A few thoughtful changes this year included widening of the promenade and moving around of stages to better accommodate the traffic flow. Brand booths offering games and prizes gathered fans in clusters, while others were stocking up on their FEQ merch before heading to the designated stages. Lilly Queen Mojitos and Coors Lights in hand, they patiently waited for the shows to start, some holding up posters made for their favourite acts.

As usual, a few of the acts were rained out. The festival team tried their best to move things around, but unpredictable storms flooding the streets are a fair cause for cancellation, safety first.

The festival is a 10-day marathon with dozens of artists performing each day across multiple stages. Seeing them all is simply impossible, but for three days our team tries their best to find the most memorable acts. Our festival began with an energetic performance by Mimi Webb. BRIT Award–nominated pop singer-songwriter Webb had a deep frontline of fans who clung on to her every word. “I came all the way from Australia to see you!” a handmade poster stated. That’s a long journey, and we’re here to see it eclipse. The stadium slowly filled as she worked through her repertoire of songs, chatting with the fans. “We’re in Québec!” she shouted, “Guys, I’m actually really loving this show, I haven’t felt like myself for a while, and I’m really feeling it now, thank you!” she shared.

Jessie Reyez came next, and her performance stole the show for the night, if not the entire week. Toronto-local Reyez is well known to this publication; we’ve seen her breakout tour in 2017 and the theatrical performance at RBMF, and are familiar with her oversized t-shirt uniform, but today was different. Today, Reyez stepped out on stage in strappy stilettoes, microshorts, and a croptop, curls in full volume moving with the wind. Today, Reyez was feeling herself, effortlessly dancing around the stage, inspiring all the little girls and let’s be honest, grown women, to embrace their authentic selves. “If you believe in strong women, can you say yaaaa?” she demanded participation from the crowd. A wave of loudly pronounced yaaa’s filled the stadium.

For nearly an hour, Jessie Reyez shared stories between songs, reflecting on her past “bulshit” dating experiences, chatting with the fans, and making an effort to say a few things in French here and there, addressing people all the way at the back of the stadium directly. She wanted the fans to leave the show better than they came in, and this was not a hard ask, the energy in the “room” was electric.

Meanwhile, a lineup of spectacular international acts performed at the free Hydro-Québec Stage. July 17th lineup brought out the biggest crowd we’ve seen on this stage in years with Afro-Futuristic-Punk group Fulu Miziki Kolektiv and African reggae artist Tiken Jah Fakoly headlining.

Loto-Québec and SiriusXM stages, located side-by-side, gathered band and guitar-forward music fans. Colombia’s BALTHVS took the stage for a nearly full hour of psychedelic guitar alt-rock, fueled by Middle Eastern melodies and Latin-tinged rhythms. Royel Otis filled the space with their retro-sounding indie beach rock, with fans singing along to “moody” and “Kool Aid“. Groovy Aardvark took things up a notch, nearly causing a moshpit. The band has been around since 1986, so their fanbase runs deep, and the fans turned up today!

Those looking to dance gathered at the Extras FEQ Stage at The Armoury nightly. With record lines stretching towards the Plains of Abraham, everyone seemed to fit in this intimate venue. Much like previous years, the DJ is centre stage, but this year the room had the addition of a mezzanine level offering fans an elevated view of the busy space.

While Brazilian-born and Toronto-based, DJ BIA started a prolonged conversation on what makes a good DJ on July 16th, the July 18th set by The Rocketman had everyone dancing with no complaints. The big-ticket Extras performance, however, was LP Giobbi, who also performed on the main stage the day after, offering multiple opportunities to see her play. DJ, producer, jazz-trained pianist, and activist, LP Giobbi played two individual pieno-infused house sets, tailored to the crowd and environment.

Dutch DJ and producer Martin Garrix filled the stadium to the brim on July 18th. Even from a distance, it was obvious he was having a great time, sweat drops shining in the stagelights. The fans were here for every beat, taking Garrix’s direction at one moment, the entire stadium had their flashlights on, “This is crazy,” Garrix smiled. During this closing set, we heard all the hit tracks, from “In the Name of Love” to “Carry You” and “Animals“. Nearly every song was accompanied by pyrotechnics – fire, smoke, lasers, confetti, fireworks, you name it, the stage crew did it.

