Indigenous Music

Discover Canada’s Exciting Indigenous Scene

Stingray Curators — Mon, 21 Jun 2021 13:36:05 +0000

Discover Canada’s Exciting Indigenous Scene Stingray Curators Mon, 06/21/2021

Join Stingray in celebrating our country’s First Nations, Inuit, and Métis through music.

If this is your introduction to a thriving music scene, you’re in for a treat! Today’s Indigenous music refuses to be put in a box. It’s crafted by unique and diverse artists from coast to coast, who draw on every genre to fashion fresh sounds.

So pick a channel and join the ride. Discover why Canada’s Indigenous artists are winning fans worldwide in hip-hop, rock, and pop.

Today's Indigenous Hits

Stay in the know of today’s hot tracks from some of the country’s many talented Indigenous musicians.

Indigenous Pop

Indigenous music goes pop! Explore catchy Indigenous pop music from all eras.

Indigenous Rock

Rock out to Indigenous music! You’ll get hooked to the edginess.

Indigenous Hip-Hop

Explore the world of Indigenous hip-hop music from some of the country’s top lyrical geniuses.

Indigenous Folk

Delve into the folk-inspired Indigenous music landscape and discover hidden gems that are bound to become new favorites.

Women of Indigenous Music

Explore the feminine side of Indigenous music.

Indigenous Music: Canada

Explore Canada’s diverse Indigenous music, which features both traditional and contemporary songs from the nation’s many Indigenous artists.

Indigenous Music: Quebec

Explore Quebec’s diverse Indigenous music, which features both traditional and contemporary songs from the province’s many Indigenous artists.

Retro Indigenous Music from Canada

This exclusive channel, curated in collaboration with Aboriginal Peoples Television Network, Native Communications Incorporated, and First Peoples Radio Incorporated is a throwback to the last 40 years of the Indigenous music scene. It features a variety of genres with a particular focus on country music, folk, lite rock, and singer-songwriter classics.

-The Stingray Music Team

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Kym Gouchie | Stingray Rising Stars | Mundial Montreal 2019

Ariane — Mon, 25 Nov 2019 18:22:12 +0000

Kym Gouchie | Stingray Rising Stars | Mundial Montreal 2019 Ariane Mon, 11/25/2019

Featuring four days of panel sessions, networking opportunities and live performances, the Mundial Montreal world music summit is a springboard for artists’ national and international career development. This year’s edition, held from Nov. 19-22, welcomed 300 pros coming from more than 20 countries, 30 groups, 180 musicians and more.

Stingray has been a proud partner of Mundial Montréal since its very first edition 9 years ago. This year, we had immense pride in connecting the Stingray name and our Stingray Rising Stars program to an exciting and key portion of the festival lineup: Mundial’s Canadian Indigenous Artists category.

This year, a jury composed of Liz Scott from the Mariposa Folk Music Festival, Tarmo Noormaa from the Viljandi Folk Music Festival and Sasha Omer from Stingray Music determined the grand winner.

This year’s finalists were:

About Kym Gouchie

Kym Gouchie is an artist who has the ability to momentarily make us feel that time can stand still. Performing with a combination of soulful expression, focused intent, integrity, and artistic depth, she embraces and holds audiences while imparting messages and truths in songs that need to be heard. Kym is a truly unique artist who seamlessly blends the contemporary with the traditional.

Kym’s home base is in her ancestral territory - Lheidli T’enneh (people from where two rivers meet) also known as Prince George BC.

We sat down with Kym to tell us more about her win.

What’s your earliest music memory?

My dad and older brother would play gigs around Prince George and I would tag along. My brother was less than a year older than me and was super talented already. He played guitar and could sing and yodel really well. My dad would make a spot for me on the stage too. I remember sitting high up on a stool at this basement style coffee house under the Mac Hotel in downtown Prince George. I could barely carry a tune. I remember singing The Snakes Crawl at Night by Charlie Pride. Hahaha! I was about 7 years old.

Who are your influences?

When I first started taking music seriously I gravitated towards artists such as KD Lang, Patsy Cline, Anne Murray & Tanya Tucker and later Lucinda Williams, Bonnie Raitt, Suzie Ungerleider and Buffy Sainte-Marie, just to name a handful. But now, my music is strongly influenced by my environment, my own struggles and personal tragedies.

What’s your best memory on stage?

Oh I have so many ‘best memories on stage’. One of the most memorable was when I was singing a song on International Women’s Day in Penticton BC and I began to cry. About a half dozen women including a little girl came up onto the stage and surrounded me with their love and support. That made me cry even more ❤️ But in a good way. I regained my composure and finished the show.

Who is your favourite musician or band?

It’s hard to have a favourite but if I had to choose it would be a tie between Lucinda Williams & Buffy Sainte-Marie.

What’s your favourite genre?

I love the storytelling platform in the Folk/Roots genre.

What was the best part of Mundial Montreal 2019?

The best part of Mundial was the way that the artist showcases had no competing events. They stood alone and gave the artist their own sacred space to share their artistry.

Congratulations on winning the Stingray Rising Stars award! What do you plan to do with the $1500 prize?

Thank you for acknowledging me with the Stingray Rising Star Award. I’m deeply honoured & full of gratitude as it truly validates the hard work that got me here.

I plan to use the $1500 scholarship to help subsidize the travel & accommodation expenses for myself and my musical companion Brigitte Demeter when we travel to New Orleans in January 2020 to showcase at the International Indigenous Music Summit & participate in the Folk Alliance International Conference.

You can hear Kym’s amazing music on Stingray Music’s Mundial Montréal and Aboriginal Music from Canada – Contemporary channels.

