Events in one’s life can be recalled vividly regardless of the distance from when it first happened. Ideally, one ends up with more pleasant, happy recollections than tragic ones, but tragic ones are also part of life. For The All Canadian Soundclash’s vocalist Andrew Michelin, the gorgeous lead single “Tired” from the group’s new four-song EP Nashville was inspired by a friend who was killed by a drunk driver when Michelin was in his early twenties.
“I wrote the song in about ten minutes when I was twenty-one sometime after my friend’s funeral,” Michelin, the lead vocalist of the Ottawa-based roots rock group, says. “It’s only now that I had the chance to have it professionally recorded. I think my friend Heather is looking down on me. Proud of the song.”
He should be. Despite the grief bursting through the song’s surface, “Tired” is a gorgeous tune Michelin sings perfectly about the pain of loss. From the tender piano introduction courtesy of keyboardist Dane Bryant to guitarist Troy Lancaster’s fantastic guitar work throughout, “Tired” is a song that will put The All Canadian Soundclash on playlists internationally.
Fleshing out the cut are the rock-steady rhythm section of bassist Lex Price and drummer Shawn Fichter while Tim Galloway adds acoustic guitar and Tania Hancheroff’s delicate but dreamy backing vocals. Listeners familiar with Tom Petty’s deeper ballad-leaning cuts featuring Mike Campbell’s guitar wizardry or Bob Seger’s “Turn The Page” would realize the quality emanating from “Tired,” a recording Michelin says is “a deeply personal and emotional song for me.”
Young and bright, oh sunflower. Please don’t turn out your light.
You’re colorful, so radiant and I know by now you’ve taken flight.
And when you spoke I almost choked fighting back the tears.
Now you’re gone I’ll write this song, inspiring through the years.
“Tired” is the lead single from The All Canadian Soundclash’s Nashville EP, a four-song effort which originated from a meeting between Michelin and acclaimed Nashville producer Dean Miller. Miller, who worked with Willie Nelson, Dolly Parton, Kris Kristofferson and the late Merle Haggard among others, heard the band’s 2021 album Better Late Than Never. Piqued by Michelin’s songwriting, Miller invited him down to Nashville to record.
In the summer of 2024 Michelin ended up in Nashville’s Sound Emporium, an iconic studio founded by Jack Clement that saw a who’s who record there, from R.E.M. and Jelly Roll to Taylor Swift and Johnny Cash. “I thought, ‘What in the world am I doing here?'” Michelin says. “The more I realized who had recorded at Sound Emporium before me, the more I was blown away! My daughter was excited that Taylor Swift had recorded there too.”
A behind-the-scenes mini-documentary for Nashville and a music video for “Tired” have been released. The All Canadian Soundclash will also celebrate Nashville’s release with a special concert at Toronto’s Horseshoe Tavern on Nov. 13 which is sure to be a hot ticket. But for now, fans should instantly fall in love with “Tired,” a devastating but delectable jewel.
JUNO Award winning, British Columbia-based Indie Blues duo A.W. Cardinal and Jasmine Colette, best known as Blue Moon Marquee, made huge strides with their highly lauded, critically acclaimed, award-winning album Scream, Holler & Howl. Now the energetic, high-octane tandem are back with a rollicking batch of ridiculously lively toe-tapping originals and covers with New Orleans Sessions.
To think such gorgeous, old-school material dazzling with style & infectious spirit could be crafted over two days one year apart is simply amazing. But that’s what guitarist/vocalist Cardinal and singer, drummer and upright bassist Colette (aka Badlands Jass) did with New Orleans Sessions. Recorded at Bigtone Studios and surrounded by a stellar cast of New Orleans’ finest musicians and engineer (and harmonica player) Big Jon Atkinson. the live, off-the-floor energy throughout is captured perfectly.
“These two afternoon recordings were a fine pleasure to experience,” the band says. “The musicians we had the good fortune to play with and have style for miles and know how to have a good time all the while. Jon is a true-blue lover and aficionado of the music, and it shows in everything he does, whether his hands are on an instrument or in the back room on the dials. We all sat in one room together & played the music in the truest form”
The recording process was as raw and simplistic as you can find. Blue Moon Marquee would “run the song once or twice and hit record, play the song two or three times and that’s what you got babe.” In an age where AI and computers can make anyone sound like any artist imaginable, Blue Moon Marquee’s approach was as pure as you could hope for: “no overdubs, no slick tricks.”
The result leaves listeners of New Orleans Sessions picking up their jaws off the floor. The opening Memphis Minnie classic “Black Rat Swing” features Colette’s sassy, spirited vocal prowess sounding like “Little Miss Dynamite” Brenda Lee while the music would leave you thinking the late legendary Fats Domino was in the adjacent studio jotting down crib notes. Meanwhile Cardinal and Colette are the perfect foils for the call-and-response “Ain’t Goin Down,” the Leadbelly tune which here blossoms thanks to Danny Abrams’ baritone sax and BC Coogan on the upright piano. Drummers Brett Gallow and Nicholas Solnick were also crucial to the sound of New Orleans Sessions.
