This year we only got the small questionnaire and, if I’m being honest, I felt unfulfilled. I wanted to answer more questions – not just the standard ones about what language everyone in the house spoke.

I know what you are thinking. If I had received the long-form census, there’s a great chance that I would’ve felt the other way. But that’s not necessarily true. I have no issue answering more personal questions if it goes toward improving my community.

I kind of felt the same way about this week in new music – a little unfulfilled.

We’ve had a couple of banger weeks in a row and it makes sense for there to be a bit of a lull every now and then. But I thought about it a little more and while, at first glance, it feels a little underwhelming, there is really important stuff here.

Broken Social Scene have released an excellent new album that has me thinking about their heyday.

Charli XCX gave us a little taste of what she considers rock.

And Paul McCartney (with Ringo) and The Rolling Stones (with Charlie) both released new tracks as they get ready to drop albums in the coming weeks.

So at first glance, yeah, it might feel a little light. But if you dig a little further, you realize it’s all part of the master plan.

Are you still looking for your new favourite song? There’s a good chance it’s in the playlist below.

All you have to do is press play.

Broken Social Scene

Toronto indie supergroup Broken Social Scene are back with their sixth album Remember the Humans. It feels like a homecoming for the band as they reunite with producer David Newfeld, which immediately beckons back to their “heyday” of the early-to-mid 2000s and the perfect You Forgot It in People.

The album balances low-key moments with rockier bursts perfectly. “Relief”, fronted by Lisa Lobsinger, brings me right back to a time when we’d all be rocking out with them in clubs around Toronto.

For me, the new record is awash in nostalgia, but that’s not to say it’s a retread – far from it. I just love the way BSS can make you remember a different time in your life while still keeping things fresh.

The Rolling Stones

I’ve been listening to a lot of The Stones recently – I’m in the process of writing the latest Greatest Band Ever bracket columns, check back in August – and there is just something about the band. The Stones sound exactly like The Stones.

Album number 25, Foreign Tongues, comes out in July and they’ve dropped the first track this week. “In the Stars” features the late great Charlie Watts.

Paul McCartney & Ringo Starr

I had to laugh when McCartney and Starr released a song not two days after The Stones dropped “In the Stars” – what year is this?

“Home to Us” is the second song from the upcoming The Boys of Dungeon Lane. The new McCartney album comes out at the end of the month.

Charli XCX

The dancefloor is dead and now is the time to ROCK!

At least that’s what Charli proclaimed earlier this spring. With the first taste of her new direction, the British singer has released “Rock Music”.

Now her idea of rock might be slightly different than yours because I still feel a fair amount of dance vibes associated with her new direction. But I like it.

A couple of summers ago, it was the summer of BRAT. We could use a summer of ROCK!

Iceage

The Danish band are back in the Staircase with another indie rock banger. I’m not sure if it’s the handclaps or the guitars, but “The Weak” is my perfect sound right now on this rainy day. Their new album, For the Love of Grace and the Hereafter, is out at the end of the month and I personally cannot wait.

Slow Fiction

New Favourite Song Alert

NYC band Slow Fiction have been putting out awesome indie rock tracks since 2021 and have dropped another winner with “Junior Year”.

It checks all the boxes for me when it comes to indie rock. The only issue is I’m out of town next week when they are playing the Mod Club here in Toronto. This is a band that really needs to release a full album – and soon.

Temper Trap

Don’t get me wrong, I love hearing new music. And if there is a band I like – giddy-up. I really like Temper Trap, but they have now released five of the eleven songs from the new album Sungazer.

“These Arms” is classic Temper Trap and finds the Melbourne band providing indie pop at its highest level. I stopped listening to the song a couple minutes ago and my foot is still tapping to the beat. Sungazer comes out in early July.

Soft Kill

This is not the first time I’ve featured Soft Kill. They are the sound of a band leaning hard into the post-punk genre. Here’s their latest, “Drowning in My Sleep”. Driving bass, eerie guitars, synths. The kind of music that made your hair either turn into Peter Murphy’s or Andrew Eldritch’s.

Not sure if this song is the start of something new or an old piece that was just discovered. The main thing is, I need to share it.

Turnover

Here’s the thing, I love researching where bands are from because I’ve been lucky enough to do a fair amount of travelling. Turnover are a band from Virginia Beach, a place I’ve been to a couple of times.

Well, travelling through, my friend Sid said me and Joey could stay with her mom – she had it sorted out. Of course, when you say “can my friends Steve and Joey stay at your house,” you could think it’s a couple of dudes. So when we showed up, I saw the smile drop a little bit.

We brought our bags in and turned to her and said – where are we taking you for dinner? We ended up at this wonderful seafood patio and had the best time.

It doesn’t have a lot to do with the new single “Nightjar,” but it’s a reminder that first impressions can turn around quickly – all you need is the right attitude.

Their new album Down to Earth comes out at the end of the month.

MUNA

The MUNA album is out today and it’s a fun collection of indie pop, alternative, and ’80s synth pop. On the band’s fourth album, Dancing on the Wall, they show the maturity that comes with working on your craft for over a decade. The LA band produced the album themselves.

Here’s the banger “Big Stick”.

Static Dress

Is there a genre called post-emo? Because if there is, that’s where I’d put Leeds band Static Dress.

There is definitely a similarity to bands like My Chemical Romance and Brand New, but Static Dress have a slightly harder edge while still being accessible.

This explanation doesn’t make much sense. So save us all the trouble and just press play on “…hospice” already. Their third album comes out at the end of the month.

The Lemon Twigs

It’s funny that we got a new McCartney tune earlier this week as The Lemon Twigs released their sixth album, Look for Your Mind, today. With the addition of live rhythm section drummer Reza Matin and bassist Danny Ayala, the D’Addario brothers capture a fuller sound that is reminiscent of early Beatles work.

The title track feels like a throwback to an easier time for rock and roll – and one that is welcome.

Michigander

Jason Singer is back with another song from his band Michigander.

“Freaking Out” = indie pop.

Not much else to say about it.

The Mosh Pot

Social Distortion

Legendary punk band Social Distortion are back with their eighth album – and first in 15 years – Born to Kill. Fans will be happy to hear the California group haven’t lost a step.

“The Way Things Were” has a mature feel to it, the sound of a band that understands exactly who they are at this stage of their career.

The Dutch Øven

Steel Panther

Just awful, but in the perfect teenage boy way.

“The Mother’s Day Song” may not be the perfect Mother’s Day tribute… but it’s all I got right now.

Dutch’s Picks:

Papa Roach & Hanumankind

For the second season of Devil May Cry, Papa Roach have teamed up with Hanumankind, a rapper from India. I hadn’t heard of him before, but he’s got serious chops.

“See U in Hell” isn’t exactly Judgement Night, but it’s still a really interesting crossover. Personally, I would’ve loved a second verse from the rapper.

Khemmis

I’ve liked Khemmis ever since I saw them open a show a few years ago.

Initially more of a doom metal band, they now seem willing to pull influences from everywhere. “Beneath the Scythe” definitely leans in a more upbeat direction – it almost feels like a power metal anthem at times.

Canadian Corner

Rise Carmine

Another taste of the new Rise Carmine album has just been released.

“She Knows, She Knows” is a psychedelic track that reminds me a little of Muse – especially with that driving bass line that keeps songs like this moving forward.

The Toronto artist’s new album, Under the Red Light, arrives in June.

Cola

The Montreal band released their third album today. Cost of Living Adjustment is just good old-fashioned indie rock.

“Haveluck Country” is the kind of song that keeps your feet tapping and your head nodding – just one of several interesting tracks you’ll find on the album.

Festival Watch: Winnipeg Folk Festival

Gwenifer Raymond is exactly the kind of artist I get swept away by at the festival.

Picture a warm sunny afternoon. The grass is warm, the smell of sunscreen is in the air, and everyone is just settling into the day. Then it catches you – the distinct sound of finger-picked guitar drifting across the field.

The Wales-born musician moves effortlessly between traditional UK folk sounds and American guitar stylings. She released her third album, Last Night I Heard the Dog Star Bark, last year, and here she is performing “Bliws Afon Taf” as part of NPR’s Tiny Desk Concert series.

Hannah Cohen released her latest single, “Golden Chain,” last week, and it’s easy to get lost in its simplicity. But listen a little closer – there’s something truly spellbinding about her vocals and poetic storytelling.

Ben’s Folk Revue

Whitehorse

Hamilton duo Whitehorse released album number nine today – All I Want Is All of It.

It’s another wonderful blend of indie-folk from the band. I’ve featured them a couple of times already this year and, if you’ve enjoyed what you’ve heard so far, good news – they still aren’t disappointing.

And if you haven’t given them a spin yet, here’s “Two and Only” as an easy introduction to what you’ve been missing.

Waterboys

Mike Scott isn’t pulling any punches with the new Waterboys song “Don’t Even Have to Say His Name”.

With great adversity often comes great art – a tale as old as time. And yes, that’s more than just the whole of the moon.

Cover Tune of the Week

WDR Funkhausorchester

Did you need to hear a version of “99 Luftballons” performed by an orchestra?

Yes. Yes, you did.

Recorded in January at the Cologne Philharmonie and conducted by Sarah Hicks, this orchestral take somehow manages to make an already dramatic song feel even bigger.

Oh, those crazy Germans.

Live Track of the Week

Sombr

Another gem from Coachella, it’s sombr and his version of Radiohead’s “Fake Plastic Trees”.

[Not on Spotify.}

Just ‘Cause

The Psychedelic Furs

The band were set to head out on an extensive North American tour this summer, but announced today that the dates have been cancelled due to a severe medical incident.

I love The Psychedelic Furs, and while they only had one Canadian date booked – Calgary in July – it’s still a shame the tour won’t happen.

No further details have been released, but I’m sending all my good thoughts their way.

Happy Birthday

Ian Watkins

Ian “H” Watkins turns 50 today.

Who?

I want to say it was late 1998 and Jane was promoting a new UK pop band called Steps. A group of us went to their industry introduction at a club downtown. It was full of music people, scene-stealers, and a handful of nobodies looking for a free drink.

When the band came on, conversations didn’t exactly stop – but Jane, Max, and I paid attention.

We’d had boy bands and girl groups before, but a mixed pop group? We really hadn’t seen that since ABBA. When the members introduced themselves, the crowd mostly didn’t care. But then H stepped up and said:

“And I’m H.”

For some reason, Max yelled back:

“Hello H!”

It got a laugh, the band smiled, and then they launched into the only Steps song I ever truly loved – “One for Sorrow”.

That track became the first of 14 consecutive UK Top 5 singles for the band, including two number ones. Steps would eventually sell more than 20 million records worldwide.

After the band dissolved in the early 2000s, Watkins moved into musical theatre while maintaining a UK profile through acting and various reality TV appearances. A strong advocate for LGBTQ+ rights, he’s also been recognized for his contributions to the community.

In 2023, H was elected as an independent town councillor in Cowbridge with Llanblethian Town Council.

Happy birthday, H. And yes Max, we still remember.

Happy Anniversary

Street Fighting Years

There’s something admirable about a band swinging for the fences every single time. And by the end of the ’80s, that’s exactly what Simple Minds were doing. On this day 37 years ago, the Scottish band released their eighth album, Street Fighting Years, and fans could not have been more divided.

The recording process itself was equally fractured. Bassist John Giblin left midway through the sessions, while drummer Mel Gaynor departed before they were complete. Much of the tension stemmed from legendary producer Trevor Horn, who felt he wasn’t getting the right sound from the rhythm section – and frontman Jim Kerr sided with the producer.

When the album was released, it became the band’s fourth straight UK number-one album. But on this side of the Atlantic, it was a different story. The album only reached No. 70 in the U.S.

The singles told the same story. In the UK, the band scored four Top 20 hits, including the No. 1 single “Belfast Child.” In America, not a single track cracked the Billboard Hot 100 – a dramatic comedown from the previous album, which produced three Top 40 singles, including the No. 3 hit “Alive and Kicking”.

The band fared slightly better in Canada, where the album reached the Top 25 and “This Is Your Land” climbed to No. 40.

Personally, I liked what the band was doing. I really liked the album. But this wasn’t a record you casually threw on at a party like Once Upon a Time or Sparkle in the Rain.

The band had matured.

The North American audience maybe hadn’t.

If there’s a new song you loved this week and I missed it, let me know in the comments – the playlist is always evolving.

We’re pretty lucky to have all this music. Have a great weekend, everyone. Life’s short. Tell someone you love them. Be good to one another.

Moving from Grade 8 in one town to Grade 9 in another felt like a rite of passage for a farm kid. I had just come back from two weeks at tennis camp, my music taste was dialed in, and I had enough polo shirts to get me through a full rotation without repeating. In my mind, I was ready.

That summer, my family rented a house in Rhode Island with my friend Jeff’s family. The waves were great, the days were long, and NBC was everywhere with ads for a new show called Miami Vice.

And yes – before you ask – I remember the ads.

For a kid raised on Magnum P.I., Riptide, and Matt Houston, this felt like something else entirely. It looked different. It felt different. And even in those quick flashes, the music hit differently. It felt… dangerous.

When we got back home, the show still hadn’t even aired in Canada yet. It wouldn’t show up until January. But once it did, every Friday night, we watched.

For a moment, this was everything.

The look. The sound. The feeling that TV could be as cool as the music on the radio.

And for me? It became part of the act. By Grade 10, I had fully committed – two polo shirts at a time, Swatches stacked up the wrist (three was my personal best), and yes… on January 18, 1986, I introduced Miami Vice Day at school.

White suit. Pastel shirt. Espadrilles. No socks. In the middle of winter. I wish I was kidding.

I even brought it with me when I switched schools the next year. By the time I graduated, though, something had shifted. The show wasn’t quite what it had been. The culture had moved on. And if I’m being honest, so had I.

I never actually finished the show. Friday nights had become something else, and Miami Vice quietly slipped from must-see TV to something I just didn’t get around to anymore.

So a month ago, I started watching it again. It’s still cool. It’s still ridiculous. But most importantly – it’s still packed with incredible music. Because that’s what Miami Vice really was: A show that didn’t just use music – it showcased it.

This is the story of those cool first two seasons – told through the songs. And in Season One and Two nobody was touching it.

Here are the ten best musical moments from those first two magical seasons.

#10 – Miami Vice Theme – Jan Hammer

Episode: All

Why It Hits:

C’mon. It’s a TV theme song that hit #1 on the Billboard Hot 100. That list isn’t long – Welcome Back, Kotter, S.W.A.T., Miami Vice, and The Heights.

But here’s what makes it different: it doesn’t open the show. By the time the Jan Hammer theme kicks in, you’ve already had a taste – maybe a deal gone sideways, maybe Crockett and Tubbs in motion. And then the theme hits.

It doesn’t introduce the show – it announces it. Neon, speedboats, skylines, bikinis. No dialogue, just pure mood. It’s the exclamation point after the cold open, and somehow it raises the stakes every single time.

In November 1985, they released the Miami Vice Soundtrack. It went to #1 in both the U.S. and Canada, eventually going multi-platinum on both sides of the border. The music wasn’t just part of the show – it was the brand.

Vice Factor: 5/5 Espadrilles

#9 – Face the Face – Pete Townshend

Season 2, One Way Ticket

Why It Hits:

One of the things the show did better than anything else – it made TV feel like radio. “Face the Face” was current. It peaked at #26 just a week before this episode aired. And suddenly, there it is – on television. Not as background noise, but as the moment.

The scene runs for nearly four minutes with no dialogue. A lawyer cruises in a private plane while Crockett – perfect suit, perfect hair – fires rounds at a shooting range. Luxury on one side. Controlled violence on the other.

It’s indulgent. It’s stylish. It probably shouldn’t work. But it absolutely does.

Vice Factor: 3/5 Espadrilles

#8. Relax – Frankie Goes to Hollywood

Episode: Season 1, Little Prince

Why It Hits:

“Relax” was already a global hit, but it hadn’t fully broken in the U.S. yet – it would climb to #5 on the Hot 100 three months after this episode aired.

And this is where Miami Vice flexes. Much like John Hughes was doing in his ’80s films – where the song wasn’t just accompaniment, it was the emotional payoff – Michael Mann lets the entire track run – over dialogue, over scenes of junkies trying to score, over the grind of the street. It’s not background. It is the scene.

It’s chaotic, a little uncomfortable, and completely hypnotic.

This is Miami Vice at its most fearless – letting the music carry everything.

And yes – that’s a 26-year-old Giancarlo Esposito as the junkie guiding Trudy and Gina through it. Watching it back now, one thing becomes clear: this wasn’t just Crockett and Tubbs. Gina, Trudy, and Castillo all get their moments – and here, they hold the frame.

Vice Factor: 5/5 Espadrilles

#7. Smuggler’s Blues – Glenn Frey

Episode: Season 1, Smuggler’s Blues

Why It Hits:

By Episode 15, the show knew exactly what it was – and how to play the game. “Smuggler’s Blues” works because the line between the music and the show completely disappears. Glenn Frey isn’t just on the soundtrack – he’s in the scene, playing the pilot helping Crockett and Tubbs escape Colombia.

It’s a bit of stunt casting, sure. But it’s also the show doubling down on its identity: music isn’t just something you hear, it’s something you see.

This is where Miami Vice stops borrowing from music – and starts casting it. And it opened the door. From Sheena Easton to Phil Collins, musician cameos became part of the formula.

It probably shouldn’t work. But it absolutely does.

Vice Factor: 5/5 Espadrilles

#6 – Miss You – The Rolling Stones

Episode: Pilot, My Brother’s Keeper

Why It Hits:

The song is almost a throwaway in the opening scene – playing on a boombox while Tubbs is on a stakeout and a couple of guys try their luck. And that’s the point. The Stones were still massive, and Miami Vice treats them like just another track in the world. No buildup. No spotlight. Just vibe.

Right off the bat, Miami Vice tells you the rules don’t apply. You knew this show is going to use music differently.

Vice Factor: 4/5 Espadrilles

#5. Rhythm of the Night / You Wear it Well – DeBarge

Episode: Season 2, Bought and Paid For

Why it Hits:

This is peak Miami Vice flex – don’t just use the music, put the band in the room. DeBarge plays the house band while the Vice squad unwinds, running through two full songs. Two. That’s how big they were in 1985. And while the band plays, the story moves – music and image intertwined as a bribe is quietly accepted. Smooth on the surface, something else underneath.

The show would go back to this well more than once. Earlier in Season 2, The Power Station showed up as the house band in Whatever Works. But here, it feels fully formed.

It’s stylish. It’s indulgent. It’s very, very Vice.

Vice Factor: 3/5 Espadrilles

#4. The Doors

Episode: Season 2, Back in the World

Why it Hits:

This is Miami Vice at its most deliberate.

Instead of mixing tracks, the episode commits – using only The Doors as its score. Eight songs in total, including “Break on Through”, “Roadhouse Blues”, and “Strange Days”.

The story follows Crockett reconnecting with a Vietnam war buddy still chasing a drug-smuggling story rooted in the past. And the music does what the dialogue doesn’t – it fills in the weight of it. Dark, restless, a little haunted. This is the show trading style for atmosphere – and still making it look cool.

Mid-80s pop culture was obsessed with revisiting Vietnam. Miami Vice doesn’t just nod to it – it builds an entire episode around it.

Vice Factor: 5/5 Espadrilles

#3. You Belong to the City – Glenn Frey

Episode: Season 2, The Prodigal Son Part 1

Why It Hits:

For reasons that still feel slightly questionable, Miami Vice opens Season 2 by leaving Miami behind and heading to New York. And to be fair – mid-’80s New York had an edge to it. Darker. Grittier. The kind of place where a song like this makes sense.

The entire sequence plays like a music video: Crockett wandering the city, smoking, thinking, existing. Not much happens, and that’s exactly why it works.

It’s mood over plot. Style over substance. And for a few minutes, it feels less like a TV show and more like the last great cigarette ad ever made.

Vice Factor: 4/5 Espadrilles (dock one for not being in Miami)

#2. Brothers in Arms – Dire Straits

Episode: Season 2, Out Where the Buses Don’t Run

Why it Hits:

Sometimes timing does the work for you.

The “Brothers in Arms” single and this episode both landed in October 1985 – right in the middle of Dire Straits at their absolute peak. The album would go on to become one of the biggest of all time, eventually selling over 30 million copies worldwide.

Miami Vice didn’t make the song – but it knew exactly how to use it.

The closing sequence is as good as the show ever gets: Crockett and Tubbs driving toward a final confrontation with a former cop who may or may not have lost it completely. No rush, no noise – just tension building under the surface.

By Season 2, the show had started to go deeper. Grief. Trauma. The idea that the job doesn’t just end when the case does.

Bruce McGill is outstanding as Hank, and when David Strathairn’s Marty says, “He’s my partner, you understand?” – it lands perfectly for Crockett and for us.

This isn’t just style anymore. This is weight. This is the show at its most human.

Vice Factor: 5/5 Espadrilles

#1. In the Air Tonight – Phil Collins

Episode: Pilot, My Brother’s Keeper

Why it Hits:

If you remember one song from Miami Vice, it’s this one. And that’s not by accident.

The entire track plays out – sometimes under dialogue, sometimes with nothing but Crockett and Tubbs driving through the night. It builds. Slowly. Patiently.

And then it lands.

This is the climax of the pilot. No shortcuts. No cutting away. Just the confidence to let the music do the work. In a lot of ways, it plays like a music video – but flipped. Not a show promoting a song, but a song carrying the show.

It was a ballsy move. It still is.

And it’s the moment Miami Vice tells you exactly what it’s going to be. It’s going to be iconic.

Vice Factor: 5/5 Espadrilles

Conclusion

For a moment, this was everything.

The look. The sound. The feeling that TV had to be seen. And for one night starting in 1984, technically 1985 in Canada – driving through Miami with Phil Collins in the background – it absolutely was.

So there you have it – my favourite music moments from the first two seasons of Miami Vice, when the show wasn’t just finding its footing – it was defining cool.

I’ll keep watching… although history suggests I may not make it to the end.

Did you have a favourite moment? Let me know in the comments.

It feels like we’re getting worse at agreeing on… anything. Part of me is fine with that – we’re not supposed to agree on everything. But lately it’s almost like we can’t even agree on what colour something is.

So where am I going with this?

This weekend is my wife’s birthday, and for the past 15 years we’ve thrown a Pinot Noir tasting to anchor the festivities. We invite a lot of people – some I know really well, others not so much. And I’m pretty confident we’re not all going to agree on everything.

But that’s not really the point.

The point is that we’re all together around a central theme – wine – and for a few hours we try something new. Some bottles we love, others are too earthy or too jammy. What you might not like, I might love.

And that’s okay.

I think it matters that we’re all willing to try.

This week in new music is no different. There’s something for everyone. Whether you’re a fan of Kneecap or think it’s a bit much, we can still listen. We can still talk about it.

Art isn’t always easy. It’s not supposed to be. My sister jenn taught me that.

Life’s short. At a minimum, we can celebrate that. And if we can’t agree on anything – pour another glass. Eventually, you’ll find something you like.

Are you still looking for your new favourite song? There’s a good chance it’s in the playlist below.

All you have to do is press play.

Citizen

Midwest emo vets Citizen are back with a new single from their upcoming album Halcyon Blue, out in August. There’s a clear sense of maturity in “Highs and Lows”, which has me pretty excited about what’s coming next.

Sparta

Just some good old-fashioned rock from Texas band Sparta. Their sixth album, Cut a Silhouette, drops at the end of May. The second single, “Everything You Say”, is a straight-up rocker – driving bass, pounding drums, and a couple of well-timed screams. Dutch fed you this band a couple of weeks ago… and we’ll keep doing it until you remember.

This is Sparta!!!

Parker Barrow

Speaking of rock, Parker Barrow are leaning hard into ’70s guitar rock. Megan Kane is singing up a storm on “Blinded”. Their sophomore album Hold the Mash drops in July and should be full of this southern rock goodness. Think Black Crowes – with a female lead.

Attic Ocean

New Favourite Song Alert

If you’ve been a Velcro Staircase reader for a while – first, thank you – and second, you know I love shoegaze. German band Attic Ocean are back with their first single in a couple of years, and its heaven.

“Coastal” hits all the marks – layered vocals, walls of guitars, and a purposeful rhythm section. It won’t make you forget Slowdive… but it might make you love them even more.

Young the Giant

I don’t mean this to sound harsher than it is – I don’t mind Victory Garden. It’s easy listening. If you’ve been into indie/alt over the past 15 years, you know what you’re getting here. Ever since “My Body” became an anthem, they’ve had a lane – and they stay in it.

If you’ve liked them before, you’ll like this too. Here’s “Evergreen”.

Holy Motors

I’ve actually been to Tallinn, and even though I’d never heard this before, “Heaven’s Night” somehow sounds exactly like the city. Beautiful, familiar, but still new.

This is Holy Motors first music since 2022, and they’re leaning into a Cowboy Junkies / Mazzy Star vibe.

Sun Haze

From Spain, Sun Haze is the dream-pop project of Javier Gonzalez. Only a couple of tracks available right now – but they’re excellent, especially “Redeemed”. Hopefully more is coming soon.

[Not Available on Spotify.]

Gin Wigmore

Back after a bit of a hiatus, Gin Wigmore returns with the catchy “Country Diamond”. The New Zealand native sound is so good.

Welcome back.

Madeon

Madeon’s new album Victory drops at the end of June, and he’s teamed up with Slayyter for the first single. “Fire Away” is a straight-up dance banger – and Slayyter stays undefeated this year.

Haircut 100

Haircut 100 are back with their first new music in 40 years. “Come Back to Me” is pure sunshine – retro done right. I love when legacy bands return and actually deliver. This is catchy as hell.

Madonna & Sabrina Carpenter

Unless you’ve been under a rock (or under 30), you know Madonna has a new dance album coming this July. “Bring Your Love” feels exactly like what you want – fans of disco, Kylie, and Sabrina will be happy.

Why Kylie? When you know, you know.

Kneecap

The dreaded sophomore album. Add in controversy, headlines, and everything that’s come with it – and Fenian had a lot to live up to.

Off the bat – it’s good. Really good.

There’s a maturity here, layered over a Massive Attack-style groove. Bands that don’t give a shit. You don’t have to agree with everything they say, but you have to respect that they say it.

Here’s “Palestine” which features Ramallah-based rapper Fawzi, delivered with a heartfelt and direct candour that “we won’t stop until everyone is free.” Makes sense to me.

Editors

Finally, new music from Editors. “Call It In” feels stripped back and fresh. It got a lot of spins this week – and it keeps revealing new things.

DMA’s

Sydney’s DMA’s are back with album number five. “Heatin Park” leans heavily into Britpop – no complaints here.

Tori Amos

I enjoy watching The Boys. It’s ridiculous. Obscene. And so on the nose that Joey and I spend half the episodes just smirking at each other. I read somewhere that it lost a chunk of its audience when people finally realized… it was about them. And they didn’t like being in on the joke.

Which brings me to Tori Amos.

She’s always reflected the times, and In Times of Dragons is no different. There’s no subtlety here – it’s direct, urgent, and very much of the moment.

Like The Boys, she’s not worried about subtlety – she’s just telling you what she sees.

Here’s “Provincetown”.

Mel C

Not trying to be a jerk – but which one was Mel C again? Sporty? Scary?

With an album called Sweat, I’m going with Sporty. Either way, it’s a fun, disco-leaning dance album. Just remember to stretch first, because “What Could Possibly Go Wrong”.

The Thermals

The Thermals are a fun band and this is a fun song. They are also from Oregon. You know what also is fun – Oregon Pinots. Which I currently can’t buy in Ontario because of the trade war.

So Walle is hand-delivering some. Which is a perfect excuse to feature “I Will Be Delivered”.

The Mosh Pot

Lip Critic

Sometimes music is supposed to challenge you – and on the NYC band’s new album Theft World, it clearly challenged them as well. Loosely based on the person who stole frontman Brett Kaser’s identity, Theft World is anxious, obsessive, and destructive.

It’s basically chaos put to music.

The kind of album that will be perfect for some… and questionable for others. Take “Jackpot” – a collision of rap, electronica, and pure tension. Not for everyone, but if it’s for you – watch out.

Social Distortion

What’s the old adage – punk bands don’t break up, they explode?

Well, that hasn’t happened to Social Distortion. They’ve been at this since Trudeau was Prime Minister – the first one. And as long as Mike Ness keeps writing and belting out killer tracks, we’re going to keep featuring them.

“Partners in Crime” is another cut from their upcoming album Born to Kill, out next week. It leans a little more pop than you might expect from SD, but there’s no denying – it still rocks.

Dutch Takes:

American Football

American Football are one of the more unpredictable bands in the broader punk/emo space. “Patron Saint of Pale” is kind of mesmerizing – at times it feels like Death Cab for Cutie… until it doesn’t. A very cool track from a really enjoyable new album.

The Dutch Øven

Europe

4, 3, 2, 1… the countdown is over. Europe dropped their new single “One on One” earlier this week.

Their 12th album, Come This Madness, arrives in September (we haven’t even hit summer and we’re already talking fall releases – the world we live in). Europe have always had a knack for layering keyboards over driving bass and guitars, and this track is another solid example.

Also – worth checking out the video, which features Peter Stormare.

Uncle Acid & the Deadbeats

The UK psychedelic metal band are back with another excellent track. Listening to “Don’t Let It Control You,” I can’t help but think this is what Black Sabbath might sound like with a different singer – and maybe a slightly more American edge.

There’s a bit of punk in there, but at its core, it’s heavy, hazy, ’60s-inspired metal. New album later this year, and based on this single, we’re in a good spot.

[Not Available on Spotify.]

Eivør

I had no idea where to put this. Does it belong in the Øven because of the Nordic, almost metal-adjacent feel? Maybe. Maybe not.

Eivør’s music crosses genres pretty effortlessly, but there’s something ominous about “Healer” that earns it a spot here.

Dutch is back in the kitchen and here are his Picks

Down

Down have been around, on and off, since 1991 – featuring Phil Anselmo (Pantera) alongside members of Corrosion of Conformity and Crowbar. They’re back and gearing up for another album.

“Right Place, Wrong Time” is a cover of Dr. John, and it sets the tone nicely – southern, bluesy metal that doesn’t take itself too seriously..

Haste the Day

More Midwest music – this time from Indiana.

Haste the Day return with their first album in 11 years, and it sounds great. They bounce between post-hardcore and metalcore, mixing desperation with aggression. Dissenter is a strong record, and “Grave” shows off their range.

Alt.

Knowing the Velcro Staircase’s love for Australian bands, here’s Alt. from Adelaide. Modern metalcore with plenty to enjoy – “Passage” brings an anthemic chorus and heavy breakdowns. This one’s a winner.

Venom

There are bands that are really good. Then there are bands that transcend their genre. And then there are bands that become the genre.

Venom is black metal.

Formed in 1978, they essentially invented extreme metal. Into Oblivion is their 16th studio album and… somehow, it still sounds like they’re just getting started. The only plausible explanation? They sold their souls and now operate as empty vessels with a direct line to the Lord of Darkness.