Sasha Omer, Music Programmer (Stingray Music) | © Tora Chirilå

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From left-to-right: Sasha Omer, Music Programmer (Stingray Music) and winner Kym Gouchie. | © Tora Chirilå

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Behind the Beats with Sebastian Gaskin | Digital Drum

Digital Drum — Mon, 15 Oct 2018 18:24:06 +0000

Behind the Beats with Sebastian Gaskin | Digital Drum Digital Drum Mon, 10/15/2018

With influences ranging from Metallica to Alan Jackson to Frank Ocean, it’s no surprise that Sebastian Gaskin’s sound is hard to nail down. But whether he’s shredding a guitar solo or hitting you right in the feels with his velveteen vocals, one thing’s for certain: “You can expect a lot of what you’ve never heard before,” Gaskin says. “Unique sounds. Dreamy soundscapes. Wet, lush reverbs.”

And despite Gaskin’s seemingly sudden emergence on the Canadian music scene, those unique sounds have not gone unnoticed. This summer alone, he secured gigs at the Winnipeg Jazz Festival, the inaugural sākihiwē festival and an RPM Live event in Toronto. His sultry first single, 6 AM, also reached number one on the Indigenous Music Countdown.

But according to Gaskin, we ain’t seen nothin yet. With long-term ambitions of supporting his family and headlining a world tour, he’s currently working on a six-track EP slated to drop in Spring 2019. In the meantime, we sat down with him to talk about all things music. Here’s what he had to say about his first guitar, discovering The Weeknd and much, much more.

Sebastian Gaskin by Digital Drum

How and when did you get into music?

I was born in Thompson, Manitoba, but raised in Split Lake, a reservation about an hour and a half north of there. Growing up, all my aunts and uncles played the guitar, so they’d be around the house, singing and listening to music. I remember in Grade 3, my mom enrolled me in this after-school fiddle club and within a few months I’d already been moved up to the advanced class. So I think I always kind of had a knack for music.

As I got older, I hung around my cousin Tyler a lot, and he was really into Metallica. I remember hearing him pick out Fade to Black and I just thought it was the coolest thing and asked him to teach it to me. After learning that song, I convinced my mom to buy me my first guitar, an electric blue First Act. It was a complete piece of shit, but it did the job for the first year.

When I outgrew that, I tried to convince my mom to get me this black Epiphone SG that I saw on the wall at a barber shop we went to. She said I could get it when I showed her that I was actually progressing and becoming a better player, so it was a really good incentive to expand my knowledge and practice every day.

Eventually, I played in bands with my friends on the reserve, but nothing too serious. Then, one of my ex-girlfriends introduced me to The Weeknd, this is back when he first came out, and it changed everything. I was living in Toronto then, and I’d have to drive two hours to school and two hours back, so I’d spend hours a day just cruising down the highway and singing along to Weeknd records. That entire year kind of helped me find my voice and find my tone as an R&B artist.

Who are you listening to right now?

A lot of SZA. Frank Ocean, of course. Suicide Boys, Brockhampton, Anderson Paak, Thundercat.

Do you prefer writing or performing?

It’s kind of 50-50. The thing I like about writing is that I’m able to let out any pent up emotions I might have. As for performing, I just love seeing the looks on people’s faces. With the way I look and the way I sound, I kind of have a shock factor. I really like that aspect of surprising people.

Walk us through your songwriting process.

I try to open my mind up, and my channel to the universe, and just let the energy flow on to the paper. After the song is written, I figure out what it means and revise it until it’s right. I still have songs from months ago I’m still editing.

How many original songs are in your repertoire right now?

Right now I have about 12 or 13 I’d feel comfortable performing.

What do you do when you’re not making music?

I like to cook. I like Italian. I also just got into painting this year; I’m trying to branch out into the visual arts. Hanging out with women, going out for drinks. Just living my best life.

Do you find as an artist that you can still listen to music as a fan, or are you always picking it apart and analyzing it?

It’s different every time. I remember when I first started listening to Frank Ocean I was just a fan, but after listening to it for so long I started to pick up different aspects of the music and the writing.

Sebastian Gaskin by Digital Drum

Winnipeg has a pretty good Indigenous music scene. Have you always been plugged in, or is it something you’ve discovered more recently?

When I was about 12 or 13, I went to one of the first Manito Ahbee festivals. I still remember seeing Joey Stylez perform, and I got to see backstage and stuff like that. So I’ve known about the Indigenous music scene here, but I’ve definitely seen a curve upwards in the past few years. There’s definitely a lot more openness and less exclusivity in the community now.

When we first met you earlier this year, performing was still relatively new to you. Half a year later, you’ve done Winnipeg Jazz Festival, RPM Live, sākihiwē and some other pretty big gigs. Has being onstage gotten easier?

I used to get the jitters real bad; I’d be shaking, my hands would sweat. But the last couple of gigs I’ve just got on stage and done the thing. Not to say it’s lost its excitement, but it’s a lot easier than it was eight months ago.

At the same time, it feels a lot more serious than it used to. I feel I have more of an obligation to continue down this path now. I actually just got this hand tattoo to kind of solidify my place on the musician’s path; like, I have to make it as a musician now.

This summer you received the 2018 Indigenous Music Award for the Ka-Kee-Nee Konee Pewonee Okimow Most Outstanding Manitoban. Tell us about that.

I was taken completely by surprise. I got an email saying they’d like to have me perform a couple songs at a pow wow, so I showed up and before I got onstage, Eric (Robinson) brought out a hand drum and presented it to me. I literally had no idea. I was supposed to make a speech but I was at a complete loss for words.

What do you hope to accomplish through music that you couldn’t in other ways? In other words, why do you make music?

