The stage was a clear cultural divide. To the left, African American dancers hopped and skipped, leapt and spun. To the right, their Irish counterparts kicked out a fury of flailing legs, steps heavy and arms tight. It was a dance-off: African Juba vs. Irish stepdance. Their movements were the storytelling vessel; telling the audience that while different, these people were indeed the same, united by different sides of the same hardship and grief.
Set in Civil War-era Manhattan, Paradise Square is based on a true story of a place where whites and blacks co-existed (mostly) happily together during a time when that seemed impossible. We traveled to Berkeley, California, to see it and it’s also a play that my brother stars in. I hadn’t seen him on stage in a very long time, and witnessing his performance live was an incredibly proud moment for me. It’s a powerful play, one that lingers long after the curtain falls.
Great art should spark an emotional response. It should piss you off, or inspire you. It should bring joy and challenge you. A few days later in Oakland over dinner, the conversation subject matter was still firmly rooted around racism and how, sadly, the work is nowhere near complete. It veered to our own country as we discussed our Great Shame: residential schools and Canada’s horrible treatment of Indigenous culture. We certainly didn’t solve anything, but we were inspired to examine these issues with gusto.
It must be gratifying to know that the art you produce gets people talking. I know my brother is proud, but how does that feel? To know you’ve provoked that kind of depth of conversation. Paradise Square made me question some of my own choices. My musical tastes have veered away from hip hop for some time and I feel the need to ask myself why and what does that mean? In response I’ve tried to seek out some new hip hop and came across Third Root’s Thrill Pedagogy: Winter Flex. The sound is 90s hip hop, shades of The Roots, but the message is very 2019, criticizing MAGA America. It makes me wonder if hip hop is the true platform for today’s protest songs.
I love it when a song ends and you instantly wish it was longer. Adia Victoria’s “Nice Folks” is carried by the drumbeat and right before it ends, the drums explode, horns sweep in and her vocals take a back seat to this perfect unsettling mess. When it’s over, you’re begging for more. Silences of full of confident songwriting in tracks like “Dope Queen Blues” and “The Needle’s Eye.”
Perhaps as a way of making up for no Field Trip this summer, Broken Social Scene released Let’s Try The After (Vol. 1). It’s a nice little EP. “Remember Me Young” and “1972” crackle and swoon, galloping towards hands-in-air crescendos reminding you that very few bands can capture that sense of elation better than BSS.
Blending elements of post-punk and 90s shoegaze, FEELS’ Post Earth pulses with feedback and reverb. Their sound is muddy and dark but the call-and-response chorus of “Find a Way” and the clean harmonies on “W.F.L” infuses their songs with energy and lightness at the right times.
Singles of the month: “Song for Winners” by Nick Waterhouse, “Cherry Bloom” by Club Kuru, “Lighthouse” by Doc Robinson, “Time Rider” by Chromatics, “Sisyphus” by Andrew Bird and “Fools” by Drugdealer.
Thanks for reading and happy listening.