A ton of surprisingly listenable – and very fun – tracks here. Let’s go with “As Above So Below”.

Canadian Corner

Zoon

“I Was Younger” is the latest from Hamilton shoegaze band Zoon. It’s the second single from their upcoming fourth album, Happy Thought School, following One Too Many Nights. The album drops in June, and this track is a pretty good indication of what you’ll get when you spin it.

knitting

Montreal band knitting have dropped another single from their upcoming album Souvenir. “Here Comes” is a slow-burning indie rock track that might have you thinking back to the Montreal scene from 20 years ago.

Festival Watch: Winnipeg Folk Festival

Our continuing look at the Winnipeg Folk Festival lineup. This week, we’re heading west.

Empanadas Ilegales

Here’s what I’m expecting when I see Empanadas Ilegales: a little bit of everything – and a crowd that doesn’t stay seated for long. Formed by musicians with South American roots, they blend traditional Latin music with surf rock and jazz to create a psychedelic mix of cumbia and salsa.

And if that doesn’t get you moving, nothing will.

They’ve just released a remix EP of their excellent Sancocho Trifásico album – perfect timing heading into festival season.

Fish in a Birdcage

Calgary’s Fish in a Birdcage pull from a wide range of instruments and influences, creating something that doesn’t fit neatly into one box.

At first listen, “Rule #34” might not scream “folk festival,” but I’d argue it captures exactly what the festival is about – a mix of heart, experimentation, and a little bit of the unexpected. They also released a remix of the track last month, adding another layer to an already interesting sound.

Ben’s Folk Revue

Cat Clyde

Back-to-back weeks featuring Ontario balladeer Cat Clyde. “Dark Black” is the kind of song that makes you stop and just listen. There’s something about a sad song and a slide guitar – they go together perfectly. Taken from her latest album Mud Blood Bone.

Kacey Musgraves

Middle of Nowhere is album number seven for Musgraves. After a slight detour into more pop-leaning country, she’s back with a full-on country collection. Slide guitars and loneliness – that’s country music at its core.

Take the lead track – it’s a perfect example of what’s in store over the next 44 minutes. Easy listening, especially if you’re in the mood for a little self-reflection. “It’s just me and me, and that’s all I need.”

Cover Tune of the Week

Doublespeak

Vince Clarke, Neil Arthur, and Benge have joined forces to form Doublespeak – a new band that brings together their collective synthpop pedigree.

They’ve got a self-titled album of covers arriving at the end of May, and the first taste is an interesting take on David Essex’s classic “Rock On”. If this is any indication, the album should be a lot of fun.

Live Track of the Week

April Wine

Last Friday, I saw April Wine open for Triumph in Toronto.

Did I enjoy myself? Yes.

Was Triumph good? Also yes.

Was it really April Wine? …kind of.

Former frontman Myles Goodwyn passed away a couple of years ago, but had given his blessing for the band to carry on under the name. Unfortunately, none of the current members are originals – though Brian Greenway has been around since 1977.

So how did I feel watching what was essentially an April Wine tribute band?

Honestly - I was fine with it.

The band sounded good. They put on a fun show. They played the hits. At this stage, what more are we really asking from any ’70s band? And besides – “Roller” is a pretty great way to end a night.

Just ‘Cause

Neil Diamond

Pinot Noir tasting this weekend…

So yeah – “Red Red Wine”.

Happy Birthday

Tim McGraw

This will be Tim McGraw’s last year in his 50s.

Actually… let’s just say happy 59th birthday, Tim McGraw.

The late-’90s “other” male country star continues to be hugely popular. He’s had three year-end number-one country songs – two of them during peak Shania Twain – which is saying something.

He’s also been married to Faith Hill for nearly 30 years, so congrats on not just being talented, but also setting the bar for the rest of us trying to keep things together.

And I loved him in Friday Night Lights – part charmer, part despicable, but completely believable.

Happy birthday, Tim – you lucky so-and-so.

Happy Anniversary

This Is the Day...This Is the Hour...This Is This!

The second album by Pop Will Eat Itself was released on this day in 1989 – and it blew my freakin’ mind.

Frankly, I had never heard anything like it. The album pulls from so many genres I loved – punk, hip hop, heavy metal, even disco – and somehow makes it all work. But it doesn’t stop there. It’s packed with samples from movies and lyrics loaded with pop culture references.

“Can U Dig It?” lifts from The Warriors, while my personal favourite, “Wise Up! Sucker”, is a straight-up rock track driven by a dance beat.

The album peaked at No. 24 on the UK Albums Chart and briefly cracked the Billboard 200 in the U.S., topping out at 169. But commercially modest or not, it was critically loved – praised for its innovation, humour, and style. It finished the year at No. 22 on NME’s Best Albums list.

It was also produced by Flood – right before he worked on Pretty Hate Machine – and you can absolutely hear the connection.

Goodbye

Nedra Talley

Born in 1946, Nedra Talley was a member of The Ronettes, one of the most iconic girl groups of the 1960s, and a member of the Rock and Roll Hall of Fame.

Alongside Ronnie Spector and Estelle Bennett, Talley helped define the sound of a generation. Working with producer Phil Spector, The Ronettes were at the centre of the “Wall of Sound,” delivering timeless hits like “Be My Baby”, “Baby, I Love You”, and “Walking in the Rain”. Their music was more than just pop – it was atmosphere, attitude, and emotion, all wrapped into songs that still feel immediate today.

Talley may not have always been front and centre, but her voice was part of something unmistakable – something that shaped what pop music could be.

For many of us, those songs have always just been there. Playing on the radio, in movies, in the background of moments we didn’t even realize we’d remember, and especially Christmas.

Nedra Talley passed away this week at in home in Virginia. She had celebrated her 80^th birthday in January.

Thank you for the music, Nedra – for being part of a sound that will never leave us.

If there’s a new song you loved this week and I missed it, let me know in the comments – the playlist is always evolving.

We’re pretty lucky to have all this music. Have a great weekend, everyone. Life’s short. Tell someone you love them. Be good to one another.

When you’re five, finding $5 changes your world. You can walk into a store and buy whatever your heart desires – no hesitation, no consequences.

Then it scales.

At 15, $5 is nice. But $50? That’s something.

By 25, $50 gets you a few beers and a night out. But $500? Now that feels life-changing.

In 1996, I was 25 and living exactly that reality.

I moved from Ottawa to Toronto. Most of my friends had already made the leap, but it took my girlfriend at the time deciding to go before it became the only real choice. I went back to college, took on a strict budget - $800 a month, rent included – and suddenly, yeah… $500 would’ve changed everything.

Ten years earlier, in 1986, I was moving from the farm to Ottawa. That was one kind of transition.

This was another.

I was leaving behind a safe government job, a fun part-time gig DJing at a club, and the comfort of living rent-free – where, at least in my mind, I had all the money in the world. In its place: roommates, uncertainty, and the complete unknown.

And this was the soundtrack to whatever came next.

January

The Year of Alanis

Here’s how big Alanis Morissette was in 1996.

She started the year at number one in Canada with “Hand in Pocket”. “Ironic” would hit number one in April and stay there for six weeks. “You Learn” followed, topping the charts for three weeks in July. And “Head Over Feet” closed out the year at number one, holding the spot for an incredible eight weeks.

That’s four number-one hits in Canada – in a single year. “You Learn” would finish as the number-one song of 1996, with “Ironic” right behind it at number two.

Jagged Little Pill continued its dominance in the US, selling over ten million copies during the calendar year and holding the number one position in February, March, August, and September.

It’s impossible to talk about 1996 without talking about Alanis Morissette. She wasn’t just part of the year – she defined it.

February

Hip Hop Takes the Wheel

Tupac Shakur was ready to take over the world when he released All Eyez on Me on February 13, 1996.

The album featured a who’s who of guest appearances – artists who only needed one name: Dre, Snoop, Nate, Redman, and a cast of others. It was a true gangsta rap statement, with Tupac moving between themes of poverty and excess, anchored by number-one hits like “How Do U Want It” and the iconic “California Love”.

All Eyez on Me made history as the first double-length hip-hop solo studio album released for mass global consumption. It debuted at number one on both the Billboard 200 and the Top R&B/Hip-Hop Albums chart, selling over 566,000 copies in its first week. The album would eventually go diamond and remains a fixture on Rolling Stone’s 500 Greatest Albums of All Time.

Also released on February 13 was The Score by Fugees.

Their second – and final – album blended hip-hop with soul, reggae, and live instrumentation in a way that opened the door to entirely new directions for the genre. If All Eyez on Me was power, The Score was range.

The album was a massive commercial success, spending four weeks at number one and finishing as the third best-selling album of the year. It has since sold more than 22 million copies worldwide.

The Score won the Grammy Award for Best Rap Album, while “Killing Me Softly” took home Best R&B Performance by a Duo or Group. Over time, its legacy has only grown, with many critics now considering it one of the defining hip-hop albums of the decade. It was also included in the Rock and Roll Hall of Fame’s list of 200 Definitive Albums.

My Fight with Spacehog

I was DJing Wednesday nights at Zaphod’s in Ottawa.

On Valentine’s Day, Spacehog played a show at the club and I DJed immediately afterward. The night was great. They sold out the room – about 300 people – and I managed to keep most of the crowd with a mix of Britpop and ’80s. It all wrapped up nicely.

I thanked everyone for coming, thanked Spacehog, and then someone yelled from the crowd, “What about Tracey Bonham?”

Without thinking, I joked, “I don’t thank anyone who plays a fiddle.”

The crowd laughed. I thought that was the end of it.

You know who didn’t find it funny? Spacehog.

About two minutes later, I’m packing up my CDs and a couple of members of the band are in my face, calling me a prick. I tried to explain I was being sarcastic. It quickly became clear they weren’t picking up what I was putting down.

Now, I’m not a small guy, and the guys from Spacehog aren’t exactly huge, so when I stepped out of the booth things escalated – finger pointing, raised voices, the whole thing – before a doorman got our attention, they retreated to the green room downstairs and I got a talking-to from my manager about how not to interact with bands.

I did apologize to Tracey Bonham. She didn’t love the joke, but at least she understood sarcasm.

So here we are, 30 years later, and I’m ready to bury the hatchet.

Spacehog – wherever you are – I’m sorry for whatever I yelled at you on the dance floor that Valentine’s Day in 1996. Here’s “In the Meantime.”

March

Bangers, Not Albums

March wasn’t about albums. March was about bangers.

The month gave us two completely different songs that made everyone forget the drink they were ordering and head straight to the floor.

It’s safe to say that while some of us were already into British electronic dance music, most weren’t. So when a track like “Firestarter” dropped, it was a genuine “oh shit” moment.

Released on March 18, it shot to number one in the UK within two weeks and held the spot for three. But it didn’t stop there. It became a global phenomenon hitting the top spot in many countries, including number three in Canada. By the summer, it was THE track at underground raves and warehouse parties that ran until 8 a.m.

It didn’t just belong to a scene anymore – it was breaking through.

Melody Maker ranked it number two on their Singles of the Year list, while The Guardian later placed it eighth among the greatest UK number-one singles of all time. More recently, Billboard ranked it number 47 on its list of the 100 Best Dance Songs of All Time, calling it “less a lit fuse than a powder keg ready to blow everything to smithereens.”

The Prodigy were a showstopper.

“Return of the Mack” by Mark Morrison could not have been more different – but it had the exact same effect. Cool instead of frantic. Smooth instead of aggressive. Confidence over chaos.

The song knocked “Firestarter” off the top spot in the UK in April and held it for a couple of weeks. In North America, it became a number-one dance hit in Canada, climbed to number two on the Billboard Hot 100, and went platinum. It’s since been included on Billboard’s lists of the top songs of the ’90s and the 500 Best Pop Songs of All Time.

And it still sounds as cool as ever.

This was the sound of 1996 in real time.

You didn’t analyze these songs – you reacted to them.

The end of March 1996 also marked my last regular run in a DJ booth. Sure, I’ve filled in here and there since, but that month was the end of an era.

And honestly, I can’t think of two better songs to walk away from the booth with.

April

The Follow-Up Problem

April gave us two very different versions of success.

Hootie & the Blowfish released Fairweather Johnson, the follow-up to the massive Cracked Rear View. And while it debuted at number one, it never came close to matching the cultural impact of its predecessor.

That wasn’t really the point. Cracked Rear View was a once-in-a-generation album – one of those records that gets so big, the follow-up almost doesn’t matter. Fairweather Johnson wasn’t a failure. It just wasn’t that.

On the other side, Dave Matthews Band released Crash.

It didn’t arrive with the same level of expectation or hype, but it didn’t need to. Crash grew over time. It built an audience. It stuck.

Where Hootie was trying to follow something massive, Dave Matthews Band was quietly building something lasting.

And in hindsight, that difference mattered.

Crash would go on to become the foundation of a career that eventually led to the Rock and Roll Hall of Fame – proof that sometimes the biggest albums aren’t the ones that hit the hardest right away.

When I moved to Toronto, I lived with my girlfriend Jen and my friend Jane. Jane worked for a record label, and there was nothing better for a guy on a budget than comped concert tickets and free CDs.

One of her biggest projects that spring was Crash, and I was more than happy to provide some free labour.

She put together a Dave Matthews night at the Brunswick House, where I DJed and got paid in swag – an amazing Crash polo shirt. That turned into a couple of shows later that year – one downtown, and another near the airport that was four times the size.

That was the thing with Dave Matthews Band – they were a band whose fanbase grew with them over time.

We didn’t know it at the time, but April gave us two albums: one from a band trying to stay on top, and another – from a band, and a 25-year-old in a new city – just trying to get started.

May

Songwriting Comes Back

After a few months of volume – bigger, louder, faster – May felt different.

It was about songs again. For me, it was also a reset.

In Ottawa, I thought I was something. I had a job, I had purpose – hell, I’d even gotten into a yelling match with Spacehog.

In Toronto, I was just one of three million people trying to figure it out.

One night, I was out with my godbrother Jeff (yes, I consider that a thing), complaining about the city – how it didn’t feel right, how it wasn’t working.

He stopped me. “You know why it sucks?” he said. “Because you haven’t left Ottawa yet.” And then he pointed at my head.

He was right.

So instead of trying to force Toronto to change for me, I decided to take a step back and learn how to live in it. Let’s say yes to everything.

On May 21, The Wallflowers released Bringing Down the Horse. It was exactly the kind of album I needed.

“Come on, try a little. Nothing is forever. There’s got to be something better than in the middle…”

Produced by T Bone Burnett, the album spawned four singles – “6th Avenue Heartache”, “One Headlight”, “The Difference”, and “Three Marlenas”. It reached number four on the Billboard 200 and went four-times platinum.

Critics loved it too. Three songs from the album were nominated for Grammys, with “One Headlight” picking up a couple of wins in 1998.

When Manic Street Preachers first emerged in the early ’90s, there was no band like them. Loud, brash, confrontational – for a guy in his early twenties, they were perfect.

I saw them on that first tour in Montreal in ’92. The band was tight, but lyricist and rhythm guitarist Richey Edwards was a mess – drinking mid-song, swinging between boredom and anger. I loved it.

But I lost track of them after that. The next couple of albums passed me by. Then everything changed.

After Edwards disappeared in 1995, the band regrouped. Instead of calling it quits, they created their masterpiece: Everything Must Go.

Released at the height of Britpop – a scene they helped shape – the album didn’t follow the trend. It expanded. It evolved. It hit number two in the UK, won multiple Brit and NME awards, and over time became one of the defining albums of the decade.

Thirty years on, the songwriting still resonates. From tragedy came something lasting.

May wasn’t about songs you reacted to. It was about songs that stayed with you.

And for someone trying to figure out where they fit, those were the songs that mattered most.

June

Some movies are big. Some soundtracks are bigger.

Trainspotting was both.

The film hit like a jolt – fast, chaotic, and impossible to ignore – but the soundtrack might have been even more impactful. It didn’t just capture the moment; it connected eras. You had the past and the present colliding in real time.

On one side, “Lust for Life” by Iggy Pop – a song that had been around for nearly 20 years – suddenly felt brand new again. I had never seen anything like it: a track from another era becoming more popular on re-release than it had been the first time around.

On the other, “Born Slippy” by Underworld was everywhere. It didn’t matter where you were – the club, the bar, the after-hours spot – when that synth line kicked in, people moved. It was hypnotic, messy, euphoric – the kind of song that didn’t just fill a dancefloor, it took it over.

The lyrics were… let’s just say, open to interpretation. But 30 years ago, none of that mattered. What mattered was how it felt.

The Trainspotting soundtrack didn’t just reflect 1996 – it helped define it. It bridged generations, pulled older tracks back into the spotlight, and pushed electronic music further into the mainstream. Over time, it’s consistently been ranked among the greatest soundtracks ever released – landing in the Top 20 of lists from Vanity Fair, Entertainment Weekly, and Rolling Stone. In 2015, NME called it a “perfect snapshot of 1996 music.”

For a year that already felt like everything was happening at once, this was the moment it all came together.

And then there was Sloan.

If Trainspotting was chaos and collision, Sloan was clarity.

With One Chord to Another, they leaned into melody, hooks, and a kind of songwriting that didn’t need volume to get your attention. It was power pop, sure, but it was also confidence. In a year where everything felt like it was getting bigger, louder, and more complicated, Sloan made it feel simple again.

And maybe that’s why it worked.

July

The Summer of Everywhere

By July, 1996 wasn’t building anymore. It had arrived.

Across clubs, radio, and MuchMusic, everything felt louder, faster, and more immediate. Songs didn’t creep in – they hit you all at once. And while it hadn’t reached us yet, something else had just been released overseas that would soon change everything.

“Wannabe” by Spice Girls dropped in the UK in early July.

We just didn’t know it yet.

If “Wannabe” took over the airwaves, “Ready to Go” by Republica took over the floor.

Released earlier in the year but peaking through the summer, “Ready to Go” became a staple in clubs and on alternative radio. It would climb into the Top 20 in the UK and break into the Top 50 on the Billboard Hot 100. More importantly, it moved people.

It had that same instant reaction as the best dance tracks of the year – loud, fast, and impossible to ignore. When it came on, you didn’t think about it. You just smiled.

July felt different.

This wasn’t about scenes anymore. It wasn’t about genres. This was everything – pop, alternative, electronic – bleeding into each other and landing in the exact same place: everywhere.

For a few months in 1996, it didn’t matter what you were into. You were hearing the same songs. And you weren’t avoiding them – you were part of it.

And nothing was bigger than the “Macarena”. You didn’t have to like it – you just couldn’t avoid it.

I’ve written about “Macarena” before, so I’ll spare you the full breakdown. But the song hit number one on the Billboard Hot 100 in the summer of 1996 – and stayed there for 14 weeks.

In the UK, it peaked at number two.

It couldn’t get past “Wannabe.”

August

We’re going to talk about Suede.

A precursor to Britpop – or maybe the start of it – Suede were the most important band to come out of the UK in 1992. By the time their debut album dropped in 1993, they were already being hailed as heirs apparent.

But by the time their second album, Dog Man Star, arrived in the fall of 1994, things had already begun to shift. Guitarist Bernard Butler – and arguably the soul of the band – was gone. The album is stunning, but it feels like a farewell.

For their third album, the band brought in a teenage guitar virtuoso, Richard Oakes. He could replicate Butler’s style live, but the question was whether he could provide the yin to Brett Anderson’s yang.

A month before the album’s release, we got our answer – or at least part of it – with “Trash”.

It was an immediate hit, climbing to number three on the UK charts – held back only by “Wannabe” and the “Macarena”. The album, Coming Up, followed in September, and most fans were happy.

I wasn’t.

For me, it was missing something. And just like that, I started to fall out of love with the band.

I remember being 15, at a party, talking to a cool older guy about Depeche Mode. I went on about how incredible they were. He looked at me – dart in his mouth – and said, “They haven’t been the same since Vince Clarke left.”

This was my Vince Clarke moment. I had become that guy.

A band I loved had just released their biggest single to date – and I couldn’t hear past what was missing. Truth be told, that older guy was right. Some bands aren’t the same once the soul leaves, but he was completely wrong about Depeche Mode.

And I’m completely right about Suede.

Full disclosure: I didn’t know “Not an Addict” by K’s Choice in August 1996.

But Dutch did.

It’s no surprise that a Belgian band would find an audience in the Netherlands, and a young teenage Dutch was one of them. Handpicked by Alanis Morissette to support her on tour, K’s Choice got the kind of exposure most bands could only dream of. By the time their album landed in Canada in 1997, “Not an Addict” had become a staple on alternative radio.

I loved it.

My wife claims she was already a fan back in 1996 – and I’ll give her that. She’s always been ahead of the curve.

August wasn’t about what was everywhere. It was about what still connected.

September

The Turn

September felt different.

I went back to school. I was six years older than most of my classmates – a bit of a fish out of water. I was still living with Jen and Jane, still on a tight budget, but now everything shifted. No more drifting. I threw myself into it.

And then for music everything changed.

On September 7, Tupac Shakur was shot in Las Vegas. Six days later, he was gone.

For a year that had already felt like everything was happening at once, this was the moment it stopped feeling like fun.

Tupac wasn’t just a rapper – he was a force. Complicated, brilliant, polarizing. He represented something bigger than music, and when he died, it felt like the culture shifted overnight. The noise got quieter. The stakes felt higher.

And yet, just weeks later, the music kept coming.

On September 24, two of the most fascinating albums of the year were released – each taking a completely different path.

First up, Sheryl Crow released her self-titled second album, Sheryl Crow.

There was no sophomore slump here. Crow wrote much of the album herself and took on production duties, delivering a record that balanced breakup anthems, ethical reckonings, and sharp Americana storytelling – all wrapped in her signature, accessible style.

It reached number six on the Billboard 200 and went triple platinum in the U.S., the UK, and Canada. In hindsight, many critics and fans now rank it above her debut – a rare case where the sequel may actually outshine the original. The album would go on to win the Grammy for Best Rock Album and Best Female Rock Performance.

That should make you happy.

On the same day, Weezer released Pinkerton.

Unlike Sheryl Crow, Pinkerton was a commercial disappointment. Self-produced to capture a raw, live feel, it was darker, messier, and far more personal than their sunny 1994 debut. Rivers Cuomo laid everything bare – loneliness, awkwardness, and disillusionment with the rock lifestyle.

At the time, critics and fans weren’t kind. Rolling Stone readers even voted it the third-worst album of 1996.

Over time, the reassessment began. In 2002, Rolling Stone readers ranked it among the greatest albums of all time. Pitchfork later gave it a perfect 10 and placed it among the best albums of the ’90s. By 2016, it had gone platinum in the U.S.

Pinkerton became one of the ultimate redemption stories of the decade – a reminder that some albums don’t fail. They just arrive early.

September wasn’t just a turning point. It was a reminder.

Not everything hits right away. Not everything lasts forever. And sometimes, you don’t realize what you’re hearing until much later.

Some moments take years to understand. Others – like Tupac – I’m not sure you ever do.

October

The Hangover

October didn’t announce itself. It just showed up.

After everything that happened in September, things didn’t hit the same way. The noise of the summer – the bangers, the chaos, the everything-at-once feeling – started to settle.

Even the charts slowed down. “Macarena” was still sitting at number one, refusing to go anywhere. But right behind it was “No Diggity” – smooth, confident, and patient.

It didn’t force its way in. It waited. And when it finally took over in early November, it felt like the right song at the right time. Less chaos. More control.

Around the same time, That Thing You Do! hit theatres.

Directed by Tom Hanks, the film told the story of a one-hit wonder band – The Wonders – and their rapid rise and fall. But more than that, it was a reminder of how powerful a simple, well-written pop song could be.

Written by the late, great Adam Schlesinger (of Fountains of Wayne and Ivy), “That Thing You Do!” had no edge. No irony. Just a great hook – and a moment.

November

Don’t Speak About Charts

What happens when you have the biggest song of the year – even bigger than “Macarena” – and it doesn’t show up on the charts?

That’s exactly what was happening to No Doubt in the fall of 1996.

“Don’t Speak” was everywhere. It was the most-played song on radio for 16 non-consecutive weeks between 1996 and 1997. It went to number one around the world. And yet, because of a Billboard rule at the time – requiring a physical single release – it never appeared on the Billboard Hot 100.

Think about that. The biggest crossover song – it appeared on 11 different Billboard charts. The biggest song in the world…

…and it didn’t chart on the Hot 100.

December

Girls vs. Boys

Jane kept working with bands, and toward the end of the year she started talking about a group her label had launched in Europe earlier in 1996 – a boy band they were about to push hard in North America.

Backstreet Boys.

At the same time, Spice Girls had finally landed in Canada with “Wannabe” after months of dominating the UK and Europe.

Suddenly, we had a debate. Who was going to own 1997?

Jane’s Backstreet Boys, with an album coming in January?

Or Max’s new obsession, the Spice Girls?

It didn’t really matter. Because what both groups represented wasn’t just a rivalry – it was a shift.

Pop was back. And it wasn’t easing in. It was about to take over.

It felt strange to end the year here – with pop. But 1996 wasn’t a straight line.

I went from having (in my own mind) everything… to figuring out what actually mattered.

Music followed the same path.

We went from having everything – genres, scenes, sounds – to figuring out what stuck.

It was the year Alanis Morissette was queen. Garth Brooks was king (and yes, maybe we didn’t need to spend much time on him). Britpop was still hanging on. Hip-hop was taking over – even as it lost one of its defining voices. And songwriting, somehow, still mattered.

All of it building toward what was coming next.

Years that end in a “6” have a funny way of changing things for me. And yeah… I loved 1996. The only thing that would’ve made it perfect?

An extra $500.

But here’s the thing – for the last two months, she’s been home. Trips got postponed, meetings got cancelled… all the usual stuff. And for a guy who works from home, I got used to having her around.

Lunch together.

A second voice saying, “we should probably go to the gym.”

Just… someone there.

So when she left on her first trip since February, the house felt a little empty this week.

Sure, I still had Gary barking at the construction workers outside – and a couple of teenagers who suddenly seemed very interested in bending the “no technology at the table” rule while mom was gone – but it wasn’t quite the same.

Don’t feel too bad for me – I had an awesome games night with buddies, and last night hosted the music nerd crew – but it’s always a bit odd when you’ve got a great story from your day and it requires a phone call instead of just yelling it across the house.

The good news for all of you?

It was a great week for new music.

With a little extra alone time, and Dutch also out of the office, I ended up going down a few rabbit holes and coming out the other side with a full slate of interesting finds. One of those weeks where you start with no plan… and somehow end up with a cornucopia of musical delights.

There’s a bit of everything this week – a throwback album from the Foos, a great new release from a Chicago band you need to know, and a steady stream of excellent Canadian content.

So as always, press play on the playlist and let’s find your new favourite song.

Friko

Favourite New Song/Album Alert

I love my music nerd nights. It’s where a group of neighbourhood dads get together to listen to and talk about music. We all bring our strengths to the table, and one guy – let’s call him Ron – usually shows up with something even I haven’t heard of or explored enough.

Last night, he brought in Friko – and of course, I’m now obsessed.

Friko released their new album today, and Something Worth Waiting For is exactly that. Midwest indie rock at its finest. Ron played “Still Around” last night, but I’m going with the more heartbreaking, angst-filled lead track “Guess”.

Excellent new album. This is one you should listen to.

Tricky & Marta

Back in the mid-’90s, there was no one cooler than Tricky. Grunge was fading, Britpop was rising, and electronic and trip-hop were emerging. For me, Tricky was trip-hop.

It was music that challenged me. I didn’t love all of it, but he was doing things that weren’t meant to be popular – they were meant to be his. Maxinquaye still holds up.

He’s back with a new album coming in July and has released the first single, “Out of Place”, featuring Polish singer and frequent collaborator Marta Złakowska. Once again, pushing things forward in all the right ways.

Beth Orton

Speaking of the ’90s, Beth Orton is also back with another track from her upcoming album The Ground Above.

“The Waiting” sits comfortably in her wheelhouse – a blend of poetic songwriting and electronic textures that flirt with jazz. This has me very excited for the full release at the end of June.

Kehlani

There’s something about a “one-trick pony” artist that either pulls you in or pushes you away. If it’s your thing, you’re all in. If not, that’s fine too.

Listening to Kehlani’s new self-titled album this morning, it felt like one track melted into the next. Her sound pulls straight from late-’90s R&B – think Brandy and Toni Braxton – and she brings in a ton of help to reinforce that vibe, including Usher, T-Pain, Missy Elliott, and Brandy herself.

It’s an easy album to get lost in – the kind that slips into the background effortlessly. Across 18 tracks, there’s a lot to choose from, but I’m going with “Cruise Control”.

Failure

It’s still a little strange for me to see “new music from Failure” and not be surprised. They may not have hit massive success in their first run, but their fans were loyal – and loud.

Starting 3 of 4 ’90s legacy acts… nice work, Gen X.

Their new album, Location Lost, is out today, and those loyal fans will be happy. They’ve teamed up with Hayley Williams from Paramore for “The Rising Skyline”, an acoustic track that leans hard into that late-’90s alt-rock feel. We continue to be rewarded by Failure’s second act.

Swapmeet

Swapmeet have dropped the second single from their upcoming debut album Mount Zero, and it’s the second track already landing on my 2026 playlist. While “Sand” doesn’t have the raw angst of “I Know!”, I love how it builds – from lo-fi beginnings into something more fully formed and rock-driven. Another example of Australia punching above its weight in indie rock.

Library Card

I have a couple of simple rules for this column. One of them: if you find indie rock from Holland, it goes on the list. “Out of Context” is… something. A little disjointed. But I can’t lie – my head was nodding and my foot was tapping the whole time.

Could a new album be coming? Wooden shoes crossed.

Duran Duran

The original MTV gods are back with “Free to Love”, bringing in frequent collaborator Nile Rodgers on guitar and production. The track leans heavily into a ’70s disco feel.

The problem I have is the video. It’s campy and fun, but I can’t get past the fact that the band gets introduced… and the backup singers don’t. Same screen time, no names. Song’s good. Party vibe is there. Still bothers me.

Also – any truth to that rumour about Mötley Crüe and Duran Duran fighting in an elevator?

Muse

UK progressive alt-rock masters Muse are back with another track from their upcoming album The Wow. “Cryogen” is classic Muse – huge rhythm section, massive backbeat, and Matt Bellamy doing ridiculous things with both his voice and guitar.

That old chestnut.

White Demin

This week’s column feels like a true hodgepodge of music, and nothing sums that up better than White Denim’s latest album, 13. The Austin band’s thirteenth record blends soul, psychedelic, rock, and jazz – while keeping the funk turned all the way up.

It may not be for everyone, but it absolutely belongs on some of your turntables. Here’s “Keep Calling Me (Baby)”.

[Not on Spotify.]

Foo Fighters

The Hall of Famers dropped their 12th album today, Your Favourite Toy. Thirty-plus years in, and somehow, they sound… renewed.