Blue Moon Marquee spent over a decade touring North America and Europe and performing essentially wherever a stage was available, from prisons and hospitals to jazz clubs and festival stages. Cardinal and Colette, originally from Rocky Mountain House, Alberta and Badlands, Alberta, respectively, made huge strides with their fourth album Scream, Holler & Howl. The album earned them a JUNO Award for Blues Album of the Year and swept the 2023 Maple Blues Awards as the band took home Album of the Year, Songwriter of the Year, Acoustic Act of the Year and Entertainer of the Year. They also received a Western Canadian Music award and two Summer Solstice Indigenous Music Awards.
The band is guaranteed to keep that momentum riding with New Orleans Sessions, especially on original material like the rollicking country blues-based “Trickster Coyote” featuring Jon Atkinson on harmonica. The slow but spectacular “What I Wouldn’t Do” shines, a tune Blue Moon Marquee describes as ” a blues in the key of D about a human being wild in love. Finding the mate to your soul and recognizing the truth in that.”
Blue Moon Marquee are supporting New Orleans Sessions with concerts through the rest of 2024 and well into 2025 with shows in British Columbia, Alberta, Saskatchewan and a show Nov. 7 at Toronto’s TD Music Hall. And judging by just how good this new album is, look for Blue Moon Marquee in bright lights from Nunavut to New Orleans and beyond.
New Orleans Sessions Track Listing:
1. Black Rat Swing
2. Ain’t Goin Down
3. Let’s Get Drunk Again
4. Shake It And Break It
5. Trickster Coyote
6. What I Wouldn’t Do
7. Red Dust Rising
8. Saint James Infirmary
9. Some Ol Day
10. Got The Blues So Bad
Blue Moon Marquee Tour Dates:
October 26, 2024 — Festival Place — Sherwood Park, AB
October 27, 2024 — EA Rawlinson Center for the Arts — Prince Albert, SK
October 28, 2024 — Vic Juba Community Theatre — Lloydminster, AB
October 29, 2024 — Daysland Palace Theatre — Daysland, AB
October 30, 2024 — Nancy Appleby Theatre — Athabasca, AB
November 2, 2024 — Kay Meek Arts Centre — West Vancouver, BC
November 7, 2024 — TD Music Hall — Toronto, ON
April 5, 2025 — Arden Theatre — St. Albert, AB
April 6, 2025 — Slave Lake Legacy Centre — Slave Lake, AB
April 8, 2025 — Esplanade Arts & Heritage Centre — Medicine Hat, AB
April 9, 2025 — Darke Hall — Regina, SK
April 11, 2025 — Spiritbar at the Hume Hotel — Nelson, BC
April 12, 2025 — Charles Bailey Theatre — Trail, BC
April 19, 2025 — Sid Williams Civic Theatre — Courtenay, BC
No offense to contemporary country, but to the true, dyed-in-the-wool connoisseur, nothing beats the original formula. And Rick Marshall is nothing if not a connoisseur, as he proves on his heartfelt—and, not incidentally, utterly butt-kicking—tribute track, “Classic Country (Rocks My World).”
In a tight three minutes and 12 seconds, Marshall namechecks 33 of the music’s immortal giants, from Waylon Jennings and Willie Nelson to Kris Kristofferson, George Jones, and Tammy Wynette. Against the backdrop of an appropriately thwacking snare drum and a swooping slide guitar, he makes it clear that when you’re riding with him, you’re riding with the masters:
When I’m on the road driving through your town
I got my windows open and the music loud
I’m paying my respects to all the greats
All their music and the hell they raised!
And if you want to know just how deeply the spirit of classic country runs in his blood, Marshall says he wrote the song from behind the wheel of a truck. For real.
“Back when I was working construction in Ontario, Canada, one of my jobs was driving a bin truck to various sites,” he explains. “With not much on the radio, I would be left to my own devices.”
Having a lot of time to himself plus no distractions meant that when a tune started to come to him, he could hone it one phrase at a time until it was just right.
“I would sing the lines to myself over and over, waiting for the next one to arrive. By the end of a week’s driving, I had pretty much finished the song.”
Marshall’s obsession with salt-of-the-earth roots music had been gestating for far longer than a week. Growing up in Kelligrews, Newfoundland, he would listen in rapt attention at kitchen parties while relatives and their friends played guitars and fiddles and sang the traditional songs. The turning point in his evolution from a devoted listener to a performer in his own right came when he attended a 1994 gig by the great Johnny Cash at The Bismarck Hotel in Chicago.
“The songs, the stories, the persona, the whole vibe hit me: ‘This is what I want to do,’” he remembers. “Johnny Cash was a hero of mine. I was lucky enough to meet him and shake his hand at that show.”
From that point onward, Marshall spent years fronting the band Covered in Cash, performing the songbook of the Man in Black to enthusiastic capacity crowds because they always put on quite a show. But when he wasn’t on stage, he was busy amassing his own repertoire of original tunes. Eventually, he received a phone call from producer Dean Miller (son of the legendary Roger Miller) inviting him to Nashville’s Sound Emporium Studios to lay some of them down. Suffice it to say that by that point, there was plenty of material for the two of them to choose from.
