first time, a goth community was formed with like-minded people who simply wanted to enjoy the noise.

Goth dancing was all the rage in the clubs. The style was very distinct and bizarre, as is everything that has to do with goths. It was an erratic flailing of arms, movements that flow followed immediately by stuttering movements that jerk, a haunting amalgamation of feelings in the form of dance. These dances could range from anything between stomping your feet and banging your head aggressively, to languidly letting your hands move in any direction they want. Goth dancing is all about feeling the music and moving exactly in the way your heart tells you to.

Very soon, Queen Street West was crawling with Batcavers. In 1988, they officially adopted the term “goths.” But even before identifying as goths, they had a third, more intimate name for themselves: freaks. This label was not derogatory; in fact, it was a badge of honour for all those who wore it, and it remained as such through the ensuing decades. The term freak was an embrace of the authentic and off-putting nature of their existence.

Goth music sang of the strange, the sickly, and the sexy. It was a medium for liberation in a new unusual light. Being a freak was a rejection of the societal norms of the ‘80s and ‘90s and an acceptance of the values of goth music: an all-inclusive, queer, sexually liberated form of art. The label was a representation of the darkness and strangeness of the genre, which was exactly what made — and continues to make — the music so beautiful. 

Artists such as Masochistic Religion and Vampire Beach Babes were some of the goth bands that emerged in Canada during the height of the movement. They made numerous references to monsters and vampires in their art. The existence of creatures of the night is a frequent goth symbol and helps to characterize the idea of the “other.” These monsters are given the spotlight in goth music, acting as guiding lights for the freaks to express themselves for who they really are, no matter how the rest of the world reacts to them.

Though the goth scene has died down since the ‘80s and ‘90s, there are still pockets of belonging peeking through the dark crevices. Sanctuary and Nocturne have both closed down, but there are new clubs in their place, teeming with the life of the undead. See-Scape is one of the clubs that remain to preserve goth culture, but there are also goth events at venues such as The Garrison and Bovine Sex Club.

Canadian artists like Dermabrasion and ACTORS are still active and create music that captures the essence of goth rock and all the other genres that make up the goth music scene. The decline in goths wandering down Queen Street West is exactly why it’s important for there to be new artists continuing to pave these pockets of belonging. Lol Tolhurst, drummer and co-founder of The Cure, said that goth was still alive and well through new artists, despite it not looking the same as when he was at the forefront of the movement. 

“I see all these people live in small places — their way out was us (The Cure),” he said in an interview with CNN. “I’m very honored and proud of that. That’s what keeps (goth) going.”

Goth music uses its doom and gloom as a means to explore the uncanny, to welcome the freakish and the bizarre. It’s not consumed by the darkness – it’s uplifted and inspired. It’s haunted. It’s beautiful.  


Spooky Canadian songs to listen to this Halloween season

Romanticize the darkening days with some tunes to match.

By: Melanie Nava Urribarri

Instead of the groans and moans of the city, listen to some spectral, spinning music (Nalyn Tindall/CanCulture) 

You feel the temperature around you drop, a cool wind slipping through the threads of your clothes and tickling the skin underneath, sending shivers down your spine. The sun is blocked by grey clouds, and you swear you hear a taunting laughter carried by the breeze. Even the few rays of sun the clouds let escape are not enough to warm you. Looking straight ahead, city streets dark and barely lit by flickering lamp posts, all that’s left to transform this scene into an episode of blissful escapism is a song.

Luckily, we’ve composed a list of six Canadian songs to add to your playlist this spooky season.

This Hollow World by Johnny Hollow

Starting with “This Hollow World” by Johnny Hollow from Guelph, Ontario. The band, formed in 2001, holds their own brand of avant-garde pop achieved through blending organic instruments with electro-industrial sounds. Their sound is accompanied by intricate dark art by digital artist Vincent Marcone in their videos. Their niche touches steampunk and goth genres, and this song from their album Dirty Hands’ would be a unique addition to your Halloween playlist, adding a haunting cello from cellist Kitty Thompson, eerie riffs from guitarist Steve Heihn and spine-chilling vocals from singer Janine White.

Tales of the Phantom Ship by Lennie Gallant

Released in 1988, this next song is from Canadian Folk singer-songwriter Lennie Gallant’s debut album Breakwater. With the use of mandolin, harmonica, violin and mandocello, Gallant tells a ghost story in “Tales of the Phantom Ship” inspired by the legend of a ghost ship in Northumberland Strait, the southern Gulf of Saint Lawrence in Eastern Canada. The legend dates back over 250 years, and the ship in the ghost story is typically depicted as a schooner with three or four masts and pure white sails, which are said to become completely engulfed in flames as onlookers watch. Take note of the lyrics and immerse yourself in the ghostly scene set before you.