This is the side of Québec City most people don’t get to experience on their faux European vacation, but one you can definitely build a vacation around.

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Here are a few of the folk-country-pop musical highlights:

Nate Smith

If there was one artist who arrived at FEQ ready to tear things up, it was country powerhouse, Nate Smith. Forced to reschedule his appearance last year after losing his voice, Smith made his triumphant return to Québec City with unmatched charisma and high-octane energy. Acknowledging that there’s “something truly special about Québec,” he warmed the crowd up by trying out his French; a casual “ça va?”

Smith didn’t just perform from the stage; he hopped right into the pit, much to the cowboy-hat clad crowds’ delight. Hits like “Whiskey on You” and “Nobody Likes Your Girlfriend” had the entire field shouting every word, while his gritty cover of Luke Combs’ “Beer Never Broke My Heart” inspired the aforementioned “olé, olé, olé” chants from the audience. Showing off his genre-bending sensibilities, Smith threw in a crowd-pleasing rendition of Green Day’s “Boulevard of Broken Dreams” alongside his brand-new track, “Break Up Like That”. A really fun, lighthearted show, where you could feel Smith’s sheer joy from the stage.

Héron

Making their FEQ debut, folk outfit Héron delivered a set that seemed to transmit a “get up and dance” signal throughout the crowd. Although the clouds arrived just in time for their second song, the band brought the light via an energising traditional folk performance that included dancing, collective harmonising, and the weaving of traditional folk music, jigs, and even a bit of tap dancing. Created by singer-songwriter Henri Kinkead, who incidentally hails from Québec City, the Montreal-based group felt a bit like watching old friends perform; genuine and jovial. Swapping between acoustic guitars and soaring violins, the group created rich harmonies and was a lot of fun to watch live – even for someone with shaky French comprehension.

Goldfinger

Rounding out another memorable FEQ night, ska-punk legends Goldfinger proved that age is merely a detail when you have relentless “je ne sais quoi”. With their lead singer sporting a (predictably) sharp suit, the band unleashed a wave of nostalgia that instantly turned the crowd into a swirling, energetic pool. Playing fan favourites like “Counting the Days” and the iconic “Superman,” the group leaned into a whimsical set that was worth a listen.

Gwen Stefani

When Gwen Stefani took over FEQ’s Bell Stage, set up on the historic Plains of Abraham, expectations ran high. Seeing a legend perform was very cool, but for lifelong No Doubt fans, the night was an absolute thrill. The nineties and early 2000s were resurrected.

Onstage, Stefani was magnetic. And, it would be remiss not to mention her iconic wardrobe: a blend of buckles, plaid, fishnet, pink sparkles, and Doc Martens. Backed by an impressive troop of dancers, she proved she still has all the moves, and that her voice retains that unmistakable edge.

The crowd’s energy tipped into a frenzy when Stefani launched into solo mega-hits like “Hollaback Girl,” turning the massive grounds into a giant sing-along party. But an absolute highlight came when she dug into her No Doubt catalogue, delivering renditions of classics like “Ex-Girlfriend” and “Hella Good”.  

Gwen Stefani remains a total powerhouse performer, an artist who commands thousands with seemingly effortless charisma and incredible stage presence. It was truly a delight to watch someone who is undoubtedly still in her prime.  

After a few days spent at FEQ, it could certainly be said that this festival thrives on a mish-mash of artists, whether tap-dancing folk, a country star, or a legendary ska-pop queen. As the festival lights dimmed for another year, attendees walked away having experienced a truly community-oriented event and some pretty stellar musical moments.

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Entering the venue, concertgoers were welcomed by various food and beverage stands and activations, serving up everything from Aperol Spritz to canned margaritas and international beers in a fun and colourful setting. The Amphitheatre bandshell is extended by a green grass lawn on which many festival goers spread their blankets for a full day hangout. The stage visibility was amplified by three large screens zooming in on the performance and regularly spotlighting the crowd. The audience was as diverse as the lineup, with many fans dancing through entire sets, wearing branded artist merch. 

