Rising London-based septet Mariachi Las Adelitas is Europe’s first all-female mariachi band. Founded in 2013 by bandleader Anna Csergo (a.k.a Anita Adelita), the act, which features a collection of exceptionally talented musicians and vocalists from Mexico, Cuba, Colombia and the UK, actively shatters stereotypes in an extremely male-orientated genre. Their repertoire includes the mariachi classics, as well as mariachi-styled arrangements of well-known and beloved classics in English.
In their almost decade-long history, the septet has established themselves as a highly in-demand live act. They’ve opened for Arcade Fire at London’s Earl Court. They’ve shared a stage with the two-time Grammy Award winning Mariachi Divas at International Mariachi Women’s Festival, where they received a standing ovation. They’ve also played the Victoria & Albert Museum and at The Roundhouse. And they’ve serenaded Selma Hayek on her birthday.
Late last year, I wrote about the septet’s debut single “El Toro Relajo.” Featuring a new arrangement by the band’s founder and recorded during pandemic-related lockdowns, the gorgeous Mariachi Las Adelitas rendition revealed a self-assured and super talented band that can really play– and a vocalist, who belts like a young Linda Rondstadt. The London-based septet’s latest single finds them crafting a loving Huapango mariachi arrangement of Amy Winehouse‘s classic, heartbreaking ballad “Back to Black.” Both versions are gorgeous –but interestingly enough, the mariachi rendition somehow manages to enhance the bitter heartbreak at the song’s core.
“Writing this arrangement was a delicate and controversial issue for Mariachi Las Adelitas,” bandleader and producer Anna Csergo explains in press notes. “Mariachi is a complex traditional art form that we want to preserve, revive and bring out into the wider world. Arranging a popular song from our hometown of London had to be done with the utmost respect and authenticity for the style. We decided that if we were going to cover a non-mariachi song we would arrange it in true mariachi style.
“Of course we also wanted to do justice to the writer herself, not make a bad copy of already great music.”
Much like its immediate predecessor, the song was recorded and produced remotely as a result of pandemic-related lockdowns and restrictions. The recently released video was also shot and edited in a similar DIY fashion, so we see the individual band members performing — in full mariachi regalia — in their backyards, their home studios or their dens. The video is a reminder that for contemporary artists everywhere if there’s a will, there’s a way.
Rising London-based septet Mariachi Las Adelitas is Europe’s first all-female mariachi band. Founded in 2013 by bandleader Anna Csergo (a.k.a Anita Adelita), the act, which features a collection of exceptionally talented musicians and vocalists from Mexico, Cuba, Colombia and the UK, actively shatters stereotypes in an extremely male-orientated genre. Their repertoire includes the mariachi classics, as well as mariachi-styled arrangements of well-known and beloved classics in English.
Late last year, I wrote about the septet’s debut single “El Toro Relajo.” Featuring a new arrangement by the band’s founder and recorded during pandemic-related lockdowns, the gorgeous Mariachi Las Adelitas rendition revealed a self-assured and super talented band that can really play– and a vocalist, who belts like a young Linda Rondstadt. The London-based septet’s latest single finds them crafting a loving Huapango mariachi arrangement of Amy Winehouse‘s classic, heartbreaking ballad “Back to Black.” Both versions are gorgeous –but interestingly enough, the mariachi rendition somehow manages to enhance the bitter heartbreak at the song’s core.
Formed back in 2013, Mariachi Las Adelitas, features members originally from Mexico, Cuba, Colombia and the UK – and is Europe’s first all-female mariachi band. Created by its members to shatter stereotypes within a very male-dominated genre, the septet features a collection of fantastic instrumentalists and no less than three lead vocalists. (That’s right, three!) Their repertoire includes the mariachi classics, as well as mariachi-styled arrangements of well-known and beloved classics — in English.
Earlier this month, I wrote about the sepet’s debut single “El Toro Relajo.” Rearranged by the band’s founder Anita Adelita (a.k.a. Anna Csergo) and recorded during pandemic-related lockdowns, the gorgeous Mariachi Las Adelitas rendition reveals a super talented band that can really play – and a vocalist, who reminds me at points of a young Linda Rondstadt. Shortly, after the official release of the single, the members of Mariachis Las Adelitas played a streamed set at this year’s virtual International Women’s Mariachi Festival, where the official video for “El Toro Relajo” saw its world premiere.
The DIY video was filmed and edited during pandemic-related lockdowns and restrictions. And as a result, we see the individual band members performing – in full regalia – in their backyards, in their home studio set ups, in a local church or on the street. And there’s an adorable appearance by Csergo’s kids, also in full regalia dancing and stomping around in her backyard. It’s a homey family affair.
