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SXSW Recap: 12 hours of live music each day for 4 straight days
Austin is weird. The city’s growing tech sector has spawned these characterless, glass obelisks everywhere. SXSW has clearly embraced it too. There was so much weird and terrifying tech stuff at the 2025 edition of the fest. But if you avoid all that and focus your time criss-crossing the city going to as many concerts as possible, it is actually really nice.
That’s how I spent my SXSW. If I wasn’t sleeping, eating, or doing a bit of radio about the fest (which you can listen to here, here, and here), I was either on my way to a show or at a show. That’s about 12 hours of live music each day for 4 straight days. Here’s what stood out:
French duo Kap Bambino have this driving, post-punk, electronic sound with some wild, hyper-pop vocals to boot that made for one of the danciest shows of the fest. PAL had Chess Club packed to the gills and moving. They sound like Devo if Devo was from Cleveland, Ohio instead of Akron, Ohio. Self-described Nickelback cover band, the OGBMs were amazing live. They also described themselves as a mosh-type band and didn’t disappoint on that front.
As far as interesting sounds go, YHWH Nailgun and Her New Knife have to both be mentioned. YHWH Nailgun do this experimental rock that seems to push the limits of what it means to be something like a vocalist or a guitarist in a band, while Her New Knife has this interesting combination of a wall of shoegaze noise, but with piercing guitar tones to cut through it.
Texas-based Shallowater was the only band I saw twice and if they ever come to Montreal, I’d go again. They play this alt-country and post-rock adjacent slowcore that makes their live performances very hypnotic and moving.
There’s a lot to look forward to for the Montreal-based music fan too. La Securité are in the process of bringing art-punk to new heights. Truck Violence put on a set with all new songs and they are making their combination of hardcore punk and Alberta back-country twang sing. Alix Fernz’s synth-driven post-punk was a great capstone for an amazing Pop Montreal and M for Montreal showcase. There were also a lot of other great sets from Canadian artists in general. Toronto noise-rockers Gloin were phenomenal and Dusted put on this extremely intimate show with their lofi indie folk.
Outside of the music, my favourite part about Austin was the venues themselves. Swan Dive, Chess Club, the 13th Floor, Cheer Up Charlie’s, Mohawk, Hotel Vegas, and the more improvised concert halls each have distinct personalities. The space that they provide makes it possible for musicians to put shows together on the spot and it gives the whole experience a DIY flair.
Things are changing in Austin though. I saw Sweeping Promises at Hotel Vegas. Near the end of their set, Austin-native Caufield Schnug took over the mic specifically to denounce how much tech has taken over the city. If you look around, it's impossible not to see too. Big money is moving into town, condos are everywhere, and the city is tearing down the biggest glass obelisk of them all (the Austin Convention Center) to make it twice as big. SXSW has also announced big changes to the music portion of the fest in 2026, so it’s unclear what the future holds. This year, at least, the music portion of SXSW was pretty good, and if you ever make it down to Austin, go see a show. You won’t regret it.
Cam McIntyre is CJLO’s program director. He is also the host of Shaking the Habitual, on air Tuesdays at 1 pm.
SXSW Recap: Montreal Music Down South
It has been exactly a month since I, along with the CJLO music team, returned from Austin, Texas for SXSW 2025. In that time, I have been trying to form my takeaways from this year’s festival, in a way that is more substantial than ‘Woo! Fun!’ I assume my job there (other than shaking hands with label reps) is to act as a bit of a trend correspondent. With that, here are some of my music director takeaways from this year’s SXSW.
SXSW 2025 was Montreal’s year. For a while, I was apprehensive about declaring this outright. I mean, I’m pretty biased right? I know all these names, interviewed some, personally know some more, of course I think these local artists have the best albums. But, on the ground in Austin I can safely say Montreal was on everyone’s lips. On several instances I’d be by myself, standing in line for a taco or a branded tote bag, and I’d overhear some American or British exec-types brandishing their music badges talking about how “you just have to see La Securite” or “the best show I’ve seen all week are these kids Truck Violence.” This is no accident, Mothland Records sent a lot of artists and co-hosted multiple packed showcases. When I ran into labelhead JP Bourgeois on Thursday, he showed me his excel sheet of all their artists’ showcases, tallying several dozens. Lots of Redbull and Vitamin C suppliments, I assume.