Holly Humberstone by Respective Collective, Serena Yang. Image courtesy of All Things Go.

On Saturday afternoon, the audience was treated to a handful of performances ahead of Kesha’s headlining set. English singer and songwriter Holly Humberstone brought her flavour of guitar pop music to the stage. Dressed in what felt like a white tutu, Humberstone gleefully worked through her latest record, Cruel World, to a cheering crowd. Her performance was followed by another English singer-songwriter, Rachel Chinouriri, who got even more people up on their feet and surely plenty of new listeners on her music streams. 

Accompanied on stage by a drummer and a guitarist, Chinouriri ran out on stage with explosive energy. Her stage presence is engaging and captivating, enhanced with candid stories about her work, like the latest album being a “trauma dump” from past relationships. Chinouriri’s set was a mix of songs from her debut studio album, What A Devastating Turn Of Events, and in-between singles like “I’m Not Perfect (But I’m Trying)” and “What A Life”. 

Rachel Chinouriri by Respective Collective, Serena Yang. Image courtesy of All Things Go.

Sunday afternoon kicked off with bright sunshine, welcomed the girls with flower clips and electric tape tube tops, along with dads in Hawaiian shirts and sun hats, to the Amphitheatre grounds. Canada’s Jade LeMac, a self-taught piano and guitar player, was a vocal highlight for the day. Her subtly gentle set was followed by an energetic performance by Del Water Gap (aka Samuel Holden Jaffe). After a brief instrumental opening, Samuel Holden Jaffe stormed out on stage in jeans and a blazer with blacked-out eyes. A true indie-pop heartthrob, Del Water Gap had both men and women dancing and singing along to their entire set. Jaffe engaged the crowd on multiple occasions, expressing his gratitude to the attendees and prompting them to play along. 

Jade LeMac by Respective Collective, Serena Yang. Image courtesy of All Things Go.

The biggest highlight of the weekend was a highly anticipated performance by the Isle of Wight’s English indie rock band Wet Leg. Founded in 2019 by Rhian Teasdale (vocals, guitar) and Hester Chambers (guitar) the band also includes Josh Mobaraki (guitar, keyboards), Ellis Durand (bass), and Henry Holmes (drums). Rhian Teasdale, dressed in a petite signature outfit, took front stage, diving into the set from the deep end with “catch these fists”. The crowd stood up and stayed up for the rest of the night. The set, one-by-one, went through the songs on the moisturizer, most of which a healthy portion of the attendees knew the lyrics to by heart. The set was really only interrupted to point out the shirtless superfine – a “bunch of dudes” – with “WET LEG” painted across their torsos, who were more than happy to be in the spotlight on the big screen. 

Wet Leg by Respective Collective, Serena Yang. Image courtesy of All Things Go.

Lorde’s closing set was a performance of all kinds. The stage had multiple moving parts, shapeshifting into objects and glass boxes. This was Lorde’s second appearance at All Things Go, so she knew exactly what hype this fan base would bring and brought her whole self to the stage. Her set included all-time favourites like “Royals,” “Ribs,” “Buzzcut Season,” and a wealth of songs from her latest album, Virgin. “This is my second All Things Go! I’m trying to catch them all. It’s a Pokémon situation for me. This is, without a doubt, the coolest festival in North America,” Lorde shared.

Lorde by Respective Collective, Serena Yang. Image courtesy of All Things Go.

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Seeing Faker perform in a smaller venue like this was a surprise; returning to the Danforth Music Hall would’ve been much more fitting, quite literally, but Chet and his team of two made the best of this fish tin setup. On this new album, Faker “ruminates on heartbreak and uncertainty on a grand scale,” which feels a lot like his earlier work. The work that many people in this room had an emotional connection to. Myself incldued.

