First published by Sous-Sol 819 with Eventful Capital on February 20, 2018: « 10 bonnes raisons d’intégrer la francophonie au Bluesfest »
Two weeks ago, Ottawa Bluesfest organizers announced the lineup of artists and bands that will play this year’s festival, which is set to take place on LeBreton Flats from July 5-15. Active since 1994, this non-profit, charitable organization overseen by a board of volunteers has managed to become one of the most important outdoor music festivals in Canada, and it ranks as one of the most well-attended musical events in North America. While we appreciate the success it has and the exposure it gives to the City of Ottawa, we have noticed over the years that the festival provides very little space to French as a whole. With this in mind, we want to offer a number of good reasons why the inclusion of French should be considered with respect to the organization itself, the choice of artists and the festival’s mandate.
1. Offer greater showcase opportunities to French-speaking artists
There are thousands of French-speaking artists at the local, national and international level. Our suggestions? Here are just a few. On the local scene: Le R, Yao, Maggie’s March, Mehdi Cayenne, Céleste Lévis, La Bronze, Eliesapie, D-Track & Sam Faye, and Moonfruits.
On the national scene: Klô Pelgag, Ariane Moffatt, LOUD, KNLO, Safia Nolin, Lisa Leblanc, Koriass, Samian, Les Hay Babies, les Soeurs Boulay, and Radio Radio.
On the international scene: Maître Gims, Mathieu Chedid, Grand Corps Malade, Tiken Jah Fakoly, Petit Biscuit, Julien Doré, Indochine, Brigitte, and MC Solaar.
2. Increase website traffic
It is currently impossible to have access to information in French on the festival’s website. While we realize that there are translation costs associated to providing information in both official languages, funding opportunities for non-profit, artistic organizations do exist to help alleviate these costs. For a festival held in the national capital of an officially bilingual country, wouldn’t it be normal to offer services in both languages?
3. Receive increased support from French media to promote the festival
Major local and national media outlets that operate in French are currently unable to obtain interviews in French from the festival. In today’s information age, wouldn’t it be great to make the most of such an opportunity to represent and reach new audiences while expanding the scope of the message?
4. Attract more festival-goers
On top of the 7 million Quebeckers who could be interested in the event, it is important to note that nearly 200,000 francophones (who primarily speak French at home) live in the Ottawa area. Did you know that French-speaking artists have the potential to attract a significant number of people? For example, videos released by hip hop artist LOUD currently have more than 2 million YouTube views and his tracks on Spotify have garnered over 100,000 plays a month. As for Gatineau-based group Uni-T, a glance at their YouTube channel shows that some of their videos have over 150,000 views. There are definitely new, untapped audiences who would be interested in the event if they had the opportunity to see artists they enjoy.
In addition to increasing revenues through sales, the festival could double its financial capacity with the addition of sponsors from both sides of the Ottawa River. And as festival organizers know, when it comes to booking artists, local and emerging talent are always less expensive. Boost the local French community’s sense of belonging French-speaking artists based in the region often tend to feel left out since there is a lack of opportunities to expose them to new audiences. By giving them the same opportunities as local, English-speaking artists, they could also benefit from the festival’s showcase.
7. Boost ties between our two shores
The event could be a great opportunity for our French and English-speaking communities to connect and discover a greater diversity of artistic talent together.
8. Strengthen French culture in Canada
For many years now, Canada’s francophonie has experienced a demographic rejuvenation thanks to the massive arrival of French-speaking newcomers that aspire to see themselves reflected in Canada’s artistic and cultural landscape.
9. Diversify the management team by integrating French-speaking members
Diversifying the board by including members that possess different abilities, worldviews and networks should ensure a decision-making process that takes into consideration the interests and values of all members of the population.
10. Enhance the festival’s reputation within Canada’s artistic community
The City of Ottawa is working on a strategy to promote the music industry and one of its objectives is to make the national capital a music city. Since the festival is held on the same territory where federal political activities occur, there is an opportunity to officially position the festival as one that has Canadian bilingualism at heart. Considering the aforementioned benefits, the festival’s positive impact would improve not only at the financial level, but also by attracting artists and festival-goers coming from French-speaking communities. As a large-scale event run by a non-profit organization with a social mission, we strongly believe that Ottawa Bluesfest should work to respect and foster the linguistic and ethnocultural diversity of our country.
