To say that Australian-born artist Grace Sewell – known simply as ‘Grace’ – has had a busy year would only be telling part of her story. Widely known for her smash remake of Leslie Gore’s feminist classic, “You Don’t Own Me”, she’s been active in writing and performing music since the age of 14.
Raised in a family of performers, the 19-year-old descends from grandparents who once served as openers for the Bee Gees, and grew up with an older brother – Conrad Sewell – who’s had his own massive success in music with a number one hit in 2015. Speaking to Grace over the phone, she also fondly describes her mother’s role in her creative upbringing. “My mom was always very artsy – always painting, or writing books – and that rubbed off on me. I’ve always loved music and she had really great taste in music. So, I was always around soul music growing up, listening to artists like Etta James, Gladys Knight, Aretha Franklin.”
Just five years after beginning her own artistic endeavors, Grace landed in a studio recording with legendary producer, Quincy Jones. Jones, who first heard her music through a management connection, signed on and suggested that they work together on the very song he produced with Gore in 1963. So, what was it like to work with him?
“Quincy is a perfectionist. There was that fine line of keeping it classic and keeping all those iconic moments from the original, but also being able to let another producer come in – Parker [Ighile] – to help create a fresh sound and take on it. Quincy was the key element in making sure it was still done in a tasteful way.”
Ighile, with whom she’d recorded her 2015 EP, Memo, furthered the fresh take on the song by connecting her with G-Eazy. A fan of his work, Grace describes clicking with G immediately following a joint listen of the track. He was into it and asked to write a verse. “It was kind of a cool juxtaposition to have a male rapper on what essentially is a female empowerment record. And, I knew he’d bring in a different audience, because he’d add a hip hop element.”
Following Gore’s passing in February 2015, Jones encouraged Grace to release the by-then minted track as a tribute to the late performer. When asked if she felt any pressure or responsibility to carry the song’s message to a new generation of young women, Grace replies, “Not pressure, really. For me, the biggest thing when talking to young women and youth in general is: don’t set limitations to your goals and what you want out of life.”
The discussion takes us back to her family, and the impact her brother’s success has had on her own endeavors. “He was already playing shows, and in the studio, and writing his own stuff. And, I was like, ‘This isn’t that far away. I can get there. My brother – somebody I’m so close to – is already living it and doing it.’ It was a massive encouragement to have him around and guide me in the right direction. I was never scared because it never seemed that far away.”
“You Don’t Own Me” continues to carry momentum following a key placement in one of the summer’s most-discussed blockbusters, Suicide Squad. With the acclaimed release of her debut album, FMA, in July, the rest of 2016 will see the performer out promoting it. “The music is out now, so I just want people to hear it! We’re gonna get out and play as many shows as we can.”
For full feature and additional photos visit our digital issue (issue 7) here.
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