Using his life experiences growing up in downtown Toronto as a source of inspiration, Langston Francis is on his grind as a young artist discovering himself and the world of music around him. We caught up with Francis on the heels of his debut single release to talk about his foray into music, early influences and his direction as an artist.
G—You are still in high school. Do you find it hard to juggle your new music career with school?
Langston Francis—It’s challenging. For example, I had two exams in one day, then a show at night and I was feeling under the weather. I have school every day, so it definitely gets hard to juggle things sometimes, but it’s sort of something I just have to take in stride. I’m just so grateful for all the opportunities I have.
G—Can you tell us a little about your first single, “FCKD IT UP”?
LF—I wrote the song and beat when I was 14. At the time, the song had a certain meaning to me. We ended up finishing the song about 12 months later, after that it took on a whole new meaning. As I grow up and change and have different life experiences, music feels like it resonates with me in different ways. I don’t know if every artist feels like that, but for me, I feel like the songs grow with me. This song in particular, I feel, can fit into many different situations in my life, family or relationships.
G—Let’s talk about the video; it’s interesting how you pieced together so many different types of visuals. How did you come up with the idea?
LF—The idea for this video was not only conceptualized by me; the director of this video, Elliot Clancy Osberg, and I collaborated. When we met up initially we walked around my neighborhood talking about different visual ideas. I wanted to keep this idea of youth culture and rawness; I didn’t want it to feel polished, because that just wasn’t me. It’s just about my friends and I hanging out – we didn’t cast anybody. We wanted to capture the mood and vibe of the song.
G—Can you tell us about your musical journey and how you were discovered?
LF—The first person who picked me up and got me working on music in a more professional way was my manager, Miles Jones, who I also collaborate with on everything. He’s sort of my musical mentor/manager. I met him through a family friend at a community BBQ. He had heard I played music and we started talking. I ended up later reaching out to him on Facebook. At the time I was in the eighth grade, and we made some demos together. He eventually got it into the hands of someone at the label, and that’s how everything kind of went from there.
G—Do you play any instruments?
LF—I play the guitar and the piano and I like making beats with different machines, like synths in the studio. Basically anything I can strum I can play.
G—When did you start writing your own music?
LF—I started playing guitar at five. My dad got me a guitar for Christmas and I was just messing around. The first real song I wrote was in grade seven. Before that, I had written something [that] I showed my [current] manager so he could get to know me.
G—Who do you consider your musical influences?
LF—When I was younger and I first started getting into music, I spent almost all my time on the internet, just watching videos, and I loved looking at people covering songs, and that’s what sort of inspired me to sing. Initially, from the ages of nine to 12, I was listening to Ed Sheeran all the time nonstop, and that’s what got me into performing on the street, getting me to want to write songs, and picking up the guitar and sort of doing what I do. When I met my manager, he really introduced me to an era of music I didn’t really know about, and that’s when I got into rap, hip-hop and R&B – even just getting into old Kanye and more classic artists. So I would say my two biggest inspirations are Ed Sheeran and Kanye.
G—How do you feel living in Toronto has affected your creative process?
LF—I feel like growing up in Toronto, especially downtown, has had a major influence on me. There is a lot of talk right now about artists from Toronto that are [up-and-coming], but a lot of them are from the suburbs. I find that within Toronto, especially depending on where you grew up, like Scarborough or the East End – these suburbs – you’re going to have a different experience versus growing up in Kensington Market in downtown Toronto where I grew up. Even within Toronto, a lot of people are starting to describe a ‘Toronto sound’, but so many different variables can affect you. Walking through a busy market, seeing the different vibe there can influence you. When I was younger, I would just walk around observing all the different architecture. I didn’t realize it then, but little things that aren’t musical at all have influenced my music.
G—You’ve recently played a string of live shows in Toronto, how would you compare this performing experience to your background in busking, playing live music on the streets?
LF—I think it’s interesting comparing the two, because when you’re on the street performing for hundreds of people at a time, you’re performing for everyone but you’re also performing for no one, because no one is there to actually see you. So I think performing on the streets is a really interesting way to get your chops up and learn how to play on stage.
G—Any plans for a full album release or any new singles coming out in 2018?
LF—As of now, we have a new single coming out hopefully in the next month or two. There are no plans for a full-length project right now, but we have tons of songs recorded, and hopefully in the next six to eight months there will be more singles released.
G—What kind of sound can we expect from these new releases?
LF—I feel like my musical direction is forward, and especially with these projects, I want to have something that’s sonically cohesive when creating this body of work. It’s definitely important to fit together in a certain way. But I try not to go into it with a premeditated idea of what it needs to sound like, and even with “FCKD IT UP”, I didn’t even think it would get radio play. So I go into just making music I like, and the coming singles, I don’t know what people will say about it. Maybe they will think it’s a different sound, but I just try to stay consistent. The important thing is that it’s genuine stuff coming straight from the heart.
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
What do you get when you combine the start of a worldwide tour and the release of a highly-anticipated album on the same day? Ask Lord Huron’s founder and frontman, Ben Schneider, and he’ll say a pretty damn exciting journey ahead. The band’s third album, Vide Noir, released April 20, is already receiving accolades for its raw, lyrical storytelling from songs like “Wait by the River” and “When the Night is Over”. To engage fans at a deeper level, the band plans on creating immersive experiences that elevate the album’s narratives. Lord Huron’s tour includes a stop at Toronto’s Sony Centre on July 25, and at Osheaga in Montreal on August 4. Schneider spoke to us about his love of storytelling, Raymond Chandler influences, and what it was like working with Flaming Lips’ producer David Fridmann. G—You grew up in Michigan. Is that where your interest in music began? BS—There was always music on at our house, and I remember imagining the people the songs were about. The storytelling of songs is what’s always captured me most. As time went on, I was able to convince my parents to let me play bass in the orchestra, which led to me
Morgan Saint was born into a creative life. Upon growing up in Mattituck, NY with a family of musicians on her mother’s side and parents who worked in interior design, Saint graduated from Parsons School of Design in Manhattan, where she has lived for the past six years. With a major in illustration and a focus on photography and graphic design, Saint has executed a clear vision of her musical artistry. In 2017, at the age of 23, Saint released her debut EP, 17 Hero, on Epic Records. She is a storyteller at heart, combining all of her talents to reveal her narrative as truthfully as possible, one vignette at a time, as seen in all three of the EP’s videos, “Glass House”, “You”, and “Just Friends”. She co-produced each glossy, beautifully choreographed, and high-definition clip with Nathan Crooker, but the lyrics are all hers. They come from personal places yet are vague enough to be relatable. Her electronic pop is lo-fi, but you’ll most likely find yourself snapping your fingers to it. As Saint prepared for a sold-out show supporting Missio in Austin, Texas, Georgie connected with her to discuss coming into her own as a songwriter and