Chasse-Galerie by Claude Dubois

A song with a devilish tale, “Le Chasse Galerie,” also known as “The Bewitched Canoe,” is a popular French-Canadian legend about lumberjacks working around the Gatineau River who make a deal with the devil. The tale has origins dating all the way back to when French Settlers arrived in Canada and swapped stories with Indigenous people. It is said to be a mix of the tale of a French nobleman named Gallery who loved to hunt so much he missed Sunday mass and was punished to fly forever chased by horses and wolves, and an Indigenous legend about a flying canoe. The hair-raising song sung by Claude Dubois was released in 1978. It utilizes a beautiful, sorrowful piano melody along with string instruments to tell this soul-stirring story.

Lost Jimmy Whelan by Clary Croft

“Lost Jimmy Whelan” is another Canadian folk song inspired by traditional ghost stories originating in Canada. This tale is one of grief, a ballad written about a young man who died while working on what was likely a river drive. The ghost appears to his lover as she wanders along a river bank, and many have claimed the ghost to be Ontario lumberman James Phalen, who, in actuality, died on a tributary of the Ottawa River around 1878. The song itself has been circulating since at least 1886. Clary Croft is a folklorist, writer, and entertainer from Nova Scotia, and his version of the song was released in 2021.

The Comeback Kid by Lindi Ortega

Released in 2018, this song is an alternative/indie, country song by Canadian singer-songwriter Lindi Ortega. Born in Toronto, she spent some time in Nashville, Tennessee before moving to Western Canada. “The Comeback Kid” is a fast-paced, haunting song about the revenge of a character who was shot but didn’t die; a ghost who comes back to life for relentless vengeance. Ortega’s vocals are scary-good and will certainly send another set of chills through you, along with the beat of the drums which will keep you dancing all Hallow’s Eve night.

Ghost by Fefe Dobson

Finally, the list would not be complete without this hit Canadian pop song from 2010. While not necessarily a “spooky” song, “Ghost” by Toronto-born artist Fefe Dobson continues to be a Canadian favourite with a thrilling tune and relatable lyrics. This song tells a story of a heartbreaking betrayal that would certainly “spook” anyone who has lived it. Adding this one to your Halloween party playlist will have you seeing a flash of recognition on almost every Canadian’s face and will surely get the party going.

Finished reading? Start listening! Now you can be sure to get lost in the ghostly whispers of time and the blood-curdling tales told in these Canadian songs this season.





A Q&A with Toronto musician and producer UNITY

The self-produced electronic musician is working on creating a “unique sound that will not resemble anything else”

By: Caelan Monkman

Toronto-based musician and producer UNITY is a fierce electronic superstar in the making. Following in the footsteps of her idols like FKA twigs and SOPHIE, the self-produced musician blends futuristic and psychedelic electronic/trip-hop beats with her own ethereal vocals. Ahead of the release of her newest single and music video, “SOMEWHERE IN TIME,” CanCulture’s managing editor and former music editor, Caelan Monkman, sat down with UNITY to learn more about her creative process

Much of UNITY’s musical and visual imagery stems from sci-fi and futuristic themes (Photo: UNITYISEVERYWHERE)

This interview has been edited for length and clarity

Getting started, I wanted to talk a little bit more about you. You're a Toronto musician and producer, but who is UNITY?

I came from Moscow, and I'm currently based in Toronto. I'm an experimental electronic artist. My primary focus for now is music. I'd say that a huge inspiration for me is Pink Floyd and, in general, 60s and 70s psychedelic rock. I also love everything that FKA twigs does, and SOPHIE is a huge inspiration for me. So anything ‘beyond normal,’ you know? Any type of music that sets you in a zone of ‘beyond the genre.’

Can you tell me more about the name UNITY? You’ve chosen to not just perform under your own name, but was that a deliberate choice?

I just like the way it sounds first of all, and secondly, there was an episode of Rick and Morty where Rick travelled to another planet, and this whole planet had this universal consciousness — so every inhabitant of this planet had the same consciousness — and this consciousness was named ‘Unity.’ I was so amazed by this idea that I decided to pick up the same name.

How does that idea play into your music itself?

I feel like my music is very space-y and futuristic, so it kinda resembles the idea of space exploration, trippiness and wild sounds. I'd say that I like to work not in terms of genre, but by just exploring the sounds that I like, picking them, mixing them up together and combining something new. I'm working on creating my unique sound that will not resemble anything else.

What sort of steps do you take creatively to craft a sound that doesn’t resemble anything else?

Creating “SOMEWHERE IN TIME”  helped me drastically expand on building my unique sound because the song went through a lot of stages. First, it was a techno song, then I reframed it and changed some patterns, added some trap elements, then I added some hand drums, then I played with my voice. So basically, I just made different versions of the song and combined different pieces of each of them together in a way that sounds good to the year. That's kinda my process: I experiment a lot with various genres and try to pick the sound I like the most — or the drum pattern, let's say. And I try to implement this to another structure from another genre. Basically, I mix it all together until I like the final result.