For Marshall, the deal was only sweetened by the prospect of working with an all-star cast of backing musicians whose collective résumé has included session work with some of the titans of the genre. Plus, there was the prospect of simply witnessing Miller doing his thing behind the board, which to hear him tell it was almost reward enough in itself:
“Watching him in action was like taking a master class in production,” Marshall says. “My songs are my life story, and Dean got it so it shows in these tracks. I am thrilled and honored to be able to release them to share with my friends and future fans.”
Throughout 2024, Marshall has been successively showcasing a quartet of tracks from those sessions, to introduce himself to the world as a country megastar in the making. In addition to the aforementioned “Classic Country,” there’s been “Viva México,” with Mariachi-esque horn blasts helping to tell the story of Marshall’s odyssey from his formative years in Kelligrews, Newfoundland, to his current happy life as a resident of Nuevo Vallarta. (He moved there in pursuit of an enchanting young lady who ultimately became his wife and the mother of his child.) Another-cross cultural gem, “Legend of the West,” builds on stories Marshall heard from his Californian grandfather, as brought to musical life via a nighttime bout of singing and drinking with his Mexican brother-in-law; the song conveys the final thoughts of an outlaw who’s approaching the end of his time “living by the gun” and “trading bullets for gold.” And then there’s “Grass Is Always Greener,” on which a pensive and rueful narrator laments the real love he lost in chasing a lesser one: “When you don’t know what you got, you let it go.”
All four songs put Marshall squarely in the spotlight as a talent to watch—and one with great taste in collaborators to boot. The core band on the recordings is made up of keyboardist Billy Nobel and drummer Shawn Fichter (both of whom gig on the reg with Tim McGraw and Faith Hill), plus bassist Sam Hunter (Willie Nelson, George Strait, Ronnie Milsap, Glen Campbell, Elton John, Amy Grant, Luke Bryan, Jason Aldean, et al) and electric guitarist Troy Lancaster (who’s been nominated for The Academy of Country Music’s Guitarist of the Year award).
Also appearing on various tracks are Tim Galloway (the ACM’s 2023 Acoustic Guitar Player of the Year), steel guitarist Steve Hinson (who’s played for Trace Adkins, Dolly Parton and Randy Travis) and acoustic guitarist Pat McGrath (a 25-year Nashville mainstay and a veteran of more than 100 releases by top bluegrass, folk, country and rock artists). Backing vocalist Tania Hancheroff, for her part has a history of recording work with the likes of McGraw and Hill, Sheryl Crow, Carrie Underwood, Brad Paisley, Garth Brooks, Trisha Yearwood and Alan Jackson.
“It was almost surreal,” Marshall says. “The opportunity to meet all of these famed studio musicians, who were all so very kind and talented— as well as having a chance to chat and trade stories with them—made the dream come alive.”
Then again, he was receiving omens it was all going to go very right from Day One, when he first set foot in the studio and saw a sign bearing a quotation from The Sound Emporium’s founder, Cowboy Jack Clement:
Remember, we are in the fun business.
If we are not having fun, we are not doing our job.
That sentiment not only guided the sessions but put Marshall’s mind at ease that his career as an original artist was on the right track. Because you’d be hard-pressed to name a classic country act that didn’t qualify as fun. Why, yes: As a matter of fact, we are sure Hank done it that way.
Coming up, Rick’s next recordings, crafted in the heart of Nashville with renowned producer Dean Miller, capture the magic of collaboration with some of the same finest studio musicians. These four new tracks are the culmination of a creative journey that began last fall, and he’s thrilled to soon to share them with everyone.
Most often in country music lyrics, the idea of a “happily ever after” conclusion is more of the exception rather than the norm. Now North Vancouver-based singer Mary Garnett Edwards has penned a dark, tragic country roots tale in “Golden Eyed Boy,” a single packing a punch both lyrically and musically. Garnett Edwards, accompanied by a who’s who of supporting musicians, spins a story that is simultaneously haunting, harrowing, and heartfelt.
“‘Golden Eyed Boy’ is a little bit of fiction with a small bit of my life all wrapped up together,” Garnett Edwards says of the single from her forthcoming Madhouse release. “For me, writing songs like ‘Golden Eyed Boy’ is like writing a mini book. I imagine all kinds of characters and scenarios inside my mind’s eye and write down what it is I feel. That’s how ‘Golden Eyed Boy’ was born.”
A tale of prostitution and life’s grittier, wrong side of the tracks, “Golden Eyed Boy” features Garnett Edwards, 67, and her raspy delivery recalls a country-fied Kim Carnes. Methodical and moody, the single comes to life thanks to producer Andreas Schuld’s gorgeous guitar work in the bridge. Meanwhile drummer Pat Steward, bassist Norm Fisher, keyboardist Darryl Havers, dobro wizard Chas Williams and backing vocalist Gord Maxwell — who have played with everyone from Bryan Adams and Jann Arden to Nanci Griffith and The Bros. Landreth — flesh out the roots-based murder ballad to its chilling conclusion.