I’d like to get my family off the reserve, to get them a nice big house. I’m very family-motivated and want to be in a position to help them as much as possible. One of my ultimate end goals, at least on the personal ego side of it, is to have a world tour and perform in front of as many people as possible.

How do you define success?

Success is a mindset, really. Even though I haven’t achieved all my goals, I feel like I’m already successful. I’m able to do what I love on a daily basis and make some money from time to time.

What’s coming up for you in the next couple months?

Just writing a lot and prepping for the release of my EP. I’m in the process of recording the vocal tracks for that right now and aiming for April (2019).

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

Sebastian Gaskin at the Winnipeg Jazz Festival - Image Credit: Sebastian Gaskin / Instagram

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Jeremy Dutcher | 2018 Polaris Music Prize

Digital Drum — Fri, 21 Sep 2018 20:53:26 +0000

Jeremy Dutcher | 2018 Polaris Music Prize Digital Drum Fri, 09/21/2018

It’s official: Jeremy Dutcher has won the 2018 Polaris Music Prize, becoming the fourth Indigenous artist in the past five years to take home the $50,000 award.

Dutcher’s debut album, Wolastoqiyik Lintuwakonawa, follows in the footsteps of Tanya Tagaq’s Animism (2014), Buffy Sainte-Marie’s Power in the Blood (2015) and Lido Pimienta’s La Papessa (2017). The project was recorded over the past five years and drew from archival wax cylinder recordings from the early 1900s. It is performed entirely in the endangered Wolostoq language.

“It is said that there are less than 500 speakers of the language left,” Dutcher told us during the recording process. “It’s at a really critical stage right now, and that’s why it’s really important for folks of my generation to start taking language reclamation seriously. When language is lost you’re not just losing words, you lose an entire way of thinking and moving through the world.” Widely considered one of the country’s most prestigious and coveted music awards, the Polaris is judged solely on artistic merit, without consideration for genre, sales or record label. Dutcher learned he had made the long list back in June, and then the short list (alongside fellow Indigenous nominees, Snotty Nose Rez Kids) in July.

“I was shocked,” he told us of the nomination. “So many amazing artists have been nominated and won this prize, and I certainly was not expecting to be counted among them as I release my first record. I also was very intentional about doing this album entirely in the Wolastoqey language, so that people are connecting with it outside of the community has been a really nice surprise.”

And while the relative newcomer’s win may have surprised some music fans, we were not among them. We knew from the moment Dutcher sat down to perform at the eighth edition of Aboriginal Music Program’s AMP Camp that we were in the presence of something special.

With his powerful voice, confident delivery and commanding stage presence, the classically-trained operatic tenor has the unique ability to hold his listeners captive while transporting them to a different place, a different time, a different world. Fusing elements of his classical training, contemporary jazz and traditional Maliseet music, he truly fits the bill as a genre-bending artist, creating a sound that is both unparalleled and inimitable.

While Dutcher didn’t learn of his big win until the end of last night’s Polaris gala in Toronto, his powerful performance earlier in the night ensured that his name was already trending by the time he accepted the prize from last year’s winner, Lido Pimienta.

“You are in the midst of an Indigenous renaissance,” Dutcher said upon winning the award. “Are you ready to hear the truth that needs to be told? Are you ready to see the things that need to be seen?”

You can listen to Wolastoqiyik Lintuwakonawa on Stingray Music.

Polaris 2018: Long List Nominees (available on web & mobile)

Polaris 2006-2018: Shortlist Nominees (available on web & mobile)

Festival International de Jazz de Montréal 2018 (available on web & mobile)

Canadian Indie (available on TV, web & mobile)

Folk Alliance International 2018 (available on web & mobile)

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This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

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Polaris Music Prize: A Look at the Indigenous Long List Nominees | Digital Drum

Digital Drum — Thu, 21 Jun 2018 19:45:54 +0000

Polaris Music Prize: A Look at the Indigenous Long List Nominees | Digital Drum Digital Drum Thu, 06/21/2018

While Canada’s Indigenous music scene may not always get the mainstream recognition it deserves, the Polaris Music Prize knows what’s up.

Widely considered one of the country’s most prestigious and coveted music awards (and judged solely on artistic merit, without consideration for genre, sales or record label), the Polaris has gone to three different Indigenous artists over the past four years. This year, a new group of artists are in a position to follow in the footsteps of Tanya Tagaq (Animism, 2014), Buffy Sainte-Marie (Power in the Blood, 2015) and Lido Pimienta (La Papessa, 2017) and take home the $50,000 prize.

Announced earlier this month, the 2018 Polaris Long List (40 albums selected by a 203-member jury) includes Iskwé, Jeremy Dutcher, Snotty Nose Rez Kids and YAMANTAKA // SONIC TITAN. The Short List of 10 will be announced July 17.

In the meantime, here’s what the Indigenous nominees had to say about their albums.

Iskwé: The Fight Within

On the album: The Fight Within is my second album and one that holds a big piece of my heart. This album reflects a bit of a grief cycle for me, as my community and myself personally experienced some pretty big moments in the years it took me to write.

On the nomination: The Polaris nomination is a HUGE honour! To be recognized by your peers in such a way just cuts right through to the heart, in the best way possible!

Jeremy Dutcher: Wolastoqiyik Lintuwakonawa

On the album: Wolastoqiyik Lintuwakonawa is an exploration of the traditional songs of my nation collected on wax cylinders over 110 years ago. I have reimagined these melodies for the contemporary moment, in the hopes of reconnecting my people (Wolastoqiyik) with what has been taken.

On the nomination: I was shocked. So many amazing artists have been nominated and won this prize, and I certainly was not expecting to be counted among them as I release my first record. I also was very intentional about doing this album entirely in the Wolastoqey language, so that people are connecting with it outside of the community has been a really nice surprise.

