Les Prix Trille Or est une semaine riche en activités parfait pour les artistes, les professionnels de l’industrie ainsi que le public du se déroule du 1 au 6 mai. Pendant la semaine, il y a plusieurs activités et évènement au programme, tel que des vitrines musicales, des panels, une conférence, des laboratoires de travail, des cocktails de réseautage, la Soirée industrie et plus encore. Tout cela culmine avec le Gala des prix Trille Or.
Si tu cherches à chanter et danser, tu pourras assister gratuitement à deux soirées de vitrines musicales qui mettront en scène des artistes de la francophonie canadienne au Théâtre Richcraft du Centre des arts Shenkman les 1 et 3 mai 2017 dès 20h00. Mclean, Raton Lover, Gabrille Goulet et Réglement 17 participerons à la première vitrine le 1er mai et Justin Lacroix, Janie Renée, Pierre Guitard et Yao participerons à la deuxième vitrine le 3 mai.
Finalement le festival conclue avec la 9e édition du Gala des prix Trille Or au Centre des arts Shenkman le 5 mai à 18h00. Le Gala des prix Trille Or est l’occasion de souligner l’excellence artistique et de célébrer la musique franco-canadienne. Artiste de la région, Mehdi Hamdad avec son groupe Mehdi Cayenne a obtenu 11 nominations! Tel que la nomination du meilleur interprète masculin, du meilleur album pour Aube et du meilleur spectacle pour Les heures impossibles.
Il y aura plusieurs performances musicales pendant le Gala, incluant: Mehdi Cayenne, Céleste Lévis, Andrea Lindsay, Anique Granger, Ponteix, Shawn Jobin, Kelly Bado, LGS (Le Groupe Swing), Hey Wow, Dans l’shed et Joey Robin Haché. Des billets sont encore disponibles via le site web du Centre des arts Shenkman.
Standing in the Westin picking up Juno Awards media passes, my phone buzzed. A screenshot from a friend of a tweet saying there was a pop-up Arkells show at a *secret* location, hosted by CBCq and Tom Power. What the hell is that, you ask? Pop-up show? Secret location? Challenge accepted. So, The Great Hunt for The Arkells Pop-Up Secret Show hosted by CBCq began.
As we left the hotel we made a plan. It was 1:30pm, the show was at 4pm. Start the clock.
1:32PM – We narrowed down possible venues for such an event in Ottawa. The tweet said that the first 50 people who emailed CBCq would get access to the show. We knew it would be small.
1:37PM – We hauled ass to the car, snow flying down everywhere, and decided first stop would be at the source. Off to CBC we went. Once we parked and found our way around the the entrance that actually let us in (harder than you’d think, there’s like five doors to that place). The security guards were quick to stop us, we showed them the tweet and I’m pretty sure they thought we were off our rockers. Thankfully, one gentleman didn’t think we were completely loony and offered to help us out by introducing us to the CBC host he was waiting to meet. Amazingly enough, the host he was waiting for also happened to be the moderator from the morning’s panel discussion on Ottawa As A Music City. Though he also had no idea what we were talking about he was nice enough to wish us luck as we left on The Great Hunt for The Arkells Pop-Up Secret Show hosted by CBCq
2:05PM – Next we tried to think logically. CBCq hosted an event at the Bronson Centre the day before. Perhaps they were holding all their gear there for the broadcast. So once again, off we went. We got inside only to have the person behind the desk look at us like we have eight heads. This was becoming a theme. We thought this was a logical choice, but failed to consider the size of the Bronson Centre, and how it could fit many more than 50 people.
2:30PM – Though we didn’t admit defeat, we decided that CBC probably knew a thing or two about keeping secrets. We carried on with our day.
3PM – Out for lunch where I ended up with a full pint of beer in my lap and ate perogies that would later nearly kill me (that’s a story for another time).
3:45PM – *Phone buzz.* What’s the line up outside LIVE on Elgin? We once again hauled ass to the car.
4:05PM – Late for the 4PM start time, we parked, j-walked and carefully knocked on the door of the venue. Security opens the door and quickly starts questioning. We got a quick no, and a door close.
4:07PM – Some parts of this story need to remain a mystery, right?