“SOMEWHERE IN TIME” is, in my opinion, the ‘thickest’ track of yours thus far — musical timbre and texture-wise. What can you tell me about the production of the track?
It has around 100 tracks in it. It has various syncopated drum patterns and a lot of complex sound design effects — especially in the very beginning of the song — that I layered by myself, just creating a bunch of sounds and layering them all together. There weren't a lot of melodic parts in it, but I made sure that my voice played the role of the instrument in most of the parts. I really wanted to make it as psychedelic and abrupt and harsh as possible to translate the idea of the song. The song is a part of my concept album that's going to be out at the end of this year. And this song specifically takes the listener on a cosmic journey through a wormhole, where the consciousness becomes omnipresent, and you experience every single thing all at once. I just wanted to translate this feeling through the sound — that's why it's so intense and unpredictable — because when you’re experiencing everything all at once, you can't really focus on anything.

You've said that you're doing a concept album as your first album. That's an ambitious move. What sort of challenges has that presented to you?

It was pretty challenging in terms of forming all of the songs into holistic pieces of the narrative that I wanted to translate. I was just writing the songs, and along the way, I was switching some details in the whole story that's in the album. The other challenge for me was to make it sound like a holistic piece. Because I experiment a lot and some of my tracks are too different from one another, it was just hard for me to find the sweet spot between all of them and mix them together so it sounded like an album and not just separate singles. But I think I did a good job at it. It’s certainly something to work on, and I can potentially do the next album better in some ways, but for now — for my first album — I think I did the very maximum that I could.

Does that mean you’re already thinking about your next album and where you can go from here?

Oh yeah, absolutely. The first album is going to be very experimental, and I didn't want it to sound commercial because my goal was to define my own sound and to experiment as much as I did and find those pieces that I’m comprised of as an artist. Then, moving forward, I’d implement them into more ‘listenable music’ — something you can dance to. So I think for the second album, I'm planning to do more of a commercial album — but not in a bad way, y’know? — like something that people can dance and sing along to. Something more interactive for the listener.

Speaking of “interactivity for the listener,” you’ve mentioned online that you’ve been working on crafting your sound for the stage without the use of laptops because you want to create an “organic live experience.” How does that work as a largely electronic musician?

My band and I use the guitar, and sometimes, for the live shows, we change the synths to the guitar, so we just try to find a similar sound on the guitar and play it. For the drums, we're actually using a Roland drum pad, and we install the sounds onto the drum pad, and it allows us to play any set, change the patterns, anything. So that's kinda what we're going for to create the most organic experience because I feel like, for some listeners, it's not as entertaining to watch the performance being on a laptop.

Along with the challenges that have come with converting your music from electronic to instrumental, have there been musical discoveries?

I realized that I could actually use more guitar in my productions because with electronic guitar, again, you can apply a lot of effects and experiment with the sound of the guitar itself. And I feel like it adds a lot more organic feeling, and it suits my voice and my drums really well. I feel like that was the biggest discovery: I can actually implement real instruments, and it will still sound pretty electronic.

Shifting focus a little bit, can you tell me more about your music video for “SOMEWHERE IN TIME”?

I think we worked on it for a few months. It's gonna be a space-y, sci-fi futuristic music video. It’s very dark and very suitable to the song vibe I guess. We worked a lot on the set. We had an amazing costume designer who made this wire hat for me, she really worked on the costumes really well. We had an amazing director of photography who shot the whole thing and had amazing shots. And obviously, the director who made this whole thing work together and who basically came up with the idea. And I was in the process as well. I wasn't just somebody who the whole crew was working with — I was also suggesting things and actively adding my own ideas. It was just overall an amazing experience of working with people who are really excited about this idea. A lot of people have been telling me that they love working on creative projects like this, so I feel like I've met a lot of people, and I just generally had an amazing life experience of shooting a music video.

What sort of inspirations were behind the visuals of the music video?

My main inspiration was 2001: A Space Odyssey. It's one of my favourite movies, for sure. It was my inspiration just in terms of the monumentality of the pictures, the colours, the concept and just everything. I was just heavily inspired by this film and its general futuristic aesthetic, I'd say.

Lastly, what can listeners expect from you going forward? You've got this new single and music video; what’s next?

My biggest goal right now is to just release this upcoming album and start playing more shows live in Toronto. We're actually planning to make the first concert dedicated to the album release at the end of the year. So more on that will be on my Instagram. And yeah, that's pretty much the goal: To just play more live shows and continue my experimentations with sound, making new tracks and all that stuff.