Snotty Nose Rez Kids: The Average Savage

On the album: For some people, The Average Savage is the unsettling feeling you get after hearing the roaring cry of a Bucquis (Sasquatch) pierce through a dark tree line. A feeling that stems from the lack of understanding of the existence of each other. For others, The Average Savage is realizing that it’s OK for the Bucquis to coexist.

On the nomination: We never anticipated this album to get all this recognition. The Polaris Long List? Are you kidding me?! We lost our sh*t when we found out!

YAMANTAKA // SONIC TITAN: Dirt

On the album: The album was conceived as the soundtrack for an unreleased Haudenosaunee and Buddhist themed Anime. It's a sarcastic album with a sci-fi plot, featuring a quest for arable soil on a flooded planet stewarded by a vengeful AI who exposes humanity’s fatal flaws. I get to bring together a variety of vocal influences for this album, from spaghetti westerns, to 80's power metal and pow wow pitches. – Ange Loft, Yamantaka//Sonic Titan

On the nomination: We were on tour in Europe when we learned about the nomination and were also hearing news about trade wars and human right violations against Central American children in the U.S. When we first composed the album lyrics as a group, over two years ago, I was hesitant to speak some of the more pointed lyrics, such as: "You need the cage, the mine, and the blood on the stone. You need the mills, the rags and the people you own.” In our current political and moral climate, these words don't feel strong enough. This record speaks to the ongoing doom and dread Indigenous populations know intimately that the U.S. and Canada were built upon. If this nomination provides a platform to bring some thought to Indigenous, immigrant and environmental issues, we will be satisfied. It's an honour to be nominated alongside many other Indigenous artists who are making resistance art rock. – Ange Loft, Yamantaka//Sonic Titan

Listen to Dark Water

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

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And the 2018 Indigenous Music Awards Winners Are … | Digital Drum

Digital Drum — Thu, 24 May 2018 20:46:57 +0000

And the 2018 Indigenous Music Awards Winners Are … | Digital Drum Digital Drum Thu, 05/24/2018

Earlier this year, Canada’s thriving Indigenous music scene made some serious noise at the 2018 Juno Awards. Last weekend, it cranked things to 11.

On Friday, May 18, the top talent from across Turtle Island gathered in Winnipeg for the return of the Indigenous Music Awards. Hosted by Jarrett Martineau and Beatrice Deer, the event kicked off with a red carpet celebration and treated the sold-out crowd to unforgettable performances by Indian City, Kristi Lane Sinclair, Ansley Simpson, Chase Manhattan (ft. 14-year-old hoop dance sensation Theland Kicknosway) and more.

But the night truly belonged to the show’s award winners.

With categories including pow wow, hip hop and everything in between, a total of 19 First Nations, Métis and Inuit artists/groups were recognized for their outstanding musical achievements over the past year. Pat Vegas, best known as a member of Redbone, also took home the Lifetime Achievement Award, while B.C.’s Jasmine Netsena won the inaugural TD Indigenous Songwriter of the year award (along with $10,000).

Below is a complete list of the night’s winners.

Best New Artist: Ansley Simpson, Breakwall

Best Rap/Hip-Hop Album: Supaman, Illuminatives

Best Folk Album: Buffy Sainte-Marie, Medicine Songs

Best Pop Album: Indian City, Here & Now

Best Rock Album: Relic Kings, Armoury

Best Country Album: Desiree Dorion, Tough Street

Best Electronic Music Album: Once a Tree, Phoenix

Best Blues Album: Robert "Freightrain" Parker, Freightrain Live

Best Hand Drum Album: Young Spirit, Mewasinsational: Cree Round Dance Songs

Best Instrumental Album: Jan Michael Looking Wolf, Flute Medicine

Best Inuit, Indigenous Language or Francophone Album: Shauit, Apu peikussiak

Best Pow Wow - Contemporary Album: Black Bear Singers, Notcimik

Best Pow Wow - Traditional Album: Northern Cree, Mîyo kekisepa/Make A Stand

Best Gospel Album: Callie Bennett, Awake Arise Shine

Best Producer/Engineer: Supaman

Best Radio Station Program - Promoting Indigenous Music: Indigenous Music Countdown (Native Communications Inc.)

Best International Indigenous Artist: The Imbayakunas, New Ground

Best Music Video: Buffy Sainte-Marie, The War Racket

Best Radio Single: Carsen Gray, Wanna See You ft. DJ Shub

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

Behind the Beats with Celeigh Cardinal | Digital Drum

Digital Drum — Tue, 17 Apr 2018 16:32:41 +0000

Behind the Beats with Celeigh Cardinal | Digital Drum Digital Drum Tue, 04/17/2018

Métis singer/songwriter Celeigh Cardinal has won an Aboriginal Youth Role Model Award, participated in the Banff Centre for the Arts’ Re(Claim) program, been named Cultural Ambassador for the Arctic Winter Games, and received an “ATB Listens” grant from ATB Financial.

And that was all before the release of her dazzling debut album, Everything and Nothing At All (2017).

She has since attended the Indigenous Music Residency in Manitoba, performed at Folk Alliance International in Kansas City, earned a 2018 Indigenous Music Awards nomination for Best Pop Album and scored a whopping seven nominations at the upcoming Edmonton Music Awards. She’s also scheduled a European tour for later this year, and started work on her second album. If it’s anything like the first, we can expect a soulful blend of roots, folk, rock and pop alongside some seriously powerful vocals (not to mention a ton of acclaim).

Between local gigs and songwriting sessions, Celeigh recently made time for an interview about all things music. Find out her pre-performance ritual, who she’s currently listening to and more.

How and when did you know you wanted to be a singer?