I recently conducted an emailed Q&A with Mariachi Las Adelitas’ founder Anita Adelita (a.k.a. Anna Csergo) – and we discussed women in mariachi, her and the band’s inspirations and aims, their recent International Women’s Mariachi Festival performance, their new video and more. Check out the video and the intenrview below.
WRH: I’ve mentioned this on Twitter: I happen to adore mariachi. Way before the pandemic, you’d occasionally come across a mariachi – in the full uniform, too! – on the subway. Every single one of them would be amazing, I can think of maybe one or two all-female mariachi groups here in the States/North America. Your group, Mariachi Las Adelitas is currently Europe’s only all-women mariachi act. So how rare is it to come across a female mariachi? And why is that the case?
Anna Csergo: Although now enjoying growth and recognition, female Mariachi bands are rare even in Mexico and the U.S, let alone in Europe.
Mariachi is traditionally a very male dominated genre, perhaps it doesn’t help in a society where women are traditionally the main caregivers to children, that gigs are often last minute, late at night, at dawn, and sometimes with a very drunk clientele!
Female mariachi bands are not a new phenomenon however. The original Mariachi Las Adelitas was formed in Mexico in 1954.
WRH: How did you get into mariachi?
AC: I was already intrigued by mariachi firstly due to the prominent violin sections and then by all of the rhythmic elements slotting together, and the power in the vocals and the trumpets! So, when I saw an advertisement in a local paper, I replied straight away . . . the rest is history!
WRH: What is the inspiration behind Mariachi Las Adelitas? What do you and the other women in the group hope to achieve?
AC: The warrior women of the Mexican revolution, known as the ‘Adelitas’ or ‘Soldaderas‘ are our greatest inspiration. These women, despite their caring duties, took to arms in the frontline alongside the men, and were pivotal in revolution’s success.
The black and white photos of these women holding a rifle in one hand and a baby in the other are mind-blowing.
We hope to empower and inspire women from all nationalities, and young men too, to know that anything is achievable.
Being a woman or a mother or coming from any background doesn’t have to limit your expectations or the possibilities available to you as a professional.
WRH: The band does a mix of the mariachi standards along with mariachi renditions of beloved and familiar classics in English. How do you pick the songs in your repertoire? How do you go about rearranging a song?
AC: We pick songs that strike a chord with us. It’s not difficult in a genre which easily stirs up the whole spectrum of emotions and has so many amazing rhythms to choose from.
The most important thing for us is to ensure that we are respectful and faithful to the genre in our arrangements.
We didn’t want to do straight covers of English songs with only our instruments and mariachi suits making the difference. We wanted to do everything to remain faithful to traditional mariachi style even when covering non-mariachi songs. I think that is a unique feature of our band.
WRH: The band features women from Mexico, Cuba, Colombia, Italy and the UK. With pandemic-related lockdowns affecting everything and everyone, how have you and your bandmates managed to remain creative. How has your creative process changed as a result?
AC: It was deflating to suddenly lose all of our work and suddenly not see one- another anymore. When a musician stops practising his or her art something falls apart inside. We are hugely grateful to Arts La’Olam organisation who secured funding for us from Arts Council England so that the musicians could be paid a fee for their recordings. Although initially it was just going to be ‘amateur’ lockdown videos, the purchase of some very basic recording equipment (mic and soundcard) made it possible to create quality audio recordings from our homes on a budget. We are very pleased with the results and are now inspired to keep going!
WRH: How was it like to record remotely?
AC: It was a challenge since it was very hard to explain exactly the feel I was looking for and then make revisions after the musicians had sent in their recordings.
It will definitely be easier to be with the musicians when recordings are made in future. Here’s hoping Covid19 conditions allow!
WRH: How do you and your bandmates balance being a mother with professional and creative work?
AC: It is certainly not easy! I fell pregnant with my triplets soon after forming the band and had their baby brother within less than 2 years. For the first few years it really was about survival for the band as well as for the children! To be honest, I really don’t understand how we managed it, we literally scraped through somehow!
Now the children are a little older we try whenever possible to rehearse during the school or nursery day, but there are many times when they are with us for rehearsals and even performances. Luckily, they have learnt to love and respect what we do, often pulling out their little instruments and joining in with the noisemaking or coming up onto the stage and dancing!
WRH: You recently participated in the International Mariachi Women’s Festival for the second time. How did that go for the band?
AC: It’s an absolute honour for us to be slotted between Jose Hernandez from Sol de Mexico‘s Mariachi Reyna de Los Angeles and twice Grammy award-winning Mariachi Divas! We are just a drop in the ocean and have been self-taught through listening to recordings and watching YouTube, so to have our music featured in between these two institutions is surreal! Thanks to the organiser of the festival and founder of the Mariachi Women’s foundation Dr. Leonor Xochitl Perez for coming to London, finding us and believing in us!
