From genre-bending banjo players to Caribbean hardcore revivalists, these artists are reshaping what alternative music looks and sounds like

By T Edward

Often historically overlooked, Black artists from across the diaspora play an incredibly large role in alternative music culture — stretching from rock and metal to electronic and folk. Heard by Cleveland Avenue’s infectious pop-punk or Fishbone’s kaleidoscopic funk, Black musicians have diversified alternative genres far and wide. In Canada, a vibrant community of Black alternative musicians are reshaping genres, merging influences and pushing creative boundaries.

Here are six Black Canadian alternative artists you need to know. These avant-garde innovators and powerhouse rockstars are challenging conventions and broadening perceptions of Black identity in alternative spaces. Whether they’re blending punk with Caribbean tempo or infusing folk with pointed political commentary, these artists aren’t just participating in alternative music, but uprooting it!

Cam Kahin

Cam Kahin is an artist on the brink of something special. The Toronto-based up-and-comer possesses a singular sound that melds alt-rock, lo-fi and experimental sludge. Kahin is a singer-songwriter, multi-instrumentalist and producer who developed his musical tastes by listening to heavy doses of Muse, Cage the Elephant and Biffy Clyro. He began creating music at the age of 12 and has been refining his skills ever since — most recently participating in the Soundstock Academy program for emerging Black musicians in the Greater Toronto Area. Kahin released his first EP, LET IT SINK IN, in March, collaborating with his childhood hero, Nicolas Fournier — a respected sound engineer and mixer who has worked with both Muse and Biffy Clyro. His latest single, “NINETEEN,” incorporates the signature flow of Toronto rappers while Kahin reflects on his self-image and identity as a 19-year-old. With a chorus reminiscent of Blackbear, the singer-songwriter has crafted a catchy tune embodying the self-loathing often found in teen anthems. Kahin’s 2022 release shares a simple indie melody with other releases from that year, but he injects a fun energy into the track by introducing a fresh rap into the verse.

Denise “Vanity” Matthews

When you think of 80s icons, Vanity wasn’t just playing the game, she was breaking all its rules. Born Denise Matthews in Niagara Falls, Ont., she stormed into the scene as Prince’s fiery protégée and the lead of Vanity 6, delivering the synth-funk banger “Nasty Girl” with enough attitude to shake up the whole decade. With her fearless sexuality, fishnets and in-your-face energy, Vanity defined the era. After going solo with albums like Wild Animal and Skin On Skin, she lit up both the charts and the screen in cult films like The Last Dragon and Action Jackson. Her life took a sharp turn after struggling with years of drug use, but in true rockstar fashion, she flipped the script, renounced her past and became a minister. She tells it all in the raw, redemptive memoir Blame it on Vanity. The singer passed in 2016, but her legacy still smolders on: glamorous, gritty and unapologetically loud.

Fefe Dobson

When you think of pop-punk, it’s easy to picture skinny jeans, Disney knees and skateparks, but mixed-race singer Fefe Dobson has been bringing something different to the table with her heartfelt takes on classic early 2000s tropes since ‘03. Born in Scarborough, Ont., Dobson made her debut with a self-titled album at only 18-years-old. Channeling Avril Lavigne and Green Day, this 13 song release encapsulates teen angst with an unmistakable Y2K sound. The opening track “Stupid Little Love Song” is exactly as the title suggests — with a classic pop-punk instrumental, Dobson slides on the track with a bodacious energy. Outside of her own discography, Dobson’s behind-the-scenes songwriting for stars like Miley Cyrus and Selena Gomez proves her versatility. Whether front and center or behind the curtain, Dobson has been serving pop-punk anthems with glitz and glam for over two decades and it’s time she got her flowers.

Kaia Kater

Who knew the banjo could sound this cool? Kaia Kater brings a fresh, fearless vibe to folk music, blending her Canadian and Grenadian roots to provide deep, evocative tracks. Born in Montreal and raised across Canada, she sharpened her skills south of the border. She found herself in West Virginia after earning a banjo scholarship, soaking up traditional mountain music in the region. Kater released her first EP at 17 years old, pulling inspiration from both old-timey folk and contemporary Canadian storytellers like Drake. Her 2016 album Nine Pin earned critical praise from Rolling Stone and The Guardian for its honest lyrics tackling racism and poverty, all wrapped in soulful banjo melodies. With crisp storytelling and a sound that’s both timeless and new, Kater is stamping her own unforgettable symbol onto the folk scene.

Morgan-Paige

Morgan-Paige, also known as Morgan Paige Melbourne, is a storyteller through sound, crafting sonic landscapes that are equal parts haunting and hopeful. Her 2020 release Dear Serenity isn’t just an album; it’s an act of protest, a celebration of Blackness and a cathartic call to action. Comprising nine tracks — all self-produced — the album blends spoken word and eerie instrumentation to confront anti-Black systems while showcasing her deeply personal reflections. Melbourne’s classical training is evident in every note. A classically-trained pianist with a licentiate diploma in piano performance from the Royal Conservatory of Music, she performs and records all her pieces in a single take — an astounding feat that adds an extra layer of rawness and immediacy to her work. Through her music, Melbourne doesn’t just play piano, she uses it to amplify stories that are often silenced, all while entrancing her listeners with melodies that linger long after the final note.

Joncro

Joncro is what happens when punk energy collides with island soul. This Mississauga-based trio, fronted by lead vocalist and guitarist Daniel Wilson, describes their sound as “post-hardcore with a tropical twist” — a fitting label for a band that fuses aggressive punk rhythms with the lush grooves of Caribbean music. Their 2021 album Richmond Station takes listeners on a journey that feels both rebellious and rooted, opening with the fiery “Passa Passa” and closing on the poignant “Mama.” Throughout the album, Wilson delves into his Jamaican upbringing, weaving memories and cultural identity into lyrics that are deeply personal yet universally resonant. Joncro’s momentum extends beyond the music — they make statements, honouring heritage while detonating genre expectations. With rhythms that are as hypnotic as they are chaotic, the band captures the complexity of diasporic identity, offering a sound that’s refreshingly bold and wholly original.

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Extending from gritty punk riffs all the way to soulful banjo melodies, these Black Canadian artists are not only breaking moulds but building entirely new worlds. They demolish genre boxes, challenge industry norms and make room for themselves to create music that resonates with their listeners. Whether channeling vulnerability, rebellion or joy, each of these musicians bring something uniquely powerful to the alternative scene. Their presence isn’t just important, it’s essential. Whether it’s the trailblazers who lit the first sparks or today’s genre-bending innovators and the voices still to come, Black Canadian artists have always spearheaded alternative music — and they always will.