Béatrice Martin, also known as Coeur de Pirate, is done with the blame game. Alongside the release of her latest album, Roses – her first written in both French and English – comes a newfound maturity for this 25-year-old Québécois chanteuse. “I was so busy pointing the finger at other people in my previous records. I saw music as a means to get back at people and that wasn’t smart.”
With over one million records sold, Martin has spent the majority of the last decade growing up in the public eye, having experienced her fair share of toxic relationships, finding true love and becoming a parent along the way. Indeed, life looks very different now for Martin than it did in 2008, when she made her solo debut. “Becoming a parent, as corny as it sounds, does shape you as an artist and a songwriter,” she explains. “It definitely helped me clean up my act and push away whatever negativity I had before.”
Writing in English wasn’t without its challenges for Martin. “I had one song, ‘Oceans Brawl’, that was in English. I realized I couldn’t have just one song in English, so I wrote a couple more. I didn’t know if they were any good, though. I had to get them proofread just to make sure my poetry was alright.”
But the truth is, whether you speak English, French or something different altogether, Martin’s haunting vocals and skills as a pianist allow her to effortlessly transcend language barriers. And Roses is no exception. Featuring lush arrangements and evocative, almost cinematographic production, it’s arguably her boldest, most captivating effort to date.
It’s also her first release in nearly four years – and Martin’s legions of fans are already looking forward to what she’ll do next. “I’d like to integrate more dancehall rhythms to what I’m doing, but keeping the piano. I’ll see where that goes,” she says, laughing. “I’m open.”
The meaning of Jazz Cartier’s Fleurever is rooted in duality. In the two years since his sophomore mixtape, Hotel Paranoia, the artist has had to “[battle] the balances of love and money, risks and rewards, right and wrong, or living and dying”, alongside coming to terms with the throes of wealth and fame. Subsequently Fleurever—or, as he calls it, his “third project”—explores Cartier’s personal growth in the years following. With his newfound maturity in tow, Toronto’s rising rap star is on course to start a music revolution—well, that’s the idea anyway. Georgie caught up with Cartier to talk about gratitude, the rapper’s personal transformation, and the driving force behind Fleurever. G—Can you tell us a bit about your latest album Fleurever and the inspiration behind it? JC—Most of the inspiration came from growth, and a bit from my departure from Toronto. A lot of the record was made in my last days in Toronto, and just having that cloud over my head and knowing that I’d be leaving soon—it was more so showing my affection for the city that pretty much shaped my sound. G—Did you have a vision in mind when you started writing this album? JC—For the most part Fleurever is just myself and my
When asked to describe herself in three words, Nina Nesbitt didn’t hesitate. “Introverted, creative, and driven”. While you wouldn’t guess the former from her edgy, empowering tracks—her latest single “Loyal To Me” is a girl-power anthem, rallying women to ditch their unfaithful partners—the latter two can’t be questioned. In the six years since she was discovered in an unplanned encounter with Ed Sheeran, Nesbitt has released three EPs and one full length album; toured with Sheeran, Justin Bieber, and U.K rapper Example; and carved her way into the alt-pop scene with a harmonious blend of groove and grit. Earlier this year, the Edinborough-native was one of three emerging female artists chosen to partake in Spotify’s “Louder Together” initiative, recording the first collaborative Spotify single (“Psychopath”) with Sasha Sloan and Charlotte Lawrence, and showcasing her signature style of thoughtful messages pulsating atop hook-driven melodies. With her sophomore album ready to drop, Georgie spoke with Nesbitt about her experience being thrust into the spotlight and maintaining her creative independence throughout it all. G—You’ve been touring a lot this year, specifically in North America. How have your North American audiences been receiving your shows? Is it different than performing for UK audiences?
Named for the Toronto area they grew up in, The Beaches are a far cry from a placid day on the lake. Led by singer/bassist Jordan Miller—with her sister and guitarist Kylie Miller, guitarist/keyboardist Leandra Earl and drummer Eliza Enman-McDaniel—the Canadian four-piece burst out of Toronto with their 2018 debut, Late Show, and have since built up an aura of dissident swagger. Taking home this year’s Juno for Breakthrough Group of the Year, the all-fem rock quartet is bringing grunge, gloss, and 70s glamour to a predominantly male genre. Georgie caught up with Leandra to talk about the band’s latest music video, taking charge of their music, and three simple ways to keep women in the industry. G—Did you grow up together in Toronto? LE—Yeah, I met the girls in high school. Jordan and Kylie are sisters, so they’ve known each other a bit longer, but they grew up with Eliza in Toronto’s Beaches area. G—What kind of music were you listening to at that time? LE—We grew up listening to all of the music our parents listened to. That definitely influenced us while writing our debut album since we drew from a lot of the 70’s music that our