He looked upon her beauty
In a room dark and grey
Her sweet lips were smiling
Made him feel lonely in every way
When he dressed to go on home
And looked to where she lay
He went and sat beside her
And asked to take her away
The song, produced by the JUNO Award-winning Andreas Schuld (Kenny Wayne, Raffi, Long John Baldry), exemplifies the creative partnership the tandem have. “I can start the words to a song like ‘Golden Eyed Boy’ and bring it to Andreas and he just knows what to do with it,” Garnett Edwards says. “He will shuffle or write more words and add music to it. There’s chemistry there, and because of that, we have written quite a few songs.”
A music video for “Golden Eyed Boy” has also been created and directed by Jennesia Pedri and cinematographer Dale Shippam. Set in a brothel in the ’40s era, the video features Garnett Edwards singing while the narrative plays itself out: a prostitute and man developing a romance before the brothel owner’s muscle violently resolves the issue, causing the prostitute to take her life tragically.
“I loved writing songs as a child,” Garnett Edwards says. “I was a very good fabricator imagining characters and scenes coming to life. It was easy to make up little worlds to escape. ‘Golden Eyed Boy’ never would’ve come to life unless I had gone to that place mentally.”
Garnett Edwards, born in Edmonton, released her debut album White Lightning at age 63. And there’s no slowing her down now thanks to her own world-weary delivery that grabs your attention. It’s a style described by The Vancouver Sun as “part high lonesome twang, part folk blues croon with a fair bit of cosmic country thrown in.” Thanks to “Golden Eyed Boy,” look for Mary Garnett Edwards to continue to weave wonderfully wicked tales of life’s dark side.
Before the Bee Gees were ha ha ha Stayin’ Alive as ’70s disco kings, they actually had a psychedelic period in the late ’60s that was equally brilliant and intriguing.
Manchester-based singer-songwriter Luna Collins, and duo Strangers In A Strange Land, pay tribute to this period in the career of the brothers Gibb with a cover of their 1968 song “Lemons Never Forget.”
The song is very Beatles-esque, and it originally appeared on the Bee Gees’ second UK album Horizontal. This Bee Gees’ era is one of Collins’ favorites, and it’s expertly captured in this current iteration by these musical colleagues that include Vince Melouney as lead guitarist.
“My thoughts about covering the song went back quite a few years, but I decided to ask Vince if he would be interested in playing on a remake featuring my great musical friends, Strangers in a Strange Land,” recalls Collins.
Surprisingly, Melouney had already been toying with similar plans. “I was absolutely thrilled when Vince said he was also thinking about re-recording a version of ‘Lemons Never Forget,’” recalls Collins. “He immediately sent me his already-recorded guitar work, and we began the journey of putting the single together.”
On the song, Collins shares vocal duties with Paul Kopf, while Alec Palao contributes bass and keys. Working from various parts of the world – Manchester and Somerset (UK) as well as the San Francisco Bay Area – proved to be somewhat challenging.
“The time differences made communication tricky, but we managed to lay down all the components and voila!” says Collins.
The result is both sweet and zingy, and also plenty psychedelic in the vein of the original. The vocal harmonies performed by Collins and Kopf pay tribute to the magnificent harmonies the Gibb brothers are known for, while Melouney’s guitars are powerful and set the groovy mood for the song.
“We are all very pleased with this project and can’t wait for everyone to hear our labour of love,” says Collins.
Luna Collins grew up in San Francisco and experienced the resounding changes to our culture during the Summer of Love in the late 1960s. She listened to the radio non-stop awaiting each new Everly Brothers and Motown tune, but when the Beatles hit the Ed Sullivan Show, she knew she wanted to do that. So, she moved to the UK at 17, and found herself in and out of pub bands, singing and playing keys with no great success – but she had loads of fun.
Back in the United States, she and her new band, The Relay, took advantage of the punk/New Wave movement. The band had many ups and downs, eventually disbanding, but Collins soldiered on, continuing to write and spend time in Celtic/folk bands.
After the upheaval of divorce and quite a few years of challenges, Collins decided it was time to pursue music wholeheartedly again. In her 60s, she moved back to England and began the journey of putting together new original material to share.
Her new single “Lemons Never Forget,” with Strangers In A Strange Land and special guest Vince Melouney, is available now.
Kratom’s impact on the user varies significantly, influenced by the amount consumed and the specific variety.
At lower doses, typically around 1-5 grams, users often experience increased energy, focus, and social engagement, akin to a strong cup of coffee. This makes it a popular choice for those needing a mental or physical boost.
As the dosage increases to the 5-15 grams range, Kratom’s effects lean more towards sedation, providing significant pain relief and a deep sense of relaxation, which some compare to the impact of certain opioids but from a natural source.
Moderate doses can elicit mild euphoria and enhanced sensory perception, offering a unique blend of stimulation and serenity.
Individuals need to start with a low dose to compute their response, as experiences with different kratom brands can differ widely. Adjusting the dose carefully allows for exploring its potential benefits while minimizing the risk of an overwhelming experience.
Effects of Kratom
Kratom, derived from the leaves of the Mitragyna speciosa tree, has a range of effects that can vary depending on the dosage, strain, and individual body chemistry. Here’s a breakdown of the primary effects of the best kratom products experienced by users:
Stimulating Effects at Low Doses: At lower doses, typically less than 5 grams, kratom acts as a stimulant, enhancing energy levels and alertness. Users report increased focus, stamina, and sociability, making it popular for endurance or social interaction tasks.
