Tickets will be available at the door.
This event is part of Canadian Music Week for more information and set times check out cmw.net/music
In a world where we are constantly defining the sum of our lives through the filter of another’s gaze, genuinely unchained artists like Winnipeg-bred Hamilton-based singer-songwriter IsKwé (pronounced iss-kway) are becoming a rare breed.
Named one of the ‘Top 10 Artists to Watch’ by CBC Music, IsKwé (which means ‘woman’ in her native language) is fostering an unmistakable sound that weaves together her Irish and Cree/Dené roots with poignant politically charged lyrics, dark soulful R&B rhythms, electronic flourishes, and trip hop breakbeats.
“I have always gravitated towards darker, deep-cut, bottom-heavy sounds,” says IsKwé. “That’s just what resonates with my creativity. I am hugely influenced by that fundamental darkness that came alive in bands like Massive Attack and Portishead as part of the Bristol sound, but I also love strong, bold women like Bjork and Erykah Badu.”
Captured fully on her brand new single “Sometimes,” which is the first release off of her sophomore album The Fight Within (Summer 2017), the song is a brooding and introspective anthem to an ex that sees IsKwé drawing upon the poise and power she felt in learning to let go of love.
“I think that in any relationship, even the unhealthy ones, it’s important to own yourself and to be able to say, ‘Okay, I’m making the choice right now to stay’ or ‘I’m making the choice to leave,’ and then feeling confident in that decision because it’s yours. This song is very much about the power I felt in leaving. Even though there was anger and sadness inside me when I wrote it, it wasn’t born out of animosity––I was really pulling from a place of empowerment on this one.”
While Iskwé’s music is undoubtedly a source of deep personal strength it is also a form of protest––protest against the continued hardships of the Canadian Indigenous community and protest against the fallout she has faced as a female speaking out on the subject openly in the music industry.
“There are people who assume that I won’t feel strong enough to speak my mind about my own culture and gender and that’s fine, but I won’t be silenced,” says IsKwé. “I’ve never been timid or shy about addressing those sorts of topics in my music because that’s not my spirit and it doesn’t reflect me inside.”
Bridging cross-cultural aesthetics while exploring her own struggle to both fit into and breakaway from modern Western archetypes has been an important part of IsKwé’s artistic vision since the release of her self-titled debut album in late 2013. Her debut single “Nobody Knows,” which was produced by Juno Award nominees The Darcys and is currently being featured in the Netflix series Between, captivated audiences by turning a stark spotlight on the more than 1200 missing and murdered Indigenous women here in Canada.
The song, which perfectly paired IsKwé’s signature downtempo tones with harsh reality, revealed an artist whose true beauty and undeniable appeal lies in her ability to find strength in the weight of her emotions.
“This new album, and most of the things I write, are rooted in an emotional place that’s not quite sadness,” explains IsKwé. “I think the strength in whatever I’m feeling is generally where I write from and I really try to embrace it all rather than seeing weakness in those emotions.”
During her live shows, IsKwé pairs her songs with elaborately adorned face paint both as an homage to her ancestral roots and as a platform upon which her message really comes to life. “Painting was one of my first loves. Incorporating it into my live show has not only become a way for me to expand my creative expression but it is also very much an act of reclaiming tradition.”
Inspired by both Dené and Inuit facial tattooing, IsKwé views the face paint as an act of rebellion against cultural appropriation and the limitations that have been imposed upon her as an artist. “Even if it isn’t entirely understood, painting my face prompts people to ask me, ‘Why?’ If I were to be subtle about it, I’d risk the message being lost in translation but when I’m loud and over the top with it, I think people find it harder to look away. That’s important to me because it prompts dialogue and it lets me know that the conversation is still very much alive.”
Unafraid to challenge the convictions of her detractors by honouring her heritage, standing steadfast in her viewpoints, and embracing her sexuality, IsKwé’s artistry knows no bounds. Blending soulful, breathlessly delivered lyrics that are coloured by the many shades of human nature with a sonic palette that takes its queue from the shadowy atmospherics of the 1990s Bristol sound, IsKwé’s music revels in her strength of self and that is her true rallying cry.
Electronic-tribal music duo DATU is a modern Filipino music group, consisting of producers Alexander Junior (formerly of Times Neue Roman, and Styrofoam Ones), and Romeo Candido (formerly of KUYA, and Prison Dancer). DATU showcases movement, gongs, and storytelling through singing and rap, reinvigorating traditional Filipino music with their cultural transcendence, creating a brand new sound. After years of producing and collaborating with other Filipino-Canadian artists like Toronto rapper Han Han and dance troupe HATAW, DATU's debut EP, High Blood will arrive Summer 2017 and is a unique blend of traditional and new, delivering a fresh take on the alt-world genre.
Hailing from the intensely diverse cultural hub of Toronto, DATU taps into city’s unmistakable legacy of genre merging, with their sound of ethereal trip-hop spun together harmoniously with Filipino mysticism and tradition. Already capturing the attention of The FADER, DATU’s first EP, High Blood, features more daring culture jamming, using the ancestral rhythms of traditional gongs, futuristic Dilla-inspired loops, and the twilight-filtered electronic sounds the band continue to be inspired by. Like tribal music of the past, DATU tells the stories of its own tribe — tales of love, deconstruction, and the search for meaning. The duo uses the sounds and visuals of High Blood to tackle archaic notions of patriarchy and norms associated with their cultural traditions. The result transports listeners to a place between their Filipino ancestry and a Canadian Future.
Whether her music has slipped into your consciousness behind hit TV shows including Fox’s Lucifer, The Royals, Wentworth, VICE, BULL, So You Think You Can Dance, Mustangs FC, the trailer for VICELANDS’ World of Sports, Black Market, Reed Krakoff adds, or from her visually stunning live multi-media concerts, ANML’s message is strong, her voice is quirkily recognizable, and her passion is contagious. This Canadian born, LA based singer/songwriter/producer isn’t afraid to walk the edge in sound and in vision.
Puking rainbows, gun to head, exploding animals, human road kill, a pregnant woman on a cross… she will put herself in the way of comfort in order to bring her message, vision and feelings into the forefront, displayed through her lovingly charming Canadian personality, and fierce stage presence.
The first single and video off her forthcoming ep RELEASE! went out on Oct 3rd 2017, reaching millions in its first month, with the help of a poignant feature by BUZZFEED.
ANML’s newest 6 song ep, RELEASE! plunges into the unavoidable letting-go’s of life; from death to reawakening, while living true to her coined genre, “hardcore witch pop”. The new ep is more of a personal thinking and emoting driven by her thunderous rhythms and production, while still deriving its inspiration and message from political subject matter such as domestic violence, gun violence, to the #metoo movement. RELEASE! goes out on April 2018.
This is "subliminal activism on a global scale”
Fri May 11 2018 7:00 PM Doors