UNITY’s newest single, “SOMEWHERE IN TIME” is now streaming on all major platforms. Click here to listen now.



Don’t miss a beat this holiday season: A gift guide for music lovers

‘There’s a song in my heart’ is what your music-loving friends and family will say this winter when opening presents from CanCulture’s gift guide

By: Julia Lawrence

Red, white and black graphic with a series of musical-themed illustrations scattered around

Do you love a music lover? CanCulture’s got you covered for the holidays. (Sama Nemat Allah/CanCulture)

Snow-filled days warn Canadians that the countdown for the perfect gift has begun. So whether it’s a musical theatre or hip-hop listener you’re shopping for, there's something on this list for every music lover to enjoy this holiday season.

Books, books, books

The gift: Find a photographical coffee table book of their favourite genre or artist that they can flip through or display in their room as a piece of art. Check out your local used bookstore’s music section for unique options with a lower price point.

Are they a fan of music history? Gift them a copy of “Is This Live?: Inside The Wild Early Years Of MuchMusic: The Nation’s Music Station,” filled with anecdotes and memories of how MuchMusic defined Canada’s sound.

Where to shop: In used bookstores like ABC Books, Pulpfiction Books and Encore Books and Records, or order through businesses like Indigo for mainstream and recent book releases.

Price range: $10+.

Don’t for-fret to strum the coffee

On a white background, seven multicoloured guitar-shaped spoons rest on the edge of a tea cup plate.

(Via SpoonArtBoutique)

The gift: No tuning is necessary for this guitar.

This guitar-shaped spoon is perfect for someone that plays the instrument and drinks a lot of coffee or tea. You could continue the theme by pairing it with a mug and a selection of their favourite hot drinks to make it a whole package.

Where to shop: SpoonArtBoutique on Etsy and your local grocery or variety store to find mug and beverage options.

Price range: $5.75 per spoon, upwards of $15 if making it a package.

Who said you can’t stand on CDs

The gift: Holiday shopping can be “tuf,” but not with this present idea.

Confirm you know their favourite album cover design without being too suspicious, and then work with a small business owner that uses the textile manufacturing method of tufting, a type of yarn to create a dense rug and recreate the cover art as a CD rug. Either complete a workshop and create it yourself or order a custom rug, but don’t wait too long on this one, as commissions take time.

Where to shop: Look up #Tufting(Your area), i.e. #TuftingToronto to find businesses/artists near you. In Toronto, some shops offer workshops like Emo Tuft or Chillax Tufting Studio, but if you want to commission a rug, try Tuft Theory.

Price range: $100+ depending on the workshops and commission prices. If it doesn’t say directly on the site, ask for a consultation to know the price upfront before committing.

Just don’t scratch it

The gift: Nothing can beat a good old classic like gifting records.

Even if they don’t have a record player, a record can be used as room decor and admired for viewing. If you’re up for the cost, pair the record(s) with a record player.

Where to shop: Look into Kops Records, Cosmos West Records, Funky Moose Records or search “records” on a map near you.

Price range: $6+ on records alone, $100+ with a record player.

Wearing the next act

The gift: These jewelry items will have the person singing show tunes every time they’re worn (be prepared).

Playbill-themed gifts are great for those into musical theatre or who simply love watching actors abruptly break out into song live on stage. Get a mix or an all-time favourite that you know they’ll keep for years to come.

Where to shop: AKStudioBoutique on Etsy, or get crafty and DIY the earrings yourself.

Price range: $10+ depending on shop and materials.

Apparel, apparel, apparel

The gift: Sometimes the perfect present is a simple T-shirt.

A gift they can wear almost anywhere while being comforted by the fact that their favourite band or artist is coming along with them. If you’re feeling funky, maybe add a pair of socks to balance the fit.

Where to shop: Hot Topic, Sunrise Records or any other store that sells music-branded clothing. There’s no guarantee that a thrift store will have the artist, but check out their T-shirt sections before heading to box stores.

Price range: $5+ in thrift stores and $25+ in box stores.

Don’t be a lyre in poker

On a white background there are five cards each with an illustration of a musical artist.

(Via UncommonGoods.com)

The gift: Turns might be longer with this deck because people won’t stop admiring their cards.

Switch up the usual card game gift with these musical-greats-themed cards. Along with the illustrations, you also learn about the leading faces in new genres, when playing a game.

Where to shop: Uncommon Goods online.

Price range: $15.

Keep your headphones warm

The gift: If you know a big music lover, you’ll probably also know that their most prized possession is their headphones. These covers are cute, comfortable and act as an accessory.

Where to shop: If you’re a DIY connoisseur, you can probably create these using a pattern and only pay for the materials. Alternatively, you can commission local artists like Alexandria Masse or sellers on Etsy like Handmadify.

Price range: $23+ depending on seller and materials.