4:10PM – WE GOT IN! The Great Hunt for The Arkells Pop-Up Secret Show hosted by CBCq was a success!!! We quickly stripped off coats, rigged up cameras with lens, and flew like the wind towards the stage. Arkells were going full tilt, we started shooting. Max flew everywhere through the crowd. He was dancing, throwing his mic stand around, finally just took the glasses straight off my face. Insanity. Private School, Drakes Dad, Happy Birthday, Jackson Five.
4:50PM – Post show CBC Host Tom Power striked up a conversation with us. We hesitantly told him details of The Great Hunt for The Arkells Pop-Up Secret Show hosted by CBCq, unsure of the response we would receive. He got a laugh, seemed impressed, all was fine, the end.
4:55PM– Still losing our shit, we went on with our day. The rest of The Juno Awards awaited us, little did we know there was much more in store for the weekend. Check out the full photo gallery for more of what I got up to throughout Juno Weekend.
Join us next time as I tell the story about how I puke outside Petrocan before meeting another CBC radio host.
JUNOfest kicked off Thursday with a few shows around town, and I decided to make my way to Zaphod’s to check out Operators along with supporting acts Charly Bliss and Potential Red.
Juno fever was in the air, and you could feel the excitement building in the city. The first act to hit the stage was a newer post-punk group in Ottawa called Potential Red. I’d heard about these guys through the grapevine but hadn’t seen them before, and they impressed everyone in attendance with a strong set. There aren’t a lot of Ottawa groups writing songs in the footsteps of late ‘70’s and early ‘80’s post-punk and new wave bands, and these guys do it right.
Right away Potential Red captured the audience’s attention and held on tight as they blasted out heavy bass-driven grooves layered with reverb-laden guitars and flutters of synth throughout their songs. Dare I say that lead singer David Sklubal’s moves on stage were reminiscent of Ian Curtis’, frantically exuding his energy into the crowd and getting the front riled up. I heard some of A Place to Bury Strangers in some of their songs, which I certainly connected with. Sklubal nearly broke the neck of his guitar as he jumped around on stage, just before launching himself into the crowd with reckless abandon. This is definitely a local band to keep an eye on, their live performance is not to be missed.
Next up was Brooklyn, NY grunge-pop band Charly Bliss. The four-piece churned out the kind of power-pop that we all know and love, channeling a sound that many of grew up with in the 90’s. Front-woman Eva Hendricks stole the show with her stage antics, having fun with the set and luring the crowd in with her energy. In all honesty, this is the kind of band I’m skeptical of going in. Having not heard their music before, I felt like they might toy with my emotions and try to pull some nostalgic strings without executing it properly. This happens sometimes. I was admittedly looking for something not to like about Charly Bliss, but one can’t help but fall in love with those catchy hooks, overzealous performance style, and honest songwriting delivered with a bow on top into our eardrums.
The band’s stage chemistry was obvious, and it wasn’t difficult to tell how close they are. They have opened for Veruca Salt, Sleater-Kinney, Tokyo Police Club, PUP, and are currently touring with Operators. Needless to say, catch Charly Bliss at small venues while you can because I have a feeling they’ll be playing bigger clubs any day now.
The headlining act Operators hit the stage as the crowd packed in tight. I would be remiss to leave out that I am a huge fan of Dan Boeckner – he has the Midas touch and all of his projects rule. I’m one of those old Wolf Parade fans that fell in love with Handsome Furs, and then Divine Fits, and then Operators. I’m sure there are a few curmudgeony Wolf Parade die-hards that don’t like the direction he’s gone in, but I for one am excited to see him playing with new toys and collaborating with great musicians such as Devojka and Sam Brown. I had the chance to chat with Boeckner last year, an interesting piece which you can read here.
Analogue synths abound, Operators’ modern take on post-punk has really taken shape over the last few years. This was the best set I have seen them play yet, and the road has surely tightened up their live performance. Boeckner’s comfort in this role is evident, and the smile on his face suggests that he’s loving every second of it. The songs off of Operators’ debut LP Blue Wave translate extremely well live – it’s part 80’s new wave, part dream pop, part dark post-punk – but whatever you call it, it works.