Sedative Effects at High Doses: Higher doses, usually over 5 grams, produce sedative effects. Users may experience pain relief, relaxation, and a sense of well-being. This dosage can also lead to euphoria and significantly reduce anxiety and stress.
Pain Relief:Happy Go Leafy offers red vein kratom that helps to relieve your pain. Kratom contains alkaloids that activate opioid receptors in the brain, providing effective pain relief for both acute and chronic pain without the respiratory depression associated with traditional opioids.
Mood Enhancement: Many users turn to kratom for its mood-enhancing properties. It can help alleviate symptoms of depression and anxiety, contributing to an overall sense of contentment and happiness.
Anxiety and Stress Reduction: Kratom has anxiolytic effects, helping to reduce stress and anxiety levels. Some use it as a natural alternative to pharmaceutical anxiolytics.
Opioid Withdrawal Relief: Kratom is often used as an aid in opioid withdrawal, helping to mitigate withdrawal symptoms and cravings due to its action on opioid receptors.
How To Consume Kratom?
Kratom can be consumed in various ways, catering to personal preferences and the desired effects. Here are some standard methods, including selections from the Kratom Collection, which offers a variety of forms to suit different user experiences:
Kratom Powder: The most common form of kratom is a powdered leaf, which can be used in several ways:
Toss and Wash: This method involves placing the kratom powder in your mouth and washing it down with water or another liquid. It’s quick and efficient but can be unpleasant due to kratom’s bitter taste.
Tea: You can make kratom tea by boiling the powder in water for about 20-30 minutes, straining it, and then drinking the liquid. Some people add honey, lemon, or other sweeteners to improve the taste.
Mix with Food: Kratom powder can be mixed into food, such as yogurt or smoothies, to mask its taste. This method may delay the onset of effects due to digestion.
Kratom Extracts: These are potent concentrates of kratom alkaloids, often available in liquid form. Extracts are much more potent than regular kratom powder, so it’s essential to be mindful of the dosage.
Kratom Capsules: Kratom capsules filled with kratom powder offer a convenient and tasteless way to consume kratom. They may take longer to take effect as the capsules need to dissolve in the stomach.
Chewing Fresh Leaves: In countries where the kratom tree grows, some people chew the fresh leaves of green Borneo kratom, maeng da kratom, and many more to extract the compounds. This method is less common elsewhere due to the availability of leaves.
Kratom Tablets: Similar to capsules but pressed into a tablet form, these offer a precise dosage and another tasteless option to consume kratom.
How Does Kratom Feel Like?
The experience of using kratom varies widely among individuals, mainly depending on the strain, dosage, and personal body chemistry. Here’s a general overview of how kratom can feel:
At Low Doses (Stimulating Effects):
Energized and Alert: Many users report feeling more awake and alert, similar to the effects of drinking coffee.
Increased Focus: There’s often an enhanced ability to concentrate, making tasks and work seem easier to manage.
Improved Mood: Users frequently experience a mood lift, feeling more optimistic and motivated.
At Moderate Doses (Balanced Effects):
Relaxed Yet Alert: A balance between being comfortable and alert, where one feels more at ease but still capable of focused work.
Mild Euphoria: Some people describe a gentle sense of well-being and happiness, less intense than what’s associated with stronger substances.
At High Doses (Sedative Effects):
Deep Relaxation: High doses can lead to profound relaxation, where physical and mental stress diminish significantly.
Pain Relief: There’s notable pain relief, which can relieve those suffering from chronic pain conditions.
Sedation: In very high doses, kratom can induce a state of sedation, making it easier to fall asleep or enter a state of deep calm.
Conclusion: Is Kratom Feel Energetic?
Kratom, a versatile plant known for its unique ability to offer both stimulating and sedative effects, has become a popular choice for those seeking natural alternatives for energy, pain relief, and mood enhancement. At lower doses, kratom acts as a stimulant, providing users with increased energy, focus, and a sense of well-being, reminiscent of a mild caffeine boost.
This makes it ideal for tasks requiring concentration or for social engagements. At higher doses, it transforms into a powerful sedative, kratom offering profound relaxation and pain relief, which can be a boon for those suffering from chronic pain or seeking a natural way to unwind and alleviate stress.
Moreover, kratom’s efficacy in mood enhancement and its potential in aiding opioid withdrawal symptoms highlight its multifaceted benefits. Whether consumed as powder, tea, capsules, or extracts, kratom caters to a range of preferences, allowing for personalized use that fits individual needs and lifestyles. While the experience of kratom varies per individual, its ability to provide energy, pain relief, and emotional upliftment underscores its growing popularity. As with any supplement, mindful usage, starting with low doses to gauge personal tolerance, is key to maximizing kratom’s benefits while minimizing potential downsides.
Data and information are provided for informational purposes only, and are not intended for investment or other purposes.
The modern generation of students is a bit different from the previous one. We can see that they are more creative and knowledgeable. They know how to use various technologies, and they incorporate them into their lives with ease. It seems that they know how to fit this world into their expectations. Modern students know that if they need help with their academic duties, they can get CustomWritings’ help with coursework, for example, and have some free time.