Carry music with you everywhere and anywhere

The gift: Music keychains can be great if your loved one is a keychain collector or your everyday music lover.

Subtly find out a song that has meaning to them and then order a keychain version with the artwork so they can carry that piece of music with them anywhere.

Where to shop: Look on Etsy for music keychain sellers like YourSignatureGifts.

Price range: $10.

New XO Record's Chxrry22 releases debut EP The Other Side

Embodying the old sounds of The Weeknd, Chxrry22 drops her debut 7-track EP, The Other Side

By: Bana Yirgalem

(XO Records/Republic)

Chxrry22 (pronounced ‘Cherry 22’) was born in Scarborough to Ethiopian immigrants and started releasing music online in 2017. Once she gained a listenership online, she then moved to Atlanta to further pursue her music career. 

After being signed to XO Records, founded by fellow Torontonian and singer The Weeknd, making her the first female artist signed to the label, Chxrry22 dropped her debut EP The Other Side—that alone gave her a huge jumpstart to her career. With The Weeknd providing her with leadership and guidance, Chxrry22 is on the path to great success.

For those unfamiliar with XO Records, the Canadian record label was founded by singer-songwriter The Weeknd, his managers Wassim Slaiby and Amir “Cash” Esmailian, and his creative director La Mar Taylor. They currently have four artists – The Weeknd, Nav, Belly and her – signed under the label, with Chxrry22 being their latest addition.

In a press release with Complex Canada, Chxrry22 said that “The Other Side is about coming to terms with duality – we all have two sides. We can be both the villain and the victim in some story and this is me owning that.”

That is indeed the case with the opening title track of the EP. Chxrry22 opens up in the song about the toxic relationship between her and her significant other.

Let’s not act like I’m to blame
When you fucked up and I forgave

She continues the song by explaining how she has prospered and exceeded for herself after leaving her lover, saying that she’s on the ‘other side’ and he is stuck where he is: “You're watchin' my dreams come to life (To life, to life)”

The Falls is more of a sultry track filled with toxic vibes and lyrics. She sings with passion in an alluring way, paired with the slowed-down guitar, drums, and melody, which makes the song so appealing. The opening lyrics insinuate that she fell into the temptation of cheating. The chorus lyrics explain that even though what she did was wrong, she’s not going to admit she’s sorry due to her pride.

As the track continues, she explains to her partner that you have to prioritize yourself because, at the end of the day, it’s only going to be you; “You bе in your feelings knowing you're a filler/I'm doing my thing, you should do the same.”

Call Me almost feels like a continuation of The Falls but the storyline is somewhat reversed like she’s calling her significant other after her infidelity to fix what’s been broken. But she simply wants to mend things more on the physical side, rather than the emotional side. The song’s haunting R&B sounds, enhanced by equally haunting lyrics and instrumentation, allow the listener to recall the similar sounds found in The Falls.

The other four tracks on the album tie in together with the above three songs. The EP’s storyline allows you to join Chxrry22 throughout her success, infidelity and toxic and remorseful lifestyles that often feel inevitable in relationships. She admitted in an Instagram caption, “I don’t write about anything I haven’t done or been through so when you hear these songs just know it’s coming from my heart.”

Her ability to be emotionally open in her lyrics shows that she has a gift for songwriting. The incapacity of some artists to open themselves up wholly to their audiences seldom goes unnoticed by fans– this isn’t the case with Chxrry22 who shares her rights and wrongs with us.  She’s showing herself musically, and this lyrical maturity is what draws others to her music.

Although this is her first EP, the way her voice is evocative yet angelic makes Chxrry22 stand out. Her sound is different and fresh, and her EP was released just in time for the cold fall nights. 

Check out the fill album here:

Editor's Picks: 8 songs by Canadian musicians to get you in an autumn mood

No matter your musical taste, these songs are sure to enhance your next apple-picking trip or pumpkin patch outing

By: Caelan Monkman

(Graphic by Caelan Monkman)

The air is cooler, the leaves are changing colour and the melodies are flowing! To help get you into the fall music mood, here are eight must-listen songs by Canadian artists to add to your playlist this month.

So whether you’re out on a fall hike watching the leaves change colours or curled up inside with a book and a pumpkin spice latte, these songs will perfectly accompany your autumnal activities.

These songs and many others can be found on CanCulture’s Sounds of Fall Playlist, available now on Spotify and Apple Music.

Neil Young - Harvest Moon

No fall playlist would be complete without Harvest Moon by Canadian music legend Neil Young. As the title track off his 19th studio album (which turns 30 next month), the song has become one of Young’s most famous, being named the “30th-greatest Neil Young song of all time” in 2021 by Rolling Stone. Between Young’s vocals, the background vocals provided by Linda Ronstadt and the gentle picking of a steel guitar, the song creates an otherworldly atmosphere perfect for listening late on a fall evening.