The show felt introspective, like a tribute to his own journey. Or perhaps to us, the fans, all of the Millennials revelling in nostalgia. The set, surprisingly at first, started with nostalgia, diving right into “No Diggity” and “Drop the Game” – the fans get what they want, no need to wait for the encore. And then came “Over You” as the sample of the new, seamlessly blending in with the old. For the next nighty-plus minutes, he played through the better half of his collection. We heard “Gold” and “Talk is Cheap,” we heard “1000 Ways” and “Remember Me,” and everything in between.

Chet Faker’s 2026 tour is a return tour, like a class reunion, or a comfortable cardigan in the time when we all keep saying “wow, what a time to be alive”. An escape album is a good album to have on hand now. A few replays of A Love For Strangers are in the queue.

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The stage was shaded by a curtain with only some shapes teasing the room in certain light. Monolink, dressed in flowy sheer shirt and white pants, paired, of course, with his signture hat, took a seat behind the keys stage left. As the firs notes of “Call of the Void” filled the room the audince errupted with excitment, following the slow build.

Soon enough, Steffen dissapeared behind the curtain, letting his shadow be the main character for half a song before the curtain dropped revealign the elaborate stage setup. This brand new design, created by Vita Motus and Do LaB, embraces Monolink’s organic, analog-driven approach, presenting each performance as an art piece in its own right. A large decorative piece hung from the ceiling, shaped as a cacoon perhaps, or a … potatoe, worked as an accompaniment. The mass of it would turn, allowing the light to cut through its ripples or work as a projection backdrop.

Monolink greeted the excited room, pressing the hands against his chest. “I hope you are all ready for some dancing,” Steffen added. And dance people did. From the center to the room edge fans were embracing the vibes, some jusdge bopping and swaying, others really giving it their all.

The show went on for over an hour music following ebbs and flows of Monolink’s repertoir, some slow, some fast, and a few stories in between. Steffan played through the The Beauty Of It All in full, wrapping things up with “Father Ocean,” notably made infamous by Ben Böhmer a few years back.

“Isn’t he amazing!” a woman shout whispered into my ear, two-stepping on my left. “He sure is,” I agreed, and for a while we kept each other company in rythm.

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Toronto’s Great Hall was a great choice for this performance, framing the Yellow Days band with a decorative arch. “This is a new band,” Van Den Broek pointed out, “but I think they’re pretty good, yeah?” The audience cheered for the Yellow Days boy band. “This is my new basest, look at him, look at his face”. A bass solo followed. Saxophone, trumpet, and flute moments came later. George Van Den Broek, embracing the retro fashion with a green collared shirt and high-rise pleated pants, remained in the centre, occasionally picking up a guitar.

After the first song, Van Den Broek took the time to greet the front row, shaking everyone’s hand. As he stepped back, a woman in front of me shrieked in excitement, making everyone laugh along with her. Yellow Days kept the room engaged, talking about the ups and downs of a live performance, his songs, and his overall repertoire. Some old songs, some new songs are what we were promised and are what we got.

The show was a rollercoaster, going from slow, moody tracks like “Daylight Miracles” and “The Way Things Change” to the super funky “Love Is Getting Complicated” and “I Cannot Believe In Tomorrow“. “Glitter & Gold,” of course, is how tonight started. For nearly 90 minutes straight, Yellow Days and his six-piece band played songs from across the last decade as people danced, nodded, tapped and clapped along.

Having seen Yellow Days perform five years ago at the Phoenix, the contrast is striking. George Van Den Broek, “newly married and drug-free,” has found his mature self as an artist. “It’s a return to innocence,” he shared in a press release. “As a teenager, I didn’t know what I wanted to do, musically. As time goes by, you lose a bit of passion and edge. It’s easy to get carried away. I’ve been like a disobedient dog that needed training (laughs). I see this as the first adult album I’ve ever done.” 

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This heavy bass opening is what they were known for for many years. But somewhere between then and now, things changed. Thievery Corporation are no longer young men, and this room is not filled with young folk, which perhaps is why they no longer challenge human biology with eardrum-crushing bass right out of the gate. But that’s just my hypothesis.