My first time singing solo on stage was when I was four years old. For as long as I can remember, this is what I’ve wanted to do. I feel very lucky to have unquestioningly known my passion from a very young age.

How would you describe your sound, and has it changed over time?

Eeee. Hardest question. I would say my voice is influenced by blues and Motown music, while my songwriting is influenced by folk and singer/songwriters. So it’s a mixed bag of genres.

Do you prefer songwriting or performing?

I would say performing. It’s my favourite thing to do. Writing doesn’t come as easily, and I tend to prefer things I’m naturally good at.

When you perform with a group, how important are the musicians you play with? Is talent enough, or do you look for something more?

Though talent and skill are very important, one must never underestimate the importance of a good hang. Travelling with people you don’t get on with is THE WORST. You’re in a relationship with the people you play music with, a very special one. It’s imperative that you work well together.

Do you have a pre-performance routine or superstition?

Typically, I try to have a bath before performances. I still get a lot of anxiety and adrenaline from performing, so I try to stay as calm as I can before I perform.

What do you do when you’re not making music?

Eighty per cent of my time is spent working on the admin aspect of my music career: social media, website, booking, etc. Ten per cent performing, five per cent writing and five per cent having baths.

What’s been your biggest struggle or challenge, either personally or professionally?

Balance. That is my struggle with everything. I have an ‘All or Nothing’ complex, so I’m either working so hard I can barely keep up, or I’m doing absolutely nothing and in recovery from that. However, I’m self-aware enough to say I’m working on it.

What are you listening to these days?

Though I’m a ‘90s girls in a ‘90s world, I’ve been adding new music to my catalogue these days. I’ve actually been listening to a lot of my Indigenous Canadian peeps, ’cause they’re making such good music! A few, but not all, examples are Jeremy Dutcher, Sebastian Gaskin, Wolf Saga, Digging Roots, Lacey Hill, and so many more. But I’m also listening to Theo Katzman, Vulfpeck, Erin Costelo, First Aid Kit. Oh, and the Fugees made it back onto my playlist.

What’s the most important lesson you’ve learned along the way?

You have to do what you love. I cannot do anything else; most other jobs make me miserable. If I was in the constant pursuit of a career in music, I would be very unhappy, and I’ll never settle for anything less than happiness again. Life is way too short.

As a musician, how do you define success?

Honestly, just being able to live off of it. I feel successful in that sense, but I suppose more sustainability, and maybe some medical benefits, would be nice.

It’s also very important to me that I’m contributing some representation in music for younger Indigenous artists. Growing up, I never saw anyone like me playing music (except for Buffy Sainte-Marie, but I didn’t relate musically) and I know how important it is to be able to relate and have role models. If I can do that, I feel I’ve done something.

What are you currently working on, and what’s coming up for you in the next year?

Touring, touring, hopefully, a new album (grants have been written) and more touring!

I am headed to Sweden, Denmark and hopefully Germany in the fall, and I really want to go to Australia and New Zealand next year. I love traveling!

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

Meet This Year’s Indigenous Juno Nominees | Digital Drum

Digital Drum — Tue, 20 Mar 2018 17:13:49 +0000

Meet This Year’s Indigenous Juno Nominees | Digital Drum Digital Drum Tue, 03/20/2018

If the 2017 Juno Awards served as a coming-out party for Canada’s thriving Indigenous music scene, the 2018 edition is a full-blown celebration.

One year after an epic opening performance by A Tribe Called Red (featuring Tanya Tagaq and Black Bear Singers) and big wins for ATCR, William Prince, Quantum Tangle and Buffy Sainte-Marie, a total of 10 Indigenous artists or groups are up for awards in seven different categories at this year’s event.

Leading the way with two nominations each – including Contemporary Roots Album of the Year – are The Jerry Cans and living legend Buffy Sainte-Marie. Riding the momentum of their latest album, Nunavut’s The Jerry Cans are also up for Breakout Group of the Year, while Buffy is up against DJ Shub (PowWowStep), Indian City (Here & Now), Iskwé (The Fight Within) and Kelly Fraser (Sedna) for Indigenous Music Album of the Year.

Following up on their Producer of the Year win in 2017, A Tribe Called Red scored a nom for Group of the Year, while Tanya Tagaq’s Retribution is up for Alternative Album of the Year. The Nunavut Sivuniksavut Performers are nominated for Classical Album of the Year (Large Ensemble), and Josh Cayer’s band Longhouse (II: Vanishing) is up for Metal/Hard Music Album of the Year.

Here’s a closer look at this year’s Indigenous Juno nominees:

The Jerry Cans

Nominated for: Contemporary Roots Album of the Year (Inuusiq); Breakout Group of the Year

Known regionally for their trademark mix of Inuktitut and English, The Jerry Cans’ unique fusion of folk, country, reggae and throat singing has earned the group gigs around the world and helped put Nunavut’s music scene on the map. Inuusiq is the band’s third album, and the first on their own label, Aakuluk Music.

Buffy Sainte-Marie

Nominated for: Contemporary Roots Album of the Year; Indigenous Music Album of the Year (Medicine Songs)

At 77 years young, Buffy Sainte-Marie continues to prove that age is just a number. Mixing new material with classics spanning her entire career (Universal Soldier will NEVER get old), the 2017 release of Medicine Songs reminds us that her stories are as relevant and powerful today as they were half a century ago. With an Academy Award (1982), a Polaris Prize (2015) and five Junos already to her name, another award or two would just be gravy.

DJ Shub

Nominated for: Indigenous Music Album of the Year (PowWowStep)

As a former member of A Tribe Called Red, DJ Shub got his first taste of the Junos when the trio won Breakthrough Group of the Year (and were nominated for Electronic Album of the Year) back in 2014. He has since launched a solo career and seems to be doing just fine. His debut album, PowWowStep, offers up a killer collection of upbeat bangers and features collaborations with Northern Cree Singers, Classic Roots and more.