Truck Violence threw especially memorable shows, stage diving, screaming, playing with Canadian flags, and more. The band’s mix of hardcore and bluegrass instrumentation, inspired by their Alberta lineages, was a big hit with the Texas crowds. Montreal’s punk scene is chugging up towards a real boom, and bands like Truck Violence and Alix Fernz’ showcases at SXSW showed just that.
The best part of SXSW is the ability to jump between shows, all just a few steps from each other. Armed with the SXSW app (even when it would log me out randomly), I would make my itinerary in the morning and try to jam in as many showcases as possible, making sure not to miss any SX artist I planned on seeing. In the span of a bit over an hour, I was able to catch Hiding Places, Golom B, Her New Knife, who all gave great sets. I especially enjoyed Her New Knife, who make really discordent, atonal shoegaze, which is refreshing to see in the over-saturated market of Zoomer gazers, many of the lesser which were also at the festival.
A highlight for me was the Brooklyn Vegan showcase on the Thursday. In the spacious outdoor venue of The Mohawk, bands from New York and beyond played an indie-dominant showcase. The first I caught was Brooklyn-duo fantasy of a broken heart, who were one of my top picks going into the fest. I had seen them a few days prior in the much-too-small Chess Club, but their sound filled the Mohawk outdoor perfectly, showcasing their psychy indie pop. The venue’s layout was perfect. At this point, I had wandered away from fellow CJLOers, and had found myself a nice perch on the railing looking over the side of the stage. It was a balmy 28 degrees, I was in jorts, drinking a lovely beverage, living my Brooklyn Vegan hipster fantasy. Cue “We needed this” gif. Later, joined back by other CJLOers, I saw Mary in the Junkyard whose ambient, slow shoegaze set a great late-night mood.
Later, indoors, I caught local Austin slowcore band Shallowater. They were such a hidden little surprise, playing a very lowkey set. Their album There is a Well has been on repeat for me ever since. It is the sort of melodic slow indie that fans of Horse Jumper of Love or Midwife would love.
SXSW does its planning and logistics right. Short sets in showcases with lots of genre variety, it is impossible to not stumble upon at least a few new bands you love just randomly. With many of these showcases free to the public, the city opens up with industry yuppies (like myself) meshing in with local concert goers to experience some truly unique shows. This model is something our local festivals could take a note from.
While rumours of plans to cut the music festival at SXSW have recently been squashed, the festival has been getting smaller and smaller with each passing year. As an attendee, the experience still felt very full— there will always be way more showcases than any individual could ever attend. However, with SXSW’s dozens of hefty corporate sponsorships and boats of money highlighting every Silicon Valley bro who wants to be the next Elon Musk, why not focus a bit more of those resources back in the fesitval that made their name in the first place? Though SXSW has changed a lot over the years, and seeing a Rivian ad every ten feet does not really inspire confidence, the music festival portion remains an exciting incubator for great new talent.
Aviva Majerczyk is the head music director at CJLO 1690AM. She is also the host of The Alley, a folk-rock show airing Fridays at 11:00 AM.
Project Instep: Amplifying indigenous businesses, entrepreneurs and students
Project Instep is a student-run organization that aims to support indigenous people's brands and help kickstart their businesses through various initiatives, events and collaborations. Find out more in this interview with Juliana Camillia Vergara Nunez, the organization's Vice-President, and Daryl Leclaire, Tewa's Director of Business Services.