The Weather Station - Loyalty

There’s a loneliness, I don’t lose sight of it
Like a high distant satellite
One side in shadow, one in light
But I didn’t mind to be alone that night in a city I’d never seen

With lyrics equally haunting and therapeutic, The Weather Station’s 2015 track captures the mysterious feelings of late fall evenings. Following in the footsteps of other Canadian folk singers like Joni Mitchell and Sarah Harmer, the title track of The Weather Station’s third album is melodically straightforward and lyrically complex. Produced by fellow Canadian musicians Afie Jurvanen (Bahamas) and Robbie Lackritz (who had worked with the likes of Feist and Jason Collett), the track has a distinct indie-folk feel and features some of the lead singer Tamara Lindeman’s most compelling lyrics. Loyalty is an easy and calming listen and provides lots of lyrical content to sink your teeth into.

Richard Inman - Redemption

A master of storytelling in his folk-country songs, Indigenous singer-songwriter Richard Inman perfectly encapsulates the feeling of driving down a prairie road in the middle of fall. His strong baritone voice singing against the backdrop of a twangy guitar and background vocals feels both fresh and road-weary, both brand new and nostalgia-inducing.

Mappe Of - Ladybird

Fans of indie pop icons like Bon Iver or Fleet Foxes will likely love Whitby, Ontario’s Mappe Of, the stage name of singer-songwriter and multi-instrumentalist Tom Meikle. Meikle’s music elegantly dances between minimalism and intricately layered arrangements of acoustic and electronic instrumentation. Miekle’s gorgeous falsetto vocals float over the top of it all, resulting in an ethereal arrangement that’s an absolute delight to listen to.

Kanen - Tes veines en canot

Karen Pinette-Fontaine, who goes by the stage name Kanen, is an Innu singer-songwriter from Uashat mak Mani-Utenam on Quebec's North Shore. Her introspective indie-folk songs consist of her gorgeous vocals, ukulele, guitar, double bass and percussion, all converging and resulting in music as soft as a cool autumn breeze. Singing songs both in French and Innu-aimun, Kanen is a must-listen for anyone interested in Canada’s francophone and Indigenous music scenes.

Srul Irving Glick - Piano Concerto II: Calm, Peacefully, con rubato

For fans of instrumental and classical music, the second movement of Srul Irving Glick’s Concerto for Piano and String Orchestra wonderfully accompanies the feeling of a crisp autumn afternoon. The prolific Toronto composer created both religious and secular music, with much of his work reflecting musical elements of his Jewish heritage. According to an article by the Ottawa Citizen, this particular recording was performed by composer and pianist Ralph Gothóni and the Finlandia Sinfonietta in the Governor General’s residence in 1992.

Andy Shauf - Early to the Party

The second track off Andy Shauf’s 2016 concept album about a house party features tons of ‘60s musical influences. The Saskatchewan native received lots of praise for the album, as well as multiple Juno Award nominations and a Polaris Prize shortlisting. As the title of the song suggests, the track is about the discomfort of being the first to arrive at a party and the experience of waiting for others to show up.

Though Shauf has explained many of the album’s songs contain autobiographical elements, they also explore many universal themes and experiences. The perfect song to put on next time you’re the first to arrive at that Thanksgiving gathering or Halloween party!

So there you have it: the perfect songs to freshen up your fall playlists! Be sure to check out our full playlist the next time you’re looking for the perfect Canadian soundtrack for your autumnal adventures.

Lil Uzi Vert and Juice Wrld headline Western’s Purple Fest

Western alum, Loud Luxury, and multi-platinum producer, Murda Beatz also performed at the six-hour long day festival during FOCO last Saturday in London, Ont.

Clad in a ski-mask with four bags hanging off of his shoulders, Lil Uzi Vert performs in the on-campus parking lot turned festival venue. Photo / Benjamin Hargreaves

Clad in a ski-mask with four bags hanging off of his shoulders, Lil Uzi Vert performs in the on-campus parking lot turned festival venue. Photo / Benjamin Hargreaves

By: Benjamin Hargreaves

The sold-out festival at Western University went off without a hitch last Saturday, but that might not have been a good thing.

The concert, organized by Western University’s Student Council, sold out of its 12,000 tickets with the Western WSC stating that, at its peak, there were over 11,000 in attendance.

Purple Fest was a mid-day music festival organized by Western’s USC in a bid to draw unsanctioned partiers off residential streets.

The consensus of the crowd was that Grammy-nominated recording artist, Lil Uzi Vert, was the performer attendees were looking forward to most. This seemed to be the case as the crowd broke apart into scattered mosh pits upon his entry.

Before Uzi took the stage, Chicago rapper, Juice Wrld, performed his explosive hits Lucid Dreams and Lean Wit Me. He also covered the late XXXTENTACION’s Take a Step Back.