Indian City

Nominated for: Indigenous Music Album of the Year (Here & Now)

Winnipeg pop/rock supergroup Indian City are a perfect example of power in numbers. Fronted by guitarist Vince Fontaine, the collective has released three albums and also includes Jay Bodner, Don Amero, Shannon Mckenney, Jeremy Koz, Rena Semenko, Neewa Mason, Atik Mason, Rich Reid and Gerry Atwell. While this is the group’s first Juno nomination, Fontaine has four noms and a win as a member of iconic rock duo Eagle & Hawk.

Iskwé

Nominated for: Indigenous Music Album of the Year (The Fight Within)

We had to wait more than four years for the follow up to Iskwe’s self-titled debut album, but 2017’s The Fight Within was completely worth it. Touching on everything from environmental protection and MMIWG (Missing and Murdered Indigenous Women and Girls) to love and relationships, she again manages to blend poignant lyrics with big sound for an album as timely as it is powerful. This is Iskwé’s first Juno nomination.

Kelly Fraser

Nominated for: Indigenous Music Album of the Year (Sedna)

Also up for her first Juno is Nunavut songstress Kelly Fraser. Since bursting onto the scene with her Inuktitut versions of Top 40 pop songs in 2013, she has released a pair of albums and helped shine a light on Nunavut’s oft-overlooked music scene. Inspired by the Inuit legend of the sea goddess Sedna, her latest album combines Inuktitut and English while fusing elements of pop, electronic music, throat singing and hip-hop for an upbeat (though not always glamorous) portrait of life in the North.

A Tribe Called Red

Nominated for: Group of the Year

It was only four years ago that ATCR won the Juno for Breakout Group of the Year. Now, despite losing one of their founding members (Ian Campeau aka DJ NDN) last year, the group has established itself as a household name not only in Canada but around the world. Since dropping We Are The Halluci Nation in 2016, they have won a number of awards (including the 2017 Juno for Producer of the Year), made the Polaris short list and played festivals like Coachella, Bonnaroo, Osheaga and more.

Tanya Tagaq

Nominated for: Alternative Album of the Year (Retribution)

Awards in general, and the Junos in particular are nothing new to Inuk throat singer Tanya Tagaq. Since 2006, she has been nominated five times and won twice. She also took home the coveted Polaris Music Prize and a Canadian Folk Music Award for her third album, Animism (2014). But her latest offering, Retribution, may just be her most powerful work to date. Experimental, bold, genre-bending and tradition-obliterating, albums like this are why the Alternative Album of the Year category exists.

The Nunavut Sivuniksavut Performers

Nominated for: Classical Album of the Year (Large Ensemble)

Nominated for their collaboration with the Winnipeg Symphony Orchestra on The Shaman & Arctic Symphony, the Nunavut Sivuniksavut Performers is an Ottawa-based college program that serves Inuit youth from across Canada's north.

Josh Cayer (Frontman of Longhouse)

Nominated for: Metal/Hard Music Album of the Year (II: Vanishing)

This is the first Juno nomination for Algonquin artist Josh Cayer, the bassist/vocalist for Ottawa doom band Longhouse. II: Vanishing is the group’s second studio album.

The 2018 JUNO Awards go down in Vancouver on March 25.

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

On the Rise 2018 | Digital Drum

Digital Drum — Wed, 07 Feb 2018 19:14:02 +0000

On the Rise 2018 | Digital Drum Digital Drum Wed, 02/07/2018

On the Rise: Eight Emerging Indigenous Artists to Watch For In 2018

As the great Métis leader Louis Riel once said, "My people will sleep for 100 years, but when they awake, it will be the artists that give them their spirit back."

For anyone paying attention, that time has come.

Thanks to the commercial success of artists like A Tribe Called Red, The Jerry Cans and Iskwé, Canada’s Indigenous music scene has undergone a resurgence of sorts over the past few years. But this so-called Indigenous Next Wave extends well beyond the acts getting mainstream recognition.

For every artist selling out shows or winning awards, there are dozens more on the verge of breaking out. And many of them are just getting started. Here’s a list of eight emerging Indigenous artists to watch for in 2018.

Ansley Simpson

Back in 2016, Toronto-based Anishinaabe singer-songwriter Ansley Simpson won the inaugural imagineNative Bull’s Eye contest as Canada’s top emerging Indigenous artist. She has since released her impressive debut album (Breakwall, 2017) and toured the country with the four-week, 13-community New Constellations series. With a slot at the MEGAPHONO 2018 Music Showcase Festival and new music in the works, she is definitely one to watch in 2018.

Celeigh Cardinal

Riding the momentum of her dazzling debut album (Everything And Nothing At All, 2017), Métis singer/songwriter Celeigh Cardinal is in for a busy 2018. Between the Indigenous Music Residency in Manitoba, Folk Alliance International in Kansas City and a tour of Sweden, the Edmonton-based artist will also be working on her next album. If it’s anything like the first, we can expect a soulful blend of roots, folk, rock and pop alongside some seriously powerful vocals.

Jeremy Dutcher

Fusing elements of his classical training, contemporary jazz and traditional Maliseet music, Toronto-based composer/vocalist Jeremy Dutcher truly fits the bill as a genre-bending artist. And with fewer than 500 remaining Wolastoqey speakers, he’s also doing his part to preserve the language. Combined with his powerful voice and commanding stage presence, his message is bound to reach – and perk – plenty of ears.