A couple highlights of the set were their performances of “Cold Light” and “True,” each of which electrified the room and got the crowd into a frenzy. Some of their songs had the audience a little unsure of themselves with respect to their dance moves, but the bodies kept flailing nonetheless. Sam Brown’s dialed-in drum beats were mesmerizing – even I got lost in his incessant, fixated rhythms. Devojka’s electronic wizardry provided the high-voltage energy of the set, complimenting both Boeckner and Brown perfectly.
My favourite part of the night was when Operators were cheered back onto the stage for an encore, during which they played a Handsome Furs track “Damage” from 2011’s Polaris-nominated Sound Kapital. I left with a smile, as night one of JUNOfest set a pretty damn good tone for the rest of the festival.
Since 2012 the Doldrums Festival has been an annual respite from the cold and slushy tail end of winter in Ottawa.
This year, the two-night festival is taking place at Club SAW in the heart of the nation’s capital on March 24 and 25. Doldrums Festival is a great example of independent Ottawa organizers and musicians working hard to showcase the best and brightest this city has to offer. This year’s edition features all local acts and is made possible thanks to the support of community-oriented businesses such as CHUO 89.1 FM, Dave’s Drum Shop, Spaceman Music Ottawa, Happy Goat Coffee Co., and Ringbill Records.
If you’re into dreamy, psychedelic and experimental vibes, night one is a sure bet with a solid dose of synth and effects-driven acts – Destroy Clocks, Church of Trees, Kate Schroder and sbsst. Leave your preconceived notions at the door and be prepared to be taken on an otherworldly musical adventure.
Night two shifts gears from the whimsical to the rocking, as Saturday focuses more on electric guitars and grandiose percussion as the driving force. Expect an all out party filled with energy, as performances by Prayer Wheels, Nightshades, Shadowhand and The Vile Bodies are sure to get the crowd going.
So this weekend, escape the winter blues and march your way through Ottawa’s slushy sidewalks to Club SAW for two great nights of local music with a little bit of something for everyone. Check out a recent interview with Church of Trees by Sometimes Always below.
Music festivals don’t just grow on trees. Whether it’s a small-scale boutique festival like Sappyfest or a large-scale behemoth such as Osheaga, festivals are the end product of a whole lot of teamwork, labour hours logged, blood, sweat – and sometimes tears.
When Garett Bass decided to move forward with a new music festival called Bangers & Mash, he knew it wouldn’t be a simple undertaking. His first rodeo was 2015’s FOLK IT ALL Festival, a packed night-long event at The Rainbow which saw a number of heavier folk and country acts hit the stage, including headliners The Jerry Cans. But 2017 offered a new opportunity to bring together musicians that share a common funky thread – soul music.
“After seeing momentum build this past year, I feel like it’s a now-or-never moment to put these bands in the spotlight and help people realize the level of talent we have here,” explains Bass. “I felt like it was time to do something similar to FOLK IT ALL for the soul music scene here, which I’ve been in entrenched in for the better part of the last decade.”
The idea took form last year when Bass and his wife went to Blakdenim’s CD release at Mavericks, where a number of bands and DJs were showcased in a small amount of time. They did short and punchy sets, all acts shared the backline, there was an MC handing out prizes in between, and afterwards they reveled in how incredible and efficient it was.
“So I decided to do a soul festival where bands play their ‘bangers’ – I thought, ‘let’s get as many acts as we can into one night with the simple rule of playing only their best songs and then getting off stage as quickly as humanly possible.”
As a member of Ottawa’s own Slack Bridges, and a past member of bands such as Steamers, Tea For the Voyage, and Mackenzie Rhythm Section, Bass is no stranger to the stage. However, organizing is a different beast altogether, so he made sure to gather a team of dedicated organizers to help him from the start.
One crucial member of the team is Ed Lister, a musician himself and founder of London Gentleman Records. Lister is a member of Chocolate Hot Pockets, Thrust, Eru-Era and an impressive Chaka Khan tribute act, and has joined forces with existing bands such as The Hornettes and The Split.
“I chose Ed to run his own stage, because he’s been the number one instigator of action and collaboration in our soul scene,” Bass says. “Ed moved here from the UK a few years ago, he plays in more acts than I can count and has helped encourage collaboration between artists all over Ottawa.”