Other acts included Maestro, Drezo, WISE, Matt Royal and Toronto based rapper, Jordon Solomon.

With only one unspecified non life-threatening injury reported by the Western USC, they consider Purple Fest a success, but it might have caused problems in other ways.

The concert was meant to give students an alternative to partying on streets, but it might have magnified the problem, according to John Pare, London’s police chief at a news conference addressing FOCO on Tuesday.

In 2016, the university decided to move homecoming to late October as a way of deterring the illegal street parties. But the student body’s response to this decision wasn’t what the university expected.  

With the new date of homecoming plagued by midterms and colder weather, the students took to the streets on Oct. 1, 2016, for the first ever “fake homecoming” or FOCO.

London police estimated that about 10,000 people showed up in 2016 and that increased to 11,000 in 2017.

But this year was by far the biggest turn-out for FOCO with the LPS announcing Tuesday that they estimate the number of partiers to have been 20,000.

Details are still emerging about FOCO but the LPS reported that there were 134 charges, over 3,000 warnings and 28 people taken to hospital. The costs of policing alone are expected to be in excess of $100,000.

When the dust settles around FOCO we will have to wait to see if Purple Fest will make an appearance next year.




Hedley's second show since announcing hiatus sees lone protestor and continued trend of “frat boy” antics.

Frontman Jacob Hoggard, identifies as Donald Trump, covers Frank Ocean and takes a fan’s phone, again.

Photo by Benjamin Hargreaves/CanCulture.

Photo by Benjamin Hargreaves/CanCulture.

By Benjamin Hargreaves

Hedley’s Jacob Hoggard continued his “frat boy persona” and habit of stealing phones during the band’s Cageless tour stop in Peterborough, Ont. on Friday, marking their second performance since announcing an indefinite hiatus amid ongoing sexual misconduct allegations.

With performers Shawn Hook, Neon Dreams and most recently, Quebec City’s Liteyears, cancelling as Hedley’s opening acts, the band took the stage with only a few songs played over the speakers as an opener.

Multiple women on social media have spoken out against Hoggard regarding alleged acts of sexual misconduct. Most recently, on Feb. 25, a 24-year-old Ottawa women came to the CBC with accusations against Hoggard regarding several alleged encounters occurring in 2016. 

After this allegation was published, Hoggard released a statement on Twitter admitting to behaving in a way that “objectified women.”

Roughly an hour before the show began, Hoggard took to Twitter again, this time acknowledging that the CBC has told him new allegations are going to come out from yet another woman, writing, “The allegation is startling and categorically untrue. It is not within my capacity as a person to force anyone beyond their boundaries."
 

“What’s going on Peterborough?” Hoggard shouted to a crowd of roughly 2,300 people in the venue that has a concert capacity of about 5,000. The crowd cheered as Hoggard began singing “Better Days”, a song from their new album, Cageless.

Hedley’s setlist for the night would also include their hits “Anything,” “Cha-Ching” and “Lose Control” as well as “Bad Tattoo” and “All Night” from their most recent album, all being received with deafening cheers from the audience.

However, Hedley’s visit to Peterborough was not well received by all.

“It makes me angry [that] this is happening,” says Shawna Blackwood a 26-year-old Peterborough resident and only protestor at Hedley’s Peterborough performance.  

Blackwood stood outside the Memorial Centre for just under an hour leading up to Hedley’s 7:30 p.m. scheduled start.

Shawna Blackwood protesting outside of the Memorial Centre in Peterborough, Ont. (Photo by Benjamin Hargreaves/CanCulture)

Shawna Blackwood protesting outside of the Memorial Centre in Peterborough, Ont. (Photo by Benjamin Hargreaves/CanCulture)

Blackwood believes the Memorial Centre should have cancelled the show, much like the Windsor Ont. venue did to Hedley’s scheduled performance on Mar. 11. She also believes peaceful protest is useful in the wake of sexual misconduct allegations.

“I’m just here commending their bravery,” Blackwood said referring to the women speaking out against Hoggard. “I’m providing access to information about reporting sexual assault and the fact that consent is sexy and no means no.”

Blackwood  stood outside the entrance to the Memorial Centre holding a sign reading “She said no!” in reference to the Ottawa woman who came forward, for roughly five minutes before two security guards approached her. Each guard took a pamphlet she was handing out on how to report sexual assault and then asked her to leave the property.

Hedley’s performance on Friday included a rendition of Frank Ocean’s, rather explicit track, “Self Control,” which Hoggard delivered as a solo.

Hoggard continued, what The Canadian Press reporter David Friend coined, his “frat-boy persona,” after taking a fan’s phone in their Brampton, Ont. show on Mar. 1.