It’s like someone told them before hitting record: play every song as hard as you can. The result is an album that reminds me of their debut – raw, energetic, and hungry.

This doesn’t sound like a band coasting. It sounds like a band starting over. I’m loving “Window.”

Gia Margaret

There have been a couple of albums this week where I’ve just hit play… and stayed there.

That’s the perfect way to describe Gia Margaret’s fourth album, Singing. Her voice floats perfectly alongside guitars, horns, and understated rhythms. By the time we get to the closing track, “E-Motion”, I’m left smiling – knowing this won’t be the last spin.

Welcome back, Gia.

Quiet Light

New Favourite Song Alert

Texas artist Quiet Light feels like someone with too much art inside them – in the best possible way. She’s been releasing a ton of music lately, and it’s almost hard to keep up.

Her latest album is packed with ambient pop tracks that kept me curious about what would come next. I’m featuring “Self Tape”, though there are a few tracks from Blue Angel Sparkling Silver 2 already sitting in my Best of 2026 mix.

The Mosh Pot

Butthole Surfers

Hardcore punk legends Butthole Surfers are back with new music after nearly 20 years.

They’ll release After the Astronaut in June and have shared the first taste, “Imbuya”. The track is exactly what you’d expect – disjointed, a little unsettling, and somehow still full of oddly relatable moments.

Quicksand

NYC post-hardcore legends Quicksand are back with the second single from their upcoming album Bring on the Psychics, out in July. “Get to It” is a straight-up banger. No easing in – just right down the barrel.

The Dutch Øven

Airbourne

Australian hard rock heroes Airbourne are back with their second single from their upcoming sixth album.

“Alive After Death (Last Plane Out)” sounds exactly like what we used to call heavy metal back in the ’80s – but really, it’s just straight-up heavy rock. There’s a solid guitar solo in there, but this is the kind of music that gets your feet tapping and your fist pumping. Their new self-titled album – their first in seven years – drops in August and already feels like a must-listen for when the leaves start to turn.

100 Demons

See what happens when Dutch is halfway around the world? I’ve got to do all the heavy lifting in the Øven.

So I went digging and found some new metalcore from a band that’s been dormant for 20 years. The gates of hell have opened, and this Connecticut band have returned with “Meat for the Beast”. The new album drops in June – right between my dad and my sister’s birthdays – and I can’t think of a better way for them to celebrate than to Embrace the Black Light.

Korn

Dutch would submit his resignation letter if I didn’t mention the new Korn.

“Reward the Scars” sounds like classic Korn, with the band leaning into the nu-metal sound that made them superstars.

They’ve got a show in Vegas tomorrow, but beyond that, it’s mostly overseas dates – so if you want to catch them live, it might require a plane ride.

Canadian Corner

sundayclub

Manitoba’s sundayclub have dropped their latest single, “Camera Shy”. It’s another excellent example of how today’s bands are embracing older genres and making them their own.

Shoegaze is one of my favourites, and it’s clear a lot of artists are connecting with those early ’90s sounds. That influence is on full display here. sundayclub’s self-titled debut album drops in July.

Carly Rae Jepsen

The BC singer released a “new old” song for Record Store Day.

“Disco Darling” was originally recorded for her 2019 album Dedicated before it didn’t make the cut. Then the internet did its thing.

A demo leaked, fans rallied, petitions were launched – and she finally released it as part of RSD. Of course, her fans don’t want it on vinyl – they want it online. Which, yes… kind of misses the point of Record Store Day.

I get the frustration though – it’s a great track that would rank among her best. Now if only we could all actually listen to it.

[Not available on Spotify.]

Metric

Romanticize the Drive is Metric’s tenth album, and there’s something about Emily Haines’ voice that always takes me back to a happy place.

I’ve already featured a few tracks from the album, so finding something new was going to be a challenge… What am I saying? It’s loaded with great indie-pop. I’ve landed on “Tremolo.”

The band hits the road across North America this summer starting in June – should be a great show.

Pastel Blank

My parents used to live in Victoria. Despite its beauty, it’s not exactly a place you go out of your way to visit – so having a built-in reason to go once a year was pretty great.

Once they moved, I haven’t been back in a few years.

So it was nice to see Victoria band Pastel Blank drop their second album this week – triggering a little unexpected nostalgia. Their off-kilter take on pop might not scream the natural beauty of the Saanich Peninsula, but it does remind me of the wonderfully quirky people I’d meet out there.

One listen to “Fiction” and you’ll see what I mean.

Loukeman

New Favourite Album Alert

Toronto artist Loukeman is back with the third part of his SD trilogy – Sd-3.

Electronica can be polarizing. Some people question whether it even counts as music. Let’s be clear – I am not one of those people. I fucking love it.

Will some tracks on this album raise eyebrows around the house? Absolutely.

But underneath it all, there’s so much happening here – it’s no surprise Loukeman has become such a sought-after collaborator over the past decade.

I’m loving it.

Here’s “Pink Bape Lighter”, which I’m happy to report currently has one YouTube view – mine. Let’s fix that.

Festival Watch: Winnipeg Folk Festival

In our countdown to the Winnipeg Folk Festival, we’re working our way through the ABCs of the lineup.

Today: C and D.

In name only – both are definite A’s.

Cat Clyde

Hailing from the artistic hotbed of Stratford, Cat Clyde brings a ton of personality to her folk-rock songs. You could call it rockabilly… but that doesn’t quite cover it. There’s more going on in her latest album Mud Blood Bone. Her fourth record opens with the excellent “Where Is My Love?”, and from there pulls in blues, soul, rock, and jazz influences. This feels like one that will really come alive on stage.

Dug

When I first saw a photo of Dug, I assumed they’d be an indie rock band – very NYC look. Then I hit play. The Irish duo – Conor O’Reilly and Jonny Pickett – are firmly rooted in folk, and it works. They released their debut album Have at It last September, and if you’re into Americana-style storytelling, it’s an easy one to get pulled into. After hearing the title track, I can safely say there’s a 100% chance I’ll be catching them at least once over the weekend.

Ben’s Folk Revue

Mikaela Davis

Truth be told, I was a little worried about filling the BFR this week. Then Mikaela Davis said, don’t worry – I’ve got you.

With her latest, Graceland Way, Davis brings her twangy, roots-flavoured country rock to the table – and it’s a buffet worth digging into.

Nothing flashy here – just honest, pure music like “Nothin’s On the Radio”.

Cover Tune of the Week

White Fence

Orange is a wonderful California album.

So why am I featuring the new White Fence record in the Covers section this week?

Because while Orange is packed with 11 tracks that channel the best of late-’60s jangly guitar pop, the brightest moment might just be the cover of Simply Red’s “So Beautiful”.

That – and I needed a song for the Cover Tune of the Week.

All jokes aside, Orange is a great album and one I’m pretty sure you’ll enjoy.

Live Tracks of the Week

Turnstile

I definitely would’ve featured “Never Enough” in the Future Looks Bright section of my Coachella review. When lead singer Brendan Yates launches himself into the crowd – perfect.

The future of rock looks very bright with bands like Turnstile.

Just ‘Cause

Triumph

I was at my brother-in-law’s place a couple of weeks ago when he asked, “Any interest in seeing Triumph?”

Truth is, I knew they were on what’s likely their farewell tour – and I hadn’t given it much thought.

My response: no.

But he persisted.

“C’mon – it’s Triumph.”

I countered: nah, I’m good.

He didn’t accept that.

So…

Needless to say, I’m going to see Triumph tonight.

To get ready, here’s “Follow Your Heart”.

Happy Birthday

Jas Mann

Most of you will be like – who?

Does it help if I say the brainchild behind Babylon Zoo?

…Sigh.

Thirty years ago, there was a song called “Spaceman” It was used in a Levi’s ad in the UK – people bought the jeans, but they loved the song.

“Spaceman” hit the charts and became the fastest-selling single in 30 years.

There was no bigger act in the UK in 1996 than Spice Girls. They had three songs in the year-end Top 5. The others? Fugees’ “Killing Me Softly”… and “Spaceman”, sitting at number three after selling over 1.1 million copies.

Now, I loved it. Looking at it through a 2026 lens, it feels a bit novelty – fun, but not exactly earth-shattering.

But at the time? Wow.

So, happy 56th birthday, Jas Mann. Thanks for giving us a song that absolutely owned its moment.

Happy Anniversary

Full Moon Fever

On this day in 1989, Tom Petty released what is, in my opinion, his opus – Full Moon Fever.

While technically a solo album, it features several members of Tom Petty and the Heartbreakers, including his right-hand man Mike Campbell, along with a couple of Traveling Wilburys – Jeff Lynne, George Harrison, and Roy Orbison.

The record finds Petty exploring his musical roots, with most of the songwriting shared between Petty and Lynne, who also produced the album.

It was a massive success – five times platinum in the U.S. and six times platinum in Canada. In 2019, Full Moon Fever was inducted into the Grammy Hall of Fame and remains a fixture on Rolling Stone’s 500 Greatest Albums of All Time list.

For me, it’s one of those perfect “set it and forget it” albums.

No skips required.

Goodbye

Dave Mason

Born in 1946, English singer-songwriter Dave Mason was a founding member of Rock and Roll Hall of Fame band Traffic. He wrote and sang on several of the band’s hits, including “Feelin’ Alright”.

After leaving the band to pursue a solo career, he moved to the U.S., where he recorded with an incredible list of artists – George Harrison, Michael Jackson, Fleetwood Mac, and Eric Clapton, to name a few.

Beyond his music, Mason was a strong advocate for music education, working with organizations like Little Kids Rock. He also co-founded Rock Our Vets, supporting military veterans and the families of fallen first responders.

Mason died this week at the age of 79.

He had just finished making dinner with his wife, took a nap, and passed peacefully.

If there’s a new song you loved this week and I missed it, let me know in the comments – the playlist is always evolving.

We’re pretty lucky to have all this music. Have a great weekend, everyone. Life’s short. Tell someone you love them. Be good to one another.

The festival is going to sell out anyway, so why not make it available to everyone – even those of us watching from the couch in Canada? So kudos to Coachella for embracing the live experience beyond the gates. It’s something the UK festivals have done for years, and it just works.

There was a bit of blowback on socials around certain performances – specifically the use of backtracks. Personally, I’m not too fussed about it at this scale. Shows this size are productions as much as performances, and this has quietly become part of the deal.

So here’s the only question that really matters:

Did you have a great time?

If the answer is yes – amazing. That’s the whole point.

If not, maybe the move is smaller rooms. Go see artists in venues under 2,500 people. Strip it back. That’s where the magic still hits a little differently.

As for me, I stayed on my couch and went down the YouTube rabbit hole.

Here are some of my favourites from weekend one.

The Future Looks Bright

Slayyter – Beat Up Chanel$

I’m loving Slayyter right now. This is pop exactly where it should be in 2026 – loud, glossy, a little chaotic, and completely self-aware. Live band. Live mic. Backing track? Sure. Who cares. It’s all energy and it moves.

This feels like an artist hitting the moment at exactly the right time – the kind of set that turns curiosity into obsession.

And people are clearly paying attention: her October Toronto show is already sold out, with tickets pushing 4x face.

Slayyter isn’t coming – she’s already here.

Wet Leg - Mangetout

There’s no denying that Wet Leg are one of the defining finds of the 2020s. The debut was a lightning bolt. The second album proves it wasn’t a fluke.

What really lands here is how natural it all feels live. No overthinking, no overplaying – just sharp songwriting, a bit of bite, and a band that knows exactly who they are.

Some bands arrive with hype. Wet Leg arrived with identity – and they’ve only tightened it since.

Ninajirachi - iPod Touch

DJ sets have always been part of the Coachella DNA, and Ninajirachi’s set from weekend one was one of the standouts. There’s something very now about this – hyperpop edges, nostalgia baked into the title, and a set that feels like it’s moving at double speed without ever losing control.

It’s the kind of performance that reminds you how much fun electronic music can be when it’s done right. Also, for the love of all things desert – stay hydrated.

Gigi Perez – Sailor Song

If you think the singer-songwriter is dead, Gigi Perez would like a word.

We’ve had a couple of years with “Sailor Song”, and somehow, it’s aged into something even deeper. That doesn’t happen by accident – that’s writing. Real writing.

This performance strips everything back and lets the song do the work. No tricks. No filler. Just a voice and a melody that lingers longer than it should.

It’s borderline sacrilege to say this, but it genuinely feels like the kind of song Paul Simon would’ve written – timeless, understated, and quietly devastating.

And yes – no backing tracks. Just in case anyone was still keeping score.

Hooked in 30 Seconds

Foster the People – Pumped Up Kicks

Nothing to see here. Just an LA band playing their home festival with one of the most instantly recognizable songs of the last 15 years. And that’s the whole thing – it doesn’t matter where you are, or how many times you’ve heard it. The second that bassline kicks in; you’re locked.

whistle, whistle, whistle…

It’s easy to forget how massive this song was – and still is. One hook, zero resistance.

Jack White – Seven Nation Army

Is “Seven Nation Army” the most recognizable sports chant in the world? It’s at least in the conversation. Jack White built a riff so simple, so indestructible, that it’s completely outgrown the song itself. Stadiums, pubs, festivals – it doesn’t matter. Everyone knows their part.

And live, it still hits the same way it did the first time. Maybe harder.

Some songs fade into nostalgia. This one just keeps getting louder.

Legends Don’t Miss

Nine Inch Noize - Closer

Nine Inch Nails teaming up with Boys Noize has been floating around for a bit now, and it looks like they’ve finally perfected it.

This version of “Closer” feels heavier, dirtier, and somehow even more alive – which is saying something for a song that already defined a generation of controlled chaos. It’s impossible not to think back to Woodstock ’94 and that mud-soaked, era-defining set. What would that crowd have done if this version of the show dropped in front of them?

Some artists evolve. Trent Reznor just keeps finding new ways to push the same songs further.

The Strokes – Reptilia

The Strokes are still one of the best rock bands on the planet. Full stop.

“Reptilia” sounds exactly like you want it to – tight, sharp, and just loose enough to feel dangerous. There’s no overthinking here. Just riffs, rhythm, and Julian Casablancas doing Julian Casablancas things (the “Crime” shirt is a nice touch).

It’s been, what, at least a week since I last mentioned the Rock and Roll Hall of Fame? So let’s fix that: it’s time they at least get nominated.

Still sounds like a band that could headline anything, anywhere and their weekend two set was even better.

Moby – When It’s Cold, I’d Like to Die

Moby can absolutely be too much. But when he dials it in, it tips into something else entirely.

This performance – with Jacob Lusk – is one of those moments. It’s not about spectacle. It’s not about nostalgia. It just floats.

Stripped back, patient, and quietly overwhelming, it lands somewhere closer to a spiritual experience than a festival set.

Not everything at Coachella needs to be loud to be massive.

Only at Coachella

Kaskade – Runaway

Kaskade closing out the desert with “Runaway” is about as Coachella as it gets.

This isn’t just a set – it’s a shared moment. Tens of thousands of people, all moving in sync, chasing the same drop. There’s nothing quite like 50,000 best friends dancing at the same time.

You don’t watch this – you wish you were in it.

Sabrina Carpenter – Espresso

Sabrina Carpenter understood the assignment.

How many people are on stage? Dancers, band, drink service, a guy swallowing a lightsaber – it’s less a concert and more a full production number. And yes, there are probably backing tracks. Of course there are. That’s not the point.

This is pop as spectacle – big, choreographed, and completely unapologetic.

Sometimes more is more.

Justin Bieber – Daisies

Justin Bieber showing up at Coachella is always going to spark conversation – and this one definitely did. He sits right at the centre of the “what counts as live?” debate, but honestly, I’ve got no real issue with it.

Your version of art might not be his version of art – and that’s fine. Not every performance needs to be judged the same way.

Sometimes the moment is the story.

These were my highlights. If any more great performances surface – the Madonna surprise, or Billie Eilish jumping in with Justin Bieber – I’ll roll them into Friday’s column.

Hope you had fun – whether you were in the desert or on your couch.

And remember: stay hydrated.

Because Coachella might be two weekends - but the YouTube rabbit hole lasts forever.

Weather – mostly good from here on out.

Taxes – done.

School – in the home stretch.

And then you get woken up by construction in front of your house.

There’s an old adage that Toronto has two seasons, winter and construction. After a couple of beautiful days (and a couple more of absolutely insane rain), I woke up this morning to the sound of drilling and backhoes right outside my front door.

Let’s just say… not how I wanted to start the day.

But water pipes need replacing.

So it looks like a couple of weeks of 7 a.m. wake-up calls – and a few extra barks from Gary at the terrifying noises on the other side of the door.

Good times.

At least there’s a massive collection of new music this week to drown out the buzzsaw currently tearing up my street. So let’s get into it.

Everyone’s always looking for their next favourite song. Is it below? There’s only one way to find out – press play.

Massive Attack & Tom Waits

Great art often comes from great adversity. Bruce Springsteen’s The Rising is a perfect example (he’s a bit of a theme this week). So when two of the best to ever do it, in their respective lanes, release a protest song – we should probably pay attention.

Tom Waits returns with his first new music in 15 years, teaming up with Massive Attack for “Boots on the Ground”. It’s haunting. It feels exactly like what you’d expect from both artists – Massive Attack’s atmospheric tension paired with Waits’ unmistakable, weathered voice. This is a protest song. Full stop.

And look, I know there are people who think artists should stay in their lane. I’d argue this is their lane. Music has always been a place where artists process the world around them – and sometimes challenge the rest of us to do the same.

Whether we choose to hear it… that’s up to us.

The video includes some uncomfortable statistics at the end. They’re not easy to sit with, but they’re probably meant to be.

[Not available on Spotify]

Mouth Ulcers

As many of you loyal readers know, I love me some post-punk. So in a week where the greatest post-punk band of all time, Joy Division, gets into the Rock and Roll Hall of Fame, it’s great to see the genre still going strong with a new Mouth Ulcers track.

“Closer to You” captures that classic ’80s post-punk sound while layering in just enough 2020s darkwave to round out the mood. The London band’s debut EP, Silent Pictures, drops in July, and there are a couple of other singles out there if you like what you hear.

Afghan Whigs

Greg Dulli has always had one of the coolest voices in ’90s rock, and here we are 30+ years later – and it and The Afghan Whigs sound as good as ever. “House of I” is the first new music in a while from the Ohio band, and hopefully they don’t keep us waiting too long for more.

Teen Suicide

Teen Suicide’s new album Nude Descending Staircase Headless dropped today, and fans of lo-fi indie will be extremely happy. The Baltimore band has been putting out songs like “Suffering” for years, and every time they release a new record, I find at least a couple of tracks to fall in love with.

MUNA

I’ve really been enjoying the singles MUNA have been releasing ahead of their album Dancing on the Wall.

I’m writing an article about 1996 and how dance music was having a resurgence, and for some reason “Wannabeher” reminds me of Republica. Back in the day, we’d sprint to the dancefloor for “Ready to Go”. This isn’t quite that, but it’s close.

The new album next month continues to feel like a must-listen. Finally, May has purpose.

Widowspeak

There are lots of indie rock bands that just sound like New York. Some even sound like specific boroughs. For me, Widowspeak sounds exactly like Brooklyn. Seriously – listen to “No Driver” and tell me that doesn’t feel like 2020s Brooklyn.

Choir Boy

Adam Klopp and his band Choir Boy are back with their second single of 2026, “I’ll Always Let You Down”. They lean so hard into that ’80s synth sound you’ll have visions of ridiculous art, coke parties, and shoulder pads running through your head. If you like music from that era – with just a touch of 2020s polish – this is definitely for you.

Tonebox

California-based electronic music that makes whatever mood you’re in feel just a little cooler. Here’s “Interload” – perfect for that intense look you give someone from across the room.

Tomora

I write about this a lot – how my family reacts to New Music Friday when I dump a bunch of new albums onto the house speakers at 7:30 in the morning and that becomes our soundtrack for the day. And how sometimes… let’s just say, not everything becomes an immediate favourite.

Come Closer by Tomora was one of those.

Tomora is the duo of Norwegian vocalist AURORA and Tom Rowlands of The Chemical Brothers. And I get it – dance music isn’t how everyone wants to start their day. Come Closer is a varied collection of electronic sounds, and while my son may not have loved some of the early chanting-heavy tracks, songs like “My Baby” have that classic Chemical Brothers feel – the kind that keeps you on the dancefloor until your legs give out.

Probably not the best pick for album number one at 7:30 a.m., but if experimental dance music is your thing, give it a go.

Olivia Rodrigo

The pop superstar is back with the first taste of her new album, You Seem Pretty Sad for a Girl in Love, coming out in June. While the title might be a bit much, there’s real promise in the lead single “Drop Dead”.

But if I’m being honest, I wanted a little more. The first half feels a bit paint-by-numbers, and it’s not until the final third that the song really takes off for me.

There’s no denying Rodrigo knows how to write a pop song, and it’s probably unfair to expect every track to be a banger… but still, I wanted more – even if I can’t quite define what that “more” is.

Jessie Ware

At this stage of her career, it’s clear Jessie Ware just wants to dance. Superbloom is packed with disco-floor fillers.

I’ve always liked the London singer – there’s something about her that I root for. She feels like a hybrid of Lisa Stansfield and Shirley Bassey. And on this record, it’s like she’s enlisted the ghost of Giorgio Moroder to build a set of infectious grooves designed to keep us moving.

There are plenty of tracks I could feature, but I’ve landed on “Don’t You Know Who I Am”.

Nine Inch Noize

You might have heard about this unholy collaboration between Nine Inch Nails and Boys Noize over the past few years. The two worked together on the Tron: Ares soundtrack, and the project even opened for NIN on tour. It’s essentially industrial metal colliding with European techno – applied to the NIN universe. The result is fantastic, as you can hear on “As Alive as You Need Me to Be”.

M.I.A.

Favourite Album of the Week

She’s back with her seventh album, M.I.7. It’s been described as a gospel record, with its seven core tracks recorded in seven locations over seven days. Which is funny, because the album has 16 tracks, but sometimes the math doesn’t have to math.

The concept draws on the seven trumpets from the Book of Revelation, with shorter musical snippets scattered throughout. I don’t usually think of rap and funk when I think “gospel,” but here we are. This is a fascinating record, one I’ll keep returning to, because I’m finding something new with each listen. I’m loving “Prayer 777”.

Yaya Bey

NYC artist Yaya Bey has been on a creative tear, dropping her third album in as many years. Fidelity is a superb mix of soul, funk, hip-hop, reggae, and house.

Bey produced most of the record herself, which makes it even clearer – we’re dealing with an artist at the top of her game. There are moments made for a quiet drink, others for a loud one. Either way, Fidelity is excellent. More people should be listening to Yaya Bey.

One spin of “Simp Daddy Line Dancing” and you’ll see why.

Hard-Fi

Hard-Fi are back with another track from their upcoming comeback album Sweating Someone Else’s Fever. “Looking for Fun” feels closest to their mid-2000s heyday – and let’s be honest, that’s hard to beat.

The Mosh Pot

Evil Island

Favourite Track this Week

Evil Island is a new band made up of members from The Blood Brothers and OFF!, and this is their debut single, “Tiger Baby”. I’m loving this. It feels dangerous – but also completely fun.

They’ve described the track as the “everything bagel” of their sound, which actually makes a ton of sense. It’s heavy, chaotic, a little unhinged – and somehow still incredibly catchy, with a hook that sticks. This feels like music from the coolest band in the world, and I can’t believe this is single number one.

I can’t wait for single number two.

The Dutch Øven

Frozen Soul

Dutch is travelling this week, so I have no idea if his list of delectable delights will make it in before publication. For moments like this, sometimes you just have to start clicking links and trust your instincts – hoping they lead you to something worthy of the Øven.

So I felt pretty confident hitting play on a band called Frozen Soul and their latest single, “Deathweaver”. Frozen Soul are a death metal band from Texas, and about a minute into the track you’ll be thinking – yup, that sounds about right.

Dutch would be proud. Or furious. Probably both. “No gimmicks, just brutal riffs.”

Dutch sent in a couple of quick ones for you:

Crippled Black Phoenix

Wonderfully dark, gloomy prog rock – that’s probably the best way to describe Crippled Black Phoenix. I think this UK band will find some takers among Velcro Staircase readers. Their new album, Sceaduhelm, is out today and it’s quite something. While “Ravenettes” came out a couple of months ago, it’s the perfect entry point. If it floats your boat, dive into the full album – unless you’re too scared, which I know none of you are.

Holywatr

We featured up-and-coming Holywatr a few weeks ago, and today the full album Deo Gratias drops. This is really strong – dramatic and melodic, as you can hear on “Are You There?” If you like the dark, brooding sounds of bands like Sleep Token, give this a spin.

Canadian Corner

Truck Violence

Truck Violence have announced a new album coming out in June, and the first single, “New Jesus”, is out now.

I’m not sure if the timing was intentional, but with all the President Trump vs. the Pope chatter going on, it’s kind of perfect that a Montreal noise-metal band drops a song described as “a rant about the blatant fascistic slide occurring both to the south of our border and on screen.”

This could’ve easily lived in the Øven, but I think it’s okay to scare the listeners in the Canadian Corner every now and then.

The Flatliners

The Canadian Corner is feisty today. Truck Violence could’ve been in the Øven, and now we’ve got The Flatliners, who would’ve fit perfectly in the Mosh Pot.

The GTA band are back with another taste from their upcoming Cold World album. “The Pulpit” has that distinct Canadian punk feel – reminding me of bands like Billy Talent and Tokyo Police Club.

Broken Social Scene

Remember the Humans drops in three weeks, and Toronto indie rock heroes Broken Social Scene are back with their third single from the upcoming album.

“The Call” features Andrew Whiteman and Jill Harris sharing lead vocals and could not be more BSS. It’s my favourite of the new tracks so far – and it only has me more excited for May 8.

Whitehorse

Here’s another track from the upcoming Whitehorse album.

It’s funny – this week the Canadian Corner is full of songs that could easily live in other sections of The Velcro Staircase, and “Bullet in the Chamber” is no different. The Hamilton duo could just as easily land in Ben’s Folk Revue. Canadian music, across genres – how about that to make you proud.

Festival Watch: Winnipeg Folk Festival

With Winnipeg Folk Fest around the corner, it feels like a good time to start digging into the lineup. It’s a strong one this year, but I’m going to try not to focus on the artists you already know and are lining up for – Father John Misty, Of Monsters and Men, and of course the hottest band at the festival, Angine de Poitrine.

Instead, I’ll be spotlighting Canadian artists you might want to take a chance on.

The Andrew Collins Trio

You don’t hear a lot of mandolin-led music on The Staircase. But remember- this is a festival.

Sitting in a field, sunscreen in the air, your chair perfectly placed – “Little Widgets” from their latest album Retro feels like the ideal soundtrack for that kind of afternoon. A perfect artist to discover in that setting.

Bells Larsen

Montreal-based lo-fi indie artist Bells Larsen released the excellent Blurring Time last year. Here’s the fun “Night Bus” video. I’m not sure it had TTC approval, but that’s okay. It’s got that slightly chaotic charm. Like season one of Miami Vice.

Ben’s Folk Revue

Owen Riegling

Favourite Album of the Week

Whenever I’d drive to my buddy Grant’s cottage, we’d pass through Mildmay, Ontario. I haven’t thought about Mildmay in a while – bigger families, busier lives, fewer invites. So it was nice to take a quick trip down memory lane when I found out Owen Riegling is from there.

Riegling released his second album today, and In the Feeling is perfect Canadian country. Twelve songs, each more enjoyable than the last.

When I talk to 16–25-year-olds about music, I’m noticing more and more of them are gravitating toward country, and after listening to this album, I get it. The youth are in good hands with Owen Riegling.

He’s playing Massey Hall tomorrow night and has several tour dates lined up through the year. If you get the chance, go catch some Canadian country – no matter how many kilometres (or “Miles Away”) it takes.

Ella Langley

The question always comes up – does country-pop belong in Ben’s Folk Revue, or should it stay reserved for more traditional fare?

That question came up again with Ella Langley’s latest, “Dandelion”. It’s hard not to hear echoes of Shania Twain – before the full pop crossover, when she still leaned more country. That’s the lane Langley seems to be working in.

Will she become the queen of country-pop? Maybe a bit early to say. But after one listen to “Dandelion”, it’s clear the tools are there.

Cover Tune of the Week

Avril Lavigne

Mile End Kicks is a Canadian film out today. The premise: a young woman moves to Montreal to write a book about Jagged Little Pill… and instead gets romantically tangled up with members of the same band.

Lavigne’s cover of “Ironic” is featured on the soundtrack, which feels like a perfect full-circle moment – Canadian artist, iconic Canadian album, and now a new spin on it.

Canadian music, Canadian film – this feels like homework I’m actually happy to do.

Nation of Language

I thought Hot Chip’s version of “Dancing in the Dark” was the ultimate synth-era Bruce Springsteen cover.

And then Nation of Language said – hold my beer.

“Tougher Than the Rest” isn’t one of those Springsteen songs people immediately reach for when they think “cover this.” But like a lot of New Jersey kids, the band clearly grew up on The Boss – just maybe not living inside Tunnel of Love.

This version leans fully into their synth-driven sound and somehow makes perfect sense. It feels like it belongs in one of those slightly off-centre John Hughes-adjacent movies – the ones that didn’t quite make the mainstream, but you loved anyway.

Live Tracks of the Week

Bruce Springsteen

Covering “Purple Rain” in Minneapolis.

With Nils Lofgren and Tom Morello trading lead guitar back and forth – it’s… amazing. Pretty close to perfect.

This is the kind of cover that reminds you why live music still matters.

Just ‘Cause

New Order

It’s not every week your favourite band gets into the Rock and Roll Hall of Fame… well, except this one.

Congrats to New Order – and all the other inductees.

This week I was also listening to Arthur Baker’s Baker’s Revenge on SiriusXM’s Studio 54 channel, and – jeez – he’s a great DJ. I had “Planet Rock” on repeat more than a few times, and it still sounds incredible.

That sent me down a proper New Order rabbit hole. I’ve always loved a good remix, and that’s where Baker really shines.

Here’s his remix of “Confusion.” It’s so great.

Happy Birthday

Maynard James Keenan

A very happy birthday to a man who wears a lot of hats – Maynard James Keenan.

We mostly know him as the frontman for Tool and A Perfect Circle, but Keenan has been involved in plenty of other musical projects. He’s also an actor, a writer, and owns a vineyard in Arizona.

He’s clearly passionate about a lot of things, so as he celebrates 61 years and looks ahead to 62, I hope he takes a sip of a wonderful wine and appreciates just how much he helped shape the ’90s for a lot of music fans. Ironically, here’s “Sober”.

Happy Anniversary

Doolittle

The first song I ever heard from Pixies was “Monkey Gone to Heaven”, and I had never heard anything like it before. It was probably on MusicPlus, and I immediately told my friend Dan about it. A friend like Dan is great for many reasons, but one of the ways he was a superb friend was that he routinely bought me CDs. I know – awesome.