And here, for inspiration, a French music playlist highly recommended!
Foo Fighters, Dave Matthews Band, Beck, Jethro Tull, Courtney Barnett, and more to headline Ottawa Bluesfest 2018
RBC Ottawa Bluesfest has released its initial 2018 lineup, which will hit the stages July 5 – 15, 2018. Many whispers of Dave Grohl and his band of Foo Fighters being added were making their way around town, and the explosive rock band is one of many exciting inclusions in this year’s edition. The Dave Matthews Band, which was confirmed a few weeks back, will also headline the festival and give festival-goers a reason to get excited.
Other notable acts include Jethro Tull, Beck, Zeds Dead, the War on Drugs, Courtney Barnett, BROCKHAMPTON, Chromeo, Colin James, Shaggy, Oh Wonder, Ghostface Killah, Passenger, Machine Gun Kelly, Shawn Mendes, Naughty by Nature, the Strumbellas, Keys N Krates, Grandtheft, Hanson, Benjamin Booker, Noname, Dear Rouge, Kimbra, and more.
Some stellar Ottawa acts were also announced, including Catriona Sturton, Alanna Sterling & The Silvers, Amos The Transparent, Cody Coyote, Graven, Her Harbour, Okies, TAPAS, and many more.
A one-day pre-sale will begin early on February 15 at 10 a.m., with an adult festival pass starting at $209 (+ HST). A full-festival pass will start at $139 (+HST). All tickets will go on public sale February 16 at 10 a.m.
Check out other options and more details on the Bluesfest website. Have a look at the line up (so far) below.
The final day of Bluesfest saw a lot of local groups, including Tom Petty & The Heartbreakers, Claude Munson, Isaac Valentin, The Riot Police, and Soul Jazz Orchestra take the stage and impress audiences.
The second last night of Bluesfest was actually dry…yes, you heard that correctly. Dry. The beautiful sunny day held in there through the night and concertgoers came out in the thousands to enjoy some vitamin D and live music. The night was packed full of electrifying sets by Mushy Gushy, Night Lovell, Dead Obies, Wide Mouth Mason, and MUSE. Check out some incredible shots by our photographer Els Durnford.
It was a soaking wet night Friday night at RBC Bluesfest which saw sets cut short due to lightning crashes and torrential down pours.
The lightning had seemingly finally taken a break as headliner Live took the stage in the rain. They kicked things off with “All Over You” from their seminal sophomore album Throwing Copper with the opening line “Our love is like water,” which was very appropriate seeing as how the rain came down harder and harder. Hundreds of us decided to head to the beer tent for cover in hopes the rain would subside, but unfortunately it didn’t slow and the thunder returned. Three songs the band was pulled off stage and all the screens at the festival read “CAUTION” and asked us to exit the grounds. I was pretty disappointed, but completely understood. They had great energy and most likely would have put on a great show, but Mother Nature had other plans for that night. The following day organizers announced that anyone with a day pass for the Friday show could get free entry to either Saturday or Sunday which is quite a nice gesture given that the weather is completely out of their control.
Anderson .Paak was really into it at RBC Bluesfest in Ottawa. Photo: Els Durnford
Before Live and the terrible weather arrived, we grooved to Anderson .Paak and the Free Nationals on the Claridge Stage. Paak is a little bit of everything—he is a singer, songwriter, rapper, record producer, ,very talented drummer, and an entertainer. Standing on an riser at the front of the stage, .Paak danced and smiled ear to ear the entire time. When he wasn’t dancing at the front of the stage he was behind the drum set for a couple songs showing that he is far from a one-trick pony. The crowd was feeling it and we were dancing up a storm to tracks from his hit album Malibu including the extremely popular “Come Down.” Unfortunately we must have been dancing too hard as the storm began to loom. .Paak was asked to leave the stage as a storm was coming, which he did hesitantly. I don’t remember that ever happening at a festival. Usually it a set is stopped due to inclement weather, not imminent weather. The lighting did eventually show itself and rain began to fall but not for another 10 minutes, which could have allowed 2 or 3 more songs. I know safety is very important but it didn’t seem consistent with other stages and acts.