WRH: This year’s International Mariachi Women’s Festival also featured the premiere of the video for “El Toro Relajo.” The video was also shot and edited remotely. The video features your four children dressed up in Mexican outfits and dancing in your garden. it’s adorable. How did the video treatment come about? How was the video received?
AC: As with the audio, the video was shot in or around our own homes during lockdown. Schools were shut and our children were with us 24/7. Mine wanted to join in so instead of resisting I had them dress up in their Mexican outfits and dance around in the garden. A short clip of the video has been available for a few days on Facebook and has already had a crazy number of views, let’s hope the audio and full video do just as well!
WRH: What’s next for the band?
AC: Our next step is definitely to continue the process and complete our first album. In pre-pandemic times we were so busy with gigs and special requests and our own families that recording has always taken a back seat. So, we are using the pandemic as an opportunity to focus on creating and recording.
Formed back in 2013, Mariachi Las Adelitas, which features members originally from Mexico, Cuba, Colombia and the UK, is Europe’s first all-female mariachi band. Created by its members to shatter stereotypes within a very male-dominated genre, the septet features a collection of fantastic instrumentalists and no less than three lead vocalists. Their repertoire includes the mariachi classics, as well as mariachi-styled arrangements of well-known and beloved classics — in English.
The septet’s debut single “El Toro Relajo” is a gorgeous rendition of a mariachi standard that was rearranged by the band’s founder Anita Adelita (a.k.a. Anna Csergo) and recorded during pandemic-related lockdowns. Of course, the song reveals a band that can really play — and a vocalist, who at points reminds me of Linda Rondstadt. i’ve mentioned this on Twitter: I adore mariachi. This particular single reminds me of the mariachis I used to see on the subway — in full uniform, too. And every single one of them was outstanding.
Emerging Vancouver-based indie pop act Vox Rea — siblings Kate Kurdyak (lead vocals, piano, guitar, bass), her sister Lauren Kurdyak (vocals, piano) their childhood friend Kaitlyn Hansen-Boucher (vocals, percussion) and Mitchell Schaumberg (vocals, piano, guitar, bass) can trace some of their origins back to when the Kurdyak Sisters and Hansen-Boucher singing in choirs together as children.
Lifelong academics at heart, the Kurdyaks attended a small liberal arts schools in the mountains, where Kate studied philosophy and Lauren studied ecology. And while at the school, they met Mitchell Schaumberg and started playing school parties under the name BEEF. Although they started the band as a lighthearted endeavor, the trio quickly realized the creative chemistry they all shared, and would later meet up all over the world for late night, liquor-fueled writing sessions that would eventually comprise Vox Rea’s earliest material. But more on that later. . . .
The Kurdyak Sisters and Hansen-Boucher formed the indie pop trio The Katherines, which released their full-length debut To Bring You My Heart back in 2017 through 604 Records. The album amassed over one million Spotify steams with songs off the album appear on a number of prominent playlists including New Music Friday, Pop All Day, Hot Hits Canada,Indie Pop Chillout and the Canada Viral 50 chart. The Katherines were featured in a number of major media outlets including Vice, MTV,Vancouver Sun, the National Post — and they’ve performed on morning shows in Toronto,Calgary and Vancouver.
Accompanied by a top-notch backing band, the members of The Katherines have toured across Canada and have made stops along the national festival circuit. including Rifflandia, NXNE, Juno Fest, Canada Day Vancouver and Denim on the Diamond, among others. And adding to a growing profile, the trio had songs appear on TV shows like Orphan Black, Reboot andThe Order.
The Vancouver-based quartet’s latest project together Vox Rea is a bit of a sonic and stylistic departure. Citing influences that range from Arcade Fire to Friedrich Nietzsche, the members of Vox Rea, the act’s full-length debut chronicles a group of artists trying to come to terms with their generation’s place in the larger human story — and thematically, the album’s material touches upon addiction, self-doubt. lust, identity. independence and grief. And as a result, the album can be seen as a soundtrack to the confusion and euphoria of coming of age in a world seemingly on the verge of annihilation. The band’s unique brand of noir pop finds them crafting material that features classically inspired string arrangements, three part harmonies, brooding atmospherics and a seamless mesh of digital and analog while underpinned with raw emotionality.
Vox Rea’s latest single “Dose Me Up” is a slow-burning, atmospheric ballad centered around a stunningly gorgeous lead vocal and three part harmonies, twinkling piano, brief bursts of shimmering guitar, stuttering drumming and electronic plinks and a soaring hook. Sonically speaking, the track may draw comparisons to Cloud Castle Lake‘s gorgeous Malingerer, PJ Harvey and others but with all the sturm und drang of one’s 20s.