A couple of days later, he showed up at my house with one. I was so excited… but it was…

The Posies.

We sat there listening to it, and I started to wonder if I’d gotten the band name wrong. I could’ve sworn there was a monkey in the title.

Needless to say, The Posies are not The Pixies.

The Pixies’ second album, Doolittle, turns 37 today, and it’s one of those all killer, no filler records. “Debaser”, “Wave of Mutilation”, “Here Comes Your Man”, and yes – the monkey – this album is incredible.

Let me put it simply: no Doolittle, no grunge. Kurt Cobain named it as one of his favourites, and its influence on “Smells Like Teen Spirit” is well documented.

It was an immediate critical success, earning Melody Maker’s Album of the Year. In the years since, it’s only become more revered – landing at number 8 on NME’s all-time list and number 141 on Rolling Stone’s.

I would’ve found it eventually. But I love the way I did.

If there’s a new song you loved this week and I missed it, let me know in the comments – the playlist is always evolving.

We’re pretty lucky to have all this music. Have a great weekend, everyone. Life’s short. Tell someone you love them. Be good to one another.

At first glance, this is a strong class. Not perfect – because the Rock Hall is never perfect – but something interesting happened this year.

They mostly followed the math.

What They Got Right

Let’s start with the obvious.

This class is built on influence. For reference, the number in parentheses is where I ranked them in my Who Should Get In article:

Iron Maiden – global metal infrastructure (2)

Wu-Tang Clan – cultural architects (3)

Oasis – generational impact (6)

New Order / Joy Division – influence across two movements (5)

If influence is the Hall’s north star – and it has always claimed to be – then these picks are hard to argue with. And I won’t start.

I’ve been a big proponent of these artists for years, and thought it was criminal that they weren’t in already.

This is the Hall doing what it says it does.

The “About Time” Selections

Then you’ve got the artists that fall into the “how are they not already in?” category:

Phil Collins (4)

Billy Idol (14)

These are legacy cases.

In Collins’ case, the commercial success is overwhelming. Idol’s success might not reach the same heights, but you could argue that Billy had a larger cultural footprint thanks to his dominance in the early days of MTV.

Either way, both artists are being celebrated for decades of relevance – and I have no problem with that.

You may not love the music – but that’s not the point. They belong in the building.

The “Rock Isn’t the Point” Additions

And then we get to the part that will drive the comments:

Sade (10)

Luther Vandross (11)

If your definition of the Hall is strictly guitar-driven rock, these picks will feel off. If your definition is cultural impact across popular music, they make complete sense. Which brings me back to the argument I’ve been making:

The Hall has never been a pure “rock” institution. And this class reinforces that.

So… What Happened?

In my previous columns, I laid out a framework:

Influence (40%)

Sales & Streaming (20%)

Awards (20%)

Popularity (15%)

Touring (5%)

And if you apply that system to this group? Most of these names check out. Not perfectly. But more consistently than we usually see.

What They Still Missed

Because it wouldn’t be the Rock Hall without a few head-scratchers.

I can’t help but feel the Hall still leans a little too much toward being a boys’ club.

One out of six nominated women got inducted. It’s hard not to question that – especially when Mariah Carey has the biggest career of anyone on the ballot – sorry readers, this is a hill I’m willing to die on.

It’s tough to imagine a male artist with that level of success still waiting on the outside.

Heck, she’s basically Elton John, with more number ones.

Mariah Carey is the biggest miss.

By any measurable standard – sales, charts, influence – she’s one of the most obvious candidates the Hall has seen in years.

And yet, she’s still on the outside.

Which tells us something important:

Even when the Hall mostly follows the math…

…it still leaves room for narrative, taste, timing – and, yes, bias.

The Bigger Takeaway

Here’s the thing.

There will be plenty of time for me to complain about the Hall over the coming months. (I’ve already started another column.)

So for now, I’m going to take a moment to give them some credit. Every Rock Hall class tells us what the voters value. This year?

Influence won… Mostly.

And maybe that’s progress.

Because for all the debates about what is or isn’t “rock,” this class feels closer to the Hall’s stated mission than most.

Rock was never the rulebook. It was the banner and the artists under that banner mostly make sense. The Hall didn’t get everything right.

But this year, it got enough right that the misses feel like exceptions – not the rule.

One Last Question

Now the only question that remains:

How do you run that performance lineup? Does Oasis start or end? Who sings for Luther?

Let me know how you’d space the bands out in the comments.

As always, you can follow along with the attached Spotify playlist.

The Strokes

I write a lot about the Rock and Roll Hall of Fame, and I’ve come to a realization – I’m not sure if I like the Hall as much as I like the anticipation of who’s getting in.

Case in point: The Strokes.

Next year, the NYC band becomes eligible, and it’ll be fascinating to see if they’re nominated – and ultimately inducted. If I had a vote, they’d be in. They helped save rock from nu-rock in the early 2000s with their perfect debut, This Is It.

Now they’re back with a new single, “Going Shopping,” the first track from their upcoming sixth album, Reality Awaits, out June 26. It’s unmistakably The Strokes – and it’s growing on me with every listen.

They’re playing Coachella this weekend and have a full summer of festival dates lined up. If you get the chance to see them live – do it. They’re awesome.

Soft Loft

New favourite song alert

I don’t get a lot of Swiss indie rock crossing my desk, so when it does – I’m listening. Here are Soft Loft with the first single from their upcoming album Throw a Dice, which drops in September (!!!). It’s wild to be thinking about September when I’m on a ski trip and we haven’t even hit shorts season in Toronto yet.

“Caught” is excellent, and I have a feeling I’ll be enjoying it just as much at the end of summer as I am right now.

The Boo Radleys

In the early–mid ’90s, I loved The Boo Radleys. They weren’t quite shoegaze – they were something more – and having them back making music just makes me happy. They’re releasing a new album in May and have given us our first taste with the dance-rock-leaning “Bring Them Back Again”.

This song just makes me happy.

Sulk

Here’s a new shoegaze band I stumbled across.

The funny thing about finding something on YouTube with only eight views is that you have to do a little more digging than usual to figure out who you’re actually listening to. And honestly? I don’t have much more to tell you. Bandcamp says this Sulk is a band out of Detroit – so let’s go with that.

“Glimpse” is an excellent shoegaze track. I’ve already played it enough times to mess with my algorithm and hopefully boost theirs a little too. If you’re a shoegaze fan, click immediately.

Iceage

We have another excellent single from the upcoming Iceage album. “Ember” is a driving indie rock track, and it sounds like the Danish band is in great form heading into album number six, For Love of Grace & the Hereafter, set for May.

My friend JL loves the first single, “Star” – I’m sure he’ll like this one too.

Carla Dal Forno

Melbourne artist Carla Dal Forno has released a new single from her upcoming fourth album, Confession. “Under the Covers” is minimalist synth-pop – so if that’s your jam, give it a spin. Also “Under the Covers” is a great title for anything. Book, movie, baked good… “I’ll have 2 under the covers, one glazed, one regular.”

See it works!

Robber Robber

Walle loves the new Robber Robber album. I like it – who says we can’t get along?

Their new album, Two Wheels Move the Soul, is out now. Here’s “Again”, one of the standouts.

The Alarm

There was a time when I loved The Alarm. When I was 17, they were one of the bands for me. It wasn’t a love that lasted forever, but whenever I hear one of their songs, it brings me right back.

Last year, I was out for a hike with my wife. It was one of those warm spring days – the air felt like spring, but the ground still had a bit of winter in it… if you know what I mean. We stopped for a break, and I checked my phone. That’s when I saw that Mike Peters had passed after his battle with cancer.

I was sad, but then I looked around. The sun was out, the dog was running free, Joey was foraging for mushrooms. Sad news, sure, but also a reminder of what I had. I took a moment, sent a silent good thought to Mike and his family, and went back to enjoying the day.

So here I am, a year later, on another sunny spring day and The Alarm have dropped an absolute banger. “New Life” is the lead track from their upcoming album Transformation, out in May – and if this is any indication… it’s going to be great.

What a gift – every single day.

[Not on Spotify.]

Still Figures

I came across Still Figures earlier this week.

The California duo have been putting out post-punk over the past couple of years, and it all seems to be coming together with the release of their upcoming EP. “The Endless”, the opening track from Sessions in the Playroom, captures that mid-’80s post-punk spirit while bringing it into the 2020s. Great stuff.

[Not on Spotify.]

The Maine

I hadn’t heard of The Maine before this year, which is crazy considering how long they’ve been putting out music. But I’m glad I’m paying attention now.

The Arizona band has released and excellent album in Joy to You. There are a lot of songs I could feature, but I’m going with “It’s Not Over Yet”.

If I had to describe them using other bands, I’d say a mix of The Killers and Young the Giant. But what do I know – give them a listen yourself.

Brooke Combe

New Favourite Song Alert

The Scottish singer is back with a ridiculously good single, “Tears Won’t Lie”.

It’s a perfect piece of neo-soul – one of those songs that just makes you happy to be alive, with a little northern soul dancing in your ears. After such a strong debut album last year, it’s great to see Combe back so quickly with new music.

Lykke Li

It’s a big year for the Swedish artist. She’s just turned 40 and has announced her sixth album, The Afterparty, which drops in May. Her latest single, “Sick of Love”, is extremely enjoyable – and somehow feels lighter than the title suggests.

Health

Normally I’d be putting Health in the Øven, but their new single “A.L.O.N.E.” doesn’t quite fit there. It’s definitely industrial, but without the heavier metal edge. If anything, it leans more toward a dance beat. I’m even getting a bit of The Hellp in there. Either way, it’s a cool pivot – and worth a listen.

Cheekface

My new music discoveries come from a lot of places, but if you’ve read anything I’ve written before, you’ll know I owe a lot of my musical education to my older sister. So when she sends a YouTube link with something like, “How have I never heard this before?” – it’s an immediate click. Cheekface are an indie band out of LA, and “Black Site” is exactly what you want it to be – catchy, a little offbeat, and just fun.

My New Band Believe

I view myself as a reasonably smart guy. So when the reviews started rolling in for the debut album from My New Band Believe, I thought – let’s dig in.

I don’t get it.

There’s a part in Jaws where Quint says the shark is either very smart or very dumb, and that’s kind of how I feel about this self-titled album. On first listen, it reminds me a bit of Black Country, New Road, but it’s not nearly as enjoyable for me.

Here’s the sprawling “Heart of Darkness.” It zigs when you expect it to zag. It’s complex, ambitious, and probably going to require a few more listens before I decide where I land on it.

There’s no question the musicianship is incredible – it might just come down to taste. They’ll be in Toronto in June at the Monarch Tavern, which could be very interesting.

Dogstar

So here’s a serious question – has Dogstar always been this good? Because if I’m being honest, I’ve always thought… meh.

But after a couple of recent singles, including their newest “Joy”, I’m actually looking forward to the album coming out in May. Have we all just been sleeping on Dogstar?

Marmozets

UK alternative band Marmozets are back with another track from their upcoming album CO.WAR.DICE, out in May. While “Cut Back” isn’t as urgent as the first single “A Kiss From a Mother”, it shows they’re really dialed into that guitar-driven dance sound that had a moment in the late ’90s. This could be a fun summer with Marmozets.

Squarepusher

Tom Jenkinson has been releasing complex drum’n’bass as Squarepusher for more than 30 years – and let’s just say, I’m glad my kids had already left for school before I hit play.

He’s been working on Kammerkonzert for over a decade, and it really is something. Jazz for a new generation – that’s how I’d describe it, also something Oliver would love. Here’s the fascinating “K10 Terminus”.

Snoop Dogg

Here’s Snoop Dogg with album number 22, 10 Til’ Midnight. And it’s probably best described like this – if ain’t broke, don’t fix it.

At this point, Snoop isn’t reinventing anything. He’s curating a vibe. Smooth beats, laid-back flow, and just enough features to keep things interesting without getting in the way of what people actually want from a Snoop record.

Tracks like “Step”, featuring Swizz Beatz, lean into that classic mix of West Coast cool with a bit of East Coast punch. It’s polished, it’s easy to listen to, and it fits exactly where you expect it to. And maybe that’s the point.

Not every album needs to change the game – some just need to sound good when you press play. This is one of those records. Fans will be happy. I’m happy.

Hannah Lew

New Favourite Album / Song Alert

I’m loving the new self-titled debut album. It’s a new wave fan’s wet-dream.

On her first official solo record after putting Cold Beat on hiatus, Lew has crafted a collection of songs that feel instantly classic – like rediscovered synth gems from the ’80s. We’re talking Orchestral Manoeuvres in the Dark and Depeche Mode, with a touch of Beach House atmosphere layered in.

With her vocals front and centre, I was going to feature the lead track “Time Wasted”, but swapped it out for the excellent “Sunday”. Hazy synths, understated production, and lyrics that take you right back to those quietly devastating teenage moments.

Lime Garden

A couple of years ago, Brighton’s Lime Garden dropped a song called “Pop Star” and it was awesome. But they drifted off my radar a bit, and I completely forgot their second album, Maybe Not Tonight, was coming out today.

Then I hit play – banger, banger, banger.

There’s an indie rock energy here that will remind you of bands like Wolf Alice and LCD Soundsystem, but for me, they land closer to Metric.

I feel like I’m writing this a lot today, but there are so many tracks I could feature – it’s tough to pick just one. Since I’ve already highlighted a couple of their songs before, here’s “Body”.

The Mosh Pot

Tiny Voices

It’s always fun finding new bands. Here’s Tiny Voices out of Wisconsin. I’m sure my friend Sid already knows about them – and probably should’ve recommended them to me by now.

One of the reasons I’m enjoying “(how can i) take it one step at a time when everything is happening at once?” is because the dog in the video looks exactly like my dog Gary. That’s the same face he gives me every time I’m carving any large, cooked piece of meat.

Back to the song – it’s a great emo-rock banger. Pure Midwest energy.

XCOMM

I have no issue with nepotism – especially in music. Mostly because good music rises to the top. Bad music… not so much. So when I saw that Scott Ian’s son had a band called XCOMM, I was skeptical. But here we are, a couple songs in, and I’m in. Their debut album Time to Burn drops in May.

Here’s another nice helping of punk in “Borrowed Happiness”. It’s excellent – tight, energetic, and way beyond their years. Worth a listen, no matter who they’re related to. You can catch them on select Warped Tour dates later this summer.

Here are some Dutch picks from the past couple of weeks.

Sparta

The Texas band is gearing up for a new album in May and continues to roll out strong singles, including “Crater”. Rising from the ashes of At the Drive-In, this will mark Sparta’s sixth album – and should hit for anyone who loves emotionally charged post-hardcore.

Palette Knife

If you’re looking for emo pop-punk, you can’t go wrong with Palette Knife.

The Ohio band has released their new album Keyframe, and it immediately has you thinking back to the genre’s heyday. The melodies are infectious, the drumming is energetic, and the breakdowns are just interesting enough to keep things moving. One listen to “Faultsiphon” and you’ll see why. It’s a crime this song has fewer than 100 views on YouTube – it’s a banger.

Stephen: Oh, I like this a lot.

The Dutch Øven

Amity Affliction

Australian metalcore band The Amity Affliction will be releasing album number nine at the end of the month, and judging by single number three, “Heaven Sent”, House of Cards is going to be something.

This new track features bassist Jonathan Reeves sharing lead vocals with primary growler Joel Birch and it works. They’ll be at History in Toronto on May 10. I’ll be in VanCity, but I’m sure Dutch and mini-Dutch will be in attendance.

Castle Rat

If nothing else, you have to love doom metal band Castle Rat’s look. Formed in the medieval centre of the universe – Brooklyn – they somehow scream flat whites and bubble tea. No they don’t scream Brooklyn at all, but that’s what makes them so great.

With one of the more elaborate stage shows out there, Riley Pinkerton and her group of fantasy-loving, sword-wielding, guitar-shredding weirdos will be in Toronto in early May.

If that doesn’t get you excited, skip to the axe work at 2:35 of “Siren” and you’ll be transported to a time of orcs and fur thongs. Gas up the car. Let’s go.

Dutch has a large helping of metal for you this week.

Corrosion of Conformity

Corrosion of Conformity are back with a double album, Good God / Baad Man.

For some reason, this legendary band – formed in 1982 (!) – has always been just off my radar. But listening to this album makes me want to go back and dig into their earlier work. The 14 tracks make for an interesting journey through 40+ years of punk, industrial, and metal influences. One spin of “Asleep on the Killing Floor” and you’ll know what I mean.

Monolord

Some solid stoner/shoegaze metal from Swedish band Monolord. I do appreciate some good, hypnotic monotony every once in a while, and “You Bastard” delivers.

Sevendust

Good, honest melodic heavy metal from veterans Sevendust. “Threshold” comes with a fun Claymation video. Come for the visuals, stay for the guitar work.

Torena

California hardcore band Torena rocked Vancouver last night. I’m sure their latest single “Extinction” had a proper circle pit going. The track is short – but definitely not short on riffs.

Evanescence

Amy Lee has been busy with a number of excellent side projects over the last few years, but now we’re finally getting new music from the full band. “Who Will You Follow” is the first release from Evanescence since 2021. The sound leans a bit more into metalcore, and the modern production makes it feel fresh and current.

Sanctuary is expected to drop on June 5 and should further solidify Evanescence as one of the best-selling and most important metal acts of all time.

Atreyu

If Chaos A.D. by Sepultura is one of your favourite metal albums of the ’90s (and seriously, it should be), then “Children of Light” will feel like coming home. It’s no coincidence that Atreyu enlisted Max Cavalera for this track. The drumming pulls heavily from the Igor Cavalera playbook, and somehow it all fits seamlessly with Atreyu’s own blend of metalcore and melody.

Canadian Corner

Zoon

Hamilton shoegaze band Zoon are back with the first single from their upcoming fourth album, Happy Thought School. “One Too Many Nights” features Quebec musician Sam Jr. on vocals, and I’m really enjoying the layered guitars here. Daniel Monkman is onto something, and when the album drops in mid-June, it’s a definite must-listen.

Ben’s Folk Revue

Alex Amen

After a run of singles, Texas indie-folk singer Alex Amen has announced his debut album, Sun of Amen, out in June. You can get a sense of what’s coming with the first single, “Diamonds”. It’ll be impossible not to like this song.

Charley Crocket

Texas singer Charley Crockett is back with his new album, Age of the Ram, and it is loaded with songs. At a slightly nutty 20 tracks, there are probably a couple that could’ve been saved for a deluxe release in the fall – but there are also several standouts, including the tongue-in-cheek “Crazy Woman Ridge”.

Cover Tune of the Week

Faber Drive

The Staircase published a column on ’80s covers this week, and we talked about how skate-punk takes on classic songs are having a bit of a moment.

Here’s one we missed, but Dutch thought it would be fun to feature it now.

Faber Drive take on Cutting Crew’s megahit “(I Just) Died in Your Arms”. It’s a solid, serviceable cover that leans into the energy without completely losing the original.

Live Tracks of the Week

The Belair Lip Balms

Had a great time at their show at the Garrison on Monday. There’s something special about seeing a band in a venue that small. Sometimes you catch a band early – playing to fewer than 300 people – and they go on to become massive (Oasis). Sometimes they don’t (These Animal Men).

I’m not sure what the future holds for The Belair Lip Bombs, but I do know that “Hey You” is still a banger.

Deer Tick

The Rhode Island band Deer Tick continue to release new songs ahead of their upcoming album, Coin-O-Matic. “Everything Born” is great, and this live version – recorded in their local studio – captures the band perfectly.

Nothing flashy here. Just feel-good rock and roll.

Just ‘Cause

Britney Spears

I’m not sure what was in the water when I was out west last week, but I heard “Toxic” three separate times. Not a single other Britney song – just “Toxic”.

The song hit number one in Canada in 2004, and apparently… still does.

Happy Birthday

Reni

Happy 62nd birthday to one of the best drummers to ever come out of Manchester, Reni.

Born Alan Wren, Reni provided the backbeat for The Stone Roses – one of the most influential bands to ever come out of the UK. His laid-back, off-beat style was perfect for the Madchester sound, blending indie rock with dance grooves. It’s wild to think he’s only ever appeared on two albums. But when one of them is that debut… can you blame him?

Reni now lives a private life and runs a property business with his wife. Have a great birthday, Reni.

Happy Anniversary

Club Classics Vol. One

Soul II Soul’s debut album turns 37 today.

Renamed Keep on Movin’ for the North American market, the British group found global success with the release. Buoyed by hits like “Keep on Movin’” and “Back to Life”, the album reached number one in the UK and has sold more than four million copies worldwide.

Over time, it’s continued to earn recognition – landing on best-of lists from Q Magazine, Slant, and others. For me, it sounds exactly like 1989.

Goodbye

Afrika Bambaataa

“Planet Rock” is one of those songs. It helped define a new genre, influenced a generation of artists, and now the gravitational pull of that planet is gone.

Born Lance Taylor in the Bronx, Bambaataa’s work with early electro tracks in the 1980s helped shape what would become hip-hop culture and modern DJing. Through his transformation of the street gang Black Spades into the culture-focused Universal Zulu Nation, he helped promote and organize this emerging movement.

In the late ’70s, he began hosting block parties across the South Bronx – gatherings that helped give rise to groups like the Jazzy 5, Soulsonic Force, and the broader Zulu Nation community.

His breakthrough came with 1982’s “Planet Rock”, a groundbreaking electro-funk track heavily inspired by Kraftwerk, particularly “Trans-Europe Express”, which helped shape its iconic sound.

In the mid-’80s, Bambaataa appeared as himself in the film Beat Street, with “Frantic Situation” featured on the soundtrack. Around the same time, he contributed to the Sun City project alongside Artists Against Apartheid and collaborated with James Brown on “Unity”.

Afrika Bambaataa died peacefully in his sleep earlier this week. He was 67.

If there’s a new song you loved this week and I missed it, let me know in the comments – the playlist is always evolving.

We’re pretty lucky to have all this music. Have a great weekend, everyone. Life’s short. Tell someone you love them. Be good to one another.

This week, we’re doing the opposite.

We’re taking songs you already know – song that have lived in your head for decades, songs you’ve heard in cars, in bars, through someone else’s bedroom wall – and giving them back to you in a completely different way.

Because a great cover doesn’t just replay a song.

It reframes it.

Sometimes it deepens it.

Sometimes it breaks it.

And sometimes… it replaces it.

Here’s a playlist of my favourite 80’s Covers.

“Just Like Heaven”

The Cure original wasn’t a massive chart smash when it was released in 1987 (No. 40 on Billboard), but it’s become one of the defining alternative songs of the decade. It’s now sitting at over 700 million Spotify streams. People absolutely love this song.

When Dinosaur Jr. released their version a few years later, they didn’t mess with the structure. J Mascis drags it through distortion and mud and somehow makes it feel heavier, sadder, and more human. It was actually my first introduction to Dinosaur Jr., and I was immediately in love.

Verdict: Reinvention by texture.

“Running Up That Hill”

Kate Bush’s original was brilliant in 1985 – and then somehow became even bigger nearly 40 years later. Thanks to a perfectly placed moment in Stranger Things and a bit of algorithmic destiny, it went back to number one in multiple countries. It’s one of those songs that will continue to find new lives.

There are a lot of great covers of this song, but Meg Myers is the one that sticks. Her version leans into the tension and the darkness – it’s less mystical, more physical.

Verdict: Respectful, but hits harder.

“Free Fallin’”

Tom Petty’s version is effortless. California air, windows down. It’s perfect.

The Pains of Being Pure at Heart released a full cover of Full Moon Fever, and they don’t fuck around. They stay true to the album’s essence, but their version adds haze and distance – pulling it into the 2010s. It feels like remembering the song rather than hearing it.

Verdict: Mood over muscle.

“I Wanna Be Adored”

Covering The Stone Roses is risky business – especially the opening track from one of the defining debut albums of a generation.

Recorded for the 50th anniversary of Dr. Martens, The Raveonettes lean fully into their own aesthetic: cool, detached, slightly dangerous.

Verdict: Stylish, sure – but there’s only one Roses. And that’s kind of the point.

“Cambodia”

Kim Wilde’s original was a major European hit, reaching the top 5 across multiple countries, though it never got a proper single release in North America. It recently found a new audience thanks to a perfectly placed moment in Yellowjackets – credit to whoever made that call.

Norwegian synth-industrial band Apoptygma Berzerk take it in the opposite direction. Where Wilde’s version is sleek and restrained, this one leans into distortion, drama, and atmosphere – like someone heard Orgy’s “Blue Monday” and decided to push it even further.

Verdict: Black eyeliner and mayhem – exactly what this ’80s pseudo-ballad needed.

“Ashes to Ashes”

David Bowie’s original is theatrical, strange, and deeply self-aware – and it was my introduction to Bowie, and a go-to karaoke favourite.

Magdalena Bay smooth it out, digitize it, add an amazing guitar outro, and make it feel like it was always meant for this era.

Verdict: Smart reinterpretation – Bowie would’ve gotten it.

The Mosh Pot

Skate punk covers are a thing. A big thing.

Just about every classic hit has some pop/skate punk band cranking out a faster, louder, happier version. There are dozens – probably hundreds – of compilation albums built on this exact idea.

They all follow the same recipe. Some of it works. Some of it really doesn’t. The hardest part is narrowing it down, because the rabbit hole goes deep.

Here are a couple of Dutch favourites:

“The Boys of Summer”

The Don Henley original is all reflection and faded Polaroids – it feels very 80s nostalgic.

The Ataris turn it into something louder, faster, and somehow even more nostalgic.

Dutch says: punk bands do really well with these kinds of covers – and this is one of the best.

“Take On Me”

You don’t really mess with a-ha. Unless you’re a ska-punk band, apparently.

Reel Big Fish lean all the way in – horns, chaos, and a wink the whole time.

Dutch says: OK, we’ll throw one ska-punk cover in there for good measure.

The Dutch Øven

Metal doesn’t do subtle. Which is exactly why it works here.

“Blue Monday”

The New Order dance anthem was once the best-selling 12” single of all time – not bad for a song they wrote because they didn’t know how to end their sets.

Orgy give it the full industrial metal treatment. I was working as a consultant at a PR firm when a company used this version in an ad campaign – we actually received letters demanding they take it down. It doesn’t get much more metal than that.

Verdict: Perfect bridge from synth-pop to industrial.

“Bizarre Love Triangle”

The New Order original is pure synth-pop perfection – and my favourite song.

I’ve heard a lot of versions of this over the years. I hated the Frente! cover… but I love what New Years Day does with it.

By trading shimmer for punch, they pull it off the dancefloor and into the mosh pit. Same bones, completely different energy.

Verdict: Familiar structure, totally different beast.

“Faith”

The George Michael original is iconic – the jukebox, the guitar, the jeans. It doesn’t get much better than that.

Once upon a time, for a precious couple of months, Limp Bizkit were cool. Their debut album felt fresh, and it’s hard to overstate how important this cover was to their trajectory.

That ginormous beat drop at 1:50 is Moby Dick for Captain Ahab Durst – and the entire genre of metalcore has been chasing it ever since.

Verdict: Questionable legacy, undeniable impact.

“Don’t You (Forget About Me)”

Simple Minds’ number one hit that came to define ’80s high school pop culture.

Life of Agony lean into the band’s post-punk roots and ratchet up the teenage angst, turning it from pop into a plea.

Verdict: The added darkness transitions it from anthem to confrontation.

“The Metro”

Originally by Berlin, a sleek, new wave track.

System of a Down turns it into something twitchy and unpredictable.

Verdict: Controlled chaos.

Canadian Corner

“Lovers in a Dangerous Time”

The Bruce Cockburn original is thoughtful and restrained.

BNL open it up, brighten it, and – arguably – make it the version most people know today.

Verdict: Might have taken the crown.

“I Ran”

A Flock of Seagulls’ original is peak ’80s atmosphere.

Toronto’s The Beaches give it muscle without losing the hook.

Verdict: Faithful, with bite.

Ben’s Folk Revue

Strip a song down and you find out what’s really there. And for this special column, we actually have notes from Ben – who is keeping things real in the corner.

“Girls Just Want to Have Fun”

There are people that like this song. Unfortunately, I find it insipid.

Gillian Welch and David Rawlings completely rework it, turning it into something stripped down, heartfelt, and just a little bit devastating.

Verdict: Tempo changes everything – what was once joy becomes something much sadder.

“Love Vigilantes”

Another New Order song, but completely transformed.

Laura Cantrell turns what was once electronic into something that is deeply human.

Verdict: Total reinvention.

“That’s Entertainment”

The Jam original is sharp and observational.

The Wonder Stuff version softens the edges just enough to feel lived-in.

Verdict: Different lens, same truth.

Live Tracks

“Under Pressure”

Originally by Queen and David Bowie – good luck touching that.

And yet, the My Chemical Romance and The Used version works because it doesn’t try to outdo it – it just throws emotion at it.

Verdict: Emo angst crosses generations.

“Goodbye Horses”

Q Lazzarus’ cult classic – later embraced by TikTok – is still best known for its unforgettable scene in The Silence of the Lambs.

The Airborne Toxic Event show that sometimes all a song needs is a new audience and the right moment.

Verdict: Revival – proof that great songs never disappear.

Covers

Before everyone else started covering the ’80s, the ’80s were already covering everything.

“Always on My Mind”

Originally recorded by Brenda Lee and made famous by Elvis Presley, but for the purpose of this piece we’re going with the Willie Nelson version – which topped the country charts and hit No. 5 on the Hot 100 in 1982.

Then came Pet Shop Boys. A worldwide No. 1, including Canada and the UK, and a Top 5 hit in the U.S. Nearly 40 years later, for many people, this is the definitive version.

Verdict: Full takeover.

“Funkytown”

Lipps Inc. had one of the biggest songs of the early ’80s with their pseudo-disco hit.

Pseudo Echo turned it into one of the most fun songs of 1987 with a guitar-driven version that absolutely rips.

Verdict: You knew I had to get at least one Australian band in here – might as well make it a banger.

“Ceremony”

“Ceremony” is already sacred ground – one of the last songs written by Ian Curtis. Born out of the ashes of Joy Division and reborn with New Order, it’s one of my favourite songs of all time… so I’m not entirely sure why I’m doing this.

Galaxie 500 slow it down and let it breathe, turning it into something ghostly and fragile.

Verdict: Reverent, but transformative. And a perfect bookend to the decade’s evolution of indie rock.

Just ‘Cause

Better Than the Original?

Let’s say it out loud.

“This Woman’s Work”

Not because the original isn’t incredible. It is. Kate Bush’s version feels impossibly intimate. Back in the ’80s, I was deep in my John Hughes phase – if his movies had a soundtrack, I was buying it. The second song on side two was riddled with skips because I kept going back to the start of “This Woman’s Work”. I love it.

Let’s be honest, this column could’ve just been Kate Bush covers – she’s just that great.

