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Feb 25/2015
WORDS Amanda Purdie PHOTOGRAPHY Sandy Phimester HAIR + MAKEUP Nickol Walkemeyer STYLING Raelee Balanag


It’s easy to assume a career in music would be a birthright for someone like Kandle Osborne. After all, as the daughter of 54-40 front man, Neil Osborne, music is part of her genetic makeup.

But for this Bardot-esque, Victoria-born beauty, growing up surrounded by Canadian rock royalty wasn’t the first-class ticket to musical stardom you might expect—or even what she thought she wanted.

Listening to her critically acclaimed debut album, In Flames—a dark and sultry blend of rock, blues, and a touch of country twang—it’s hard to believe Osborne’s haunting voice isn’t the product of years of training. But, she says, “I had no idea I was going to be a musician. When I was a kid I couldn’t sing or play anything, and I really didn’t care to.” It wasn’t until her late teens when Osborne learned how to play the guitar that she realized she had a knack for song writing.

When she and her sister Coral formed The Blue Violets with their friend Louise Burns, Osborne was content to take a backseat, writing songs and getting her sister to sing them. When the band dissolved, it forced Osborne to become more confident—not only as a solo performer but also as a singer. “I found myself alone with all these songs and no one to sing them. So I made myself learn how to sing properly.”


Determined to make it as a solo artist, Osborne tried doing what any child of a successful, well-known musician father would do—she reached out to his connections. But her initial attempts to get her name out there weren’t taken seriously. “I thought, if I start a band it will be easy because I know everyone—but no. The people in the industry who I thought would help me basically said, “Good for you, honey.”’

Osborne felt her only choice was to carve a reputation separate to that of her father’s, so she moved across the country to Montreal—where she hooked up with indie heavyweight Sam Goldberg Jr., of Broken Social Scene.

She and Goldberg first collaborated on Kandle, Osborne’s self-titled EP, after she offered up her talent behind the lens in exchange for Goldberg’s guitar skills. “He wanted me to do a photo shoot for [Broken Social Scene]. He asked me what I would charge, and I said ‘Nothing, if you play guitar on my EP.’ He said if I was ever in Montreal we should start a band, and I showed up a month later.”

Their musical partnership has continued well beyond the EP, with Goldberg co-producing In Flames alongside Osborne’s father. The album—featuring guest vocals from Béatrice Martin (Cœur de pirate) and Sam Roberts—reflects a more mature sound, which Osborne acknowledges. When I listen to the EP I hear a weaker singer. I’m very proud of it but there’s a big difference between that and the record. I took risks and I can hear the confidence in my voice. The skill is greater now.”

When I listen to the EP I hear a weaker singer. I’m very proud of it but there’s a big difference between that and the record. I took risks and I can hear the confidence in my voice.”

Since moving to Montreal, Osborne has gained popularity on both the Montreal airwaves and the festival circuit, including performances at Osheaga and Pop Montreal. But she has yet to break through on a national scale—something she partially credits to a lack of Canada-wide media exposure available to up and coming homegrown artists. “How do you get heard in this country? Quebec is great because it has lots of TV shows and tons of magazines, but we’ve done them all.” All of which begs the question—now what?

For the time being, Osborne’s main focus is on trying to push her music outside of Quebec, which will mean lots of cross-country touring. She’s also looking to find a new manager, a job she’s been doing herself for the past six months.

There may be challenges ahead, but Osborne is a woman in charge—and she seems well prepared to handle whatever the industry throws at her. “The biggest thing is to be confident in who you are and what you want to do musically. If you feel weak and insecure about who you are as a writer and a musician, you’re going to listen to other people and you’re going to regret it. I always make a point of going with my gut.”


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


Tyler Shaw is going through a renaissance. After exploding onto the scene and the charts in 2012 with his hit single “Kiss Goodnight” and a wildly successful debut album that followed, it’s hard to imagine what the Canadian pop singer could possibly need to reinvent. But after two years of writing and exploring, Shaw has taken the reigns on developing a new album and a new sound that’s better in tune with his growth as an artist. Just before the release of his new single “With You”, Georgie caught up with Shaw over the phone to talk about his upcoming album, mental health, and the feelings he’s harnessed into a musical renewal. G— What were some of the biggest differences for you between making the upcoming album and making Yesterday? TS—Yesterday was more so “I’m a new artist, I don’t really know what I want to do. This sounds cool on my voice, so does this.” With this album on the other hand, I know what I want. I know what melodies I want to go to and what I want to talk about. [Yesterday] came out in 2015, and ever since then, I mean, you go through life experiences


Dear Rouge

  A few years ago, Danielle McTaggart was ready to throw in the towel on her music career. Now she and her husband, Drew, make up the powerhouse duo known as Dear Rouge and have two full-length albums and a Juno to their name. Known for their hook-driven tracks—and being “the nicest couple in Canadian music”—Dear Rouge just dropped their sophomore LP, Phases. The record recounts a season of emotional extremes for the couple, including winning the 2016 Juno for Breakthrough Group of the Year, and losing a loved one. We caught up with Danielle over the phone to talk about finding joy in music again, and the personal and public significance of Phases. G—On your website, you describe your style as “sinewy, hook-driven indie rock”. Where did that particular style evolve from? DM—I was always very into hook-y music with beautiful melodies. I grew up listening to The Carpenters and they have beautiful melodic parts, but I also always loved harder music and really rock-driven music. Bands like Metric or Yeah Yeah Yeahs or St. Vincent were hugely motivating for me, and I loved that these frontwomen were powerhouses. They’re very confident and trying to push the boundaries while