While there are some collaborations occurring in town, it’s difficult to define a particular soul music “community” in Ottawa. There are festivals such as Ottawa Explosion, Arboretum Festival, and Megaphono that act as a crucial hub for musicians to coalesce. However, there has been a gap between the soul music fans and the musicians themselves – a gap which Bass means to fill.
“Just look at The Souljazz Orchestra shows, which have been sold out and for years. People trust anything those guys put out. The Jazz Fest late night series has been a huge success for people who love to dance to live rhythms such as Snarky Puppy, Dirty Dozen Brass Band and Tennyson. Sharon Jones played here over half a dozen times to crowds of intense fans. Our most successful local nights are generally funky DJ nights such as Double Barrel or Timekode where people can go dance to DJs spinning soul music in its most authentic form – the 45 record.”
“Places like Irene’s and Bar Robo have picked up and have started weekly/monthly nights of funk jazz, and Mike Mikkelsen has been using his connections to host lots of local live and mixed soul music at Kinki’s Kitchen. Yet, I find the weird thing is that some of these bands still don’t know one another, there’s little collaborating within a genre that is historically built on collaboration.” All that to say, it’s clear that there’s no shortage of love for soul music in the capital.
Bangers and Mash will take place on the evening of March 18, and have two stages at two adjacent venues – Black Squirrel Books & Coffee and House of TARG – that will operate simultaneously. Live music and DJ sets will be staggered between each, giving concert-goers the option for either.
The impressive local lineup includes Mackenzie Rhythm Section, The Hornettes, Slack Bridges, Tropikombo, DJ Magnificent and DJ Zattar at House of TARG, while Chocolate Hot Pockets, Mack & Ben, Blast From the Sun, DJ Jas Nasty and The Full Time Groove hold the fort at Black Squirrel Books & Coffee.
“Basically anytime there’s a DJ on at Black Squirrel, there’s a band playing at House of TARG, and then it flips,” Bass clarifies. “We’re going to recommend that people plan their night well, as there may be times when one of the two venues is at capacity. Fortunately, there’s lots of amazing stuff to see!”
Bangers & Mash will take place on March 18, ticketing and event information can be found at www.bangersmashfest.com. This article appears in the March Edition of Ottawa Beat newsprint in the OSBX column.
3 days, 13 venues, and 4147 pictures later, MEGAPHONO 2017 is done for another year. I was honoured to be a part of such an event and help capture moments throughout. The festival brings together individuals from all areas of the industry to appreciate the time and work that goes in to creating their art. I could talk for days about the performances and people I had the chance to experience, but I would much rather let the photos speak for themselves. Enjoy!
Night two of MEGAPHONO took me to Black Squirrel Books to see Bonnie Doon and Lonely Parade.
There is something very interesting about watching bands play surrounded by shelves stocked full with books. The intersection of serious songs and historical works with lighter and sillier tracks and the graphic novels is quite fascinating to me.
Lonely Parade playing at Black Squirrel books – Photo: Els Durnford
Unfortunately I arrived too late to catch Scary Bear Soundtrack, but heard they did a wonderful job as usual. Fortunately I did make it in time for Lonely Parade, the great three-piece from Peterborough. A lot of the songs they played were new songs and didn’t have names yet, they introduced two songs as “That was just New 3 and this next one is New 5.” It has been a lot of fun watching the band grow up in front of my eyes over the years and these new songs certainly show them tightening up musically. They have come a long way from when I discovered them and their song “My Mom Got Hit on at a Punk Show,” four years ago.
Lonely Parade also found time to squeeze in some of their “older” songs much to the joy of many there, including the tracks “Johnny Utah” and “Night Cruise.” They also dedicated a song to Bonnie Doon and mentioned how excited they were as “We are totally going to pizza shark later.”