Logan Staats

If you haven’t heard the name Logan Staats, you will. Although the Six Nations singer-songwriter has been making music and winning awards for almost a decade, he recently got his big break on CTV’s talent search show, The Launch. In addition to earning the praise of Scott Borchetta, Shania Twain and others, his rendition of The Lucky Ones was a huge hit on iTunes. Fusing elements of folk and rock, his signature sound is about to blow up in a big, big way.

Mob Bounce

Drawing from their Indigenous culture and connection to Mother Earth, Mob Bounce explore everything from politics and spirituality to racism and the environment. And their music with a message hasn’t gone unnoticed. Last year alone, the electronic hip-hop duo scored gigs at Aboriginal Day Live, Northern Lights Festival Boréal and with Gord Downie’s The Secret Path project. They also got a great start to 2018, landing on the cover of Beatroute (BC) magazine.

Once A Tree

Since joining forces to form electro-R&B duo Once A Tree, the wife-husband team of Jayli and Hayden Wolf have been turning heads on the Toronto music scene and beyond. In a few short years, they’ve released a killer debut album (Phoenix, 2017), accumulated 100K+ Youtube views on their music videos and been featured on Rolling Stone’s “10 New Artists You Need To Know” list. And with plans to tour in 2018, they may just be coming to a city near you.

Snotty Nose Rez Kids

Bursting onto the scene in 2017, Haisla hip-hop duo Snotty Nose Rez Kids flipped the script on Indigenous stereotypes and gave listeners a fresh perspective of life on the rez. But that was just the beginning. In 2018, they’ll be playing the brand new Skookum festival (Vancouver), headlining Edge of the World Music Festival (Haida Gwaii), releasing their third album (Braided and Faded) and collaborating on new projects with Drezus and the aforementioned Mob Bounce.

Ziibiwan Rivers

It’s hard to believe Ziibiwan’s career is only just getting started. In the two short years since releasing his debut EP (Time Limits, 2016), the Anishinaabe electronic artist/producer has been signed to RPM Records and scored a pair of 2017 Indigenous Music Awards nominations (Best New Artist and Best Instrumental Album). And with a new album on the way, 2018 promises to be his biggest year yet.

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

Behind the Beats with Mimi O’Bonsawin | Digital Drum

Digital Drum — Mon, 08 Jan 2018 15:18:55 +0000

Behind the Beats with Mimi O’Bonsawin | Digital Drum Digital Drum Mon, 01/08/2018

From the senseless violence to the natural disasters to the Hollywood assault scandals and everything in between, it’s easy – and potentially accurate – to declare 2017 the worst year ever. But through it all, Mimi O’Bonsawin chooses to focus on the positive.

Guided by her selfless spirit, happy-go-lucky personality and supernatural sense of optimism, the Toronto-based singer-songwriter simply can’t help it. The fact that she’s living the life she always dreamed of doesn’t hurt either.

Since graduating from high school, Mimi’s released a pair of studio albums, performed at Midem in France, opened for the likes of Buffy Sainte-Marie and launched a songwriting program for students. And at only 23, she’s just getting started.

We recently caught up with Mimi to talk all things music. Here’s what she had to say about staying true to her roots, seeing life through a creative lens and much, much more.

First things first. Why are you so damn happy all the time?!

(Laughs) This is such a beautiful question. Thank you for the compliment. I think that when someone is doing what they were sent to here to do, they are happy. When they are making use of the gifts they have been given, they are happy. When their spirit is fulfilled and satisfied, they have this glow. I love seeing this in other people. I love seeing passion and love in people’s lives.

So that being said, I’ve never imagined myself doing anything other than music, and the fact that I get to … I’m the happiest person on the planet. From my fingers to my toes, I feel right. Before I could even put words together, I would sing and dance and put on a show. There was never a doubt in the minds of my parents that I would always be their “weird artist daughter.” So I guess I could thank my mom and dad for letting me be exactly who I was meant to be, and all the people who support and nurture me. I just have so much love in my heart for all the people in my life and I’m so grateful for every breath I take. This journey brings me so much joy.

In a past interview, you told us your musical influences are always changing. What are you listening to these days?

Right now I’m on a huge Xavier Rudd binge. I can’t stop! I love the way he writes with such courage, and his singing and playing is so raw and earthy. I had never heard his music until recently and I think I’m in love (laughs). I’m also listening to a lot of Nahko Bear. He’s a great poet and a cousin Indigenous artist. I love what he’s doing and would love to open for him one day.

Of course, my major influences like Bob Marley, Buffy Sainte-Marie and Robbie Robertson never go away, but I do this thing where I only listen to one artist for like three months, then move on. I’m definitely on Xavier Rudd planet right now, just recovering from yet another Robbie Robertson phase.

You grew up in Sudbury but moved to Toronto after high school. Tell us a bit about the current music scene there, and where’s your favorite place to play?

I’ve been living in Toronto for five years now. It was a struggle for me at first because I came from a place where the sense of community was very strong. I felt like I couldn't have this in a big city like Toronto, and I was lonely. It took me a while, but I finally found my people. I’ve built myself a community of people that I love and learn so much from. I surround myself with people that are so insanely talented, giving, nurturing and wise. The Toronto music scene is so small. It feels like a family. Everybody works together, plays on each other’s albums, shares the stage, supports one another … it’s beautiful. I’ve met and worked with so many great humans here.

My fave room is The Burdock. I’ve played there a few times now, and the sound is amazing. It has a really chill vibe and it’s a great space for a concert because it’s conducive to listening and interacting. Plus, they give you soup in the green room (laughs). Toronto has so many great venues. One I used to love, but is now closed, was Musideum. It was a small space, it only fit like 30 people, and it was jam-packed with instruments from all over the world. It felt great in there. But little places like that are always popping up.