At the same time, having busy schedules, modern students experience a lot of problems because they have too little time for themselves. Of course, they can turn to professionals for help, but they are often pressed for budget, which becomes a significant obstacle.
In this article, we will discuss how music can help students with their academic and personal issues, as well as how it can impact their performance in college.
Hundreds of years ago, people used music for storytelling, religious rituals, and social gatherings. It also influenced emotions, enlarging community bonds and uplifting spirits during celebrations or offering solace during grief.
Today, we can see young people with headphones everywhere, and music has become one of the most frequently used options among students to spend time with pleasure or simply stay with themselves in a loud, crowded place. Thus, music plays a significant role in students’ lives today, and entertainment is the only benefit it provides.
How can music help students handle their issues?
College life is one of the most challenging periods of life. College students are adult enough to start their lives outside their houses, but at the same time, they are too young for some extraordinary issues that many students face. Thus, having a reachable helper is essential to maintain mental health. Let’s look at ways music can help students overcome challenges and what kinds of music should be in your playlist for sure.
Ambient or classical music for stress relief
This is the kind of music that can create a calming atmosphere, helping you unwind a bit. It is well-known that soothing melodies reduce tension, promote relaxation, and enhance focus, making it easier to cope with stressful situations. As student life is often full of stress, this type of music is a great way to reduce stress. This kind of music activates areas in the brain associated with relaxation, and the soothing melody lowers cortisol levels as well.
“Weightless” by Marconi Union is specifically designed to reduce anxiety.
“Clair de Lune” by Claude Debussy is a calming piano piece that promotes relaxation.
Soft instrumental or nature sounds for anxiety management
If you want to alleviate anxiety, this is just the music you need to turn on right now. Such gentle tones create a serene environment, helping you feel grounded and relaxed and fostering a sense of peace amid overwhelming feelings. Moreover, such sounds perfectly engage the brain’s auditory processing centers, creating a serene mental space. Thanks to this feature, you may feel less anxious.
“River Flows in You” by Yiruma is a soothing piano melody that helps ease anxiety.
Rain or Ocean Sounds are nature soundtracks that can create a peaceful environment.
Upbeat pop or instrumental for motivation-boosting
Need some inspiration? Here it is! Upbeat pop music will definitely boost your creativity and help you concentrate on a certain question. These lively rhythms and positive lyrics elevate mood, encouraging perseverance and enhancing productivity, making even overwhelming academic tasks more manageable and enjoyable. Pop music stimulates the release of dopamine, also known as a neurotransmitter linked to pleasure and reward. As a result, this enhances motivation in college students.
“Happy” by Pharrell Williams is an uplifting anthem that can elevate mood and energy.
“Eye of the Tiger” by Survivor is a classic motivational track perfect for pushing through tough tasks.
Jazz or eclectic for a creativity boost
With its improvisational elements and diverse sounds, Jazz or eclectic music can easily stimulate creativity. This genre encourages free thinking, helping students brainstorm ideas and think outside the box in their projects. In this situation, music activates the brain’s creative centers by encouraging divergent thinking. The improvisational nature of jazz stimulates novel connections, helping to brainstorm ideas.
“Take Five” by Dave Brubeck can inspire creativity with its unique rhythm.
“Feel Good Inc.” by Gorillaz is an eclectic mix that can help you brainstorm new ideas.
Soft piano or ambient for sleep
This is the music that promotes restful sleep by providing a calming background. The gentle melodies ease the mind, facilitating relaxation and a smoother transition into a peaceful night’s rest. Such a monotonous melody helps regulate sleep cycles, facilitating more profound and restful sleep.
“Weightless” by Marconi Union is also effective for promoting sleep.
“Moonlight Sonata” by Beethoven is one of the melodies that encourage relaxation before bedtime.
Positive, upbeat tracks for mood improvement
If you want to elevate your mood or foster happiness, listen to some positive, upbeat tracks. Their infectious energy encourages a brighter outlook, helping students combat negativity and embrace positivity, boosting overall emotional well-being. Upbeat music can increase serotonin and endorphin levels. As a result, you feel better and can combat feelings of depression.
“Good Vibrations” by The Beach Boys instantly lifts spirits with its cheerful melody.
“Walking on Sunshine” by Katrina and the Waves is a classic feel-good song to brighten your day.
Music is not only about entertainment; it also provides us with positive effects in our brains that can help us handle various issues easily and concentrate on the positive side. If you are upset, try listening to calming music and see the result.
Data and information are provided for informational purposes only, and are not intended for investment or other purposes.
You bought the tickets months ago. Stood in line to get in. Waited for the opening act to finish their set. Now, at last, the band or musician you waited for is playing that hit single or deep cut that definitely made all the time, cash and travel invested worth it. Now Newfoundland and Labrador Mi’kmaq country sensation Jason Benoit nails that feeling with the impressive single “I Wanna Hear That Song.”