But Maxwell’s version doesn’t just reinterpret the song, it redefines how it lands – for me. And that’s the whole point of this exercise. I remember one night after one of our Pinot Parties, Dia and I stayed up way past 3, just playing this song over and over, trying to convince Joey that Maxwell’s version is the ultimate one.

He strips it down even further and somehow makes it more devastating.

Verdict: This is one of those covers where you don’t compare – you just feel it. It takes you somewhere new. It’s the kind of song that makes you cry while you’re smiling.

Fuck, I love music.

Also, this was the best moment from MEGAN 2.0 – just timeless.

What’s a cover of an ’80s song you think is better than the original?

What did we miss? Let me know in the comments.

We’re pretty lucky to have all this music – even if someone else got there first. Life’s short. Tell someone you love them. Be good to one another.

We get excited about the results. We think our votes make a difference. If we log in every day, we can help propel our favourite artists toward immortality – enshrined in the Hall.

But every year, we should remind ourselves of one simple thing:

It only counts as one ballot. Just one.

The committee decides who will be announced next week as the 2026 Rock and Roll Hall of Fame class.

Which raises the obvious question: if the fan vote doesn’t decide the outcome, what is it actually telling us?

What the Fan Vote Tells Us (and What It Doesn’t)

At first glance, the results look pretty straightforward – and maddening to anyone who believes the Rock Hall should be exclusively rock.

The top five all received over 700K votes, and not one would traditionally be considered “rock.”

The fan vote top five:

• New Edition

• Phil Collins

• P!NK

• Shakira

• Luther Vandross

Established stars with deep catalogues and broad recognition – and that makes sense. Because the fan vote isn’t really measuring influence, cultural impact, or even historical importance.

It’s measuring connection.

Who do people know?
Who do they remember?
Who do they feel something about?

That’s powerful, but it’s not the same thing as Hall of Fame criteria.

Where the Fan Vote Gets Complicated

Once you move beyond familiarity, the cracks start to show.

These five artists:

• Iron Maiden

• Mariah Carey

• Wu-Tang Clan

• Oasis

• Joy Division / New Order

…don’t land where you might expect if you’re looking at influence, global impact, or musical legacy – on-top-of being significantly more rock than the fan’s top 5. And yes, I’m including Mariah.

Heck, she is so far and away the best-selling artist on this list that it’s genuinely surprising to see New Edition – whose career is a fraction of the size, and largely predates Mariah’s – doubling her in votes.

That’s where things get interesting.

Because these aren’t fringe artists. These are architects of popular music:

• Bands that defined genres

• Artists that reshaped sound

• Movements that still echo today

• And, in many cases, artists who still tour

And yet, in a pure fan vote, they get pushed down the list. Not because they don’t matter. But because they don’t activate voters the same way.

Popularity vs. Impact

This is the tension at the heart of the Rock Hall.

Fans vote for:

• familiarity

• nostalgia

• personal connection

The Hall, at its best, is supposed to vote for:

• influence

• cultural disruption

• lasting impact

• (and yes) popularity

Those two things overlap sometimes. But not always.

The Point of the Fan Vote

So what is the fan vote actually for?

It’s a bit of a three-card monte. We believe we have a say in who gets into the Hall. We believe we’re part of the process. But in reality – it’s not the decision-maker. It’s the temperature check.

It tells the committee who people love right now. Although, even that’s debatable – streaming numbers and YouTube views probably paint a clearer picture of actual, sustained popularity.

One thing is certain: the fan vote doesn’t necessarily tell us who changed music.

How many votes do you think The Velvet Underground would have received when they were inducted in 1996? Probably something closer to Joy Division / New Order than the top of the ballot.

And if we’re being honest, it probably shouldn’t.

Because if the Hall simply followed the fan vote, it would become a popularity contest. And if it ignored it completely, it would risk feeling disconnected from its audience.

The balance is the point.

Bringing It Back

In my last Rock Hall pieces, I’ve argued that the Hall should be consistent – that influence, durability, and cultural reach should matter more than genre purity or nostalgia.

The fan vote doesn’t contradict that argument.

It reinforces it.

Because it shows, in real time, the difference between who we love…

…and who shaped the music we love.

So Who Actually Gets In?

If I follow the system I laid out – Influence (40%), Sales & Streaming (20%), Awards (20%), Popularity (15%), Touring (5%) – the answer should be pretty straightforward.

The “slam dunks” are:

• Mariah Carey

• Wu-Tang Clan

• Phil Collins

• Iron Maiden

• Oasis

By any consistent application of influence, commercial success, and cultural impact, those five should be walking into the Hall.

But here’s where things get uncomfortable. Because history tells us that’s not how this works.

The Problem With My Equation

Last year, Phish absolutely dominated the fan vote. It didn’t matter. They didn’t get in. (Nor do I think they should.)

But it raises a bigger question:

If fan voting doesn’t decide it…
And if influence, sales, awards, and impact don’t consistently decide it…

What actually does?

Because the truth is, the Rock and Roll Hall of Fame has never had a fully transparent or consistent formula. And that creates a problem for people like me trying to apply one.

So What Is This Really About?

Maybe the answer is simpler – and messier.

It’s not just math.
It’s not just influence.
It’s not just popularity.

It’s narrative.
It’s timing.
It’s who the voting body feels is ready.

And that means every year, no matter how much data we bring to the table, something won’t quite add up.

Why Joe Cocker last year?

Was it timing?
Was it narrative?
Did Paul McCartney make a call?

Or did the committee genuinely decide that now was the moment – that an artist who had been gone for over a decade should get the nod ahead of a band like Oasis, who were about to embark on a massive global stadium run?

Bringing It Back to the Bigger Idea

Which brings me back to the argument I’ve been circling this entire time.

We spend so much time debating:

• who is “rock enough”

• who deserves it more

• who has the better resume

But the Hall has never operated like a strict equation. And it has definitely never operated as a genre-pure institution. From day one, it has inducted artists across soul, R&B, pop, hip-hop, and rock – not because they fit a narrow definition, but because they shaped the culture.

Rock was never the rulebook. It was the banner.

And if the Hall isn’t perfectly consistent in how it applies its criteria? That might not be a flaw. That might be the point. Until the tell-all book comes out, we may never fully understand how those decisions are made.

But if the Hall is going to position itself as the authority on music history, then it should at least strive for consistency in how it defines greatness.

One spot remains beside “The Weight”.

The Band are waiting for the next song to join them as the greatest Canadian song of all time.

This year, it’s nothing but No. 1 songs. The crazy thing? Three of the four finalists were leftovers from last year, after losing to eventual champ “The Weight”.

Three of the final four also have ties to the U.S.

Arcade Fire has American members and splits time between New Orleans and Montreal. Both Joni and Alanis have been California residents for years. Meanwhile, Rush still calls Toronto home – and TBH, who would ever leave?

In a CBC editorial vote, here’s how our final four ranked:

“Spirit of Radio” (unranked); 31. “You Oughta Know”; 5. “Wake Up”; 1. “Both Sides Now.”

Who says public broadcasting has lost its way?

Rolling Stone’s 50 Greatest Canadian Artists of All Time placed our finalists here:

1. Joni Mitchell

3. Rush

9. Alanis Morissette

12. Arcade Fire.

I guess the point is this: no matter how you slice it, we’re lucky to have this group of songs in the Final Four.

If I’m being honest, three of these songs are in my top 47 songs of all time. Yes, that’s how specific my list is.

There’s nothing left to do but do it.

Final Four

1. Arcade Fire – “Wake Up” vs. 2. Rush – “The Spirit of Radio”

It’s an Original Six matchup. Montreal vs. Toronto.

In one corner: the Canadian-American indie heroes. Grammys. Clout. Critical darlings. Festival anthems. The cool kids smoking in the corner at high school. Arcade Fire.

In the other: the high school AV club. Beloved. Hall of Famers. So Toronto they practically bleed blue. Rush.

Both of these songs are in my 47. I love them. Truly.

Let’s break it down:

Music – edge (pun intended): Rush

Lyrics – big edge: Arcade Fire

Chorus – edge: Arcade Fire

Nostalgia – edge: Arcade Fire

Live version – edge: Arcade Fire

Intangibles – wash

Both songs open with incredible guitars. And while the musicianship might be slightly better in “The Spirit of Radio,” everything else screams “Wake Up.” The singalong. The emotional pull. The feeling.

When you’re talking about two perfect songs, it comes down to what kind of perfect you value.

I know Arcade Fire aren’t 100% Canadian – but this song is. Funeral was recorded over a week in Montreal. (Hey, I spent a week in Montreal one weekend in 1991.)

Permanent Waves was also recorded in Quebec and is universally loved. Maybe not Funeral-level loved – but still one of THOSE records.

But this is song vs. song.

“Wake Up” was a debut statement. A band kicking down the door and telling the world they matter. “The Spirit of Radio” came on album seven – Rush were already Rush.

So my vote goes to “Wake Up.”

Joey: “Wake Up”. I’d vote for “Suzanne” if it were here, but it’s not. Also, truth be told, I’ve never been a Rush fan.

Debbie/Alex: “The Spirit of Radio”. For once, I agree with my better half. Tough one, though. I just love “Spirit” too much. It pops. “Wake Up” is huge, but “Spirit” is just so fun and impressive.

Walle: I heard “Ready to Start” this morning on the radio. That feels like a sign. Even radio has turned on Rush.

Ken: Rush’s legacy should not be denied.

Verdict: It was close, but Montreal beats Toronto again. “The Spirit of Radio” is peak Canada – but it feels just a touch more dated than “Wake Up.” For now, Arcade Fire moves on.

1. Joni Mitchell – “Both Sides Now” vs. 1. Alanis Morissette – “You Oughta Know”

For me, this isn’t really a fair fight. Both songs are iconic. But “Both Sides Now” feels like the song we need right now.

Maybe I’m wrong, but it feels more inclusive. “You Oughta Know” is personal, combative. I get enough of that in everyday life.

So it’s Joni.

Also… it’s just the better song.

Walle: Since Joni isn’t Alanis, I’m voting for her. Not sure that makes sense. Oh the irony – hey Alanis, am I using that word right?

Ken: I’m voting for the last woman standing from our ’90s CanCon juggernauts.

Joey: “Both Sides Now” just feels evergreen. Joni elevates it beyond every other version. “You Oughta Know” is great, but I’d rarely choose it. I’d always choose Joni.

Alex/Debbie: Split decision.

Verdict: “Both Sides Now” moves on to the final.

Final

1. Arcade Fire – “Wake Up” vs. 1. Joni Mitchell – “Both Sides Now”

Since he helped us get here, Dutch is officially a full voting member for the final.

Are these my two favourite Canadian songs of all time? Yes.

And now I have to choose.

Let’s hear from everyone else first – because I honestly don’t know what to do.

Ken: LOL. Painted myself into a corner here. But I salute you, Queen Joni. Long may you reign.

Debbie: What the actual fuck. Gun to my head… “Wake Up”. But I’m not happy about it.

Alex: Hard to compare. Pure gut decision. “Wake Up”. Probably influenced by growing up in Montreal and hearing this everywhere. I’m choosing ferocity over grace.

Joey: I love both songs. They mean so much to me. But I’m going with my girl Joni.

Walle: “Wake Up”. Why not? I just like it better.

Dutch: You and your easy questions all the time.

Not sure how to approach this one. Both are excellent songs. Both stand the test of time. Musically, “Both Sides Now” might be a bit stronger – but personally, “Wake Up” speaks a bit louder. Probably the result of it being released during my lifetime.

I remember listening to Funeral on frequent train rides in 2004, on my teal-coloured iPod Mini. The album sounded new, whimsical, and magical – and it still does today. “Wake Up” was my favourite track.

With apologies to Joni, it’s that connection that gives “Wake Up” the win – by the tiniest of smidges.

Stephen: I’m going with “Wake Up”.

That makes it 5–2 Arcade Fire.

This one is close. Really close.

“Wake Up” is for me.

“Both Sides Now” was for my mom.

But if I’m being honest… this vote is for me.

Arcade Fire’s “Wake Up” is your Canadian Music March Madness 2.0 champion.

Arcade Fire sparked something. The 2000s were a special time. What Broken Social Scene, Stars, Metric, and others started – Arcade Fire brought to the world.

We always knew Canadian music was special. “Wake Up” made sure everyone else did too. And maybe that’s what this column is all about: celebrating great Canadian songs.

Since the beginning of popular music, Canadians have been a part of it.

As Ken kept saying throughout: I salute you [insert Canadian artist here].

And I salute all these songs.

I may not love every one of them – but every single one makes me proud to be Canadian.

Thanks to Ken, Debbie, Walle, Alex, Joey, and Dutch for helping bring this to life.

Thanks to everyone who voted.

And most of all – thanks to you for reading.

Which song do you want to see in next year’s bracket? Let me know in the comments.

Top Seeds:

1. Alanis Morrisette – You Oughta Know

2. Gordon Lightfoot – If You Could Read My Mind

3. Avril Lavigne – Sk8tr Boi

4. BTO – Takin’ Care of Business

Predictions:

Time to put a little faith in The Hip, with “Ahead by a Century” winning the group in a close one over Lightfoot. There are a couple of lower seeds I like a lot – “Drinking in LA” and “Steal My Sunshine”. Both could make some noise.

Here’s a playlist if you’d like to follow along.

1. Alanis Morissette – “You Oughta Know” vs. 16. Tom Connors – “Sudbury Saturday Night”

One song is full of angst and passion. It is a cultural revolution rolled into four minutes. It was a pop‑culture phenomenon. It is one of the greatest Canadian rock songs of all time.

The other song is “Sudbury Saturday Night”.

Ken: Tough match‑up for a CanCon icon like Tom, but I’m voting for Alanis.

Joey: So I’m representing two factions. One is northern and rural Canada and the other is mining communities – is “Sudbury Saturday Night” a better song? No. But it’s a perfect song for a Saturday night in a town like Sudbury. We don’t have to be cerebral in our music. It’s a song about gossip and I love it, so I’m voting for Tom.

Debbie: “You Oughta Know” is THE girl‑rage song and you can’t change my mind.

Verdict: Wonderful sentiment from Joey, and as a former rural Canadian, I totally get that part of the song – the curling clubs, the legions, the places that many Canadians had only one choice to visit on a Saturday night. However, Alanis’ anthem is not getting knocked out here.

8. Red Rider – “Lunatic Fringe” vs. 9. Tegan and Sara – “Closer”

I never knew there was so much meaning behind “Lunatic Fringe”. Written by Tom Cochrane after he read about the rise of antisemitism in the late ’70s, it is a beloved Canadian rock song. We need you now more than ever, Tom.

“Closer” is a number‑one dance song from Calgary twins Tegan and Sara. And TBH, it is the superior song. Listen, I like Red Rider as much as the next guy, but the vibes out of “Closer” cannot be denied as far as I’m concerned. So I may be a lunatic, but my vote is “Closer” than the fringe.

Walle: Syracuse, where I went to school, had an insanely good classic rock station called 95X. Red Rider’s “Lunatic Fringe” was on pretty regular rotation. Great memories.

Ken: It’s a close one, but you never turn your back on your hometown, so for me it’s the twins.

Joey: I think “Lunatic Fringe” is a fine song, but I’m not here to vote on fine. So it’s “Closer” for me.

Verdict: Nice win for Tegan and Sara here – it’s going to be a tad bit tougher in the next round.

5. Sam Roberts – “Brother Down” vs. 12. Bran Van 3000 – “Drinking in LA”

Sam Roberts’ debut single “Brother Down” is incredibly popular in Canada. The song went to number two in 2002 and continues to be one of the most played songs by a Canadian artist on rock stations in the country.

“Drinking in LA” was the debut single from Montreal collective Bran Van 3000 and was actually a bigger song abroad than in Canada. In fact, the song made it all the way to number three in the UK. For me, there is only one choice. I suspected I might be in the minority, but I’m all for “Drinking in LA”.

Ken: Sam is one of the best songwriters of his generation, Canadian or otherwise.

Alex: “Drinking in LA” is such a groovy and unique song. It’s before my time, but I wish I knew it back when I was broke and drinking in LA at 23. I would’ve cried.

Verdict: Again, the voters are deadlocked, even with Debbie having no sympathy for Alex’s time in LA, so it’s off to Dutch to break the tie.

Dutch: I’m gonna shoot from the hip on this one. I don’t know what it is about “Brother Down”, it just rubs me the wrong way. Sam is trying too hard to do… something? “Drinking in LA”, on the other hand, I’ve always loved. It’s just an anthem for the lazy and hungover – released at a time when I was very good at being lazy and hungover. Performed with just enough disinterest to hit the sweet spot. It’s hard to make that look easy and effortless – especially when being effortlessly cool is the whole purpose of the song. Just a gem.

Also, note to the Velcro Staircase overlords: I’d like to have a late‑night, lakeside chat about why songs like “Brother Down” are so god‑awful. There were a bunch of songs around the turn of the millennium – “uplifting rock songs” with crappy lyrics about how everybody is living their lives wrong. Not sure what the genre is – post‑yacht rock? But it’s lazy songwriting masked by supposed genius. It’s like Sam Roberts went into a time machine, moved up 20 years, and had AI write this song for him. Still voting for “Drinking in LA”.

4. BTO – “You Ain’t Seen Nothing Yet” vs. 13. Arkells – “Leather Jacket”

Ba ba ba baby – “You Ain’t Seen Nothing Yet” is a superb rock song by Manitoba royalty BTO. A number‑one song on both sides of the border, it is straight‑ahead ’70s rock.

Its competition: the Arkells out of Hamilton with their 2014 alternative number‑one “Leather Jacket”. It’s a really good song – but c’mon, man. Even the Arkells would be voting for BTO in this one. Although I love “you call me up from a pay phone, I said hang on tight, I’ll drive you home.” So many great memories with girls, pay phones, and cars – but baby… “You Ain’t Seen Nothing Yet”.

Walle: If the 8‑track was in the car, you vote for it. Happy to see BTO go through.

Ken: This is likely the worst Arkells song, so I’m happy to vote for BTO.

Debbie/Alex: “You Ain’t Seen Nothing Yet” is such a classic banger.

Verdict: Our second unanimous 5‑0 vote. BTO are really Canadian rock royalty.

6. The Tragically Hip – “Ahead by a Century” vs. 11. Paul Anka – “Lonely Boy”

I’m from Ottawa. Paul Anka is from Ottawa. My nana taught English at Fisher Park High School. Paul Anka went to Fisher Park High School. He is Ottawa royalty. I have a personal connection, and I’m still voting for The Hip. And I’m not a Hip guy, but I’m good with my decision.

Ken: I’m seriously questioning why The Hip didn’t get a bye to the Final Four.

Verdict: It wasn’t unanimous, but The Hip move on.

3. Avril Lavigne – “Sk8tr Boi” vs. 14. Alvvays – “Marry Me, Archie”

While not achieving the success of “Complicated” (not many songs do), “Sk8tr Boi” was still a top‑10 hit in the US and a top‑20 song in many countries around the world. It is a pop‑punk song of the highest order – telling the story of missed opportunities.

“Marry Me, Archie” did not chart anywhere, but it is a much‑beloved indie rock song questioning traditional marriage. Both songs are amazing for their own specific reasons and this is basically impossible. Fuck it, I’m going with the island on this one – Alvvays!

Ken: Avril is so influential, she probably inspired Alvvays.

Joey: This is so hard for me.

Debbie: “Sk8tr Boi” was my favourite song in 7th grade.

Alex: Ew… “Marry Me, Archie” is the obvious choice here.

Verdict: Again, we are deadlocked and need our resident metal expert to pick his favourite pop song. Take it away, Dutch.

Dutch: This is getting ridiculous. How come I’m not toplining this article because of all the writing I’m already doing? [sigh] Anyway… this might be the closest to an apples‑to‑apples comparison on the list so far. That makes it a bit easier. “Sk8tr Boi” is a fun pop‑punk song, but it feels a little simplified to reach as wide an audience as possible. “Marry Me, Archie” carries a lot more depth, disguised by the relatively monotonous songwriting. While “Sk8tr Boi” is an accomplished earworm, the sincerity of “Archie” wins it.

7. Dragonette – “Hello” vs. 10. Len – “Steal My Sunshine”

Technically “Hello” is a Martin Solveig track featuring Toronto band Dragonette, but for this bracket it counts. I forgot how much fun it is.

That being said, “Steal My Sunshine” by Toronto band Len is one of THE great one‑hit wonders of all time. The use of Andrea True Connection’s “More, More, More” is perfect and it just screams summer. And that wins out – despite hearing “Hello” twice at two different stores in the past week.

Ken: Battle of the one‑hit wonders. I’m going with Len.

Verdict: “Steal My Sunshine” wins out 5‑0 in a bit of an upset.

2. Gordon Lightfoot – “If You Could Read My Mind” vs. 15. Gowan – “A Criminal Mind”

No offence to Larry, but Gordon is just the best!

Ken: The last choice of this round is honestly like a Sophie’s Choice for me. I adore Gowan, but this one’s an obvious check for Lightfoot.

Walle: 8‑track rule still applies.

Verdict: Lightfoot with a big 5‑0 win here.

After a couple of Dutch tie‑breakers, Round One ends pretty one‑sided. Avril getting knocked out is a bit of a surprise, but lots of heavy hitters are still marching on, with a couple of one‑hit wonders trying to continue to shock us.

Round 2

1. Alanis Morissette – “You Oughta Know” vs. 9. Tegan and Sara – “Closer”

Am I really about to do this? Do I have the guts to pick “Closer” over the angst song of the ’90s?

There’s no question that both songs are significant. But “You Oughta Know” is an anthem. I think both things can be true at the same time. I’m not sure I’m able to do it… I’m going to take a knee and figure this out.

Walle: I actually sent a fax to a radio station in the mid-’90s begging them to stop playing Alanis. I was wrong on that one.

Ken: Sorry Tegan and Sara, but keep repping the 403!

Joey: Two great songs – one by an artist we probably took for granted at the time (Alanis), the other extremely underrated (Tegan and Sara). Right now, I’m putting my mark beside “Closer”.

Verdict: Alanis is the only artist with two songs in the Sweet 16. “Closer” is a banger, but today it couldn’t beat the anthem.

4. BTO – “You Ain’t Seen Nothing Yet” vs. 12. Bran Van 3000 – “Drinking in LA”

I’m going long on “Drinking in LA”. It’s a great song, and while I have some appreciation for Bachman… don’t tell Joey, but I’m going Montreal over Winnipeg in this matchup.

Ken: One of the great all-time stutter songs.

Debbie: Ka ka Ken, you got that right, ba ba baby.

Joey: Again, I have to play my prairie card and go with my hometown. So “You Ain’t Seen Nothing Yet” is my vote. However, I can appreciate “Drinking in LA”.

Alex: “Drinking in LA”. This is my song. I love this song.

Verdict: BTO takes care of business and moves on.

6. The Tragically Hip – “Ahead by a Century” vs. 14. Alvvays – “Marry Me, Archie”

I just don’t get it. I know I’m by myself on this one, but I only enjoy a couple of Tragically Hip songs – and this isn’t one of them. TBH, I actively dislike it.

I know I should probably give up my passport, but fuck it – I’m not hip to The Hip. And if I’m the only one voting for Alvvays, so be it. I’d rather hear “Marry Me, Archie” one more time than have unlimited listens to the Hip catalogue.

It feels good to get that off my chest.

Ken: I don’t know what you’re talking about, Stephen. See you in the championship game, boys!

Joey: Unfortunately for me, The Tragically Hip are exposed here because “Ahead by a Century” is just kinda meh, while “Marry Me, Archie” is emotion wrapped in an indie blanket. Any other Hip song, I can get behind – but this one loses. And while I’m voting against The Hip, I love everything the band has done for reconciliation and that should be celebrated. But song vs. song – I’m sorry, it’s Alvvays.

Verdict: Deadlocked again, so we’re heading to Dutch.

Dutch: Love both songs. Being forced to choose, I’d go with “Ahead by a Century”. Even among Hip songs, this one sounds unique – great vocal melodies, poetic lyrics. Being ahead by a few years is cool, but a century? Mind-blowing. It’s ambitious while casually delivering on its premise. Powerful stuff.

And with that, The Hip move on.

2. Gordon Lightfoot – “If You Could Read My Mind” vs. 10. Len – “Steal My Sunshine”

I love “Steal My Sunshine”. It is 1999 in a four-minute summation.

“If You Could Read My Mind” is timeless. I would describe it as spectacular.

Walle: One of the funniest things I ever said (back in my corporate days) was, when told we were working with the CEO of Microsoft Canada: “Is his name Gord MacGates?”

Ken: Easier choice than last round. Seriously, Lightfoot should be on our coins.

Joey: It’s really too bad these songs are facing each other, because they are both great. But Gordon is iconic, so that wins out. And it’s my second-favourite Gordon Lightfoot song.

Alex: “If You Could Read My Mind” is the only song I would cheat on Debbie with. I want to make sweet love to this track.

Stephen: Let’s get to the verdict, please.

Verdict: Lightfoot has gone 10–0. At this stage, is there any song that can slow down this juggernaut?

Alanis, BTO, The Hip, and Gordon – the last four standing in Group Four are all deserving and iconic Canadian artists.

Sweet 16

1. Alanis Morissette – “You Oughta Know” vs. 4. BTO – “You Ain’t Seen Nothing Yet”

For me, this is a slam dunk. It’s “You Oughta Know”. And frankly, it’s not even close.

“You Ain’t Seen Nothing Yet” is fine. It’s a party song, and it has its place. But “You Oughta Know” is an anthem on a level that few Canadian songs have ever reached. Plus, the musicianship is on another level compared to the boys from Winnipeg.

Like the lyrics say, “it’s not fair to deny me.” Well said, Alanis. Well said. She has the better song, and it should move on.

Ken: Someone has to carry the torch of our ’90s Canadian divas into the Final Four. Alanis moves forward.

Alex: I don’t really have a preference here, TBH, but I’ll throw my support to Alanis for purely karaoke purposes.

Debbie: C’mon, ba ba baby – it’s BTO.

Verdict: Alanis moves on. It wasn’t easy, but anthems have a way of doing that. Ba ba baby!

2. Gordon Lightfoot – “If You Could Read My Mind” vs. 6. The Tragically Hip – “Ahead by a Century”

I like the Gordon Lightfoot version of “If You Could Read My Mind” more than the other song. In fact, I like the Stars on 54 version more than the other song.

It was a nice run for The Hip here, but c’mon, man – it’s all Lightfoot.

Walle: The Hip, The Metro in Chicago, March 1995 – one of the most memorable shows I’ve ever been to. Peak Gord. I really miss that band.

Ken: Yup. The Hip are still going to win it all.

Alex: This one is tough, but Gordon wins by a hair.

Joey: It’s always been Gordon for me.

Verdict: Another 3–2 decision, as Gordon > Gord. Passports revoked for everyone.

Elite 8

Two completely different songs in the final of Group 4 – but they actually have more in common than you think. Read on.

1. Alanis Morissette – “You Oughta Know” vs. 2. Gordon Lightfoot – “If You Could Read My Mind”

It’s funny – up to now, most Elite Eight matchups have been complex songs versus simpler ones.

“You Oughta Know” is an anthem. It encapsulates the ’90s in one perfect four-minute track.

“If You Could Read My Mind” is simple. Gentle. Easy.

Both songs are pleas – one full of angst and rage, Alanis kicking in the door and yelling it in your face, you dumbass.

The other is Gordon building a fire outside your window, putting a kettle on once the embers get nice and hot, then pulling out his 12-string and hoping his song is heard through your open window.

Again, we’re talking about two perfect 10s. Both are incredible.

But what are you in the mood for? Sweet or spice?

Right now, I’m leaning towards Alanis.

Ken: I’m still shook that The Hip were eliminated. And I love Gord – my mum’s favourite. But Alanis sold 33 million records. The people have spoken.

Walle: Grumble, grumble, grumble… even as an American, I have to admit that Alanis’ song has staying power, eh.

Debbie: This is a tough one, but it’s gotta be “You Oughta Know”.

Verdict: Alanis moves on to represent Group 4. The ’90s have a song in the Final Four.

In a truly Canadian group, Ottawa reigns supreme as Alanis becomes the final addition to the Final Four. “You Oughta Know” makes it three No. 1 seeds in the finals.

Three No. 1 seeds… and one Toronto love letter to radio.

There are no easy wins left.

Not even for Joni.

Check back Thursday for the Canadian Music March Madness 2026 finale.

We live very close to a park where I take the dog for walks. I cross two streets, and one of them has a stop sign. It’s one of those stop signs drivers love to roll through. Not because they’re flying – our neighbourhood is full of speed bumps – but because it’s easy to pause instead of fully stopping.

Every now and then, a police car parks there and just cleans up. Ticket after ticket.

I remember the first time I got stopped for rolling through a stop sign. First year of college, driving home. I see a car approaching from the other direction and think – I’ve got to beat this guy through the intersection.

It was a cop. Cherries immediately.

He walks up to the window and says, “Seriously… what were you thinking?”

I told him the truth: “I just wanted to get through before you.”

He looks at my backpack, asks if I’m a student, shakes his head, hands me back my license, and says, “Just stop at stop signs.”

And for whatever reason, that stuck.

Stop signs mean stop.

So what does that have to do with new music?

This week, there was a lot. So many albums, so many tracks – and more than once, I had to stop mid-listen because you simply can’t get to everything.

You can’t roll through a week like this. You’ve got to stop and actually listen.

But what I did find is great: new music from old favourites like Robyn, Future Islands, and Armored Saint, alongside excellent tracks from artists you might not know yet – Raye, Slayyter, and Prostitute.

Indie, dance, pop, metal – we’ve got it all.

So sit back, press play, and let’s find your new favourite song.

Meghan Thee Stallion & Nickelback

Normally, I wouldn’t start the column with a promotional video; however, this is just something.

Cheetos are rolling out a new flavour, Flamin’ Hot Pickle, and have brought in Meghan Thee Stallion and the pride of Alberta, Nickelback, to do the theme song. Based on “How You Remind Me”, “Pickle’s Back” is a fun way to kick off this week in new music.

I love dill pickle chips, although my doctor has me on a new diet, so I’ll have to wait until my next cheat day.

[Not on Spotify.]

Robyn

Swedish pop icon Robyn is back with album number nine, and it’s a stunner from front to back. Sexistential feels like Robyn has been possessed by the ghost of Prince in the lyric department, while continuing to deliver dancefloor beats that rival anything out there, now layered with richer instrumentation.

I’ve enjoyed the whole album, but I’m featuring the lead track “Really Real”. Fans of Robyn are going to be very happy with this one.

Fcukers

As you know, New Music Friday sometimes starts with immediate reactions from the family. Two songs into the new Fcukers record, Joey looks up from her breakfast and says, “Who’s this?”

I say, “It’s the new Fcukers album.”

Joey: “It’s like bad Justin Timberlake.”

Now, I don’t think it’s quite that, but ’Ö’ definitely has a familiar vibe. It feels very NYC. I can see it being played in clubs in almost any decade and being embraced by the ravers.