Every Life Is A Light: A Review
Joni Void’s latest release drops with a wonderful genre blend of lo-fi, avant-pop, downtempo, and ambient, incorporating his home base of Montreal as a recurring character. It offers a warm and peaceful transitional journey throughout its concise 44-minute runtime. Every Light Is A Life is an experimental collage of sounds that invites its listeners to get lost in its extended loops and slow bpm.
The opening track, “Everyday- A Sequel”, provides a beautiful, ambient, thematic introduction for the rest of the album. Its slowed-down vocal loop and whirring background sounds carry its listeners along with them, providing a trance-inducing experience, whisking listeners away with the sound of a train heading forward to its destination. He continues this transient theme on “Du Parc,” which loops the iconic sounds of the STM supported by a melodic bassline and ethereal vocals, keeping us in a transitory experience.
“Time Zone” and “Cloud Level” provide some wonderful moments that sound like they could have been pulled from a late-90s Mob Deep cut. Its backing vocals from Japanese artists Haco and Ytamo, respectively, offer an angelic quality to help levitate the listener. These standout tracks provide an intoxicating, head-bopping groove that cannot help to be felt throughout the body.
Songs like “Muffin - A Song For My Cat” and “Event Flow - A Sequence” are the most lo-fi and minimalist offerings in the track list. Similar to what one may hear during a long study session with the infamous lo-fi girl. The former song is led by a beautiful piano loop, eventually complemented by a slow and reverberating bass loop and the subject of the title sprinkled throughout: his cat. The latter of the two tracks, once again, samples the identifiable STM sound to a very languid bass. While very pretty, this song seems misplaced sitting between songs like “Between Places” with its frenetic ending and the trip-hop inspired “Story Board.”
“Story Board” is another standout song that wears its trip-hop/alternative hip-hop reminiscent of Busdriver and R.A.P. Ferreira’s (formerly Milo) early work. Rapper Pink Navel drops some wonderfully introspective verses of reflection with crafty wordplay. Following this is another, “Vertigo,” which provides a funky bassline groove and sinewy vocals, and once again, feels like it could come from a Moby B-side.
The album ends with “Death Is Not The End” and “ Joni Sadler Forever.” The first of the two tracks is a collage of interesting sounds and textures to create a very floaty and hypnotic experience. The final track, “Joni Sadler Forever,” feels like an uplifting and positive endnote to the album. Utilizing an extended synth loop and some energetic drums, the listener is left feeling as if the journey is not over, but rather just beginning.
Overall, Every Life Is a Light is a beautiful exploration of sound, delving into themes of transition: an ending is but a new beginning. It boasts wonderfully hypnotic and entrancing soundscapes. Although some of the songs may be too experimental for some or too lo-fi for others, I encourage everyone to give this a listen, if only to experience the capabilities of what can be achieved through experimentation of sound.
Discordia 09: Quebec Tuition Hikes (2023 - present)
This project is funded by the Community Radio Fund of Canada.
SXSW 2025: CJLO Live Broadcast Day 3
During this episode, the CJLO team and special guest Kodi walk you through everything SXSW. We talk tech billionaires, birds, our festival induced aches and pains, and the best new music coming out of the festivals lineup.
Originally aired: March 14th, 2025
SXSW 2025: CJLO Live Broadcast Day 2
During this Broadcast, the CJLO team runs you through everything they saw on their first full day at the festival. We talk about the new wave of slowcore, the state of experimental music, the Pop Montreal and M for Montreal showcase, and how Montreal is the best music city on the planet.
Originally aired: March 13th, 2025
SXSW 2025: CJLO Live Broadcast Day 1
During this braodcast, the CJLO team and special guest Romano talk about their SXSW fest so far. We cover M for Mothland x Project Nowhere x Exclaim! at Swan Dive on the 11th, Italians Do It Better at Elysium, and the Milwaukee lowend showcase at Elysium.
Original air date: March 12th, 2025
Medieval Metal and the Genre’s Ties to Montreal
In late February, I visited the Bashing. The Bashing consists of individuals from Montreal who are passionate about all things medieval. Every Tuesday, they meet under a church and practice sword duelling. While doing so, they wear medieval-inspired armour, and wield foam weapons. I went there for a video assignment on the activity but did not expect to discover a new genre of music.