This tour marks the Thievery Corporation’s 30th anniversary. The performance began with a story of how Rob Garza and Eric Hilton met in 1995, and within a year, released their first album, Sounds from the Thievery Hi-Fi. Their fanbase spans decades with favourite songs from twenty-plus albums and many, many B-sides. Their songs set the mood in cultural staple films like Garden State, Vanilla Sky, and Crazy Stupid Love, to name a few. And yet if you ask a random person within your arm’s reach if they know the band, chances are they will shrug no.

“Lebanese Blonde” from The Mirror Conspiracy is perhaps the song that has earned them the biggest group of new fans (surely because of Garden State). Every record is unique in its own way, and today’s merch table had pieces from across decades. T-shirts, posters, and vinyl with imagery from The Richest Man in Babylon, Babylon Rewind, Saudade – take your pick. The line for the merch table remained in a constant loop until the end of the show.

My introduction to Thievery Corporation was The Cosmic Gate tour. It is that opening performance that had me briefly squat on the floor, gathering my loose brain cells in complete surprise, that turned me into a Thievery fan.

The duo always work with a group of talented musicians. Tonight on stage they were joined by Mr. Lif, Laura Vall, Frank Orrall, and Puma Ptah. A full array of musical instruments was also present, building the layers of sound, including Eric Hilton’s sitar.

The band has always been very public about their left-wing political beliefs, supporting human rights and food programs. Their music is very reflective of their stance, often as a complete album concept – Culture of Fear, Radio Retaliation. Today, Laura Vall made a point to address the immigration inequalities, “we are made to feel like we don’t belong, but the truth is, we all belong. Oh, and by the way – Fuck ICE,” she paused to say.

During this very interactive, nearly two-hour performance, the band played through their favourite songs across decades, interructing with the crowd and one another. For a handful of songs, the entire band set in a circle at the front of the stage, committed to an acoustic performance. The show suddenly got more intimate, more directed to the fans.

Thirty years in the making, it seems Thievery Corporation are not about to stop, and today’s plus-ones are surely going to be adding a song or five to their music library collection. I am sure we will meet again, so – until then.

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His opening performance this Saturday balanced a collection of tracks from his collaborative records with MARO, including the breakout “TEMPO” and “I SEE IT COMING”. The duo played a show in Toronto almost a year ago on the dot, and when MARO is on stage, she takes the spotlight as the leading voice. Tonight, however, NASAYA owned the stage, accenting certain tracks with instrumental guitar moments. During the second half of this set, NASAYA set the guitar aside and began to DJ, riling up the crowd into a dance, arms moving, heads shaking. The late-night NASAYA is something we’d like to see more of.  

While oddly dark techno quietly played in the background during the break, a crew of people began to tinker with the stage, repeatedly testing lights and filling fog machines. Mindchatter is known for his dynamic performances featuring immersive audio-visual backdrops, and this show is obviously set to be the same. The triangle set-up looks fit to accommodate three people, but this is a solo show, and this show is impressively executed by a solo act.

Mindchatter’s latest album, Giving Up on Words, builds on his previous work with a comedic mix of social commentary. “This album is the closest I’ve come to defining Mindchatter,” shared Connolly in a press release. “Giving Up On Words is about the quiet battle between the thoughts and their observer. It intentionally drifts between genres but stays consistent – whether it’s a dance track or a ballad, the feeling is familiar.” 

The show opened with track one, “Don’t Trust A Thought,” setting the scene for the monologue-forward performance about to unfold. While Mindchatter’s videos often feature Bryce as the main character, the live performance visuals are carefully curated animations, heavily stylised and very, very thematic, adding layers to each track with mythological characters. The full-screen Medusa was a wild mind stimulant, impossible to look away from. And then came angels, Roman Gods, and plant children on horses… An awkwardly pointed webcam would occasionally add live layers of Bryce Connolly on the screen, smiling through the entire set.