Silva’s debut EP was an EDM collaboration with DJ Sizigi-13 under the mononym Silva — but since the release of that effort, her material has leaned heavily towards singer/songwriter soul, rock and pop with 70s AM rock references, as you’ll hear on her most recent album, the Reed Black-produced Bluest Sky, Darkest Earth.
Silva’s latest single “I Wash My Hands” is a shimmering and gorgeous country soul/70s AM rock-like song centered around a fairly simple arrangement of guitar, bass, vocals and drums that’s sonically indebted to Stevie Nicks and Fleetwood Mac. Interestingly, the song was originally written as a weary lament over a major relationship that has come to an end – but the song manages takes on a heightened meaning, reflecting on a heightened sense of uncertainty and fear, suggesting that maybe Mother Earth is attempting to wash her hands of us.
The recently released video for “I Wash My Hands” was created during the mandatory social distancing and quarantines of the COVID-19 pandemic – and it features Silva, her friends, family, bandmembers and voice students, separated by quarantine but connecting through the song.
I recently exchanged emails with Jennifer Silva for this edition of JOVM’s ongoing Q&A series – and naturally, we chat about her new single and video, her influences –including her love of Stevie Nicks, and her songwriting process. Of course, with governments across the world closing bars, restaurants, nightclubs and music venues to prevent the spread of COVID-19, the impact on the music industry – particularly on small and mid-sized venues, and the touring, emerging and indie artists who grace their stages, has been devastating. Over the course of the pandemic, I’ll be talking to artists about how the pandemic has impacted them and their careers. And in this interview, Silva reveals that the much-anticipated follow-up to Bluest Sky, Darkest Earth has been rescheduled, with her and her backing band figuring out how to finish it with the use of technology. Then add lost gigs and the uncertainty of when you’ll be able to play or promote your new work, and it’s a particularly urgent and uneasy time. But the dedicated will find a way to keep on going on for as long as they can.
Check out the video and the Q&A below.
Photo Credit: Paxton Connors
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WRH: Much of the world has been in quarantine and adhering to social distancing guidelines as a result of the COVID-19 pandemic. Hopefully you and your loved ones are safe and healthy. How are you holding up? How are you spending your time? Are you binge watching anything?
Jennifer Silva: The world is upside down right now and it’s been a rollercoaster of emotions for me. Shock, depression, anger, acceptance — feels like the stages of grief sometimes! I really miss my friends and my social life. Playing shows, my band. The good news though, is that my family and I are safe, healthy and well stocked. We left Brooklyn right before it got really bad and headed upstate. So, I’ve been in the woods, pretty secluded, with limited cable news (thankfully) and some great outdoorsy vibes all around me. I’m very lucky and I really can’t complain. I’ve been spending the time connecting with my family, homeschooling my daughters, cooking, knitting, reading and writing songs! We’ve been living a simple life these days and that’s actually a great thing sometimes. I just started watching Ozarkon Netflix, finally, which is perfect for this quarantine! I’m always down for an epic drug/murder/survival story. Oh, and wine.
WRH: Since COVID-19 was declared a pandemic, festivals have been postponed or cancelled outright, artists of all stripes have postponed, rescheduled or cancelled tour dates. Most of the world has been on an indefinite pause. How has COVID-19 impacted you and your career?
JS: This has got to be the hardest part of it all for me. I’ve also had to cancel shows, but, most significantly, literally one week before the pandemic really hit NYC, I was in the studio with my band and producer (Reed Black of Vinegar Hill Sound) tracking my next record. We spent two full days laying down all the music and scratch vocals for 10 tracks, and I was so hyped and excited for the next two months of recording all the overdubs, lead vocals, background vocals and getting that final mix completed. Now, we must wait. Luckily though, we have the rough mixes to listen to and some of my band members are working on and planning overdubs at home. It’s frustrating but I’m still so grateful to have had those days in the studio. What we have already, sounds amazing!
WRH: How did you get into music?
JS: I’ve been singing all my life. My father played guitar around the house throughout my childhood, and so at a young age I was singing classic rock and soul music to my family. “The House of the Rising Sun” (The Animals), “Bring it on Home to Me” (Sam Cooke) and “To Love Somebody” (Bee Gees) were my first covers!
I also went to Catholic school as a girl where the nuns always made me sing the solos at the Christmas and Easter performances. And of course, I was singing in Church every week. That really helped shaped me as a singer because I was taught to belt without shame because it was a “gift”, so I have always been a loud singer, haha. I’m not religious anymore (thankfully), but man, I love me some Church hymns! And there is nothing like the acoustics in a Cathedral.
Then I had a whole Neo Soul moment, falling in love with singers like Erykah Badu, Lauryn Hill, and Jill Scott. They definitely influenced me with their powerful female energy and style and the vocal choices they made. I also love 80’s and 90’s female badasses, like Tori Amos,Bjork, PJ Harvey,Hole, Garbage, Madonna and Annie Lennox. Artists with true points of view and the guts to say it.