Lesley Demon rocking out at Black Squirrel Books – Photo: Els Durnford
Bonnie Doon took the stage with a couple of members in cheerleader regalia and pompoms cheering for the Ottawa U Gee Gees. Bonnie Doon also played a lot of new songs and let us know that a new album is coming out this spring on Record Centre Records. Some of these new songs saw the band being joined by saxophone player Mara. It was a very unexpected and cool addition to their noisy garage sound. A lot of their stage banter revolved around their love for Buchipop culminating with the band playing a song they called “Buchipop Hole,” cementing their love for refreshing local kambucha beverage brand. They capped off their great set with words of advise “This one goes out to Lonely Parade… do not get the pepperoni…” and then they played fan favourite “Pizza Shark”
Year three is in the bag for MEGAPHONO and once again it brought me to very cool venues to discover bands that I had never heard before and see bands that I love. Well done to the entire MEGAPHONO team!
Photo of New Swears enjoying a guitar brew – Photo by Els Durnford
It is that wonderful time of year again. That time were we can escape the freezing cold of Ottawa in February by jumping into venues across the city to see some of Ottawa and Gatineau’s finest acts, as well some from out of town performers during MEGAPHONO.
My MEGAPHONO adventure for 2017 began by going to two venues for two completely different experiences. St. Albans Church for Bry Webb, Pony Girl and Trails was beautiful, thought provoking and allowed one to sit down in the dimly lit room, close their eyes and let the brain wander. Afterwards I headed to a crammed Barrymore’s for New Swears and Partner, which was a sweaty, chaotic night cap of a show.
Trails kicking things off at St. Albans Church
My night began with the dreamy psych sounds of Ottawa’s Trails. This was my first time seeing Trails and was I ever pleasantly surprised. The beautiful soundscape and imagery this solo performer creates was amplified by the setting, a 150 year old church. Songs like her opening track “Sun Go” set the stage for what was to come. She made great use of looping pedals to layer her own voice over itself which really blew me away and added so much depth to songs like “Mourning/moaning/morning/snowing.” And just for good measure, she threw in a cover of “Unfucktheworld” by Angel Olsen. Don’t sleep on Trails, I can only assume the sound will continue to grow and wonder.
Pony Girl lighting up our night at St. Albans Church.
The next act desn’t surprise me anymore because I have seen them so many times, but Pony Girl never ceases to amaze me. I have watched the band grow and mature into a very solid act that Ottawa should be proud of. They are wonderful musicians and their collective creativity has really started to take them to new heights. One thing about Pony Girl that can never be overstated, is that they have a clarinet player who is the focal point a few tracks and that is just really cool. The band’s ever growing maturity was on display during their introduction of their song “Dirty Picture.” Singer and guitarist Pascale Huot said of Dirty Picture, “this song is like my Facebook feed in a song and that’s a bad thing…be critical.” Speaking of all the terrible images and hateful text we come across every day on our screens. The band capped off their set with “Please Do.” I think I can count on one hand the amount of bands out there that can transition as smoothly as Pony Girl from rocking a high energy jam in the midst of the song right back into the track in unison without skipping a beat. Pure magic to see live.
Bry Webb capping off the night at St. Albans Church
Capping off my night at St. Albans Church was Bry Webb, known to many as the lead singer of Guelph’s Constantines. This was certainly not a Constantines set and I really appreciate that of lead singers who branch out as a solo act to do their own thing. The set began with Webb, acoustic guitar in hand, and Rich Burnett on lap steel guitar, which resulted in a mellow folky sound which was music to my ears. He treated us to some new songs including “What I do” which had some absolutely beautiful finger picking in it by Webb. A few songs in, they were joined on stage by drummer Nathan Moore (Minotaurs) to play “Rivers of Gold.” Moore then stayed with them for the rest of the set. The addition of drums certainly picked up the pace and made the set become a little more rocking, but still stayed rooted in folk.
Just before beginning to play his great song “Big Smoke,” Webb spoke of how needed this show was in times like this. “This is a good time to play music in a room of people who want to listen to music… it’s important to find opportunities to transcend fear,” he said. “May all your rooms be filled with people free of fear.” Very timely words. For the last song, Moore left his drums leaving Webb and Burnett to finish up covering Michael Hurley’s “O My Stars.” A beautiful track.