The room was vibing, arms up, from front to back for the high-energy songs and swaying and bopping to the rest. When “Corporate Shakespeare” came on, everyone joined into collective, relatable giggle. The track poetically combined every corporate jargon found online into a single track. Lyrics typed out line by line in an email on the screen are as relatable now as they were when released in 2024. His cover of Peter Bjorn And John’s “Young Folks” fit into the set seamlessly, bopping angels and all, room singing along. 

Mindchatter shows are an experience one must enjoy live. It can be described, it can be recorded, but the joy and weirdness of it do not translate quite right. And surely he knows it, because with the majority of his year spent on the road, you will have plenty of opportunities to see Mindchatter live in a city near you.

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The duo’s music takes inspiration from nature and science, always personifying flora and fauna in one way or another. After signing to Indica Records and releasing their debut album, Two Lips, in 2023, Beau Nectar took a bit of a break but is back with a new track, “Tulip,” featuring Vox Rea. Last year, the duo have been making their presence known with awards and nominations, including Pop Artist of the Year at Saskatchewan Music Awards (2025) and Group and Pop Artist of the Year at Trille Or Awards (2025).

Kateryna Topol: Hello Marie-Clo and Émi, where are you writing to us from today?

Beau Nectar: Marie-Clo is writing from Vancouver Island, and éemi is writing from Saskatchewan!

KT: You met when you both competed on a music reality TV Show, tell us about that experience, please …

BC: It was a competition for French-speaking singer-songwriters from across Canada that were living outside of Québec. Marie-Clo was representing Ontario, and Émi was representing Saskatchewan. At first, we were kind of intimidated by one another – we both thought the other one was cool and talented. In competition mode, it’s hard not to compare yourself. We weren’t friends at first, but eventually, after being one of the few left in the competition, we both started talking to each other and realised we had a lot in common. Instead of letting competition lead us, we lead with friendship and vulnerability. We both made it to the Finale together in 2017, started our own solo careers as artists, maintained a long-distance friendship, and the rest is history!

KT: Love that! And what did your music journey look like before BRBR?

BC: Marie-Clo had an extensive background in musical theatre and was starting to compose music at the time, and Émi had mostly composed as a hobby, participating in a few contests here and there, but was about to just focus on other things. Our audition for BRBR was definitely an important crossroads in both of our lives.

KT: You produce songs in both languages, does that happen naturally, or are some songs planned to be French/English?

BC: It happens naturally; we don’t really choose to write in a specific language, unless we’re specifically doing the work of translating a song.

KT: You draw a lot of your inspiration from nature, can you please speak to how that inspiration … let’s say materialises in your music?

BC: We attach human nature and feeling to encyclopedic facts. For example, we really identified with the tulip. In the 1600’s, people went to war for the tulip and could even trade their daughters for a simple bulb; that’s how valuable it was. Shortly after its fame, the tulip contracted a virus that caused its colours to go from monochromatic to multiple colours. And just like that, tulipomania was dead.

Nowadays, the tulip is portrayed as a common flower in everyone’s gardens, even though she is still absolutely beautiful. We felt it was a lesson on passing trends and how they shape standards of beauty, meaninglessly. There’s also a secondary meaning in the fact that Tulips co-evolved with humans because they spark dopamine with their colours, so they keep being planted. Tulips don’t produce fruits (despite them having pistils). Lots of historical and encyclopedic easter eggs in that song!

KT: Very cool (not the price for the daughter bit, but the rest). Do you spend a lot of time in nature?

BC: Yes, Marie-Clo has a degree in Herbalism, she lives in the forest and loves being outside in nature. Similarly, Émi loves being outside. It’s actually something that they continue to bond over, and it’s what sparked the project.

KT: Do you have a garden?

BC: Marie-Clo does, she’s really good with that. Émi does not have a green thumb!

KT: What does your creative and production process look like, and how do you collaborate?

BC: We collaborate in many different ways. If we were to simplify it, we could say that Marie-Clo brings forth a melody that Émi works off of, and Émi brings lyrics that Marie-Clo works off of. Sometimes the two meet during residencies and work together from scratch. Sometimes one of us has an almost fully formed song, and we edit together. It really depends on when inspiration strikes, and it strikes in many different ways.