Vocalists like Amy Winehouse, Brittany Howard of Alabama Shakes, Stevie Nicks and of course, Aretha Franklin will always be the pinnacle of greatness for me. These artists INSPIRE me.
WRH: I’ve probably referenced Stevie Nicks’ “Stand Back” more times than any other journalist in town. I think of a certain synth sound – and that song comes to mind. Plus, I love that song.
I know that Stevie Nicks is a big influence on you. What’s your favorite all-time Stevie Nicks song?
JS: One thing I really love about Stevie, which I read in her biography a few years ago (by Zoe Howe), and that I can totally relate to, was that she didn’t have any formal musical education. She just had her gorgeous melodies and emotional lyrics and really, just a simple catalog of basic chords. Lindsey [Buckingham] would get frustrated with her because he’d have to finesse her songs so much to make them work. “Dreams,” for instance, only has 2 chords! But her songs were always their biggest hits. She tapped into an emotion and style and energy that people love and her voice is just absolutely unique and powerful. In a way, the reason she was so successful with her songwriting was because she wasn’t trapped in a musical box. She would write whatever she felt, and her uniqueness and melodies were memorable and beautiful. She inspires me so much! It’s nearly impossible to choose one favorite Stevie Nicks song, but I’ll go with “Edge of Seventeen.” A close second is probably “Landslide.”
WRH: Your first release was an EDM-like collaboration with DJ Sizigi-13. Since then your sound has gone through a dramatic change. How did that come about? How would you describe your sound to those unfamiliar with you and your sound?
JS: After my old band broke up in 2014, I was searching for new musical collaborations on Craigslist. I connected with Sizigi over email and we decided to make a song together. One song led to four, over the course of a few months. I knew going in, EDM wasn’t going to be my personal sound forever, but I was down for the challenge of writing to existing beats and learning to record all my vocals at home with GarageBand. I bought a microphone and set up a vocal booth in my closet with towels on the doors to pad the sound. I learned to edit. I love my lyrics and vocals on those songs, and I am very proud of the work I did. So, ultimately, I chose to have the record mastered and to release the 4 song EP independently. It was a stepping-stone for me.
The music I make now is all me though. I pen all of the lyrics and write the melodies on guitar, or sometimes I use my Omnichord (a vintage electronic harp/synthesizer from the 80s, which is AMAZING) and then my band brings it all to life! My sound can be described as indie rock soul. I love the Alabama Shakes so that’s a decent comparison, I hope. The lyrics are evocative and dramatic, and the music is organic rock, but I always sing with soul. I also love to explore the saint and the sinner in all of us and tap into themes from my Catholic upbringing — like with “The Convent” from my last record Bluest Sky, Darkest Earth and “Purgatory Road” which will be on my next record. I am inspired by elements of the occult (tarot cards, following your intuition, voodoo) and I use nature and other metaphors to write about complicated relationships.
WRH: Rockwood Music Hall celebrated their 15th anniversary earlier this year. Sadly, during this century, existing 15 years as a venue in New York time is like 149 years. Rockwood Music Hall invited an All-Star list of artists, who have cut their teeth playing the venue’s three stages to celebrate. The bill that month included JOVM mainstay Anna Rose, acts that I’ve covered like Eleanor Dubinsky, Christopher Paul Stelling, The Rad Trads, Mike Dillon, Melany Watson, as well as Jon Baptiste. How does it feel to be included with those acts?
JS: It feels amazing! I am so lucky to have played a small part in Rockwood’s incredible history. It was an absolute honor to play the stage that night, and to join that list of talented artists. Rockwood Music Hall was the first place I ever played in NYC. I remember getting an early Saturday afternoon acoustic slot with my old guitarist and playing to a mostly empty room. It was still so damn exciting to me, the opportunity to play that famous stage. Fast forward a few years later to my packed record release show on Stage 1 and then my graduation to Stage 2, last year. Rockwood has supported me since Day 1 and to help celebrate their anniversary, on the very stage where it all began for me, made me so proud!
WRH: Your Rockwood Music Hall set included a cover of one of my favorite Lead Belly songs ever “Where Did You Sleep Last Night.” It’s one of those songs that for whatever reason doesn’t seem to be covered a whole lot. So, what drew you to the song? And how much does the blues influence you?
JS: I have been listening to Lead Belly for a very long time. I only knew his version of “Where Did You Sleep Last Night” and never actually heard Nirvana’s version until many years later, which is what I think most people think of when they hear that song these days. I used to love singing that song in the car with my boyfriend. We each took a verse. It always seemed so chilling and powerful and it really tells a story that leaves you wanting more. You are right though, it’s not covered a whole lot and when we first tried in rehearsal, we knew it would kill. Everyone really responds to that one.
