Nov 29/2016 WORDS by Erin Lowers
PHOTOGRAPHY by Brendan Meadows
STYLED by Leila Bani
ASSISTANTS: Whitney Lykins and Kristin Morawski
MAKEUP by Jon Hennessey
HAIR by Tania Becker
SET CREATION by Danny Vermette
ASSISTANTS: Sean Best & Maria Turner.
When Leon Bridges debuted Coming Home in 2015, his classic, soulful sound drew comparisons to some of the greatest black musicians of bygone eras, like Marvin Gaye and Same Cooke. The album also earned him a Grammy nomination – an experience that shocked a then 26-year-old Bridges, whose musical career spanned no more than a couple of years at the time of being nominated.
“It was kind of like one of those out-of-body things. I didn’t even believe it was happening,” he says. “Just to be a fan of music and R&B since I was a kid, and to see the reality that I was in that same line of my favorites… being at the Grammys, being nominated for the album – it’s crazy,” he continues. “My guitar player/producer [and I] went, and we left super inspired.”
The Grammy nod led Bridges on a worldwide tour and quickly propelled him to unprecedented levels of stardom. Eventually, he found himself at the White House. Bridges’ meeting with America’s “Royal Family” was a moment that cemented his career choices. “Man, I was able to meet the President, I was able to sing in front of the President, I was able to represent my name. I made my family super proud; I made my city super proud. It was an incredible experience”, he excitedly recounts.
Bridges’ short conversation with President Obama is one he’ll remember with fondness for the rest of his life. “It was super brief, but I told him that I loved him,” he laughs. “I didn’t know what to say! But he said, ‘I see you! An upcoming soul Texas star,’ or something like that, and it’s all I needed to hear.”
Like many Americans already mourning a future without the Obama administration, Bridges can’t help but speculate what a change in leadership will mean for artists of colour. “You look at, like, the honouring of Ray Charles and before that, they did a vintage soul thing… it’s not gonna be the same thing, you know?”
While Canada’s neighbours are facing some of their darkest days in recent history with regards to police brutality, socio-economic divides and racism, these burdens have not fallen on deaf ears. Black artists have unleashed an outpouring of support for victims of police brutality and other heinous crimes, and for Bridges, that fight is one he’s ready for as well. “A lot of people point at me to carry the responsibility because of the music that I make, like, ‘Oh, Sam Cooke did this, Marvin Gaye did this,’ so you should do it, too. That’s definitely the wrong motive. If you feel [strongly] about a certain thing, and want to say something about it, then you should,” he states firmly. “With that platform, we [artists] should use it to speak truth… I feel that I have a responsibility to myself to speak the truth, and that’s definitely what I’ve been thinking about as far as songwriting. I’m no politician and not a man of many words, but I can put my thoughts into a song.”
With 2016 quickly coming to a close, Bridges says he has three goals (some more tongue-in-cheek than others): read more, find himself a supermodel girlfriend, and perhaps most importantly: “Hopefully finish my record, or at least finish writing all the material.” While details of Bridges’ upcoming album are still largely under wraps, he does reveal that it takes a “different direction” than Coming Home. “It won’t sound so much like a period album,” he explains, adding that it is more of a cross-genre project.
Leon Bridges expects to release his forthcoming album in 2017.
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
Listening to any track on EDEN’s debut album, vertigo, is like visiting your favourite city for the fiftieth time except nothing is quite where you remember it. The hotel is on the river, not by the park, and city hall is upside down. The Dublin-raised singer/songwriter/producer who began his career as The Eden Project, melted the best of indie, hip hop, and electronica into 13 deconstructed tracks for vertigo. Following two successful EPs, a shout-out from Lorde, and mid-way through the vertigo world tour, we caught up with EDEN to talk about his new record, and the musical evolution that brought him to it. G—From The Eden Project to the EPs to vertigo, you’ve had some pretty big changes in style. Does it feel that way to you or does it just kind of feel like you’re constantly evolving? E—I definitely see that. There are similarities [between I think you think too much of me and vertigo]—my voice still sounds the same (laughs) and there are various instruments that I just like using—but it’s about progression for me. I could never be someone to make End Credits 2 or something like that. It’s not interesting to me to stay