KT: Remote collaboration, very cool. You recently shared a new track featuring Vox Rea, “Tulip” – how did this partnership come about?

BC: It was actually one of the first songs we ever wrote in January 2021. I flew to her house for 6 weeks during COVID, and we holed ourselves up and wrote music and came up with the collaboration. Her partner was playing on a drum machine we rented, and Marie-Clo was on the piano, and we were just jamming lyrics and melodies and “I find love in the strangest places,” which is the song’s hook, came out, just like that. It was magical. Years later, we did the Banff Center for the Arts Musicians in Residence program and met Vox Rea and kept ties since. We really wanted their rich vocals on the album in some capacity, and this song was perfect for that, so we called them up years later to record harmonies!

KT: What are your plans for 2026? Tours, new music, anywhere people can see you live?

BC: So far we’ve got Phoque Off in Québec on February 18, our album pre-launch on February 19 in Montreal, a show in Powell River, BC on March 7th, and we jet off to Wales for Focus Wales in May!

Images by Sophie Vino.

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Over the years, he’s gathered a collection of accolades, including the 2011 JUNO Award for Rap Album of the Year, and being the only artist shortlisted five times for the Polaris Music Prize for Canadian Album of the Year. Shad hosted Netflix’s Emmy and Peabody Award-winning series Hip-Hop Evolution and has also been teaching Hip-Hop-related courses at the University of Toronto and Wilfrid Laurier University.

Shad’s latest release, Start Anew, “thematically tackles our collective reluctance to break out of our comfort zones” in both playful yet provoking ways. As a true Canadian, he’s been celebrating the record with live shows across the country, concluding with a sold-out performance at Toronto’s Mod Club on February 21st.

Kateryna Topol: Hello Shadrach, how is your day going? 

SHAD: I’m well, thank you. You’re catching me at home in Toronto, just upstairs in my little office, looking out at a snowy but sunny day. 

KT: There have been a lot of those in Toronto. Your Canadian tour for Start Anew began January 17th – how are the first few days going?

SD: It’s been awesome. I’ve felt a lot of love and support. There’s been a lot of fun moments of connection, too. I like to stop the show from time to time and just chat with people in the audience and some cool moments have come out of that. One young woman in BC, for example, told me her dad brought her to one of my shows when she was a baby, and now she’s 19, jamming in the front row at one of her first concerts as an adult. Someone in Hamilton gave me a special fanzine he made for me on stage. Moments like that, between songs, have been special. And then just the good, high-energy vibes overall. It’s been encouraging for me and hopefully a positive experience for the audiences. 

KT: Those sound like wonderful tour moments! Congratulations on your latest releases, Start Anew record and “Rain” music video, stellar work. The “Rain” collaboration seems like a spontaneous one – how did you and Sam Tudor first meet? 

SD: Thanks. Sam and I have a lot of people in common. He reached out ahead of the Dawson City Music Festival that we were both playing and asked if I’d be interested in making a video up there. I was all in. It just felt like a great opportunity to create something unique for both of us. I love the video and it’s a great memory for me too. 

KT: Very cool. You have quite an impressive music career – how did it all begin? 

SD: If I were to go way back, when I was like 6 or 7 years old, my best friend and I would make up raps and skits and perform them in front of our school. No one asked us to, it was just what we did for fun. We liked to write funny, weird, hyperbolic stories and songs and perform them. There were a lot of years after that growing up when I was more into sports or whatever my peers were doing, but I think we tend to find our way back to who we fundamentally are. At least that’s what happened for me. 

KT: You studied business and art in university – was there any formal music education?

SD: No. I took Grade 10 music in high school, but I was terrible. Played percussion and was relegated to crash cymbals. And then I took 5 or 6 singing lessons in my mid-30s. Also pretty bad at that. That’s the extent of my formal music training. 

KT: Fair enough. Early in your career, you also won the 91.5 The Beat’s Rhythm of the Future talent competition, one of many more awards to come, but was that the one that helped you get your music career off the ground?