I generally gravitate toward big singers. Full voices filled with heartache and soul and you get that in spades with the Blues. The Blues are rooted in emotion and that kind of expression comes naturally for me. Lead Belly and Big Mama Thornton are definitely my favorite blues artists, but I also really dig Howlin’ Wolf, Muddy Waters, Son House, Sister Rosetta Tharpe and Bessie Smith. I love how Bonnie Raitt, Larkin Poe and Gary Clark, Jr. are keeping that tradition alive and having success with Modern Blues too.
WRH: How do you know when you have a finished song?
JS: I know a song is finished when I love the melody and lyrics enough to play it over and over again, day after day and when I can get lost developing the vocal runs. A good sign is when my family really responds to it as well. I also think nailing the bridge usually seals the deal for me. That’s when I write over my penciled lyrics and chords, in my black, Papermate flair pen and make it final!
I’m not a person who usually tinkers on a song for years though. I write most songs in a few hours, or a couple of days or maybe, up to a week. I like to capture the emotion of a sentiment and get most of it right and then move on to the next song. In all honesty, the best songs write themselves in 10 minutes! I actually wrote my new single “I Wash My Hands” quickly like that.
WRH: Your latest single “I Wash My Hands” and its accompanying video officially drops today. It’s a gorgeous country soul/70s AM rock song, a weary lament of someone who’s desperate to move on from a relationship or some other major life tie. You wouldn’t have known this at the time, but the song has an eerie double meaning that reflects our current moment of uncertainty and fear. Curiously, how does it feel to have written something that initially was supposed to be about something specific that suddenly transforms into something altogether different?
JS: Thanks. I think the lyrics are very relatable for anyone in a long-term relationship who understands that compromise and respect are needed for a couple to survive and more importantly, thrive. But in this unprecedented moment in our lives, that can also be said about humans and our planet. Fear of Covid-19 leaves us all washing our hands like never before, so now, this track also invokes Mother Nature’s demand for more respect. She is also washing her hands of our abuse, forcing us all to pause while she shows us just how powerful she is. It’s humbling.
WRH: The video for the song is pretty intimate almost home video-like visual, as it features a collection of loved ones, including family and friends lip synching along to the song – while they’re in quarantine. How did you come about the concept? And how did it feel to have your loved ones participate in the video?
JS: Last week, mybrother Chris and I were talking on FaceTime, about the need for interconnectedness even while social distancing. We thought about how lonely people are, even though we are Zooming and chatting on the phone, more than ever.
We thought it would be really special if I could get some of my friends and family to lip-synch parts of this song and create a montage. Video production resources are limited here in quarantine, but everybody has a phone with a camera and time on their hands!
The video is like being on a Zoom call but this one makes me feel so happy every time I watch it! It’s all my favorite people singing my song. People in Brooklyn, California, Detroit, New Jersey, New England, and even as far as Kenya! Everyone just really came through and had fun with this project, including my voice students, family members and close friends. People I haven’t seen in two months or more! I don’t know when I’ll see them again frankly, but the video makes me feel connected to them and I think it makes them all feel connected to each other. I love it so much.
WRH: What’s next for you?
JS: While I’m quarantined, I’m going to keep making art. Keep writing music. Keep singing.
I’m also going to continue to work on my next album. Right now, the plan is to release it in the Fall, so I’ve got shows to book and all the pieces in between to plan. Follow me on Instagram (@sheissilva) for all updates, single and video releases and of course, details about the album release party and tour dates.
Please stay safe and healthy, everyone. I’m sending vibes to you all. We will get through this. And I think we will be stronger for it. And don’t forget to keep washing your hands!
Interview: A Q&A with M for Montreal’s Program Director Mikey Rishwain Bernard
M for Montreal (French – M pour Montreal) is an annual music festival and conference, which takes place during four days in late November. Since its founding 14 years ago, the music festival and conference has rapidly expanded to feature over 100 local and international buzzworthy and breakout bands in showcases across 15 of Montreal’s top venues.
300 music industry movers and shakers, heavyweights and tastemakers from over 20 different countries make the trek to Montreal to seek out new, emerging artists and new business opportunities – while hopefully eating a ton of smoked meat sandwiches and poutine. I have the distinct pleasure and honor of being one of those music industry folks, who will be in Montreal tomorrow. As you can imagine, I’m looking very forward to poutine and smoked meat sandwiches, as well as a wildly eclectic array of music that includes the rapidly rising hometown-based Francophone indie rock act Corridor; acclaimed London, Ontario-based DIY rock collective WHOOP-Szo; British Columbia-based psych folk act Loving; hometown-based singer/songwriter and guitarist Ada Lea; hometown-based shoegazers Bodywash; Vancouver-based dance punk act NOV3L; Cameroonian-French pop artist Blick Bassy; and New York-based dance punk act Operator Music Band; as well as a showcase featuring Icelandic artists and a two showcases featuring locally-based and Canadian-based hip-hop among a lengthy list of others.