Take “Butterflies”. It starts with a bit of a trip-hop groove before going full dance mode – the kind that has you scanning the room to see who you want to have an adventure with.

Despite Joey’s initial reaction, an excellent debut from Fcukers.

MEMORIALS

The UK duo MEMORIALS have released a couple of singles this year ahead of their new album All Clouds Bring Not Rain, and I’ve enjoyed all of them – right now, “Dropped Down the Well” is sitting comfortably in my top 20 tracks of the year.

Now the full album is here, and wow.

What I loved about “Dropped…” – the Spider-Man cartoon organ, the driving beat – that’s not really the norm across the album at all. And that’s what makes it so interesting.

This is alternative in the truest sense. The record pulls in so many different elements – chamber, indie, pop, funk – and somehow makes them all work together. It’s like if Florence’s cousin grew up listening to nothing but early ’80s post-punk records.

Here’s the opener, “Life Could Be a Cloud”, another example of how this week’s artists are making us stop and listen. There’s something exciting about pushing beyond what we’re used to.

The artists have spoken – it’s time to expand what we expect from music.

And I love it.

DMA’s

I missed the new DMA’s single last week – my bad. “My Baby’s Place” has a really cool vibe from the Sydney band. It just feels like summer. Makes sense that an Australian band, coming out of their summer, would put out a song that screams summer just in time for ours.

Right now, this looks like a one-off single, but here’s hoping album number five is on the horizon. The DMA’s are on tour in the UK this May if you want to catch them live.

The Maine

Arizona band The Maine continue to release singles leading up to their tenth album Joy Next Door. It just dawned on me how sad that title is. It’s not that I don’t want my neighbours to be happy, but Joy Next Door sounds like it’s just out of reach – which is kind of tough. Maybe it’s just an emotional time for old Stevie.

Either way, “Palms” is an excellent indie pop song and continues to build my excitement for the new album.

Downtown Boys

The great thing about punk music is that it’s never limited by boundaries. Take Rhode Island band Downtown Boys, who have just dropped a new single, “No Me Jodas”. I have no idea how to describe it beyond punk. At its core, there’s definitely a surf-punk feel, but there are also horns – and even a mariachi-style intro. The band has announced their first album in nine years will be out in June, and no matter how you describe the sound, it’s going to be a blast to hear the whole thing.

Future Islands

Future Islands have announced their eighth album, coming in May, and have released a couple of singles to celebrate. On first listen, I didn’t know what to make of “Find Love”. Something felt familiar, but I couldn’t quite place it.

And then – aha. It reminds me a bit of some Pulp B-sides from the ’90s. And don’t get me wrong, I’m not saying they’re copying anything – it just has that feel.

Which is a good thing. If this is what we can expect, welcome back Future Islands. I can’t wait for May.

Pulp

Speaking of Pulp, they released the single “When the Man Comes Around” last year, but made it available on iTunes earlier this week along with a couple of new B-sides.

Here’s one of those B-sides “Cold Call on the Hot Line”. It’s not classic, dancey, poppy Pulp – but it’s classic Jarvis.

Those that know… know.

Raye

New Favourite Album Alert

Raye has released her second album, This Music May Contain Hope, and the reviews have been strong. The South London “It Girl” can do no wrong – and on first listen, you can hear why.

Part Adele, part jazz, part pop, part musical, the album is all atmosphere, pushing Raye’s voice right to the forefront. She’s a star, and this album will only solidify that.

Joey, on her way out the door: “Who’s this? Because I really like this.”

Yesterday my friend Heather came over for cards – and it’s too bad it wasn’t today, because I’d have put this on and she would’ve loved it. There’s a lot going on here – and a lot to love.

Here’s “Beware… The South London Lover Boy.”

Slayyter

New Favourite Track Alert

Slayyter’s new album, WOR$T GIRL IN AMERICA, is excellent.

It’s been a dance- and pop-heavy Velcro Staircase this week, but with bangers like this, you understand why.

I like this album – a lot. I’m featuring the more synthwave-leaning “Gas Station”, but the rest of the record moves between straight-up dance pop and something closer to industrial club energy.

One thing’s certain – WOR$T GIRL IN AMERICA is awesome.

Dutch thought it might be fun to give punk its own lane, so we’re giving it a shot.

Welcome to the first ever…

Punk Crockpot

Prostitute

Attempted Martyr came out in November, but it just hit my radar – and it feels like the perfect place to start this new section. Here’s their single “Judge”.

Prostitute are a noise rock band out of Michigan, and this is not an easy listen, but it’s worth it. There are flashes of Middle Eastern influence woven into the chaos, and it creates something genuinely unique.

This is one of those records that takes a couple of listens before it clicks.

Like a hard workout.

This is the kind of album I’d put on when my dad asked me to clean the kitchen after a big dinner party – oh, I’ll clean it… but it’ll be on my terms.

Dutch Pick: Good Riddance

I had a spirited discussion this weekend about how punk should never give up on the naïve notion that it can still change minds – maybe even the world.

Legendary California punk band Good Riddance clearly haven’t given up, and I love to see it.

They’re back with hard-hitting songs, movie sound bites, and that same urgency that made them great in the first place. The hopeful desperation and energy carry through the entire album, all the way to the closing track, “What Kind of Day It Has Been”.

The Dutch Øven

Armored Saint

It’s kind of fun to see these metal bands from my youth still out there fighting the good fight – and I don’t mean that in a condescending way at all. I think it’s great.

Take Armored Saint, for instance. The LA legends have announced album number nine, Emotion Factory Reset, coming in May. Based on the first single, “Close to the Bone”, they’re firing on all cylinders.

What’s most impressive is how intact the band still is from their 1980s glory years. Doing something you love for 40 years… we should all be so lucky.

Here are Dutch’s offerings for the week.

Black Label Society

BLS are a solid, solid heavy metal band. With Zakk Wylde as your bandleader, you know you’re in for some serious riffage – and the songs on the new album Engines of Demolition deliver. Balls to the wall, let’s go.

“Ozzy’s Song,” the final track on the album, is the exception – a genuine, tear-jerking power ballad. I didn’t even know I missed those. The band is in Toronto this weekend, and I can tell you – this one will bring the house down.

[Official video being released after publication.]

SCATTERBRAIN

I Prevail are a Dutch family favourite, largely because of Brian Burkheiser’s vocals – who then promptly left the band under less-than-ideal circumstances.

He’s back now with his solo project, SCATTERBRAIN, tackling his mental health head-on. “FAST LANE” is dangerously close to being too poppy for the Øven, but I’ll allow it on the basis of Brian’s street cred alone.

President

President – founded in 2025 – are jumping on the anonymity trend. I guess it’s a sign of the times. So let’s let the music speak for itself. It feels like an original take on metalcore, avoiding the usual clichés while still delivering power and emotional weight. The synth-driven melodies in “Mercy” are on point, and I think this band could be big when their debut album drops later this year.

Hellripper

OK, this has been far too mellow of an Øven this week. Let’s fix that.

Coronach, the latest album from Hellripper, a one-man black/speed metal project out of Scotland, brings the chaos. But even that description doesn’t quite cover it. There are influences from ’70s, ’80s, and ’90s punk and metal – it feels like a full-on homage to bands like Motörhead, Kreator, and Slayer. And somehow, it all comes together at supersonic speed without losing the songwriting.

Eight tracks, no filler – this is a killer record.

Let’s take a trip into “Sculptor’s Cave”… after you.

Canadian Corner

Spencer Krug

Spencer Krug, of Wolf Parade fame, has announced a new album coming out in May. “Timebomb” is an indie piano-driven track that features Victoria’s Elbow Kiss in a duet.

After Wolf Parade was featured in Heated Rivalry, Krug seems to be enjoying a bit of a heater himself. He’ll be heading out on a piano tour across Western Canada in May, hitting smaller locales like Salt Spring Island and Drumheller, in addition to Calgary, Vancouver, and Saskatoon.

Sounds like a great opportunity to catch an intimate show from one of Canada’s indie stalwarts.

Ben’s Folk Revue

Charlotte Cornfield

There are some artists who don’t demand your attention – they earn it slowly. That’s where Toronto native Charlotte Cornfield lives.

The singer-songwriter has a way of making songs feel like conversations you didn’t realize you needed to hear. Her latest album, Hurts Like Hell, is understated, thoughtful, and quietly brilliant.

Every week I write about that one album that’s a set it and forget it – pour yourself a drink and watch the world go by. No rush, no pressure. That’s exactly what this record is.

I’m really enjoying “Kitchen”. Not only do I appreciate the storytelling, I love the callouts to familiar landmarks. Great song.

Cover Tune of the Week

Gang of Youths

This isn’t new, but I’d never heard it before – Australian band Gang of Youths covering LCD Soundsystem’s anthem “All My Friends”.

To say this is excellent is probably an understatement. This is one of those covers that almost elevates the original. I love it – from the double drums to the guitar interplay, this is exactly what we all need.

Live Tracks of the Week

Highschool

Joey and I went to the Highschool show earlier this week. It was a small one – maybe 80 people.

It’s a funny thing when you like a band and realize you might be one of the few. We live in a city of six million people – do only 80 people really want to go out on a Monday night to see post-punk?

I guess so.

Anyway, I had a blast. They played a lot of the new album and, of course, featured several from their back catalogue, including the awesome “Only a Dream”.

Just ‘Cause

Brave Belt

I’m right in the middle of publishing the second Canadian March Madness column – Group 3 is out now, and the two articles drop next week.

The feedback has been great, but one thing that keeps coming up is the limitation – just 60 bands. There are so many incredible Canadian artists, it’s impossible to include them all.

A reader sent in a list of Canadian acts they love, and I thought I’d feature one here… just ’cause.

Here’s Brave Belt, Randy Bachman’s other other band. When I was a very small kid, my parents had a cottage in a town called Dunrobin – so picking “Dunrobin’s Gone” just made sense.

So here it is… just ’cause.

Happy Birthday

Andrew Farriss

Happy 67th birthday to Andrew Farriss of INXS.

In high school, Farriss met Michael Hutchence after stopping a fight. The two became fast friends, and the rest, as they say, is history. Farriss and Hutchence became the primary songwriting duo for the band, with Andrew handling composition and Michael the lyrics. The pair were inducted into the Australian Songwriters Hall of Fame in 2016.

Picking my favourite INXS song is pretty easy, but since I’ve already highlighted “Don’t Change”, “This Time” I’m featuring something else.

Happy birthday, Andrew – and thanks for the gift of music.

Happy Anniversary

This New Day – Embrace

Happy 20th to This New Day.

It’s funny – when I write these anniversary posts, I’m often taken aback by the “has it really been that long?” feeling. But for This New Day, 20 years sounds about right.

2006 was a big year. I got married. Then my wife took a 10-month job in Africa. And I started a new corporate job.

Daily routine:

Go to work

Go to the gym

Play Madden

Go to sleep

Repeat.

And music was playing throughout. The Killers, Hope of the States, My Chemical Romance… and Embrace.

I adored This New Day. Even now, it’s a no-skip album for me. The whole thing lived on the iPod.

This New Day went straight to number one on the UK chart. Its success led to Embrace being chosen to record England’s official 2006 FIFA World Cup song, “World at Your Feet”. The album was later re-released with that single and became the first to top the UK Album Downloads Chart.

We have reason to celebrate – Embrace will release their ninth album Avalanche in June.

Goodbye

Dash Crofts

One half of one of the great ’70s duos is gone. Darryl “Dash” Crofts of Seals & Crofts died Wednesday following complications from heart surgery. He was 85.

Crofts met Jim Seals as a teenager, and the two played in several bands together before forming their iconic duo – and the rest, as they say, is history. They crafted yacht rock classics like “Summer Breeze”, “Diamond Girl”, and “Get Closer”, and scored eight Top 40 hits during the decade.

While the duo parted ways in 1981, they reunited a few times over the years. Jim Seals passed away in 2022.

Thanks for making dock-sitting a little more enjoyable, Dash. Rest easy… like a “Summer Breeze.”

If there’s a new song you loved this week and I missed it, let me know in the comments – the playlist is always evolving.

We’re pretty lucky to have all this music. Have a great weekend, everyone. Life’s short. Tell someone you love them. Be good to one another.

Now the question is: which song comes out of Group 3?

Get ready – this group of 16 songs might be the toughest yet.

There are some heavy hitters here: a second Joni song, a second Arcade Fire entry, plus Céline, Anne, and the Biebs. This group was always going to be interesting.

Top Seeds:

1. Joni Mitchell – Both Sides Now

2. Céline Dion – It’s All Coming Back to Me Now

3. Justin Bieber – Sorry

4. Steppenwolf – Magic Carpet Ride

Predictions:

It’s Joni’s to lose. Honestly, I’m picking “Both Sides Now” to win the whole thing. Looking for an upset? What about Carly Rae’s “Run Away with Me” making a run? Stranger things have happened.

Here’s a playlist for you to listen along.

Round 1

1. Joni Mitchell – “Both Sides Now” vs. 16. David Wilcox – “Do the Bearcat”

Do we actually need to vote on this? Because… c’mon. Even Wilcox would vote for “Both Sides Now”.

Ken: Sorry Joni, the gesticulating guitar on “Bearcat” is irresistible to me.

Joey: This is not a hard choice.

Alex: While Joni was crafting wonder, David was… well… doing his Bearcat, I guess. I’m not one to judge, but do not Google “Do the Bearcat” on your work computer.

Verdict: “Both Sides Now” has topped countless “best Canadian songs ever” lists. This was inevitable.

8. Arcade Fire – “Rebellion (Lies)” vs. 9. Kim Mitchell – “Patio Lanterns”

“Rebellion (Lies)” was the fourth single from Arcade Fire’s debut album Funeral. It didn’t have huge chart success, but it’s been a critical darling for two decades: NME put it on their “Greatest Indie Anthems” list, Pitchfork ranked it on their Top 500 Tracks of the 2000s, and it has basically been canonized in the “indie 2000s” conversation.

Kim Mitchell’s “Patio Lanterns” pulls at nostalgic heartstrings, but doesn’t add much else. It’s outclassed here.

Alex: Them “Patio Lanterns” got burned to a crisp, to be honest.

Verdict: A fairly easy 4–1 for Arcade Fire… Ken does not like Arcade Fire, but things are about to get a whole lot harder for the Montreal band on this side of the bracket.

5. The Beaches – “Blame Brett” vs. 12. Broken Social Scene – “Anthems for a Seventeen Year-Old Girl”

I hate this matchup, but I love this matchup.

“Blame Brett” is my favourite Canadian song of this decade. It’s Canadian Cheap Trick as far as I’m concerned – a perfect indie-pop rocket.

Unfortunately, “Anthems…” is my second-favourite Canadian song this century, and that means The Beaches aren’t getting my vote. Broken Social Scene is THE Canadian indie supergroup. You Forgot It in People is among the greatest records ever made in this country, and “Anthems…” is the glue that holds it all together. It’s truly amazing.

This is the worst – I mean hardest – opening-round matchup, but it goes to the 12 seed.

Walle: I’m a sucker for The Beaches; they’re wicked talented. It’s a scary 5–12 game, though. BSS is great, but this is not my favourite of their tunes.

Ken: Not my favourite song of theirs, but The Beaches are an amazing live band and if you get the chance, see them live!

Alex: I like both these songs. I have more history with “Anthems…” – I listened to the shit out of You Forgot It In People in my teens. “Blame Brett” is catchy and fun, a real earworm. But “Anthems…” is so much more interesting. It’s better crafted.

Verdict: Alex and I were the outliers here – The Beaches do what they should and take down the downtown supergroup.

4. Steppenwolf – “Magic Carpet Ride” vs. 13. Rough Trade – “High School Confidential”

“Magic Carpet Ride” just sounds like the late ’60s: the organ, the simple beat, the looseness – it’s great. It was a number-one song in Canada and hit number three in the U.S.

“High School Confidential” also just seems right – synths and lust underneath Carole Pope’s unmistakable vocals. Dare I say it… I’m leaning toward Rough Trade over Steppenwolf. I’m feeling very Toronto today, and that’s where my vote goes. Plus Pope has a film at HotDocs in April, so let’s go Rough Trade.

Ken: Rough Trade is the better track and 100% Canadian. Plus Carole Pope is an icon – so I guess I’m 3/3 votes for “High School Confidential”. Yeah, put me down for three.

Joey: I’m not sure if I should be rewarding or punishing the ridiculously long beginning to “Magic Carpet Ride,” but it wins out for me.

Verdict: Unfortunately, the judges won’t let me accept three votes from Ken, and Steppenwolf wins 3–2.

6. Anne Murray – “You Needed Me” vs. 11. Blue Rodeo – “’Til I Am Myself Again”

“You Needed Me” is ’70s cheese at its cheesiest. I’m sorry. It’s just… average at best – which may lead me toward divorce.

[Joey edit: WHAT!]

Meanwhile, she’s matched up against one of the most beloved Canadian bands of all time. “’Til I Am Myself Again” (from Blue Rodeo’s third album) was a Top 5 hit in Canada, and it wins this matchup for me.

Walle: This one’s for my dad, who loved Anne Murray.

Ken: Interesting choice for BR, but it’s so good.

Joey: “You Needed Me” is a song that’s too easily written off because it’s easy listening, but it’s great – with unexpected lyrical cadence. Plus I love Anne Murray.

Alex: God, it’s always a guilty feeling to vote against Anne… but Debbie is right: it’s Blue Rodeo.

Debbie: Damn straight I’m right.

Verdict: Risking divorce, I went against Joey’s love of Anne Murray, and Canada’s songbird is out in Round 1. Toronto is on a bit of a run here.

3. Justin Bieber – “Sorry” vs. 14. Andy Kim – “Baby, I Love You”

“Sorry” is one of the most popular songs of the past decade. A worldwide number one, and the top song in Canada in 2016. I was very meh on it at the time, but distance has made me realize it’s genuinely great.

“Baby, I Love You” was a number-one song in Canada and a Top 10 hit in the U.S. Yes, it’s a cover – but it’s a great one. Still, I’m leaning Justin here.

Ken: Andy Kim is a songwriting legend. The Biebs will never write anything as good as “Sugar Sugar.”

Joey: I’m a sucker for the “nah nah nahs.”

Verdict: Despite Ken and Joey voting Andy Kim, the rest of the group checked the Bieber box. Wouldn’t we all be so lucky.

7. Jeff Healey – “Angel Eyes” vs. 10. k-os – “Crabbuckit”

A couple of Toronto boys duking it out.

This may sound harsh, but I remember “Angel Eyes” being better. I also had no idea Jeff Healey didn’t write it, which… somehow tilts me.

“Crabbuckit” is uniquely Canadian – limited success outside the borders, but huge here. It’s a great song, a Juno winner, and I’m happy to vote it forward.

Ken: I don’t remember k-os being in Road House, so I’m voting Jeff Healey. Dalton would want it that way.

Joey: Since we’re talking about schmaltz, I love “Angel Eyes”. Unfortunately, “Crabbuckit” is not only a powerhouse song about social issues – it’s catchy.

Debbie: Not only is “Crabbuckit” the better song, but it’s also a nice reminder of the time we got drunk with k-os and some intimate friends of his.

Alex: That was a wild night.

Verdict: In a close one, k-os moves through to the next round.

2. Céline Dion – “It’s All Coming Back to Me Now” vs. 15. Carly Rae Jepsen – “Run Away With Me”

There are power ballads, and then there is “It’s All Coming Back to Me Now”. Written by Jim Steinman, famously coveted by Meat Loaf, but Steinman wanted a female voice – and boy did he get one in Céline. The song is massive. The seven-minute video is a legend. It’s a gargantuan piece of drama.

“Run Away with Me” is a critical darling without any of that pesky chart success. I really like it, but if I’m being honest… it has to be Céline.

Joey: “It’s All Coming Back” is all melodrama, but I knew exactly what song it was in the first five bars and that has to count for something.

Verdict: Céline will not be denied and moves through.

Round 1 Wrap-Up: Group 3 mostly held serve. The only real upset was Anne Murray going down to Blue Rodeo – but both are iconic, so something had to give.

Round 2

The final eight include two iconic Canadian female artists and a band leading the new wave of Canadian rock.

1. Joni Mitchell – “Both Sides Now” vs. 8. Arcade Fire – “Rebellion (Lies)”

I love Joni. I love Funeral. Here’s the thing: I don’t really love “Rebellion (Lies)”. I actually kind of don’t like it.

So while this may sound crazy for an indie guy like me, it’s an easy win for “Both Sides Now”.

Ken: Joni, because I like literally every band on this list more than I like Arcade Fire.

Joey: They’re both simple songs, but I have to go with “Both Sides Now”. The weird thing about the ’60s/’70s was artists covering other people’s songs, but Joni’s version reigns supreme.

Alex: What the hell is happening here? It’s “Both Sides Now”. Next matchup please…

Verdict: Alex is exactly right. Also: kind of funny to note that two Judy Collins-associated songs are in the Sweet 16. I’m not sure I’ve heard her version of “Blame Brett”.

4. Steppenwolf – “Magic Carpet Ride” vs. 5. The Beaches – “Blame Brett”

I have such great memories growing up with “Magic Carpet Ride”. It reminds me of cottages and feeling absolutely free – fun I couldn’t even imagine until I heard it.

“Blame Brett” is the better song.

Ken: The future of CanCon has arrived, and they “Blame Brett”.

Walle: I think an old girlfriend said “Magic Carpet Ride” was a fun song, but she also said that about “Takin’ It to the Streets” by the Doobie Brothers, so I don’t know what to make of that.

Joey: It takes a lot for me to vote against an organ solo… and listen to all that organ with Steppenwolf. However, I can’t help but think Brett absolutely did something he should be blamed for at a party while those psychedelic organ solos were playing. “Blame Brett” might be my favourite Canadian song in the last 20 years, so let’s go Beaches.

Verdict: It was messy, it was a fight, but the ladies from Toronto are through.

3. Justin Bieber – “Sorry” vs. 11. Blue Rodeo – “’Til I Am Myself Again”

Here’s the thing: I’ve never been a Blue Rodeo guy. The early-to-mid ’90s weren’t really my era for Canadian music. Sure, I liked Sloan and Pure, but the popular stuff – like the Hip and BR – didn’t speak to me.

As an old guy, I can appreciate “’Til I Am Myself Again”… but if I’m being honest, it’s hard to argue with 4B YouTube views. The production on “Sorry” is spectacular.

Also, it doesn’t really matter because I’m voting for Céline next round anyway… so I’m going with the Biebs.

Joey: Anne Murray didn’t lose to Blue Rodeo for them to get knocked out by Justin Bieber.

Ken: Blue Rodeo have been doing this longer than Biebs has been alive, that has to count for something… so “Sorry,” Justin.

Debbie: The man, the legend – of course it’s Justin. This shouldn’t be close.

Alex: I love you Debbie, but I just can’t. It goes to Blue Rodeo.

Verdict: Deadlock. We go to Dutch.

(Also: in an attempt to influence the judging, Joey texted Dutch: “You screwed Anne Murray last round. If you do it again…I’ll find you.”)

Dutch: No need for threats, Joey. I don’t mind this Bieber song. When it came out, we had a young family – and this was one of our kids’ favourites (oh, how they have strayed from the path ever since). It’s a decent, well-produced pop song – but hearing it 10 years later, it already sounds a bit dated. The exact opposite is true for “’Til I Am Myself Again,” which I had not heard before. First time hearing it, it struck me as a straight-up, well-written country/rock song. I found myself singing along in my head, using a bad impression of Bob Dylan. Given that it’s now a 35-year-old song, I think its staying power gives it the win.

2. Céline Dion – “It’s All Coming Back to Me Now” vs. 10. k-os – “Crabbuckit”

“Crabbuckit” is a wonderful song. “It’s All Coming Back to Me Now” is a movie.

You have my sword, my queen – now excuse me while I cook those crabs in the bucket.

Joey: Both songs are excellent in their own right, but what’s coming back to me is how much I love singing “It’s All Coming Back”. It’s a great song. I love it.

Debbie: k-os, “Crabbuckit”. This was a really tough decision, but I’ve hung with k-os… we had a moment.

Alex: SO tough. So different. Céline’s vocals win this one for me.

Verdict: The Queen of Pop is getting her due this year.

Sweet 16

1. Joni Mitchell – “Both Sides Now” vs. 5. The Beaches – “Blame Brett”

“Both Sides Now” almost always makes me tear up. I guess that’s what happens when you have memories of lost ones and the music they loved.

I love “Blame Brett”, but I doubt either of my kids will hear it someday and think, “I miss my dad.” “Blame Brett” is the best Canadian song of the last five years. They’re a great band, and we’re lucky to call them ours.

Joni Mitchell might be the greatest Canadian musician of all time, and “Both Sides Now” is her at her most honest, most heartbreaking… do any of us know life at all? I don’t. But I do know “Both Sides Now” is a better song. And you can’t blame me for being honest.

Walle: Sorry Joni, I know you’re Canadian music royalty, but it’s likely that, in 30 years, people will have statues built for The Beaches.

Ken: I’m voting for Joni. I love The Beaches and I get what you’re saying, Walle, but it’s no contest – yet.

Alex: This is like that scene in Crouching Tiger, Hidden Dragon when Zhang Ziyi gets her ass handed to her by Michelle Yeoh. That’s Joni in this matchup.

Verdict: Crazy close, but Joni moves on. Look for the ladies from Toronto to make this an annual trip to the Sweet 16.

2. Céline Dion – “It’s All Coming Back to Me Now” vs. 11. Blue Rodeo – “’Til I Am Myself Again”

Jeepers, “’Til I Am Myself Again” is a good song. I love jangly pop, and this is Blue Rodeo at their jangliest - it’s just really enjoyable.

“It’s All Coming Back to Me Now” was a worldwide number one. It is not jangly pop. It’s a power-ballad of the utmost ballad-y. It reeks of Steinman in the best way possible.

I don’t really care who wins this because I’d vote for either song in the other pairing… so I’ll throw one to Céline. She could use a win.

Debbie: It’s gotta be Céline.

Ken: After 40 years of Blue Rodeo, I’m not going to start voting against them now. I’m pulling for the upset here.

Walle: I have a soft spot for Céline because my old boss’s boss was a huge fan, and he’s one of the best leaders I ever worked for.

Alex: Coming back to the winner’s circle is Céline – although I’m not sure I’ll be saying that in the next round.

Verdict: It was a tough battle between two ’90s songs… and then it wasn’t. The Queen of Pop thumped David. Goliath moves on.

Elite Eight

It’s our first 1 vs. 2 matchup – probably the two most iconic Canadian female singers. Folk festivals vs. Vegas residency. Who do the betting sites favour? And who’s actually going to win? Keep reading.

1. Joni Mitchell – “Both Sides Now” vs. 2. Céline Dion – “It’s All Coming Back to Me Now”

Quite possibly the two greatest musicians this country has ever produced. They’re both known by their first name. They both have legions of fans. They’re both starters on Canada’s all-time musical lineup.

Why I’m picking “Both Sides Now”: Joni wrote it. I love it. It’s a perfect song. Just perfect. “To say I love you right out loud”… fucking kills me.

Ken: I’m also going with Joni. Céline has better songs than this one anyway.

Walle: You know what’s coming back to me right now? I had a friend tell me years ago that they’d just started learning about Joni and were surprised how good her work was. I hear their side, so I’ll go with Mitchell.

Alex: Similar to me voting for Cohen over Rush in Group 2 – there’s a haunting, quiet beauty that sets “Both Sides Now” apart. Sorry, Céline.

Verdict: Like last year, “Both Sides Now” makes it to the Final Four.

Another group in the books, and another top seed goes through. Pop superstars Justin and Céline were no match for the simplicity of Joni Mitchell.

The Beaches may be the future, but “Both Sides Now” is the song you carry for decades and still don’t quite have words for. It returns to the Final Four, hopefully improving on its semifinal exit from last year.

Group 3 belongs to “Both Sides Now”.

Who will Joni face? You’ll have to come back next time to find out.

Top Seeds

1. Carly Rae Jepsen – Call Me Maybe

2. Rush – The Spirit of Radio

3. Alanis Morissette – Ironic

4. Bryan Adams – Cuts Like a Knife

Predictions:

With a stacked group where the artists only need one name – Shania, Bryan, Joni, Alanis, Cohen, Rush – this one was always going to get messy early.

I think whoever survives the second-round matchup between Rush and Joni Mitchell feels like a Final Four lock – that just makes sense, right? As for a lower seed making some noise, don’t sleep on Leonard Cohen’s “Suzanne”. A couple of wins there wouldn’t surprise me at all.

Here’s a playlist for you to listen along.

Round 1

1. Carly Rae Jepsen – “Call Me Maybe” vs. 16. The New Pornographers – “Letter from an Occupant”

Honestly, after talking about “Call Me Maybe” so much last year, I thought I’d be sick of it. Nope. Still incredible. A worldwide number-one hit, more than 18 million copies sold, over 1.5 billion YouTube views, and a spot on Rolling Stone’s 500 Greatest Songs of All Time list – it’s a perfect pop song.

“Letter from an Occupant” comes from Canadian indie supergroup The New Pornographers and is about as Canadian indie rock as it gets, despite being sung by American Neko Case. In the early 2000s, if you were into alternative music, this song was unavoidable. It sits at number 97 on Rolling Stone’s Best Debut Singles of All Time list.

This is basically an impossible choice for me. Because “Call Me Maybe” had such a deep run last year, I went with the upset.

Joey: Oh fuck, I don’t know. I forgot how great the opening to “Call Me Maybe” is. But “Letter” is so great and actually means something to me.

Ken: My daughter once told me that “Call Me Maybe” slaps. I’m using that correctly, right?

Alex: Not this again. I went through this “Call Me Maybe” BS last year, and if you think I’m doing it again, you have another thing coming. Begone.

Verdict: The 16 seed pulls the upset. Last year, “Safety Dance” made a run before falling to Carly Rae. This year, the 16 seed gets its revenge. Oh, the irony.

8. Barenaked Ladies – “One Week” vs. 9. Leonard Cohen – “Suzanne”

“One Week” topped the Billboard Hot 100 – for exactly one week. Both BNL singers share the lead, and the song remains synonymous with the late ’90s thanks to its relentless pop-culture references.

In contrast, Leonard Cohen’s “Suzanne” is poetry set to music. Originally written as a poem, it was first recorded by Judy Collins before appearing on Cohen’s 1967 debut album. Chaos versus simplicity. Frenetic versus folk. The choice was clear for me.

Joey: “Suzanne” is my favourite Leonard Cohen song versus, like, my 15th-favourite BNL song. Cohen suffers the same way Neil Young does – the voice can be a hurdle – but for “Suzanne”, it’s perfect. “He touched your perfect body with your mind.” No-brainer.

Ken: Tough to beat prime Ladies.

Alex: Epic matchup. I’m biased as a Montreal writer, but “Suzanne” wins. “One Week” is impressive, but “Suzanne” invites you down to her place by the river, feeds you tea and oranges from China, and actually hosts. That matters. I like that.