Benoit says “I Wanna Hear That Song,” co-written by him and friend Gerry Foote, was inspired from more than a decade performing in Canadian country music circles and noticing one simple, universal fact. “EVERYONE wants to hear a song they can sing along to, whether that be a song by the artist themselves or even a cover song,” he says. “So with this in mind, while traversing the highways and byways of Ontario on tour, we wrote this track.”
The joyous single, with its toe-tapping beat and some fine banjo playing by musician and multi-instrumentalist John Hynes (who co-produced the song with Benoit), resembles quality, radio-friendly material recalling the likes of Keith Urban or Tim McGraw. And like those artists, Benoit, who wrote “I Wanna Hear That Song” while touring Ontario in 2019, clearly does not take his audience for granted for a split-second.
Oh I never wanna leave
Can we just stay here please
If we get loud enough
Everyone get on your feet
Play the one that gets me through
The one for me and you
Never wanna go back home
“This song is a tribute to the songs we love, as they are the reason why the fans spend their hard-earned money to come see live artists,” Benoit, based in Fox Island River, Newfoundland, says. “It’s a very profound moment when you hear your favorite song being sung by your favorite artist while you’re in the same room; it creates a memory that lasts forever and you will always look back at that time, who you were with, and what life meant to you, and remember that for a second in time you truly got to experience something both magical and personal with the audience as a whole. It’s truly a beautiful thing.”
Benoit, who won a 2024 East Coast Music Association Country Recording of the Year Award for his Time Traveller album, has had a busy few years. This included a 2023 Canadian Country Music Association nomination for Alt-Country Album of the Year and four 2024 MusicNL nominations including Album of the Year for his EP The Deadwood. In 2023, he earned MusicNL’s Fans Choice Entertainer of the Year and Indigenous Artist of the Year. And “I Wanna Hear That Song” should only result in a few more nominations down the road.
Now “I Wanna Hear That Song,” the follow up to Benoit’s “1000 Mile Grin” single, will only propel that popularity both nationally and beyond. It’s also a tremendously apt, appreciative crowd-pleaser that’s bound to make fans old and new buy the tickets, pay for the babysitter, and make the late bedtime worth it all just to see Jason Benoit. In short, you’ll wanna hear this song!
Canada’s Teen Jam is thrilled to announce a second Finalists Showcase due to an overwhelming number of submissions. Mark your calendars for February 27, 2025, when the nation’s most talented teen musicians will take the stage at the iconic TD Music Hall. The October 10, 2024, showcase is now officially complete, and the response has been nothing short of phenomenal.
Renowned live music producer Mark Higgins, the visionary founder of Canada’s Teen Jam and Big Music Fest, which has featured legendary acts like Aerosmith, Soundgarden, Bryan Adams, Slash, The Tragically Hip, and ZZ Top, shared his enthusiasm for the program’s success:
“Our Discovery Program is creating the next generation of musical superstars, and I only wish I had started this program a decade ago,” said Higgins. “Teen musical growth is absolutely essential for the future of our music industry! Without supporting our musical teens, the creative wall will stop.”
The October 10, 2024, showcase at TD Music Hall promises an unforgettable evening as these young artists take the stage to share their talent and passion.
Some of the greatest, most innovative musical acts began their careers as teenagers – from The Runaways and The Strokes to The Arctic Monkeys. Canada’s Teen Jam recognizes the immense talent and creativity that can flourish during these formative years. This groundbreaking performance showcase is dedicated to nurturing the next wave of musical talent in Canada.
Canada’s Teen Jam’s Discovery Program has been a resounding success, uniting undiscovered musical teens and providing them with unparalleled opportunities. These young artists have the chance to perform on the same concert stages that have hosted iconic Canadian music stars, offering them an invaluable glimpse into the professional world of music.
Since its inaugural launch at the Wayback Festival in Kitchener, ON, in July, Canada’s Teen Jam has attracted an incredible 300 submissions from aspiring teen musicians. The program’s success has garnered the attention of major sponsors, including United Van Lines Canada, which has signed a multi-year deal to support the initiative.
As part of this partnership, last year’s finalist, 15-year-old rock guitar prodigy Brandon Ahmet, will be flown to Miami Beach for an all-expenses-paid performance at United Van Lines’ convention.
Opportunities for Aspiring Musicians
Canada’s Teen Jam continues to offer teens ages 13 to 19 the chance to showcase their musical talent. Teens can submit video performances along with a $10 submission fee for a shot at cash prizes: $1,000 in the band category and $500 for solo artists. All musical styles and sounds are encouraged, including both original songs and covers.
Mark Higgins expressed his excitement about the program’s impact: “When musical teens experience this level of excellence, they develop a great sense of worth and a clearer path to fulfilling their dreams. Canada’s Teen Jam will help create the next wall of sound.”
There are two ways you can approach nostalgia: You can either reject it as a seductive illusion, or you can concede that it may have a point. Fredericton, NB, alt-rocker Kylie Fox opts for a little of both on her new double-A-sided single, “Confetti/Alberta,” which offers a pair of distinct yet complementary visions of yesterday.