Before heading out to Montreal, I chatted with the festival’s program director Mikey Rishwain Bernard about a wide range of topics including Montreal and Montreal’s music scene, what music fans, music industry professionals and journalists should expect from the city and the festival and more. Check it out below.
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WRH: While JOVM does have readers in Canada, most of my readers are based in the United States. Can you tell me and my readers a couple of things about Montreal and its music scene that we probably wouldn’t know but should know?
Mikey Rishwain Bernard: Most people will identify Montreal with Leonard Cohen, Arcade Fire, Wolf Parade and Godspeed You! Black Emperor, and that’s cool as shit. After that Arcade Fire movement, it felt like many creative Canadian musicians started flocking to Montreal for the cheap schools, cheap rent, vast music scene and live venues. All that hype brought a new generation of artists like Grimes, Mac DeMarco, BRAIDS and more. All this to say is that Montreal is one heck of a place for creative space, freedom and affordable rent. Aside all that, there’s an entire francophone music scene that’s considered mainstream and not to forget the top shelf beatmakers and producers, most notably Kaytranada, Kid Koala, and A-Trak. There’s a lot of government funding dedicated in arts and culture and that’s a huge factor.
WRH: This is the 14th edition of M for Montreal. What was the inspiration behind its creation?
MRB: First and foremost, M was created on a whim. It was set up as a showcase to introduce 6 Montreal bands to 12 festival buyers and media from the UK, who happened to be in Montreal, while on their way to NY for CMJ. It helped artists like Patrick Watson and The Besnard Lakes get some action. In short, M is a networking platform for Canadian artists and industry to mingle with international tastemakers. We now recruit over 100 international delegates from 15 different countries to attend in hopes to export these acts into their respective markets. Another inspiration behind M is Martin Elbourne. He’s our co-founder. A legendary British programmer who books for Glastonbury and co-founded The Great Escape festival in Brighton. He also worked with The Smiths and New Order, and has always had been involved with new wave’s in the making. He saw Montreal as a “sexy city” and wanted to contribute to this festival to help bring Montreal acts to Europe. Since then, M for Montreal has grown into not only a platform for Canadians, but we also make a little room for international acts.
WRH: What does a program director of a festival do?
MRB: I curate the music and conference. Lots of listening, making offers, negotiating and waiting. On repeat.
WRH: In your mind, what makes a successful festival?
MRB: Aside from the talent, it’s the experience. The people you meet and the memories you make. I sound like Hallmark card, eh?
WRH: This is my first time in Montreal – and it’s my first time covering the M for Montreal festival. Besides the cold weather and maybe a little snow, what should I expect as a journalist? What would other music industry professionals expect from the festival?
MRB: You’re gonna feel welcome and our locals treat our guests/delegates with a lot of respect. Quebecers are very welcoming and charming, and they’ll all share their opinions on where to go, who to meet and what to eat. Everyone is going to ask you to try poutine. Just do it, once or twice. Try it sober at least once if you get the chance. Aside from that, don’t be surprised if some women kiss you on both face cheeks.
WRH: As a music fan, why should I check out Montreal? Why M for Montreal?
MRB: Like previously mentioned, the rich music history. It’s always good to see where Leonard Cohen slept & where Win Butler got his coffee, but it’s also a privilege to discover and experience the culture and new music cooking in French Canada.
WRH: I was doing some research and checking out the artists playing this year’s festival. Admittedly, I was very impressed – the bill manages to be very local centric but while being an eclectic and diverse sampling of a number of different styles and genres. There’s also a fair number of Canadian acts from other provinces, at least one American band and so on. How much work went into that? And how do you and the other organizers choose the artists on the bill?
MRB: It’s a mixture of things. We work with a lot of new kids on the block, Canadian export partners and local industry. We book bands and work with people who wanna play ball. Not for the money, but for a chance to play for some interesting people from all over the world. So, like the programming, it’s all over the place.
WRH: So once the festival ends on Saturday night, what happens next for you and the rest of the team?
MRB: The team will close out the festival and close the 2019 file. The week after M, I’m attending a conference in Saskatoon called Very Prairie… From there, I go directly into hibernation, back home, in Stockton/Lodi California (home of Pavement and Chris Isaak). I will start the new year booking another festival taking place in May called Santa Teresa. And the beat goes on.