Almost mirroring his antics from the night before, Hoggard called out a fan in the front row for texting during the show. He proceeded to ask for the phone and after scrolling through her contacts, called the girl’s father.

“Hey, it’s Jake from Hedley, we’re on stage at the Hedley show in Peterborough,” Hoggard said.

Hoggard stayed on the phone with the girl’s father for another 15 seconds, before saying “I miss you and I wish you were here at the Hedley concert. I’ll talk to you later. TTYL. BRB. LOL. JK Dad,” and hanging up. After scolding the girl once more for texting he ended the charade by taking a selfie on the girl’s phone.

Hoggard would not directly address the allegations against him but he would repeat a speech he has delivered in multiple performances, including Hedley’s Brampton show the night before.

“Peterborough, thank you for standing behind us,” he said, “for believing in us and loving us every step of the way.”

“It’s fans like you that keep us doing what we are doing,” Hoggard continued. “We couldn’t get through this without people like you, through the ups and the downs, through the highs and the lows, the good times and the bad. ‘Cause Peterborough, sometimes life sucks and that’s why we’ve got you, ‘cause Peterborough sometimes life sucks and that’s why you’ve got us.”

The crowd then assisted Hoggard with the final verse of the song, with Hoggard ending it by saying goodnight to the crowd.

The response was not quite a standing ovation, but it was enough to bring the band back to the stage for one encore song.

This piece was edited by Valerie Dittrich. 

 

Top Six Canadian Albums to Look Out For in 2018

By: Manuela Vega

With albums like Arcade Fire’s eclectic Everything Now and Daniel Caesar’s gorgeous debut Freudian, there’s no doubt that Canadian musicians were standouts in 2017. While artists set the bar high last year, there’s plenty of reason to believe that 2018 will also introduce a multitude of memorable tracks. Be sure to look out for these six albums this year!

6) Ought: Room Inside the World

This Montreal band has released the singles ”These 3 Things” and “Disgraced in America” from their upcoming album, Room Inside the World. If their LP is anything like the singles, Feb. 16 is bound to bring a collection of reflective, existential anthems. Ought captures the essence of isolation and contemplation in their melancholy riffs, but they mix up their rhythms to the point that you can justify happily dancing to a sad song.

5) Born Ruffians: Uncle, Duke, & The Chief

Continuing their stream of passionate belting and upbeat rhythms, Born Ruffians introduces a sense of true candidness on what has been released from their fifth full-length album Uncle, Duke, & The Chief. Between touching on the inability to mask feelings of a longing heart in “Miss You,” accepting the inevitability of death in “Forget Me,” and regretting the vulnerability of an open heart in “Love Too Soon,” the Toronto band sets up an album of soft, jangly tunes to sing along to on Feb. 16.

4) Chromeo: TBA

Guitarist and lead-singer Dave 1 and multi-instrumentalist P-Thugg have been avidly sharing on Instagram and Twitter their dedication to perfecting the production of their electronic-funk album due in the spring. The first single “Juice” is an exuberant synthesized jam about a partner who gets shamelessly hit on in public because she’s “got the juice.” The light-energy, feel-good song continues to play on this double meaning. Dave 1 told Beats 1 that this will be their “most robust, conceptually tight album.”

3) Metric: TBA

Metric has a knack for creating lively hits that express liberation with every head-bob, sway, or strut. Combining synths, lush beats, and tight strums, paired with lead singer Emily Haines’ vibrant voice has worked especially well for the band on past highly regarded albums, such as Fantasies (2009) and Synthetica (2012). Although there’s still no new album title or release date, the quartet has been teasing fans on Instagram with pictures of studio visits since September. Since their last album Pagans in Vegas (2015), Haines has released a solo album in a style different from that of her band’s, with a distinct focus on vocals and reflection, raising the question of whether or not 2018 will be the year that Metric goes in a totally new direction.

2) Rhye: Blood

Former Canadian solo-artist Mike Milosh and Danish producer Robin Braun are the duo behind Rhye’s fusion sound. The 2018 pre-release of Blood showcases the steady electronic, folky jazz that backs delicate vocals on provocative works like “Taste” and soothing pieces like “Song for You.” Releasing the rest of their album on Feb. 2, Rhye will surely bring a diverse range of sounds to an increasingly contemporary form of R&B.

1) Charlotte Day Wilson: Stone Woman

The Toronto singer-songwriter and producer announced this month that her new EP Stone Woman will be released on Feb. 23. Since her melodious R&B EP CDW debuted in 2016, Wilson has been captivating listeners with her effortless elegance. Although tracks from CDW like “Work” and “Find You” are hypnotically mellow, the 2018 single “Nothing New” ripples with calculated power, rising and settling around the easy flow of Wilson’s formidable voice. It sets the stage for Stone Woman to be as enchanting as her previous release.

This piece was edited by Valerie Dittrich.