A jaunty, jocular “no” to the specters of the past, “Confetti” finds Fox fielding the sudden, unexpected entreaties of an old boyfriend who had dropped her like a hot potato after deciding there might be more opportunities for “glitter on [his] sleeve” without her around—but who is now having second thoughts:
There is no alternate universe for us, babe
I’m not your Scorpio, you aren’t my twin flame
So don’t waste my time with elegies of you and me
I was there too
I remember it clearly
The rose and the rust, and the end of the story
“It’s a bright and brooding alternative rock ballad that speaks to the nostalgia of novelty,” Fox explains. “I was thinking about how the newness of romance can fall and simply be swept away—like confetti.”
For many East Coasters, heading west to work as tree planters is a quintessential part of the Canadian experience—exchanging the warmth of home for the endless expanse of Alberta’s straight roads and BC’s winding hills. Like Fox’s reflection in “Alberta,” this journey often brings a mix of longing and resilience, as they navigate the vast, unfamiliar landscapes while yearning for the comfort of the life they left behind, pining for a more familiar and comforting life in “the winding hills of British Columbia.” In her mind’s eye at least, that’s highly preferable to her current environment, where “the roads are long and the roads are straight” and there are “no gas stations or corner stores/ Just trees on trees on trees on trees on billboards.” In retrospect, the life she used to know was far more livable:
Though the work it was hard
And the mountains they were cold
Still I had arms to hold around me
I’m worried about Alberta
The music is somewhat slower and more somber than “Confetti’s,” yet every bit as captivating. What we have here are two instant earworms that are the perfect commercial conduits for Fox’s alternately homey and obscure lyrical sentiments.
The videos for the two tracks likewise represent opposite sides of the same thematic coin. On paper, both focus on the performing charisma of singer/guitarist/pianist Fox and her band (lead guitarist Sean Hutchins, bassist Camilo Villamizar, keyboardist Kelly Waterhouse and drummer Ryan Barrie). But the “Confetti” clip adds a layer of thrift-shop glamour to a group rehearsal, whereas “Alberta” is a more naturalistic, video-verité montage of life on the road.
Both songs are from Fox’s new album, Sequoia, and each in its way buttresses the album’s central philosophical motif: acknowledging those moments in life when we don’t realize what we have, while simultaneously uplifting love and life as blessings to treasure.
Even the title of the record was no arbitrary choice. Sequoia is a nod to the summer vacations of Fox’s past, several of which she spent planting trees in British Columbia. More directly, it references a recent news story she had read about firefighters who worked throughout the night to save a Sequoia tree from a forest fire.
“It resonated with me how severely nature and time have been taken for granted,” she says.
Produced by by six-time ECMA-winning producer Daniel Ledwell (Jenn Grant, Fortunate Ones, The Good Lovelies) and funded with the help of ArtsNB, Music New Brunswick and the Canada Council for the Arts, the new album is deeply rooted in the folk-Canadiana elements Fox is known for, while also dipping its toe into folk-rock and jazz-pop fusion.
The artist herself describes the overall effect of the record as “‘70s Sesame Street meets Sharon Van Etten.” Divine Magazine is a little more straightforward—and effusive—in its assessment: “Get ready to be transported to a world of lush soundscapes and poignant storytelling with Sequoia, an album that will undoubtedly leave a lasting impression on your musical palate.”
Then again, Fox has been turning heads and pricking up ears ever since she dropped her debut EP, Balcony, in 2017, then followed it up with her first full-length album, Green, in 2020. Those releases laid the foundation for an extensive tour of Canada, in which she shared stages with the likes of Bahamas, The Strumbellas and Joel Plaskett. She’s also showcased at the East Coast Music Awards, Folk Alliance International and the Canadian Song Conference (all in 2021). In 2020, she participated in the Banff Centre for the Arts International Songwriting Residency, and she’s been featured on lineups for festivals like the Cavendish Beach Music Festival (2022) and Area506 (2021). Fox was named “Breakthrough Artist of the Year” at the 2020 PrixNB Awards and “Innovator of the Year” at the 2023 PrixNB Awards.
Next up for her is celebrating the launch of the new album with a Saturday, September 14 gig at the Harvest Festival in Fredericton. Just over a month later, on Thursday, October 24, Fox will be opening for Matt Minglewood at the Imperial Theatre in Saint John. It’s going to be a busy sprint indeed until the end of 2024, capping a year of major growth spearheaded by her new manager, Joe Bamford (The Kings, Glass Tiger, The Headstones, Leslie Spit Treeo). And just about everybody in the industry is sitting up and taking notice.
“Her lens is finely focused,” says Rob Pinnock of Bounce 105.3. “It’s quite clear Kylie Fox is poised to become an important East Coast artist.”
She sure is. As long as she keeps one eye set squarely on the future and one foot planted firmly in the past.
KYLIE FOX ONTARIO DATES:
September 25, 2024 Early Bird Coffee, Woodstock
September 26, 2024 Parkwood, Owen Sound
September 27, 2024 Midnight Run Café, Waterloo
September 30, 2024 Rainbow Bistro, Ottawa
October 2, 2024 Moonshine Café, Oakville
October 3, 2024 Cameron House, Toronto
October 4, 2024 The Bunker, Stratford
October 5, 2024 Casbah, Hamilton
October 6, 2024 Homegrown Hideaway, Norfolk County