While in Montreal, I’ll be busy with my social media accounts, live tweeting and Instagramming as much as I can. Keep on the lookout here:
Over the past decade the Toronto-based indie rock act Wildlife, currently comprised of Dean Povinsky, Derek Bosomworth, Dwayne Christie, Chris Dawe and Nick Greaves have released three albums — 2010’s Strike Hard, Young Diamond, 2013’s On the Heart and 2016’s The Age of Reason — which, firmly established their sound — anthemic, power pop-tinged indie rock that has drawn comparisons to Modest Mouse, Arcade Fire and others.
Building upon a growing profile both in their native Canada and elsewhere, the Toronto-based act’s fourth album Take The Light With You was released last Friday, and the album, which was recorded over a three week session with Dave Schiffman with a additional work at Threshold Studio with Mike Keire finds the band crafting some of their most concise and forceful material to date. Now, as you may recall, I wrote about “No Control,” a hook-driven anthemic track that the listener can imagine sweaty fans shouting along to at their local music venue. “Follower (Lala),” Take The Light With You‘s latest track is a shimmering and decidedly New Wave-inspired track that recalls The Cars and even The World’s Best American Band-era White Reaper— and while continuing a run of incredibly hook-driven anthems, the song is a sweet love song about being someone’s champion and them being yours; what it feels like to know someone has your back and always wanting them to know they can also rely on you.
Over the past decade the Toronto-based indie rock act Wildlife, currently comprised of Dean Povinsky, Derek Bosomworth, Dwayne Christie, Chris Dawe and Nick Greaves have released three albums — 2010’s Strike Hard, Young Diamond, 2013’s On the Heart and 2016’s The Age of Reason — which, firmly established their sound — anthemic, power pop-tinged indie rock that has drawn comparisons to Modest Mouse, Arcade Fire and others.
Building upon a growing profile both in their native Canada and elsewhere, the Toronto-based act’s fourth album Take The Light With You is slated for an October 11, 2019 release and the album, which was recorded over a three week session with Dave Schiffman with additional work at Threshold Studio with Mike Keire finds the band reportedly crafting some of their most concise and forceful material to date. “No Control,” Take The Light With You‘s latest single is centered around an enormous and infectious hook and equally enormous power chords. It’s the sort of song I can envision sweaty and drunk fans lustily shouting along to at their local music venue.
Throughout the course of this site’s almost nine history, I’ve written quite a bit about the New York-based multi-instrumentalist and singer/songwriter Miles Francis, who has had stints as a member of JOVM mainstays Superhuman Happiness and Antibalas, and as the frontman of Afrobeat/Afropop-inspired collective EMEFE. The 26 year-old, New York-based multi-instrumentalist and singer/songwriter has also collaborated with an impressive and diverse array of artists including Arcade Fire, Mark Ronson, Sharon Jones, Amber Mark, Angelique Kidjo, Allen Toussaint, TV on the Radio’s Tunde Adebimpe, Arcade Fire’s Will Butler and others — all before stepping out on his own as a solo artist.
Now, as you may recall, Miles Francis’ debut EP Swimmers was released last year, and the album which was written in the back of tour vans and hotel rooms while on the road. Eventually recorded in his basement studio, the EP’s material thematically captures the mood and vibe of someone in their early to mid-20s, attempting to figure out themselves and the extremely complicated and ambivalent world they’ll continually confront as an adult; how they fit into that world; and the struggle to figure out the purpose and meaning of their own lives. Interestingly, Swimmers put the New York-based singer/songwriter and multi-instrumentalist on the local and national map for crafting hook-driven, left field pop inspired by Bowie, Sly Stone, J. Dilla, Talking Heads, D’Angelo, Paul McCartney, Fela Kuti and Prince among others.
Self-recorded with Francis recording each instrumental part in an organic, old school-inspired fashion in his basement studio and released last week, Miles Francis’ sophomore solo EP Doves finds him continuing to craft hook-driven, left field pop — but with a wider emotional palette. And while each song on the EP has its own unique sound, they manage to fall under an overall thematic and creative umbrella of sorts. The EP’s latest single, “I Could Use Your Love” is centered around a breezy and infectious hook, twinkling blasts of guitar, buzzing bass synths, stuttering beats and Francis’ plaintive and sultry vocals. Sonically, the song sounds like a slick and seamless synthesis of late period Beatles, Talking Heads, Prince and Afropop, but with a post-modern sensibility. Much like the rest of the EP is based around the inner dialogue that we all have on a daily basis that brings up and down — in this case, evoking the desperation and longing inspired by profound loneliness.
Directed by long-time collaborator Charles Bidet, the recently released video for “I Could Use Your Love” continues a run of cinematically shot and surreal treatments — with Francis surrounded by shadowy figures, who perform with him in a gorgeous performance space. In one way, the shadowy figures can be seen as a representation of the protagonist’s neurotic fears, doubts and loneliness.
