Three years after the release of his first EP, Augusta, Canadian singer-songwriter Scott Helman has unleashed his debut full-length LP, Hôtel de Ville, a collection of 12 alt-pop coming-of-age tracks. The 22-year-old Toronto native who successfully broke into the music industry in his mid-teens earned himself two Juno Award nominations, certified gold status for his hit, Bungalow, and began quickly fielding comparisons to the likes of Vance Joy and Jeff Buckley.
With a new level of acclaim awaiting him, Helman has recently finished his cross-Canada Scott vs. Ria tour with fellow Juno nominee Ria Mae. We thought it would be the right time to ask him about his momentous musical journey.
G—You got your first guitar when you were ten. Was this what led you to become a musician?
Scott Helman—I used to mess around on my friend’s guitar, and really wanted to learn how to play. So, I asked my parents for a guitar for Christmas. I remember coming down the stairs and seeing it, and knowing instantly what it was because of its shape. I never put it down after that.
G—What kind of music did you listen to growing up?
SH—My parents are British immigrants, so I was raised on British pop like Duran Duran and Robbie Williams. As I got older, I started gravitating toward more of a singer-songwriter sound – Damien Rice, Neil Young, Bob Dylan, The Tragically Hip – songs I could recreate on my acoustic guitar.
G—What is it about the singer-songwriter genre you’re attracted to?
SH—I think being an artist is just as much about being original as it is about emulating other musicians you look up to. You can write a song you really like and recognize that it has similarities to a song you really like listening to. Once you start believing in yourself as an artist and songwriter, the better you become at having your own voice.
G—You got signed by major record label, Warner Music Canada. How did this transpire?
SH—I was putting stuff out on Myspace and YouTube when I was 14. I had posted two songs on YouTube that this guy filmed. He was at a party, met one of the label execs and showed him the videos. Fast-forward, I’m at a friend’s house hanging out, and get a call from that guy telling me Warner wants to meet with me. I almost fell over. From there, I got a development deal, and eventually aligned with the right team to record Augusta.
G—You released Augusta, your debut album, in 2014, only a year after you graduated high school. Did you find it hard to work on an album at such a young age?
SH—It was horrible. Seriously, it was really hard and really scary. All my friends went off to university, and I was alone in Toronto with this major record label that was giving me a chance to record an album. I was sh***ing myself. Everyone always wants to hear the fun, positive stuff, but the truth is, finishing the record was one of the biggest reliefs of my life. Yeah, it was exciting, but it was terrifying, too.
G—Your first album’s title, Augusta, came from a sentimental place. Did your latest album’s name, Hôtel de Ville also come from somewhere meaningful?
SH—When I finished touring for Augusta, I had time to contemplate things. I fell in love with my ex-girlfriend again, so I moved to Montreal to make it work with her. I was living on Avenue de l’Hôtel-de-Ville and started writing songs for the record. The first track was a poem I wrote when I first arrived in Montreal. I didn’t know at the time that it would even make it on the album, but when I was finished my record, I went back in my notes and found that poem. It felt like that poem was the beginning of the entire story, so it made sense to name the record after where it started.
G—Was there a specific mood or subject you explored on this album?
SH—The general theme of the record was one of healing. I felt like I had to go back and look at moments that messed me up or were super exciting and try to figure out how I really felt about them. I think there’s a superficial idea of how you feel about something, and then there’s the real way you feel about it. The song “21 Days” is a great example of this. It was fun to write, but it came from a scary place. A lot of people my age are frightened over what the future holds. Yet, when I thought about it all, I realized we need to love and respect each other more. So I added some positivity into that song.
G—To date, what do you think has been the most difficult song for you to write?
SH—I would say “The Lion” because of the dark place I was in when recording the album. Writing that song helped me understand the permanence of things, and that you can’t just make things go away. You have to be able to push the boulder up the hill and smile while you’re doing it.
G—Can you tell us a little about your #RiseAbove campaign and why it’s such an important subject for you?
SH—The internet is a really f***ed up place. You have Instagram and Facebook filled with millions of profiles of people presenting themselves like they’re doing way better than they actually are. If you’re a teenager looking at this stuff, the standard you think you have to live up to is insane. A conversation needs to be had that what you see online is not real. The #RiseAbove campaign is about taking pause before you post something to think about the implications, but also, on the other side, to take a moment before you react to what you see.
G—Have you ever been cyberbullied?
SH—Honestly, I’ve probably been on both sides. I know that’s not something a lot of people like to admit, but it’s true. I remember being an insecure 14-year-old hanging around a group of six friends, and every week, it was someone else’s turn to get beat on. The internet is a really easy place for that to go down. Now, when I see someone being a dick online about my music, I realize there’s something more going on with that person. Our youth needs to know it’s okay to put down their phones and find something healthier to do.
Over the past four years, Halifax pop artist Ria Mae has accomplished dreams she has openly spoken about: being produced by fellow Nova Scotia success story Classified and touring with Tegan and Sara and Coleman Hell. Since creating her self-released demo of “Clothes Off” in 2013, she has signed with Sony Music and Nettwerk Management. The former has helped develop the careers of Avril Lavigne, Barenaked Ladies, Coldplay, Dido, Sarah McLachlan, and many more. The finished version of the song – her major label debut – earned Mae her first Juno nomination, for “Single of the Year” in 2016, which put her in direct competition against Drake, The Weeknd, and Justin Bieber. From Mae’s new home in Toronto, only two days removed from a cross-Canada tour with Scott Helman, she spoke with Georgie about her sudden rise, working with Classified, stepping up as a voice for LGBTQ groups, and more. G—As you’ve discovered, you can make a lot of unexpected connections in a small town. But that can be a good thing because working with people who differ from you in their approach forces you to create from new perspectives. Do you ever have reservations about working with people who
Swedish electro-pop mainstays Little Dragon have been around the block. The four-piece band first formed over a decade ago and in that time steadily rose to become one of the world’s biggest indie electro-pop acts. Touring in support of their fifth studio album, Season High, we spoke with bassist Fredrik Källgren Wallin about evolving band dynamics, love of music and inspiration behind their latest release. Georgie—You released your fifth album, Season High, earlier this year. How do you feel about this record in comparison to your previous one? Fredrik Källgren Wallin—It is different, but it is hard to pin down how. We worked a little bit with a producer for the mixing parts, and we have never done that before. We have also become better at communicating and making decisions. I think we fight less; it’s more civilized [laughs]. G—You’ve also worked on some interesting collaborations with other artists, but these tracks didn’t make it onto any of your albums. Was this a conscious decision? FKW—It was a conscious decision; it is such collaboration between the four of us. We did have a friend who appears on the first track of the album – he’s an old high school friend,
Los-Angeles pop artist Billie Eilish began writing and recording music at the young age of 14, but you wouldn’t know it from listening to her. Her lyrics are seasoned with insight carried by a voice that softly and soulfully stretches over dreamy soundscapes. The result is a compelling collection of contrasts, both musically and lyrically, which is on full display on Billie’s debut EP, Don’t Smile At Me (Billie’s debut EP, Don’t Smile At Me (Interscope Records/Universal Music Canada)). Co-written and produced by her brother Finneas O’Connell, the Eilish siblings prove they have no shortage of talent. When we spoke to Billie she was on the road and had just begun her North American tour. G—You started singing at the age of 4, what at that time got you interested in music so early on? BE—I started singing before I could talk, and since then I have been singing all the time, every day. Music has always been part of my family, I guess a part of the way that I think, so it has never come as something separate from my brain. Music and my brain are just one and the same. G—Now, at the age of 15 you