A few years ago you opened for the one and only Buffy Sainte-Marie. Tell us a bit about that experience.

Buffy Sainte-Marie is one of my biggest influences. I have listened to all of her songs, I have gone to her concerts and cried my eyes out front stage, and I aspire to have a long and successful career like hers. She radiates energy and strength and she is such an inspiration, so of course, opening for her was like a dream come true.

It was an acoustic show, so I played with my drummer and percussionist Dave Patel. The sound was perfect, the audience was amazing – I even got them to sing along – and I had a full 30 minutes to play. I’m usually happy on stage, but this was special because my idol was backstage. Watching her do her thing from the sidelines was the highlight of my night, though. I learned so much that evening about what it means to be a songwriter and a performer. She pulled out songs from way back when she was my age. She was a rock star. Oh man, that was such an honor.

You have both French-Canadian and Abenakis roots. Speak a bit to your heritage and the role it plays in your songwriting.

I used to have a management team who would tell me to “Not play the Native card,” because I wouldn’t have a career there. They said to stay away from the French music thing as well. That never made any sense to me. Separating who I am from my art is not possible. I now have the confidence to be who I am in music, and in life; I pride myself on being the exact same person in both worlds. That has given me so much confidence on stage and in my creative process. No more having someone tell me what to wear, what to say and how to be. I’m me all the time and I write from that place. My journey into my culture has inspired me and continues to fuel that fire. My experience of being a Francophone and Abenakis woman is where my songs come from, because that is where I come from.

**About four years passed between your self-titled debut album, Mimi, and your second album, Connected. What did you learn in between albums, and how has your sound changed over time?**

Let’s just say I’ve done a lot of soul-searching in these past few years. My first album was my first experience in the music business. I’ve learned so much since then. Some hard lessons, but they have brought me so much. I would initially say that I’m a different person now, but the truth is, I'm not. I’ve just grown a lot – not physically because I'm still only five-foot-one (laughs). When I was younger and creating my first album I had goals for myself. I wanted to be someone who would live her culture and integrate it into every aspect of my life, I wanted to be someone who was comfortable on a stage and had the confidence to be exactly who she was, I wanted to be someone who had confidence in her creating, to trust my gut and not second guess myself, and I wanted to surround myself with people that I could learn from and that I love. I am so proud to say that I’ve achieved those goals for myself, and that is where my second album comes from. I’ve never felt so connected to who I am and where I come from.

I think that people who choose to see life through creative lenses are people who are always changing, growing, creating, constantly reinventing. When you make art, it’s difficult to stay stagnant. We do this because we have to.

When you’re not gigging or making music, you do some great work in the community. Tell us a bit about your workshops and what they entail.

So I tour a series of workshops called Rhythm and Rhyme, offered in both French and English, with youngsters from Grades 4 to 12. I’ve recently been asked to bring this workshop to a few conferences where I do this with adults too. It’s super fun to bring out the child in them!

Rhythm and Rhyme is a discussion of the healing powers of music, as it is our human language. It speaks to the three bodies and a discussion of music as an empowering means of expression. Afterwards, we move into a human music experience, where we play around with voices, sounds and vibration, and together we all benefit from the healing properties of expressing ourselves with song. We explore storytelling, as it is the narrative of our existence and the source of all inspiration for a creative expression. Students are introduced to song by creating in different forms and are brought to have conversations about identity, empathy and creativity.

I’m often asked to include an Indigenous perspective to the workshops where I speak about what it means to be Indigenous today, how we can come together and fight against racism and stereotypes, and bring the students to have uncomfortable conversations about Canadian history and its impact on our current society.

I get so much energy, inspiration and light from doing these workshops. Connecting with people through music has always been my passion. Whether I get to do that on a stage or in a classroom, I’m good with it. And from a more selfish perspective, it fuels my personal creative expressions.

Digital Drum recently featured you on the second season of DD Studio Sessions. Tell us a bit about that experience and working at Noble Street Studios.

I recorded my second album at Noble Street Studios, but when we went in there with the Digital Drum crew it was totally different. Ian De Souza (bass) and I walked in with only an idea. We had a vision but nothing rehearsed or overly-prepared. Just lyrics and a melody, and together with engineer Alex Krotz and the crew at Noble Street, we got to create some magic. It was so spiritual and beautiful. I had never recorded something like that: where you do it all in one day, just a few takes and capture the song fresh. It inspired me to record like this again, and I’m in the midst of planning that all out. It was such a soul-satisfying experience; it’s hard for me to put it into words.

Coming into the session, all you had was a rough demo of ‘Moonrise’ recorded on your iPhone. How did the finished track compare to the idea you had in your head going in?

It grew and blossomed into this beautiful thing I couldn’t have imagined. That’s the beauty of collaboration and working with professionals who can bring ideas to the table. It grows beyond what your skill set or imagination is, but still stays true to its original concept. The sounds Alex and Ian brought to the table were just mind-blowing. It all worked with the initial vision I had, but made it that much more. I loved working with them.

A new year is right around the corner. What does 2018 have in store for you?

I haven’t officially announced this yet, but I’m way too excited to hold it in. In January, I’m headed to Mexico to write and create from a new place. This is a challenge for me because I always write in my writing room, but I think challenging our comfort zones is necessary in order to continue to create something new, fresh and positive.

Then, I’m taking those songs – and the ones I’ve been writing over this past year – to India, where my band and I will tour for a month. We’ll be playing music from my newest album and new songs, hitting up a studio to do some recording and planting the seed for the following year. I want to make connections while I’m there, gain a ton of experience, and play on an international stage. Right now, I’m booking some gigs in the U.S. for spring and applying for festivals across Canada. So when I come back from India, my calendar will be full of touring at home.

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.