SD: Correct, yeah. That allowed me to record my first album because the winners got money to go towards that. It was just a little independent CD, but it allowed me to start to get out there, play shows, and eventually get signed and make more music. 

KT: Amazing. And fast forward to now, you’ve become an educator yourself, designed and taught Hip-Hop-related courses at both the University of Toronto and Wilfrid Laurier University – is that something you are still doing in 2026?

SD: Yes, I’ve had the chance to teach a couple of courses this year, which I enjoy. I’m not as good at teaching as I’d like to be, but I have a passion for encouraging younger people, sharing what I’ve learned about music, and most of all, sharing what I’ve learned about life. 

KT: I’m sure the students appreciate your insight. What have you learned about music, past and future, working with the youth at the university?

SD: One thing that’s been encouraging to see in students is that they seem hopeful. They are facing a lot of challenges that I didn’t face at their age, but they don’t seem discouraged to me. I love that. 

All images by Justin Broadbent.

KT: You’ve also worked on Netflix’s Hip-Hop Evolution series, a huge contribution to the culture, needless to say. Looking back at the Canadian hip-hop scene, has it changed a lot? 

SD: The biggest change is obviously Drake removing the ceiling for Canadian rappers. Tory Lanez, Smiley, and a couple others, have gone through that door. But still not very many. Not enough. I think there’s some things that haven’t changed about our self-perception, even in the wake of all that success. Canada has a long history with hip-hop and world-class talent but I think we still have a problem with support–from both industry and fans. 

KT: I tend to agree. And as a follow-up, in your opinion as the leading voice in hip-hop, how do you think Canada’s music future looks like?

SD: I’m not sure, but one thing I have observed in my 20 years doing this is that change in the industry is frequent and profound. Every 3 years or so, there seem to be dramatic changes. If I had to guess at what’s around the corner, I would say the independent music scene is coming back in a big way but in a new way: Artists already are increasingly less focused on blowing up on streaming services and more concerned with building sustainable, quiet careers where they connect deeply with a small audience that supports them in a variety of ways. Much like the early 2000’s, but now with a few new tools. 

KT: Interesting! And what’s next for you, after the tour, in 2026?

SD: We’ll see! I’m excited to see what kinda comes out of me next. This last album felt like the completion of a thought I’ve had for the last 8-9 years. It feels nice to be done trying to convey that and have more space to feel out what’s next. 

The post Shad on hip-hop future, today and tomorrow appeared first on Quip Magazine.

The daytime program features acclaimed chef, musician, and cultural ambassador Roger Mooking in conversation with CBMA co-founder Phil Vassell, exploring storytelling, legacy, and the importance of preserving Black music history. The evening showcase highlights live performances from Jully Black, Tanika Charles, Divine Brown, Dru (In Essence), and Liberty Silver, with DJ and production support from Carl Allen.

A defining voice in Canadian music, Jully Black brings her signature blend of R&B, soul, and cultural leadership to the Toronto stage. Tanika Charles adds her richly layered soul sound shaped by jazz, funk, and lived experience, while Dru delivers classic R&B presence grounded in Canadian music history. Liberty Silver completes the lineup with commanding vocals that reflect decades of artistry and influence.

The Black History Month Showcase takes place Thursday, February 5, 2026, at the City of Toronto Archives and is free to the public. Daytime programming runs from 12:00 pm to 2:00 pm, with the evening showcase from 5:00 pm to 9:00 pm. 

Find more information on thecbma.com and reserve your spot on Eventbrite.

“As a living archive, the CBMA continues to elevate the stories of Black Canadian musicians across generations, genres and across the country. To date, we’ve visited Montreal, and on February 27th, we will be travelling to Vancouver,” says Phil Vassell, Executive Director of the Canada Black Music Archives.

Link: Black History Month Vancouver Showcase Tickets, Fri, 27 Feb 2026 at 5:00 PM

The post Celebrate Black History Month with a free concert: Jully Black, Liberty Silver, and more appeared first on Quip Magazine.