During the pause the crowd broke out into a couple of sing alongs including “Twist and Shout.” Paak did return to the stage after about 20 minutes and clearly didn’t cool off. He jumped right back behind the drums and they launched into the super dancy and fun “Put Me Thru.” He then said “We don’t have much time so we are just going to skip right to the party” and played “Am I Wrong” as he stepped out from behind the drums and really got us all moving. It has been a while since I have danced this much at a festival show. Even with delays, .Paak and The Free Nationals were certainly my highlight of this year’s Bluesfest. This is the hip-hop I am looking for and the kind that is pushing the limits and creativity. I can only hope that it continues to grow and take space from trap, turning trap into a phase we will look back on like rap-metal.
Hugh Dillon of The Headstones rocking out at the RBC Bkluesfest in Ottawa. Photo: Els Durnford
Getting things started for me on this night was Kingston’s very own band The Headstones. Formed the year I was born (1987), the band is celebrating 30 years as one of Canada’s most influential alt-rock bands and provider of Can-con on radio stations across the country. Going into the show, I pretty sure I knew a few songs I could sing to, but once they started playing it was like riding a bike and I knew the words to almost every track. Lead-singer Hugh Dillon makes use of all the space at his disposition going all over on stage and off, heading into the camera pit by the second song to high-five fans and get closer to them. They threw in some excellent transitions to other great songs. For example, while playing “Settle” they flowed right into The Tragically Hip’s “Blow At High Dough” and later on they played a punk rock cover of Kenny Roger’s “The Gambler.” My highlight of the set was when Dillon went over to one of the camera men on stage and said “your shoulder must be tired let me take that for you,” taking the big camera onto his shoulder and pointing it at the crowd before the band played “Smile and Wave.” The band still rocks, still puts on a great show and I am very glad I caught them on this tour.
It’s likely that you may have heard about Bluesfest’s seventh day—it was mired by chaos, violence and overindulgence, around 200 people were seen by paramedics and some sent off to the hospital. While it was mayhem off the stage, on the stage it was bumping with hip-hop acts Migos and Lil Yachty, as well as R&B artist Maurice Moore. Our photographer Els Durnford focused on the music while dodging and sometimes catching concertgoers surfing over the security railing, check out the photos in the gallery below.
Wednesday’s weather forecast was a perfect summary of summer in Ottawa thus far. Rapidly oscillating between heat and cool, dry and wet, festival goers were not quite sure what to expect from the skies. That same sense of curiosity was also applicable to what many deemed the best night of the Ottawa Bluesfest schedule. Highlighted by bands that were the soundtrack to many of our upbringings, I still vividly recall the scene in Garden State where Zach Braff leans over to Natalie Portman in Garden State and plays her “New Slang” or the first time I heard the crescendo from Dance Yrself Clean. The nostalgia factor for those two bands alone was off the charts, but how would they sound in 2017 following lengthy hiatus periods?
To start the evening, Slack Bridges burst onto the Bluesville stage with incredible energy. The six-piece soul-funk band was propelled forward by their instrumentation, particularly the expanded brass section (they were joined on stage by special guest, the Texas Horns).
The song “Beholden” had the crowd beneath the tent moving and they played many new songs from their upcoming album, which comes out in October. Following their other recent sets at Jazzfest and the Ottawa Race Weekend, many in town are eagerly awaiting their what comes next.
Phantogram was up next. With their recent shift towards rockier and more hip hop elements, many fans of their older indie electronic sound were likely wondering if their music got them high anymore. Luckily, it mostly did, with new tracks like “Same Old Blues” resonating with the crowd both figuratively and literally (there was a hell of a lot of bass).
Lead singer Sarah Barthel’s energy is infectious and when classics like “Mouthful of Diamonds” and “Don’t Move” come on, it’s impossible to not start moving. And the nostalgia was only just beginning.
It’s easy to forget just how many hit songs The Shins had during the early 2000’s. “Oh, Inverted World” and “Chutes Too Narrow” were monumental albums that defined many individual’s concepts of the sound of “Indie” and thankfully, the band did not shy away from playing what the crowd came to see.