Verdict: “Suzanne” pulls the upset, knocking out a former Billboard number-one hit.

5. Shania Twain – “That Don’t Impress Me Much” vs. 12. The Irish Rovers – “The Unicorn”

Peak Shania is a tough out for anyone. “That Don’t Impress Me Much” was a worldwide smash and a perfect example of country-pop fun done right.

The Irish Rovers – Irish musicians who formed in Toronto in the early ’60s – brought us “The Unicorn”. It’s novelty folk, and for me, pretty forgettable.

Ken: Another CanCon icon, though I do remember The Rovers’ TV show.

Joey: I love Shania forever – literally any other song of hers – but I’m just not impressed by this one.

Verdict: Despite Joey’s vote, Shania advances, 4–1.

4. Bryan Adams – “Cuts Like a Knife” vs. 13. Metric – “Dead Disco”

The second of three Top 40 singles from Adams’ third album, “Cuts Like a Knife” helped propel him to international stardom. It’s a perfect mainstream rock song – no wasted motion.

I was surprised “Dead Disco” was the Metric song that made the bracket. Metric absolutely deserve representation, but this track doesn’t sound as fresh as I’d like it to. Sir Bryan gets the nod.

Ken: Great Adams tune, but unfair seeding for Metric, who are criminally underrated.

Alex: I listened to “Dead Disco” nonstop at 14. Twenty years later, I’m kind of sick of it. Bryan wins – but not by much.

Verdict: Captain Canada moves on. Metric remain one of the most important Canadian indie bands of the past 25 years, but they’re out of the bracket.

6. Percy Faith – “Theme from A Summer Place” vs. 11. Japandroids – “The House That Heaven Built”

“A Summer Place” was number one on Billboard for nine weeks and finished 1960 as the biggest song in America. Let that sink in.

It faces Vancouver duo Japandroids and their explosive alt-rock anthem. Two total opposites. Today, I was in a rock-and-roll mood – underdog it is.

Joey: Why do I have to choose when there are such other amazing matchups? Fine – Percy Faith.

Walle: Saw Japandroids debut this song live. Never seen that much energy from a two-piece. Unreal.

Ken: Tenuous Canadian claim, but I’ll go with Percy, as he hit number one.

Debbie: “The House That Heaven Built” meant a lot to me while trapped in Catholic high school.

Verdict: Tie-breaker time.

Dutch: Two anthems. I appreciate “A Summer Place,” but Japandroids win for me. Blunt, direct, no bullshit – musically and lyrically.

Winner: Japandroids advance.

3. Alanis Morissette – “Ironic” vs. 14. Stampeders – “Sweet City Woman”

’90s juggernaut versus ’70s juggernaut.

Ottawa versus Calgary.

Number-two song in Canada in 1996 versus number-two song in 1971.

Both won Juno Awards for Single of the Year.

“Ironic” spent six weeks at number one. “Sweet City Woman” spent four. That tipped me toward Alanis – barely.

Walle: Loved the Stampeders video – a great trip down memory lane.

Ken: No-brainer, though the Stampeders are from my hometown.

Joey: “Bon, c’est bon.” It’s the Stampeders for me.

Verdict: Another tie – and back to Dutch.

Dutch: The difference is recognizability. “Ironic” is instantly identifiable, lyrically sharp, and elevated by Alanis’ performance. One of the defining songs of the ’90s.

Winner: Alanis moves on.

7. Joni Mitchell – “Big Yellow Taxi” vs. 10. The Diamonds – “Little Darlin’”

The first of two Joni Mitchell entries. Released in 1970, “Big Yellow Taxi” is a Canadian staple built on deceptively simple brilliance.

“Little Darlin’” was the third biggest song of 1957 – classic doo-wop – but it’s outclassed here.

Ken: You could argue chart success, but I’m never voting against “BYT”.

Verdict: Unanimous. Joni wins 5–0.

2. Rush – “The Spirit of Radio” vs. 15. Stars – “Elevator Love Letter”

Sometimes songs aren’t about charts. “The Spirit of Radio” isn’t my favourite Canadian song – but it is my favourite Rush song. The guitar, the tempo shifts, the reggae break – it’s incredible. No surprise it’s in the Rock & Roll Hall of Fame’s 500 Songs That Shaped Rock and Roll.

“Elevator Love Letter” is a guilty pleasure. It means something to me. It doesn’t have to mean anything to you. But still – it’s Rush, 100 times out of 100.

Ken: Not voting against Rush either. That reggae break alone is genius.

Verdict: Rush wins comfortably, setting up an epic Round 2 clash with Joni Mitchell.

One massive upset at the top, then a steady march through the rest. Round 2 is shaping up to be an absolute who’s who of Canadian music.

Round 2

We’re now down to eight. Which four move on from this grouping? You’ll have to read to find out. That Joni vs. Rush second-round matchup already feels ridiculous at this stage, but here we are. Let’s get to it.

9. Leonard Cohen – “Suzanne” vs. 16. The New Pornographers – “Letter from an Occupant”

OK, my favourite between these two is definitely “Letter from an Occupant”. It’s a wonderful indie rock classic that just sounds like 2000 – guitars, and Neko’s excellent vocals.

I had never noticed the keyboardist wearing the Edmonton Eskimos T-shirt in the video before. When I was 12, I went to the dentist – at the time, I didn’t know I had a gag reflex. Neither did my dentist. Later that day, at the St. Laurent Shopping Centre, my mom bought me an Edmonton Eskimos T-shirt. Good enough reason for me to pull for “Letter from an Occupant”.

Joey: “Suzanne” is the longest – and only – run-on sentence I’ll tolerate. While I love “LfaO,” it has to be Leonard for me. And here’s something: I’m predicting him to take the group.

Ken: Can I abstain?

Walle: Did you know Leonard Cohen is from the same neighbourhood as William Shatner? Or so the internet has told me, and it’s never been wrong before.

Alex: Pretty easy vote for the Godfather of Gloom.

Verdict: As the only voter for The New Pornographers, I’m sad to see them leave – but they’re losing to a pretty awesome song. Go forth, Leonard.

4. Bryan Adams – “Cuts Like a Knife” vs. 5. Shania Twain – “That Don’t Impress Me Much”

Two Canadian behemoths with two of their best songs. There’s something a little more rock in “Cuts Like a Knife” for me, so it gets the nod. Also, for some reason, Adams doesn’t get the props he deserves for being such a great ambassador of Canadian music.

Ken: The matchup is harsh for Shania, but I salute my ’80s CanCon King.

Joey: I prefer Shania’s catalogue to Bryan’s. However, again, I’m just not impressed by “That Don’t Impress Me Much”. If this was “which artist do you prefer,” it’s Shania. But song vs. song, “Cuts Like a Knife” gets my vote.

Verdict: Another tight battle, and Bryan knocks off Shania. Next year we’ll have a better Twain song, I promise.

3. Alanis Morissette – “Ironic” vs. 11. Japandroids – “The House That Heaven Built”

While it’s not so much irony, “Ironic” is still in the handful of great Canadian songs from the ’90s. I really enjoy Japandroids, and “The House That Heaven Built” is amazing noise – but the voice of that generation wins out for me. So I’m going with Alanis Morissette.

Ken: I salute my ’90s CanCon Queen.

Walle: The fact that Japandroids made this field but Tokyo Police Club didn’t is just sad. But I’ll take my East Asian Canadian indie rock names wherever I can get them.

Alex: I frankly don’t understand all this Japandroid bunk. Am I missing something here? Are people trying to be “Ironic” with their vote?

Joey: Actually, Alex, there’s nothing ironic about the song – it’s just a series of unfortunate events, like Lemony Snicket. Japandroids are fine, but with no sense of irony, I’m voting Alanis.

Verdict: Alanis punches her ticket to the Sweet 16.

2. Rush – “The Spirit of Radio” vs. 7. Joni Mitchell – “Big Yellow Taxi”

This is the matchup of the group.

Two of the greatest guitar licks to ever start a song in history – not just Canadian history, song history. Folk vs. rock. Simplicity vs. complexity. Feeling free vs. wanting to be free.

I’ll hear from people that it was way too early for these two to meet, and you’re probably right… but they had to meet eventually.

Alex’s guitar gets me every time, and Joni has another song in the bracket, so I’m voting Rush. I believe in the freedom of music!

Ken: Unlucky draw for Joni, but “The Spirit of Radio” is an all-timer.

Joey: Two great guitars, and the intro to “The Spirit of Radio” is amazing… but I’m going with my girl Joni here.

Debbie: I’m with Joey and Joni here. I love Joni.

Alex: I respect your decision, Debbie, but no. It’s “The Spirit of Radio”. It’s always been “The Spirit of Radio”. It’ll always be “The Spirit of Radio”.

Verdict: Rush move on – and TBH, it doesn’t get much easier against Alanis.

Sweet 16

Icons only from here on out in Group 2. Canadian music royalty is alive and well.

4. Bryan Adams – “Cuts Like a Knife” vs. 9. Leonard Cohen – “Suzanne”

It’s ’80s rock vs. ’60s poetry. While “Suzanne” is better lyrically, “Cuts Like a Knife” is the better song… or at least that’s what I said.

And then I listened to “Suzanne” one last time… the strings come in when “you want to travel with her / and you want to travel blind…”

“Suzanne” is one of those songs that makes the hairs on your arms stand up. When I listen to the Judy Collins version, it doesn’t come close to Cohen’s version. I wish there was a Collins version of “Cuts Like a Knife” that I could use as a tie-breaker… but I’m going to have to do this one alone.

My mom would vote for Cohen. My 15-year-old self would vote for Adams. The issue is that I think the 50-year-old version of me votes for Cohen…

Ken: Not voting for Bryan in a CanCon contest would be insane.

Verdict: With the group deadlocked, we’re heading to Dutch to unlock us. What will the resident Velcro Staircase rocker have to say? He’s only going one way, right? Right?

Dutch: “Cuts Like a Knife” is a bona fide rock anthem – and I’ll give it credit for being one of the earlier polished ’80s pop-rock anthems. I could just never place that “but it feels so right” sentiment. While the words fit great phonetically, it feels disjointed from the vibe of the rest of the song.

You could never accuse Leonard Cohen of being careless with his words. “Suzanne” is a CHANSON (emphasized for dramatic effect). It swelters, then holds back, then doubles down. It’s a rollercoaster, both musically and poetically – a musical painting. I just wish the song was longer, but much like the protagonist, I’m left longing for more. I’m voting for “Suzanne”.

And just like that, the King of CanCon is out.

2. Rush – “The Spirit of Radio” vs. 3. Alanis Morissette – “Ironic”

You know what’s “ironic”? Writing a song about a radio station that never plays your music. That’s what “The Spirit of Radio” is: knowing who you are and stating to the world – see me, love me, hate me, but it’s ME.

I think “The Spirit of Radio” is Rush at their peak. Others point to “Tom Sawyer”, but for me this showcases a band that musically may be without peers.

In 1995/96, Alanis Morissette was basically Bowie. She was artistically unstoppable and spoke to a generation. I probably prefer Morissette to Rush in terms of catalogue – actually, I do prefer her to Rush – but despite how good “Ironic” is… “The Spirit of Radio” is just a little bit better.

Walle: Wait, I voted against a song named after a woman and a song from an iconic Canadian woman? Is that ironic? Don’t ya think?

Ken: If you like music and don’t think “The Spirit of Radio” is worthy of moving on, I’d suggest listening to it again.

Alex/Debbie: This might be a matter of taste, but it’s “The Spirit of Radio”.

Joey: I’m kind of angry that I have to choose between these two – not because it’s difficult, but because there are so many other songs I wish were moving on. I feel very meh about both. I guess “The Spirit of Radio”, but it’s reluctant.

Verdict: I didn’t think we’d have a unanimous win this late… but here we are. Rush are through to the Elite Eight.

Elite Eight

2. Rush – “The Spirit of Radio” vs. Leonard Cohen – “Suzanne”

You knew we had to have at least one classic Toronto vs. Montreal matchup with a trip to the Final Four on the line. These songs could not be further apart.

One is a musical juggernaut: guitars, rhythm, and lyrics that are an ode to the freedom of radio, when that freedom felt like the norm. The other is poetry – simple, intimate, devastating. It’s basically: do you prefer lyrics, or do you prefer music?

When you put them side by side… how do these two even match up? This is harder than I expected.

The beginning of “The Spirit of Radio” is so iconic. I remember the early ’80s and that crazy sound coming through my crappy brown wooden radio. The guitar, the drums, the bass – it all works perfectly together. Pitch changes, little licks, Peart being Peart… and even for those of us who can’t stand Geddy’s voice, it fades into the background behind the music.

Oh, “Suzanne,” I do love you. And at the same time I was hoping Rush would come on the radio, there’s a chance I’d go downstairs and my parents would be in the living room, and I’d sit on the couch while something like “Suzanne” played.

So which memory means more to me? I can feel the warmth of that living room. The fireplace. On cold days like today, I miss it. I can smell the moment. It represents peace.

But there was something that drew me away from that living room. It was my bedroom – the furthest from everyone. The one I shared with my brother for eight years. The one where there was a chance we could hear something great on the radio.

I’ve always loved the radio.

Walle: I’m a Gen X male, thus I have to vote for Rush.

Ken: My vote is for Rush. A lot of people say they like Leonard Cohen, but only because they actually like Jeff Buckley.

Joey: This is ridiculous that you are all voting for Rush. The boys all vote for Rush, while the women vote for Cohen. Real men would vote for Cohen.

Verdict: That may be true, but Rush is still moving on to the Final Four, where they’ll match up nicely against Montreal’s Arcade Fire.

It was a who’s who of Canadian music in Group 2, and it feels fitting that maybe the most important Canadian band of all time are heading to the Final Four.

So yes: “Call Me Maybe” got hung up on, Captain Canada got Cohen’d, and now Rush are headed to the Final Four – which feels like the most Canadian way possible to end a bracket.

With two spots filled, make sure to check back next time as we look at Groups 3 and 4 and see which other great Canadian songs will round out the Final Four.

It’s one of those things that I unfortunately stopped doing as much as my younger self did – practices, work, commitments – all take priority. But as the kids grow and work isn’t what it used to be, I find myself with a little more time on my hands.

So as winter turns to spring, I’ve made the conscious decision to try to see more shows.

In fact, I have three shows in the next three weeks, which is downright crazy for me. So last night, when Dutch and I settled into our pre-concert curry and noodles, I was downright giddy. And what a way to start – a trio of metal bands at the Mod Club.

There were no tour buses in front of the venue – a van with a trailer, a camper with a trailer, and a large truck with a trailer. These were bands bringing their music to the people.

We came for Astronoid, the opener. But the second band, NERV, were also great, and the headliner, Eidola, were excellent. Besides the tracks from Astronoid’s Stargod album and a couple of NERV songs, I didn’t recognize most of the set – but that didn’t matter. I was having an absolute blast. Also, tickets were reasonable – less than $50, which is nuts in this day and age.

As we get older, when we think about live music, we usually think about going out to see the classics and nostalgic artists that helped shape our listening habits. It was great going out to see live music without waiting for “the hit” or expecting a perfectly staged show – just three bands travelling across this great continent of ours, bringing their art to the masses.

And I loved it.

Lots of new music to enjoy this week – from great indie singles to the return of one of the biggest bands in the world.

Who doesn’t love music?

Below is a playlist so you can listen along.

BTS

In the famous words from Poltergeist – they’re back…

Arguably the biggest band in the world is back after their mandatory military service in the South Korean army – thank you for your service.

Now, after six long years, BTS return with their new album Arirang. And they’ve come back in a big way.

Arirang is excellent, with 14 strong pop tracks. For some reason, my favourite right now is “Like Animals”. Produced by Diplo, the song slows things down, features a heavy bassline, and honestly just feels cool. It’s like a grimier BTS – and I like it.

Fotocrime

Dutch wanted to feature the new Fotocrime album Security. I didn’t include it last week because of timing, but per his note, it does have a couple of good songs on it, including “Plowjob”. I’d describe Fotocrime’s music as post-punk – it reminds me of classic Sisters of Mercy. If I’m to believe the internet, they come from Kentucky, so keep up the good work, Bluegrass State.

Grace Ives

New Favourite Album Alert

Grace Ives released her excellent third album Girlfriend today, and it’s very good. There are 11 different tracks I could feature, but I’m focusing on one of the more interesting ones, “Garden”. Here, Ives’ voice sits front and centre over produced beats and keyboards, while her lyrics feel like they’re steadying us before the inevitable.

I’m now on my third time through the album, and I’m liking it more with each listen. So much so that I’ve decided to include another track, “Drink Up”.

Underscores

Hyperpop Californian artist Underscores is back with her new album U. It’s a great collection of pop that crosses several eras of the genre. Here’s the album’s final track, “Wish U Well”, which feels part electronic, part Britney – but all great.

Muna

LA pop band Muna have released the second single from their upcoming fourth album. “So What” is the perfect dance-pop track you’ve come to expect – hooks, synths – but for some reason, I’m really loving the ending. It builds beautifully. Not that I like that it ends – I like how it gets there.

Deary

Deary are gearing up for their debut album Birding by releasing another excellent dream-pop single. “Alma” is exactly what you expect – airy vocals, an atmospheric rhythm section, and guitars that take you straight back to the early ’90s.

Another winner. Can’t wait for April 3.

Trevor Something

Miami DJ and electronic musician Trevor Something is back with a new single, “Electricity”.

Building off his latest album The Anima, which came out in November, it’s clear he still has a lot to say. “Electricity” is a subdued synth-dance track – you know the kind: still in the lounge phase, but the beat is starting to pull you toward the floor. The song is musical vodka soda – in the best possible way.

Telescreens

New Favourite Song Alert

Some bands just capture a moment – and Telescreens have done that perfectly.

While their first album came out in 2020, they’ve got a sound that takes you right back to NYC bands from the previous generation.

They’ve now released their eighth single from their upcoming album While the Lights Flicker. Yes – eight. And yes, that sounds ridiculous. But the album will have 20 tracks, so we’re not even halfway there.

And honestly, I’m not complaining – because “Baby I Know You Well” might be their best yet.

Old Mervs

It’s been a year since Australian duo The Old Mervs released their debut self-titled album. Nice surprise – they’ve dropped a new single, “Heavy in the Morning.”

This is the first time I’ve featured a band from Kojonup, Western Australia – but if they keep putting out tracks like this, it won’t be the last.

Muse

I was at dinner with Dutch last night before the show, talking about seeing bands in small clubs, and I mentioned that I saw Muse at the Mod Club in the mid-2000s.

Those moments become badges of honour – seeing a band before they were massive, or catching a secret show. Fittingly, Muse dropped a new single yesterday: “Be with You”.

Fans will be happy.

I’m pretty happy.

Young the Giant

California band Young the Giant have a new album coming in May and have given us another taste with “Bitter Fruit”.

Fear not – you will not find anything displeasing here. Just a fun, delicious indie rock track that will have you tapping your feet and singing along before the end.

The Afghan Whigs

One of the coolest bands of the ’90s are back with their first new music in four years.

“House of I” is classic Afghan Whigs.

Greg Dulli is in fine form – few singers sound like him. That gritty, throaty delivery defines their sound.

They’re touring with Mercury Rev later this spring. No Canadian dates yet… but here’s hoping.

The Dutch Øven

Ice Nine Kills

The Boston band is at it again – this time for the movie Ready or Not 2. “Hell or High Slaughter” feels pulled straight from the annals of classic ’80s hair metal videos, both in sight and sound. It’s refreshing to see a band be so good at what they do while also not taking themselves too seriously. Seriously, keep up the good work, Ice Nine Kills.

Here’s Dutch’s take:

Ice Nine Kills (who just dropped a track for the Scream 7 soundtrack) are at it again – this time as their alter egos Grave Diggler, a glam rock band, for the Ready or Not 2 soundtrack. BSFW (Barely Safe for Work) and exactly what you’d expect.

[Not on Spotify.]

Here’s Dutch with his choice cuts for the week:

Black Veil Brides

One of the harder bands to “label” Black Veil Brides are back with a new album, Vindicate, coming out in May. If you enjoy emo and like your rock ’n’ roll a bit heavier, this is worth a spin when it drops. The title track is out now – a fun, well-written song that’s more than a little catchy.

Holywatr

Prog metal is alive and well. A few weeks back we had the excellent ERRA album, and this week up-and-coming band Holywatr takes a page from that same playbook with their new single, “Pure Leaf”. It’s interesting, innovative, and shows enough to suggest some real breakout potential.

Gaerea

The Portuguese black metal outfit Gaerea has been teasing us with some excellent singles, and now the full album Loss is here. There’s a lot to like in the grotesque, overpowering sound – at times overwhelming, then suddenly emotional, almost desperate. “Cyclone” is a great track that shows the band’s range.

Canadian Corner

Cola

Montreal post-punk band Cola have released another single from their upcoming third album Cost of Living Adjustment. “Conflagration Mindset” comes at you easy, with a subdued wall of guitars. Easy listening indie rock.

Ben’s Folk Revue

Duane Betts

Duane Betts has released the first single from his upcoming album Isle of Hope, out in June. “Down to Houston” shows the apple doesn’t fall far from the tree – definite Allman Brothers energy, with a bit more country in the mix.

Stephen Wilson Jr.

Wilson’s song “Gary” has been out for a couple of months, but the video starring Gary Sinise dropped this week. My name is Stephen and my dog’s name is Gary – so between that, the song, and the video… this had to be included.

Cover Tune of the Week

Bruce Springsteen

There’s a Shane McGowan tribute album coming later this year and The Boss has contributed his version of “A Rainy Night in Soho”. For those of us still celebrating St. Patrick’s Day.

Live Tracks of the Week

Astronoid

After a great metal show last night, it felt right to feature Astronoid here.

It’s funny going to a show for the opener – but that was the move. Their new album Stargod is worth a spin. Prog metal fits.

Here’s “Depressed Mode”, live from Blackheart Sound Studio.

Just ‘Cause

Afroman

Celebration for freedom of speech. “Lemon Pound Cake”. For those of us that know… know.

Well done Afroman!

Happy Birthday

Chester Bennington

Today would’ve been Chester Bennington’s 50th birthday.

The majority of my friend group didn’t really like Linkin Park’s debut Hybrid Theory when it came out, and once it became the juggernaut of the early 2000s, they shunned it even more. I was the opposite.

I loved it right out of the gate.

I didn’t care much for nu metal, but this was something different. It was something better. For me, it was a perfect blend of so many musical influences I loved – rap, rock, metal, DJ culture – and on Hybrid Theory it all felt effortless. That’s the genius of the album.

Born in Phoenix on March 20, 1976, Bennington was the voice of the band. And that’s no slight to the other members – the band wouldn’t have been the same without any of them – but it was Chester’s scream that made you stop.

The album opens with “Papercut”, and at first listen it would be easy to put it in the nu metal bucket. But when you hear Chester for the first time, you take notice.

Anyway, today would’ve been his 50th birthday. I’m glad he made an album that was so special to me. And I know I’m not the only one.

Happy Anniversary

Olympian

Growing up, there were several bands that were – rightfully or wrongfully – labelled “the new Smiths” by the British press. One of those bands that immediately had the look and the feel, and made us believe we were witnessing something special, was Gene.

After releasing several songs that found success on the UK indie charts, the band became darlings of the UK music press, winning the inaugural NME Brat Award for Best New Act and being voted the brightest hope for British music in 1995.

The band released their debut album Olympian on March 20, 1995. It reached number 8 on the UK chart and received excellent reviews – often being recognized as one of the best albums of the Britpop era. The band toured extensively and, by the summer, were given a headlining slot at Reading.

Gene went on to release three additional albums before breaking up in 2004. Their high-water mark remains their debut, which included several excellent singles, including “Haunted by You”.

And next week, they’re back – reuniting for four shows in the UK.

Goodbye

Chuck Norris

Chuck Norris, the martial artist, actor, and unlikely pop culture phenomenon, died this week at the age of 86.

Born in 1940, Norris first rose to prominence through martial arts before breaking into Hollywood. His early role opposite Bruce Lee in Way of the Dragon remains one of the most iconic fight scenes ever put to film.

From there, he became a staple of 1980s action cinema with films like Missing in Action and The Delta Force.

Growing up, my family did not have a VCR. So on special occasions, we would rent a VHS player and a stack of movies for the weekend. And let me tell you, from 1984 to 1986, Chuck Norris movies were always high on our wish list.

Norris would go on to find his most recognizable role as Cordell Walker in Walker, Texas Ranger. But that’s not really true.

Chuck Norris’ most iconic role was being Chuck Norris.

He became the cultural benchmark for toughness – eventually turning into a full-blown meme. The “Chuck Norris facts” made him larger than life: a joke, a myth, and somehow still completely respected at the same time.

Not many people get a second act like that.

Behind it all was a decorated martial artist, a six-time world champion, and someone who built a life around discipline, strength, and a very specific kind of old-school toughness.

It’s funny that my first introduction to him was in that famous Bruce Lee fight, where Norris played the villain. It’s almost as if he spent the rest of his life making up for it by being THE hero.

For many of us, he was just always there – representing good, kicking down doors, and somehow always winning the fight.

Chuck died yesterday surrounded by family and loved ones.

Somewhere upstairs, Chuck Norris is making sure the good guys win and right always beats wrong.

It puts a smile on my face to think that good guys can finish first. Rest easy, Chuck and from the bottom of a pop culture nerd’s heart – thank you for all the fantastic memories.

[Not on Spotify.]

If there’s a new song you loved this week and I missed it, let me know in the comments – the playlist is always evolving.

We’re pretty lucky to have all this music. Have a great weekend, everyone. Life’s short. Tell someone you love them. Be good to one another.

Welcome to Canadian Music March Madness 2.0.

Last year, “The Weight” by The Band was crowned the greatest Canadian song. This year we’re starting with 60 brand-new songs and bringing back four tracks that The Band knocked out along the way.

So how did I pick the songs?

The criteria were simple enough: songs by Canadians, songs people genuinely love, success on both the Billboard and RPM charts, and appearances on previously published “best of” lists. The initial list was massive. I used AI to tighten it, then went to readers to vote on which songs deserved to make the bracket.

After ranking them – and using AI again to refine those rankings – I landed on a mostly perfect 64-song bracket.

That diversity showed up immediately: there were only four unanimous picks out of 32 matchups in Round 1. That tells me the pairings worked.

Of course, I couldn’t do this alone. I brought in a panel of voters to help decide the winners and add perspective:

Walle – occasional Velcro Staircase contributor, music obsessive, and a Chicago-based American bringing an outsider’s view. He writes the Own the Narrative Substack.

Ken – first-time contributor who writes the Maple Mixtape Substack and brings a Western Canadian lens.

Alex/Debbie – significantly younger and far hipper than me, voting as a single ballot. Alex has contributed before; Debbie is here to keep him honest.

Joey – back by popular demand after her Christmas album commentary. A longtime Winnipeg Folk Festival volunteer who heroically tolerates New Music Friday every week.

Between the five of us – and occasional tie-breaker Dutch – we’ll try to figure out the best Canadian song not named “The Weight”.

Group 1

Top Seeds

1 Arcade Fire — Wake Up

2 The Weeknd — Blinding Lights

3 The Guess Who — These Eyes

4 Nelly Furtado — Promiscuous

Predictions:

Before we dive in, here’s my totally unnecessary prediction for Group 1: “Wake Up” by Arcade Fire feels like another Final Four contender. And if a lower seed is going to make a run? Keep an eye on “Barrett’s Privateers”. I won’t be voting for it – but enough people love it that it could absolutely cause some damage.

Here’s a playlist for you to listen along.

Round 1

1. Arcade Fire – “Wake Up” vs. 16. Maestro Fresh Wes – “Let Your Backbone Slide”

Last year, “Wake Up” lost in the final to “The Weight”. It represents a very specific and special moment in Canadian music – when Arcade Fire were the most talked-about indie band in the world. They played David Bowie’s birthday, won Grammys, headlined festivals, and “Wake Up” became their anthem.

Standing in the way is one of the most historically important songs in this bracket. Maestro Fresh Wes’ debut single was the first Canadian hip-hop track to go gold, hit number one in Canada, and remained the best-selling Canadian hip-hop single until 2008. In 2000, Chart magazine readers voted it the 11th greatest Canadian song of all time.

Last year, we opened with an upset (“Safety Dance” over “Seasons in the Sun”), but I don’t see that happening here. Catchy as “Backbone” is, timeless anthem beats running-man nostalgia.

Ken: I am the sole Canadian who can’t abide Arcade Fire – plus “Backbone” is the better track.

Verdict: Despite Ken’s vote, it’s Montreal 4, Toronto 1. Arcade Fire moves on with a bona fide anthem.

8. Neil Young – “Helpless” vs. 9. Serena Ryder – “Stompa”

“There is a town in North Ontario…” Jeepers, Neil Young could write a song. Originally recorded with Crazy Horse, CSNY convinced him to re-record “Helpless” for Déjà Vu in 1970.

The contrast between these two songs is stark. I really like Serena Ryder, but “Stompa” has always been just okay to my ears. This was an easy vote for “Helpless”.

Walle: “Stompa” should’ve been bigger on this side of the border.

Joey: The sad truth is, I just don’t like Neil Young and I’m from Winnipeg!

Debbie/Alex: “Stompa” is iCoNiC. Other Neil songs would have won here, but “Helpless” gets helplessly stomped in this matchup.

Verdict: Upset alert. Serena Ryder knocks out a Hall of Famer and “Stompa” stomps onward.

5. The Band – “Up on Cripple Creek” vs. 12. 54-40 – “I Go Blind”

“Up on Cripple Creek” was The Band song that received the most votes to represent last year’s champions. It’s not one of my personal favourites, and I’d be surprised if it made a deep run. Written by Robbie Robertson and sung by Levon Helm, the song reached the Top 10 in Canada and peaked at number 25 in the U.S.

For me, “I Go Blind” is a perfect song. Released on 54-40’s debut album, it opened the door to West Coast Canadian indie rock. While the Hootie & the Blowfish version may be more familiar to some, the original remains timeless.

Ken: Unfair matchup for 54-40, but The Band are iconic.

Verdict: A 4–1 win for The Band. Are we looking at another Band run?

4. Nelly Furtado – “Promiscuous” vs. 13. Sweeney Todd – “Roxy Roller”

“Promiscuous” was a worldwide number-one smash. In the summer of 2006, it was the song – dominating dance floors and car stereos everywhere. It became the first number-one single by a Canadian female artist since Céline Dion in 1998 and finished as the third best-selling song in the U.S. that year.

“Roxy Roller” might be less remembered today, but it won a Juno and held the top spot in Canada for three weeks. It’s arguably the best example of Canadian glam rock and couldn’t be a bigger contrast to “Promiscuous”. I love “Roxy Roller” – it’s basically Canada’s “Fox on the Run” – but “Promiscuous” is undeniable.

Ken: Before the genius of “Hot Child in the City”, Nick Gilder gave us “Roxy Roller”.

Joey: “Promiscuous” might be the better song, but “Roxy Roller” is just so Canadian glam – it wins for me.