Josée Caron of Partner rocking so hard it hurts. Photo by Els Durnford
I then made my way to the ghost of shows past, Barrymore’s Night Club for a very different experience. After the never ending mandatory coat-check line was passed, I got too watch the much hyped Partner. The excitement is certainly not unfounded as they sound great and are a lot of fun live. Their crowd engagement between songs almost always resulted in laughter and their song topics are far from being shy or boring. The band is fronted by two openly lesbian singer-guitarists, one even sporting a “Beers and Queers” t-shirt. They played songs about learning that Ellen Page came out, about eating chips in the other’s room without them and making a mess, as well “Everybody knows you’re high,” which is pretty self-explanatory. They then played a song about their love for passionate amateur lesbian porn that they said they only play for crowds they are having fun with, good job Ottawa. The crowd was certainly having fun as well. Great set by an up and coming Canadian band from Sackville, NB that will certainly be turning heads and pleasing eardrums.
Sammy Scorpion of New Swears covered in the bands mess. Photo by Els Durnford
Now for the last act. With an explosion of confetti and a showering of silly-string, we all became day dreamers in the wee hours of the morning with New Swears as they kicked off their set with “Day Dreaming.” Ottawa’s kings of party-punk certainly held nothing back as they headlined the night. I have seen New Swears countless time and it is always raucous, chaotic, fun and good for many laughs. When you see how hard the crowd goes during a New Swears set you would think they were a much heavier hitting punk band slamming power chords at lightning speed. But, anyone who has seen or heard New Swears knows that is not their shtick. They do however write really catchy songs about partying and romance.
They treated the crowd to a few new songs, which sounded full of potential to grow into favourites, that will appear on their upcoming album which they promised will be released in the spring. One highlight that must be mentioned was the weird moment when the band played “Two Darts” a love song about saving one of your last smokes for your sweetie and Belmont ads were playing on the screen to the left of the stage, which turns out they were playing all night…Can you even advertise cigarettes like that anymore? Well that’s beyond the point, back to the punk show.
The band finished super strong just laying down crowd favourites after crowd favourites like “Paradise” into “See You in Hull” into “No Fun” and capped with “Stay Gold.” Nothing like finishing off a set after 1 am with the line “don’t you wish your boyfriend was a punk like me.” Oh New Swears promise you’ll never change and we’ll promise to stay rowdy.
The 2017 Megaphono Festival has begun, and has already rung in a number of successful music panels, events, and shows, bringing in a collection of talent from across Canada, the US, and beyond. On Thursday, February 2 at Barrymore’s, Partner joins I.D.A.L.G. and New Swears for what is expected to be nothing less than the punk rock party dreams are made of.
Hailing from New Brunswick, Partner’s Josée Caron and Lucy Niles are a musical match made in heaven. Their songs, which mix the uplifting sound of indie pop with the rough energy of post-punk, perfectly encapsulate the feelings of young adulthood.
Previously bandmates in Killer Haze, Caron and Niles decided to create new music based on the fleeting events and ideas of everyday life. Their Bandcamp lists intimacy, friendship, sexuality, and drugs as some of the elements behind their song writing – in what they call “part-musical act, part-teenage diary, and 100% queer”.
A large part of the artists’ musical inspiration comes from their sexuality: both open lesbians, being gay is a central part of the band’s identity.“It’s not that we thought it was a radical thing to talk about,” says Niles. “We’re not the first gay people to make music. We just decided that we were tired of not talking about it, to not be known as a gay band. It’s way harder to not talk about your sexuality than it is to talk about it,” she says.
The pair’s honest and accepting attitude towards sexuality allows it to be an important but relaxed element of their sound – it’s there, they’re not hiding it, but they’re not pushing it either. “It permeates your life in funny and mundane ways,” says Caron. This lighthearted style resonates in the band’s humorous and authentic songs and music videos. One of their most popular singles is entitled “We’re Gay but Not for Each Other.” Other singles include “The Ellen Page” and “Hot Knives,” both punchy songs that use playful lyrics to depict controversial subjects with a modern and nonchalant attitude.
As a young band, Partner has established a steadily rising career. They’ve already had a successful start to 2017, touring throughout Canada and the United States. It’s the band’s first time at Megaphono, returning to Ottawa after playing at the Arboretum Festival last year.