Jumping right in with songs like “Phantom Limb”, “Turn On Me” and “Girl, Inform Me”, the older-crowd-seeking-nostalgia was responsive, while the band initially appeared slightly bored. Thankfully, that didn’t last long as they got into the swing of things. Recently released track “Name For You” and “Sleeping Lessons” (the incredible opener from Wincing the Night Away) were good enough to convert any new fans in the crowd (i.e. those who lived under a rock from the years 2001-2007).
As LCD Soundsystem took the stage, the Ottawa sky couldn’t quite decide whether it would let their set-up full of electronics remain fully functional. Hastily covered with tarps and cloth, the band defiantly pushed forward, starting the night with “Yr City’s a Sucker”, a dance-punk anthem for us self-deprecating citizens in the rain.
The band’s veteran presence was certainly felt, their tight instrumentation (shout outs to the cowbell) and focused energy made each swell of a crescendo hit with maximum impact. Their recently released tracks “Call The Police” and “American Dream” fit into their set perfectly and really highlighted how nice it is to have them making new music. That veteran presence was also felt when James Murphy shouted out foam rollers for those of us with back pain from all the standing.
As the rain eventually decided to fall, the crowd made the most of the circumstances, dancing themselves clean beneath a giant disco ball with all of their friends (old and new).
After a well-deserved break on Monday at Ottawa Bluesfest, things picked up right back up where they started on Tuesday. There were plenty of stunning sets on July 11, including performances by RL Grime, Fetty Wap, The Zombies, July Talk, and many more. Our photographer Els Durnford captured some stunning shots of the action on day two of Ottawa Bluesfest, check out the photos in the gallery below.
The night of Sunday, July 9, was a wet one, but the skies cleared up enough for festival-goers to enjoy a night packed full of music of all kinds. Our photographer Els Durnford captured some stunning shots of the action on day two of Ottawa Bluesfest, check out the photos in the gallery below.
The first Saturday of Bluesfest brought healthy crowds to see a diverse collection of musicians.
The first group I caught were Too Slim and the Taildraggers. I was initially apprehensive when each member of the band walked onstage wearing a cowboy hat, but my assumptions quickly turned out to be unfounded when the group launched into some riff-heavy blues rock. Their guitar player certainly knew his way around the instrument, and the vocals rarely strayed into the realm of twang. There were a couple tracks featuring a harmonica as well – which I personally love. With frequent solos and instrumental break, Too Slim and the Taildraggers put on a great show; the only thing more impressive than the guitarist’s riffs was his sideburns.
Also in the early evening was Tegan & Sara, bringing their brand of queer bubblegum indie. I’ve seen T&S several times at Bluesfest over the years, and it’s been interesting to watch them grow up. With every album their music has become more mainstream, and with a growing fan base they now play one of the main stages. With giant inflatable letters spelling “T & S” as their stage décor, there was no mistaking who was playing. The crowd was mostly young adults, happy to oblige in synchronized arm waving when requested. T&S played their hits and told a couple stories, including one of their first times they playing the region – at a summer camp in Hull. In summary, the camp wasn’t the best experience, but they seemed to hold no grudges and sent a humorous shout-out to our sister city.
Next up was local group Flight Distance, which can be described as hip-hop with the DJ bringing the occasional EDM track. This was their third time playing Bluesfest, and in my opinion, they were the July 8 highlight. Flight Distance worked hard to energize the crowd, which isn’t an easy feat at an outdoor festival before sunset. A particularly memorable interaction was when one of the vocalists encouraged everyone in the audience to “make a weird noise”. From the moment they took the stage to their closing track which remixed ACDC’s “Thunderstruck”, they brought their A-Game. I’ll definitely be keeping an eye out for future shows by these guys.
The last artist I saw was 50 Cent—about which I was cautiously optimistic—given the fairly high attendance and the nostalgic potential. Many in the crowd were dancing like they were in da club, and there was a tight crush of people close to the stage. I was a little further back, which was a good vantage point to watch the action. 50 Cent accurately busted out hits like 2005’s “Candy Shop,” and the show felt appropriately old-school. Still, I was unimpressed when he left the stage for about 5 minutes halfway through his set. I suppose the purpose was to build hype or stretch out his admittedly limited scope of material, but it came across as arrogant. Still, it was an entertaining set – if shorter than the majority of the festival’s headliners.