Debbie: Is there a better Canadian artist than Nelly Furtado?

Alex: Whoa, Debbie! But yeah – “Promiscuous” wins.

Verdict: I see what you did there, Alex. Nelly moves on after a tougher matchup than expected.

6. Corey Hart – “Sunglasses at Night” vs. 11. Stan Rogers – “Barrett’s Privateers”

One of the great debut singles of the 1980s goes up against a beloved folk classic. “Sunglasses at Night” reached number seven in the U.S. in late 1983. Oddly enough, despite its near-anthem status in Canada, it never cracked the Top 20 at home.

“Barrett’s Privateers” really depends on context. In a pub, with a pint in hand, it’s about as perfect as it gets. Unfortunately, that’s not where I’m listening right now – so this was an easy vote for me. And no, I’m not telling you where I am right now.

Ken: While I wish “Sunglasses” would get a rest in favour of other Corey Hart hits, I still give him the nod. RIP Stan Rogers – gone far too soon.

Joey: Prairie girl identity activated. Plus Winnipeg Folk Festival. Let’s give Stan the throne.

Alex: This is tough… but I’m giving it to “Privateers”. I’ve loved it since my canoe guide sang it on the Bloodvein River when I was 15.

Verdict: Tie-breaker time.

Dutch: Replayability wins by a hair.

Winner: Corey Hart advances.

3. The Guess Who – “These Eyes” vs. 14. k.d. lang – “Constant Craving”

“These Eyes” is peak Guess Who – Bachman and Cummings firing on all cylinders. It was a Top 10 hit in both Canada and the U.S., and yes, we all remember the Superbad scene.

But this matchup is borderline cruel. “Constant Craving”, from k.d. lang’s second album, is emotionally devastating in the best way – capturing longing that feels both physical and spiritual. In a battle of Western Canadian heavyweights, I went with one of the greatest LGBTQ+ anthems of all time. This was the hardest decision of Round 1.

Ken: Oof. Tough one – but the vocals on “Constant Craving” give me chills every time.

Joey: I hate this matchup. “Constant Craving” might be the better song, but I hate having to choose.

Verdict: k.d. lang wins, 3–2.

7. Sum 41 – “Fat Lip” vs. 10. Dan Hill – “Sometimes When We Touch”

A classic alternative anthem versus an AOR staple. And for me, it didn’t feel close. “Fat Lip” announced that Canada had a millennial-defining band in the pop-punk world.

“Sometimes When We Touch” was a number-one song in Canada in 1977 and a Top 5 hit in the U.S. It’s a classic – perfect for slow dances, wedding moments, or dramatic car-singing – but also undeniably cheesy.

Walle: Last night I had great crab rangoon. Then my fortune cookie said I’d have good luck if I voted for Dan Hill. Very specific.

Joey: I played Dan Hill at an organ competition and got an honourable mention. I will always belt it out.

Verdict: Upset. The cold hard truth, this was the Hill Sum 41 died on.

2. The Weeknd – “Blinding Lights” vs. 15. Kon Kan – “I Beg Your Pardon”

“Blinding Lights” is one of the biggest songs of all time – globally, culturally, statistically. It’s incredible, and if I’m being honest, it has a legitimate shot at winning the entire bracket.

“I Beg Your Pardon” is a guilty pleasure. A perfect snapshot of late-’80s dance music, it cracked the Top 10 in the UK and Top 20 in the U.S., while just missing the Canadian Top 20. I love it – but I thought I’d seen the light. I was all Weeknd.

Ken: I am also the sole Canadian who can’t abide Mr. Tesfaye.

Joey: Kon Kan is one of those songs you forget completely… until it comes on. And then – bam – you remember how good it is.

Verdict: And I says, “Pardon?” Stunning upset. Kon Kan knocks out one of the biggest Canadian songs of the past 25 years.

Round 2

Group 1 was moving along smoothly enough. Sure, Neil Young got knocked out early – but by a legit “Stompa”. And in the bottom half of the bracket, we were a Dutch vote away from having all double-digit seeds advancing.

I still liked Arcade Fire to win this group, but my Stan Rogers prediction didn’t age well. And an Arcade Fire vs. k.d. lang Elite Eight matchup? Not impossible – but let’s not get ahead of ourselves.

1. Arcade Fire – “Wake Up” vs. 9. Serena Ryder – “Stompa”

I wrote this last year and I’m writing it again: “Wake Up” is epic on so many levels. On headphones - excellent. In the background – pulsing. And live – life-changing. There’s something about a collective coming together and making perfect noise. Do you need the second violin? Probably not. Am I grateful it’s there? Absolutely.

The crazy thing is I hadn’t given “Stompa” the respect it deserves. I’ve listened to it more in the last couple of weeks than I have in… possibly ever. And it’s really good. But I still leaned Arcade Fire.

Joey: I love orchestral composition, and bands like Arcade Fire and Broken Social Scene deserve kudos for leading the charge on this.

Debbie: “Stompa” is actually SO good!

Alex: “Wake Up”, Debbie. Seriously!

Verdict: Not a cakewalk, but Arcade Fire moves on after putting the boots to “Stompa.”

4. Nelly Furtado – “Promiscuous” vs. 5. The Band – “Up on Cripple Creek”

I’m all Nelly here. I love The Band, but I’m only okay on “Up on Cripple Creek”. I’ve listened to the studio versions. I’ve listened to the peak live versions. And yes, risking divorce and ridicule, I’m voting for Nelly Furtado.

This is a song competition, not an artist competition – and “Promiscuous” is just better.

Ken: It is certainly looking like The Band is going to come out of this group.

Joey: I just prefer The Band. I’m sorry, Nelly.

Verdict: Tied 2–2, and Alex/Debbie broke it unanimously for “Promiscuous”. The top half of Group 1 now has two 2000s songs set to collide.

6. Corey Hart – “Sunglasses at Night” vs. 14. k.d. lang – “Constant Craving”

The funny thing is we wrongly paint these artists with the same brush. Would I like to have dinner with either of them? Yes. Would I trust either of them with the aux cord on a road trip? Absolutely. Would they be good cabinmates on a cruise? Probably! How about that for a web series?

But back to the songs. “Sunglasses at Night” feels like a moment. “Constant Craving” feels like… feelings.

I leaned “Sunglasses,” but I had a hunch I’d be in the minority.

Ken: I love Corey Hart, but “Constant Craving” makes me feel things. I mean really feel things.

Joey: “Constant Craving” is a pretty easy vote for me here.

Alex: In the time of “Barrett’s Privateers”, they didn’t even have sunglasses. So I’m voting “Constant Craving”.

Verdict: k.d. lang makes short work of Corey Hart and moves into the Sweet 16.

10. Dan Hill – “Sometimes When We Touch” vs. 15. Kon Kan – “I Beg Your Pardon”

The funny thing about “Sometimes When We Touch” is that it’s the kind of song I would’ve tried to time perfectly to start just as I put the car in park while driving a date home – except I’m not quite that old. But I can picture myself pulling the parking brake, turning to the girl, and saying… “so…”

The funny thing is, when I was making those kinds of moves, “I Beg Your Pardon” was in high rotation on my mixtapes. It is not a makeout song. But it marks the first time I ever called a radio station, got through to the DJ, and asked: “What was that?”

There were plenty of girls – well, maybe not plenty, but enough – who heard me say “so…”

There was only one Mark Elliot who heard me say “What was that?” and replied: that was Kon Kan’s “I Beg Your Pardon”.

Walle: Kon Kan is a f***ing JAM. Besides, Dan Hill hasn’t been the same since he stopped working with Vonda Shepard.

Ken: Surprisingly close call, but hat tip to Hall of Famer Dan Hill.

Joey: In these troubled times, we should be embracing our ’70s schmaltz.

Debbie: Look at me, Alex – “Sometimes When We Touch”…

Alex: Um… the honesty seems too much?

Verdict: In a tight 3–2, Dan Hill moves on, with a trip to the Elite Eight on the line.

Sweet 16

Then there were four songs left including my second round prediction. Let’s see how it shakes out.

1. Arcade Fire – “Wake Up” vs. 4. Nelly Furtado – “Promiscuous”

“Promiscuous” is one of the biggest Canadian songs of all time. Worldwide number one. The song of the summer in 2006. It was impossible to be at a club and not hear it twice. With over 1.7 billion Spotify streams, it’s arguably the biggest Canadian song of the 2000s – and TikTok has only boosted it further.

“Wake Up” is one of the most iconic songs of the 2000s. Arcade Fire’s debut album Funeral was the album of 2004 – Grammy-nominated, universally acclaimed, and a decade-end list monster. “Wake Up” is the glue that holds Funeral together.

In a classic commercial-vs.-critic battle, I sided with the critics and stuck with “Wake Up”.

Walle: I heard “Wake Up” in the parking lot the other day – this is one of those rivalry matchups where you throw out the record books. Here’s the pass to Laettner…

Ken: I’d sooner vote American than vote Arcade Fire.

Debbie: I will die on the Nelly Furtado hill.

Alex: C’mon, Debbie – “Wake Up.”

Verdict: It wasn’t easy, but the #1 seed survives. See you next year, Nelly – you’ve got plenty of songs that could make a run in 2027.

10. Dan Hill – “Sometimes When We Touch” vs. 14. k.d. lang – “Constant Craving”

At this stage of the competition, we should’ve separated the wheat from the chaff. There is no better “chaff” song than “Sometimes When We Touch”. “Constant Craving” is better in so many ways and deserved the push into the Elite Eight.

Walle: For me, it’s Dan Hill. Also: does anyone else want to see an actual wrestling match between ’80s-era Dan Hill and ’90s-era k.d. lang? Just me?

Ken: Both songs are massive, but I have to give the nod to k.d. here.

Joey: Dan Hill gave me organ glory, but I’m giving the nod to “Constant Craving”.

Verdict: A tight win for k.d. lang, who now moves on to face a Canadian indie anthem.

Elite Eight

Maybe not my original predicted finish, but we eventually got there. Neither song were chart hits, but both feel perfect for this moment.

1. Arcade Fire – “Wake Up” vs. 14. k.d. lang – “Constant Craving”

This matchup feels fitting. On one side: the award-winning Montreal collective that helped put Canadian indie on the global map – a festival-headlining phenomenon that often closes with this very song.

On the other: k.d. lang, understated and vulnerable on “Constant Craving”, a track that can stand shoulder-to-shoulder with almost anything. It won her a Grammy and an MTV award, and it’s a song we can all relate to.

Here’s the thing: for me, both songs are 10s. But doing this column forces you to listen in a new light. There was a time I took “Constant Craving” for granted – in my early 20s, it didn’t speak to me. Now? It speaks loudly. Still, “Wake Up” was such a huge part of my life, and that chorus feels like it’s stitched into my personal Canadian soundtrack.

So despite both songs being 10s, it was an easy vote for me: “Wake Up”.

Ken: Why won’t you die, Arcade Fire? Guys, it’s “Constant Craving”.

Walle: C’mon, “Wake Up” actually rocks!

Debbie: How did this happen? Both songs are kind of meh and a bit of a letdown at this stage.

Alex: “Wake Up”, Debbie!

Joey: Both songs are excellent, but right now, I’m going with Arcade Fire.

Verdict: A valiant run by k.d. lang, but Canada’s biggest indie band moves on. Arcade Fire punches the first ticket to the Final Four.

Before we head to Group 2, let’s acknowledge what just happened: Neil Young got stomped, The Weeknd plans got cancelled, and Arcade Fire are still standing – which, honestly, feels like the most Canadian outcome possible.

Who will they face? Check back next week for Group 2.

Ireland might be the greatest music country on earth per capita. It’s also been a huge part of my listening life – going all the way back to hearing The Boomtown Rats in 1979.

So rather than trying to list every great Irish song ever recorded, I kept it simple: ten Irish artists I love, and one song from each.

Boomtown Rats – I Don’t Like Mondays

Dublin

One of my earliest memories of Irish music goes back to 1979. I remember hearing “I Don’t Like Mondays” by The Boomtown Rats when it first came out. Even as a kid, it didn’t sound like anything else on the radio.

My older sister had the 45 and we’d play it. I had no idea what the song was a about – I was in grade 3. The piano, the tension in the arrangement. She was so well read for a pre-teen and when she told me what the song was about, I was shocked, but it drew me in even further.

“And schools out early and soon we’d be learning that the lesson today is how to die.”

It’s an incredible song.

Thin Lizzy – The Boys Are Back in Town

Dublin

What can you say about Thin Lizzy? Truly one of the great rock bands of the 1970s.

“The Boys Are Back in Town” is about as perfect a “going out tonight” song as there is. The quintessential puke and rally anthem.

If you hear this song and aren’t ready for an adventure, well, there’s no pleasing you. Stay home in your comfy pants.

U2 – Red Hill Mining Town

Dublin

The thing about a band like U2 is that I love them. And when you love something and write about music charts and top 10s, you often end up using the same songs over and over again. The great thing about U2 is that the catalogue is huge.

So instead of one of the bigger songs, I’m going a little deeper.

“Red Hill Mining Town” is a perfect start to side two of The Joshua Tree.

The plan was to release “Red Hill Mining Town” as the second single from The Joshua Tree, but the band was unhappy with the video and Bono was unable to sing the high notes during pre–Joshua Tree Tour rehearsals. The song was dropped as a single and replaced with “I Still Haven’t Found What I’m Looking For”. Which turned out pretty well.

For nearly 30 years it was known as the only song from The Joshua Tree never played live. That changed when the band embarked on the 2017 Joshua Tree Tour.

The Pogues – If I Should Fall from Grace with God

London

Formed in London but spiritually rooted in Ireland, The Pogues built an entire sound around punk energy and Irish folk tradition.

So despite the geography, The Pogues capture Ireland perfectly. While we mostly associate the band with Christmas and the excellent “Fairytale of New York”, “If I Should Fall from Grace with God” captures Ireland immediately.

The opening line alone sets the tone:

“If I should fall from grace with God / Where no doctor can relieve me…”

Then the tin whistle and traditional Irish rhythm kick in and suddenly you’re in a pub somewhere in Dublin.

The song is an ideal blend of Irish folk tradition, punk energy, and Shane MacGowan’s storytelling. It explains the entire band in about two minutes and twenty seconds.

The Frank and Walters – Walter’s Trip

Cork

In the early ’90s we were inundated with amazing obscure UK and Irish bands.

Magazines like Melody Maker, NME, and Select were constantly highlighting new artists as the next Smiths, the next Jam, or the great saviours of British guitar music.

We devoured those magazines.

One of the bands that caught my eye – and ear – was The Frank and Walters. I loved their song “Walter’s Trip”. It’s a bit of a nonsense song, but at the time it was perfect.

It felt like it was written just for me.

The Cranberries – Dreams

Limerick

In 1993 The Cranberries just took off and I loved them right from the start. For a long time, I thought the standout from their debut album Everybody Else Is Doing It, So Why Can’t We? was “Linger”.

But over time I’ve come to believe it was “Dreams” that was the real masterpiece.

Only a modest hit at the time, “Dreams” feels like the heartbeat of that entire debut album.

My Bloody Valentine – Soon

Dublin

If U2 represents Ireland conquering the mainstream, My Bloody Valentine represents the opposite – music that rewrote the rules.

By the late 80s and early 90s, Kevin Shields and company were building something completely different: waves of guitars, hypnotic rhythms, and songs that felt more like soundscapes than traditional rock.

“Soon” might be the band’s most accessible moment, but it’s still unmistakably My Bloody Valentine. The looping beat, the shimmering guitars, and that hazy wall of sound create something that feels both dreamy and strangely danceable.

Shoegaze would go on to influence generations of bands, and “Soon” remains one of the genre’s defining tracks.

Fontaines D.C. – Starburster

Dublin

The current wave of Irish rock bands owes a lot to Fontaines D.C.

When they first appeared in 2019 with Dogrel, they sounded like a band determined to remind the world that Dublin still produced great guitar music. Since then, they’ve evolved quickly, pushing their sound further with every record.

“Starburster” is a perfect example of that evolution. It’s tense, anxious, and unpredictable – built around a restless rhythm and Grian Chatten’s half-spoken vocal delivery.

It doesn’t sound like classic Irish rock. It sounds like modern Dublin.

And that’s exactly the point.

SPRINTS – Literary Mind

Dublin

When SPRINTS released their debut album Letter to Self in January 2024, I knew this was going to be something special. It was so punk. I loved it immediately.

By the time we get to “Literary Mind” (track eight), I was already spent. That’s not to say the song isn’t a bona fide rocker – which it absolutely is. It just means that after the seven amazing songs that come before it, this one almost felt like a single.

And I loved it.

In my mind, Karla Chubb is the perfect person to lead the next generation of Irish rock poets.

Hozier – Take Me to Church

Bray, County Wicklow

Sometimes a debut song changes everything.

When Hozier released “Take Me to Church” in 2013, it quickly became one of the biggest songs in the world. Built around gospel influences, a powerful vocal performance, and lyrics that challenged religious hypocrisy, the song felt both timeless and completely modern.

More than a decade later it still resonates.

For many listeners, “Take Me to Church” was their introduction to Hozier. But it also served as a reminder that Ireland continues to produce artists capable of reaching a global audience.

And that’s the thing about Irish music.

From hearing The Boomtown Rats on the radio in 1979 to discovering bands like SPRINTS and Fontaines D.C. today, Ireland has been quietly producing incredible artists for decades.

Ten artists. Ten songs. Keep up the good work Ireland.

Here’s an Irish playlist for you to enjoy today and every day.

“Lousy Smarch weather.”

Looking outside right now, I would describe this as Smarch weather.

After several days of glorious sunshine and double-digit temperatures – including a couple of legitimate shorts days – I look up today and see that it’s snowing.

Make up your mind already, March. Are we doing spring, or are we doing Smarch?

No matter what the weather is doing outside, the music inside is excellent this week.

We’ve got really strong albums from Chalk, Brigitte Calls Me Baby, and The Black Crowes (I’ll deny I ever wrote that if I’m quoted).

There are also great new singles from all over the world – Sløtface from Norway, Iceage from Denmark, and Super Sometimes from California.

Plus excellent new Canadian tracks from Broken Social Scene, Whitehorse, and La Sécurité.

And this week we say goodbye to a Vietnam War protest icon while celebrating one of the great albums of the mid-’90s.

As always, you can follow along by pressing play on the Spotify playlist below.

Sløtface

New Favourite Song Alert

Because I listen to so much new music, I often lose track of bands I’ve featured before. Weeks become months, months become years.

Case in point: in 2020 I loved a song called “Passport” by a Norwegian band called Sløtface. When it popped up on a random playlist the other day, I thought, let’s see what Sløtface have been up to lately.

Good news – they released a new single in February. Better late than never, here’s “For the Boys”. A heavy indie rock banger that builds in all the right ways.

Welcome back, Sløtface.

The Lemon Twigs

The Lemon Twigs are back with a new album arriving in May. They really are fantastic. The first single, “I Just Can’t Get Over Losing You,” is a perfect two-minute burst of ’60s melodies and sunshine. They currently have Montreal and Toronto stops on their spring tour – catch them if you can.

Iceage

Iceage are back with their first new music in five years and, upon first listen, I’m happy to report that indie rock is alive and well in Denmark. “Star” checks all the boxes for anyone who loves those classic indie guitars. Welcome back, Iceage.

The Black Crowes

Now that’s how you do it.

I’ve long been pooh-poohing the idea of The Black Crowes as a potential Rock and Roll Hall of Fame inductee. But then they drop a new album like A Pound of Feathers and suddenly I’m thinking their inclusion might actually make sense.

The album kicks off with “Profane Prophecy”, which is a great way to jump-start my renewed interest in the Crowes and their Rock Hall chances.

Brigitte Calls Me Baby

New Favourite Album Alert

The Chicago band are back with album number two. Irreversible picks up right where The Future Is Our Way Out left off – meaning if it isn’t broken, don’t fix it.

That’s not to say there isn’t innovation here. The essence of their indie rock – part Smiths, part Strokes – remains, but the songs sound tighter this time around. That’s what a couple of years of constant touring will do.

Take “I Can Take the Sun Right Out of the Sky”. Wes Leavins’ lyrical wit is in high form, while the guitars and rhythm section settle into the perfect indie rock groove.

If you haven’t listened to BCMB yet, you should definitely give them a spin.

Lykke Li

We’ve had Denmark, Norway, and now – with Lykke Li – Sweden.

What is this, New Music Scandinavia?

But when the songs are this good, you can’t skip any of them.

A week before her 40th birthday, the Swedish artist has released the second single from her upcoming album The Afterparty, which arrives in May. “Knife in the Heart” is excellent. There’s no subtlety to it – and that’s exactly what makes it so refreshing.

Shoreline

German band Shoreline lean hard into the emo genre on their latest album Is This the Low Point or the Moment After.

The record pivots between emo-pop tracks like “Sweet Spot”, which might send you digging back into your Blink-182 records, and heavier metalcore-leaning songs like “Synchronize” and “Paradox Man”.

Whatever your musical tastes, if you’re looking for a modern take on emo, Shoreline are definitely worth checking out.

Cut Worms

Singer-songwriter Max Clarke’s project Cut Worms released their fourth album today.

Transmitter is produced by Jeff Tweedy, and while the Wilco comparisons aren’t obvious, what does come through is the heart of the record. Clarke has assembled ten excellent indie-folk songs that honestly make me wonder if this shouldn’t be highlighted in Ben’s Corner.

Transmitter is a set-it-and-forget-it record. Pour yourself a drink, drop the needle, and just absorb the life around you. One spin of “Barfly” and you’ll see what I mean.

White Reaper

With a name like White Reaper, I was fully expecting this to land in the Øven. But while there are plenty of guitars, this is definitely more alternative than metal.

The Louisville band have reissued their 2025 album Only Slightly Empty with the aptly titled Only Slightly Expanded. With three excellent new tracks added, it’s definitely worth revisiting if you missed it last year.

“Mold” is a great addition to the album. Which is a very odd sentence to write.

But I can’t take it back now.

Chalk

New Favourite Album Alert / New Favourite Song Alert

Belfast band Chalk have released their debut album Crystalpunk and it is excellent.

The former film-student duo have taken the best elements of dance and industrial and turned them into something that feels both familiar and uniquely their own.

Track after track, I keep finding new things to love. There will be comparisons to industrial bands like Nine Inch Nails and dance acts like Underworld and Orbital, but for me there’s another, lesser-remembered band that comes to mind.

This is the album Babylon Zoo should have released.

The record is Chalk full of great songs, but “One-Nine-Eight-Zero” stands out for me. Crystalpunk moves effortlessly from industrial to dance to indie pop – a collection of sounds that somehow all work together.

It reminds me a bit of a Poppy record – it might not be for everyone, but holy crap, right now it’s definitely for me.

They’re at SXSW this weekend, so if you happen to be there, check them out.

Super Sometimes

Sometimes when a band is punk, I’m not sure whether they belong in the Øven or not. Since I write the column, I suppose I can put it wherever I want – so here it is: Øven-adjacent.

Super Sometimes are a perfect example of a Southern California punk band. The hooks are sweet, the lyrics heartfelt, and the bridge is excellent. Their sophomore album arrives in May, but the trio – vocalists/guitarists Gabriel Muñoz and Dylan Guzman alongside drummer Matthew Ludwig – have already hooked me with a wonderful earworm called “Afterthought.”

Sometimes I wish I was 20 again. This is one of those times.

The Dutch Øven

Corrosion of Conformity

One of the great things about writing the Øven is discovering music from all over the world. Metal comes from every corner of this spinning globe of guitars and double bass drums.

Our first song this week comes from North Carolina – Corrosion of Conformity and their latest single, “You or Me”. Taken from their upcoming double album Good God / Baad Man, it gives us a taste of what’s coming when the record drops on Good Friday.

Metal favourites – straight from Dutch:

Lamb of God

The big release this week comes from Lamb of God, who have dropped their full album Into Oblivion.

The earlier singles hinted at a return to form for the Richmond, Virginia band, and the full album confirms it. There’s a lot to like here, with just enough innovation to keep things interesting.

There are plenty of heavy tracks, but I’m featuring “El Vacio”, an impressive departure from the usual up-tempo banger – one that might have you reminiscing about some of those classic Metallica anthems.

Melvins & Napalm Death

I definitely did not have this collaboration on my bingo card for 2026 – two legendary but wildly different bands. A full album drops in April, but we’ve already received an early single in “Rip the God”.

It’s not an easy listen. Think of those Nirvana “secret” tracks on Nevermind or In Utero — the ones that really challenged you. But there’s a certain lo-fi punk attitude here that you don’t hear much anymore. I suspect this one will grow on me with a few more listens.

n0trixx

What do you do if you’re a Russian-born artist with dissociative identity disorder living in Lancashire, UK? Well, according to n0trixx’s Spotify profile, you make bedlamcore.

I don’t know what bedlamcore is and I’m not even going to try to define it. It’s dark, brooding, and lashes out at unpredictable moments. It might not be perfectly formed – but maybe that’s exactly what we want in a world increasingly shaped by boring AI music.

I’m featuring “Harmless”, but the entire album A Catalogue of Madness and Melancholia is… something.

Canadian Corner

La Sécurité

Some songs instantly transport you to a specific era. When I first heard “Snack City” by Montreal band La Sécurité, I was immediately taken back to late-’70s new wave. Not the ’80s version – the earlier stuff. Those who know, know.

Their new album Bingo! arrives March 31.

[Not on Spotify.]

Broken Social Scene

Remember the Humans arrives in May and the newest single, “Hey Amanda” is out now.

It instantly takes me back to vintage Broken Social Scene – the early 2000s, when problems were mostly heart-related and the world felt completely at our fingertips. Awesome new song from the Toronto indie superstars.

Ben’s Folk Revue

Kasey Musgrave

Kacey’s new video is about as subtle as a punch to the face. The song is solid and the video made me laugh. Sorry about the “Dry Spell,” Kacey – I’m sure it’s just a phase. New album arrives May 1.

Whitehorse

Hamilton’s Whitehorse will release album number nine in May. Our first taste of All I Want Is All of It is “See the Light,” and from the first listen it’s the same excellent indie folk we’ve come to expect from the husband-and-wife duo.

They have several shows across Canada this spring, including a stop in Toronto at the Danforth.

Cover Tune of the Week

Triple J has been hitting it out of the park this month. Here’s French singer Oklou performing her version of “Hey There Delilah” by the Plain White T’s.

[Not on Spotify.]

Live Tracks of the Week

Angine de Poitrine

The Winnipeg Folk Festival lineup was announced this week and while there are a lot of artists I’m excited about, one name kept popping up in several conversations – Montreal’s Angine de Poitrine.

They have a new album coming out in April and recently stopped by KEXP to perform several tracks. Here’s the lead single from Vol. II, “Fabienk”.

This band is going to be incredible in a dusty field in July. I can see it now – me trying to find shade while looking over at JL with that “What the hell is going on?” expression.

Special shoutout to reader Andy for sending this one over.

Just ‘Cause

Apparently this week’s column has turned into a tour of Scandinavia. We’ve already had Norway, Denmark, and Sweden – so we might as well round things out with a Nordic two-fer.

The Sugarcubes

Before Björk became one of the most unique artists in modern music, she was of course in Icelandic band The Sugarcubes.

Earlier this week, my music nerd buddy Oliver sent a link to an article about the best college rock albums from the 70s and 80s and The Sugarcubes would’ve definitely been in the mix. Their 1987 single “Birthday” was one of those records that made college radio DJs lose their minds. Strange, angular, and completely different from anything else happening at the time.

Which, when you think about it, is exactly what you’d expect from Iceland. I forgot how great this song is.

22-Pistepirkko

While Iceland gave us Björk and The Sugarcubes, Finland has quietly produced some wonderfully strange indie bands over the years.

One of the best is 22-Pistepirkko, a trio that formed in the early 1980s and built a cult following across Europe with their blend of garage rock, psychedelia, and indie pop. Their song “Birdy” is one of those records that feels slightly off-kilter in the best possible way – catchy, weird, and unmistakably Nordic.

Sometimes the best discoveries are the bands that never quite became global stars but left a trail of great songs behind them.

Happy Birthday

Adam Clayton

It’s U2 bassist Adam Clayton’s birthday today. It must be strange being part of one of the biggest bands in the world while firmly occupying the back row. That’s not meant as a slight. Clayton turns 66 today.

I’ve spent most of my life loving U2 and, if I’m being honest, I’ve rarely thought about Adam Clayton.

Maybe that’s the nature of being a bassist – holding things together in the background. So I asked a friend of mine who happens to be a professional bassist what he thought about Clayton.

He paused for a moment and said:

“He held it down.”

That seems about right. Happy birthday, Adam.

Happy Anniversary

The Bends

The Bends is my favourite Radiohead album. Not their best album – but my favourite.

Released 31 years ago and produced by the incredible John Leckie, The Bends is a perfect second album. It reached number four in the UK and number 12 in Canada. In the United States it initially peaked at 88 but eventually went platinum.

We basically followed Radiohead around that spring.

Montreal – where Max took a guy’s wallet who kept kicking him in the head while crowd surfing. Thom Yorke actually warned the audience before “High and Dry”: “If you crowd-surf to this song you’re an idiot.” The guy did it anyway – and Yorke pointed at him and said “idiot” as he passed by.

Ottawa – where Jane interviewed the band on the radio and we DJ’d after their set at Barrymore’s.

Toronto – where we just stood there and enjoyed the show.

In 1995, as we were all getting older and friendships were starting to shift in different directions, The Bends was the constant that kept us together.

Never breaking.

What an album.

Goodbye

Country Joe McDonald

Country Joe McDonald, the voice behind one of the most iconic protest songs of the Vietnam era, died this week at the age of 84.

Born in Washington, D.C. in 1942 and raised in California, McDonald first rose to prominence with his band Country Joe and the Fish, becoming one of the defining voices of the late-1960s counterculture. Their performances blended psychedelic rock, folk, and political satire in a way that perfectly captured the turbulence of the era.

His most famous moment came at the legendary Woodstock, where McDonald stepped onstage alone with a guitar and performed the anti-war anthem “I-Feel-Like-I’m-Fixin’-to-Die Rag”. The crowd instantly joined in on its now-infamous chant, creating one of the most unforgettable moments of the festival and of protest music itself.

But McDonald’s life wasn’t defined only by that moment.

A U.S. Navy veteran himself, he spent decades advocating for peace, veterans’ issues, and community causes. Beyond the stage he devoted enormous time to volunteer work, performing at benefits, supporting veterans’ organizations, and lending his voice to causes he believed could make the world a little better.

Across more than 50 years of music, activism, and storytelling, Country Joe remained what he always was – a musician who believed songs could still matter.

Rest easy, Joe. The song hasn’t ended.

If there’s a new song you loved this week and I missed it, let me know in the comments – the playlist is always evolving.

We’re pretty lucky to have all this music. Have a great weekend, everyone. Life’s short. Tell someone you love them. Be good to one another.