“It’s been great to play all across Canada,” says Caron. “We’re really lucky to be welcomed by various fests.” Niles agrees, saying “it’s been really cool to see people who are into the same stuff all over the place, but don’t know each other necessarily… there’s a common kind of bond.”
For the future, expect an announcement from the pair in the next month with “an exciting development” on their upcoming record. “We’re always kind of working on songs,” says Niles. “We have a lot of ideas we’ve been working on over the course of years.”
Partner’s easygoing attitude, loveable sound, and honest lyrical talent ensures a solid future for the band – their music is high-energy and high quality, appearing impressively professional while maintaining youth and authenticity. While you eagerly wait for their studio record, you can catch Partner at Barrymore’s tonight, February 2, at 10:30 pm. Ticketing and Megaphono wristband information can be found here.
Megaphono: verb. To amplify that which is heard locally, so it may reach a broader audience.
February 1-3, 2017 // Ottawa & Gatineau.
Jon Bartlett is the music industry veteran that started the Ottawa’s newest music festival, which is going into its third year. It’s a little bit weird, a little bit quirky, and very Ottawa. It’s still flying under the radar of many in the city. Yet Megaphono offers something totally different – it’s not just about bringing people to the show, it’s about who they are bringing to the city.
Megaphono is a showcase festival, which means they’re hosting music industry representatives to demonstrate regional talent. “There’s an appetite for Canadian music, and our city has way better than average music.” says Jon. Yet, we haven’t built a reputation much beyond our boundaries. That’s one of the goals of the festival, and one of the reasons why hosting industry scouts is a great investment for the city. Beyond showcasing the talent of local artists, it is part of building Ottawa’s creative brand. In this capacity, music, film, theatre and other creative industries are doing a lot of heavy lifting. “That’s what makes a good city,” says Bartlett, “I’m more optimistic than I was 5 years ago. There’s so much happening that I had no idea about. It’s made me want to dig a little bit, explore.”
Musicians from this region, Ottawa and Gatineau, can certainly represent. We have some success stories, but Bartlett admits “we don’t have a great reputation for being the mavens of championing our own artists before other people do.” Megaphono acts like an ear to the ground for hard-working artists, picking up sound bites and making sure they’re heard by the right people. It’s a well-curated festival, which is helpful to music industry reps, but equally so to normal people that don’t necessarily have time to follow the local scene.
The Ottawa Scene
Speaking about Ottawa’s music scene, Bartlett revealed some of the challenges of making it as a musician in Ottawa. It seems as though one of the biggest barriers for a musician committing to it. “People have cushy jobs. It’s harder to walk the plank and take that risk… Maybe that’s why those people move away. You need the friction of [pressure] to motivate yourself.” Geographically, we’re also quite spread out, so staying local can limit a musician’s growth.
Her Harbour performs at Megaphono’s 2016 secret warehouse tour. The festival uses unconventional venues to be more memorable.
Another challenge is Ottawa’s federal side. As Bartlett says, “We are bureaucratic Jedis. Everything is steeped in taking way too long and making decisions because two people wrote letters of complaint… You live downtown in a city.” Noise brings vibrancy, and we’ll have to embrace that as a city in order to grow.
There are opportunities of being based here – and one of the big ones is that we’re right between Montreal and Toronto, which are “the two main Canadian places you should be playing anyway”. There might be fewer resources, but part of the appeal of Megaphono is that it holds panels to share knowledge, and enables networking.
Building Cultural Capital
It’s not every day you speak to someone who is so upfront about the music industry being, well, a business. Those connections are happening more and more, and people are starting to buy into the economics of it. Jon spoke about one of the festivals sponsors this year, Lixar. “They really get it. Businesses are starting to understand that if you want to attract workers and you’re doing things that involve creativity – and a lot of those high tech industries do – people aren’t going to want to move here if there isn’t a vibrant music scene. That might actually be the most important thing to get people to move to a city.”
Megaphono, the Ottawa Music Industry Coalition, and many other players are working hard to bring the city “to a place where the economic value of a good music scene is recognized, beyond filling hotel rooms during festivals, beyond being a handout to the arts – because investments in trying to build this industry are, dollar for dollar, a way better investment than most industries.”
Is Ottawa cooler than we think? We’re getting there. Let’s keep investing.