As a first-year student at Concordia, I’d never been to McGill’s Lilith Fair, though I’m aware that it happened last year as well. This mini-festival, organized by the McGill Collective for Gender Equality and McGill’s Jam for Justice, is inspired by the original Lilith Fair, founded by Sarah McLachlan in 1997. Her goal with this festival was to promote female artists and address gender inequality in the music industry.

A few days before Quinton Barnes was set to perform at Casa Del Popolo, I listened to Quinton’s most recent project, Black Noise, an album characterized by the unsettling cacophony of orchestral instruments inspired by Miles Davis, overlayed over an otherwise beautifully produced album. On the day of the show, I woke up at 6 in the morning to catch a rideshare from Ottawa to Montreal.

The press tour for Josh Safdie’s new film, Marty Supreme, is virtually inescapable. Perhaps you’ve seen the orange blimp flying over the southern USA.

We made it to 2026! Every year it feels like CJLO is getting bigger and better. From filling our schuedule from 10AM-10PM, to multiple packed concerts, to the most successful funding drive in station history, 2025 had a lot to be proud of. As we look back on 2025, lets also give a nod to all the amazing local, underground, and otherwise just awesome albums our DJs have spun in the past year. From the explosive rise of Geese, to new albums from station legends like No Joy and Kestels, to Ribbon Skirt's miraculous run, holding down both the #10 and #1 spots, CJLO kept its finger on the pulse all year long. 

Over the past decade, we have tacitly acknowledged that online, we are the product. Our search histories and scrolling habits are being sold, not just to corporations, but also to government intelligence agencies. Relinquishing any modicum of privacy feels so inevitable that most of us passively surrender our online data to the ownership of a few major internet conglomerates.