One of the event participators, who goes by Purazar Médiéval, showed me around the weekly event. Additionally, he taught me the basics of medieval sword duelling. Once we were done with the shoot, he told me that I should consider looking into Ulfhednar. “Their music would be a great addition to your video montage,” he said.
Once I got the editing started, I googled Ulfhednar on Bandcamp and immediately fell into the rabbit hole of medieval metal. For starters, Ulfhednar are a band from Montreal, hence their connection to the local scene.
I began by listening to their song “Allfather’s War”. It was fast-paced and almost reminiscent of speed metal but with much heavier sounding vocals. I decided to extend my research on the song and watched the music video on YouTube (Ulfhednar - Allfather's War (Official Video)). Released only 4 months ago, you’d think they went back in time and shot the whole thing in a remote European medieval village. To say the costumes and decor were spot on would be an understatement. Ultimately, the song was great, and the music video encapsulated the medieval aesthetic.
Sidenote here, for those who are fans of Led Zeppelin, Ulfhednar even did their own cover of “Immigrant Song” (Immigrant Song (Led Zeppelin Metal Cover) - Ulfhednar). It’s a must-watch, think Robert Plant meets George Fisher of Cannibal Corpse and did a cover. Nonetheless, it was amazing and goes to show the band’s versatility.
Speaking of versatility, they even did a ballad called “Valhalla Calling” (Valhalla Calling (Miracle Of Sound Acoustic Cover) - Ulfhednar). Although another cover song, it shows the band’s talent. If it’s a heavy speed track or a simple ballad, Ulfhednar will be able to play it and evidently pull it off in a unique way.
This being said, after delving deep into their catalogue of music, my favourite song of theirs has to be “Sang Sur La Neige” (Sang Sur La Neige from Tales Ov Aeons Past by Ulfhednar). The song has an electric riff as well as apocalyptic-sounding vocals. It’s a must-listen for any metalhead.
What started off as a simple video assignment turned into the discovery of a new genre of metal. Medieval metal, although a niche genre, deserves far more attention than it gets. From the costume designs, music video sets, riffs and vocals, it is truly astonishing. As I talked about in this think piece, Ulfhednar is a band that anyone looking to get into the genre should listen to. What makes it all the greater is that they’re from Montreal, so while in the process of listening to something new, you are supporting a local band too.
In a Sea of Talented Artists, Let Us Hand Pluck Some Hidden Gems You May Be Looking For: CJLO Presents girl with dream, Hanako and Holly Mclachlan at mai/son
In an age where new music is plentiful and ever-changing, the excitement of nuanced sounds can be tainted by one’s struggle to determine whose album to play next. The bottomless pit that is today’s music streaming services can exacerbate the daunting task of finding what you really want to listen to. Sure, now, with Spotify’s Smart Shuffle and Apple Music’s For You playlists, listeners get a taste of what could pique their interest, but what about the smallest hidden gems from the local scenes?
CJLO Radio has always advocated for Montreal’s up-and-coming artists. The exploration of genres on CJLOs radio shows are endless, and often pluck out under-the-radar musicians. This April, CJLO has shoved its foot into the door of folk music programming. This month’s “New Roots” concept will showcase nothing but folk, shining a spotlight on music made by local community artists, for the community.
To kick off folk music in April, CJLO hosted three Montreal folk artists at mai/son this past Friday. Hidden in plain sight in the Mile End neighbourhood, mai/son’s external complexion is a run-of-the-mill Victorian-looking home. I would know; I’ve lived five minutes away from the building for the last 6 months, walking by it every other day, and never once judged its character. However, the venue’s nonchalant exterior is nothing but a facade for the beauty that lies between its walls. While maintaining its homely atmosphere, mai/son has made space available for local artists to display their art in the gallery walls scattered throughout the property. The space’s intimate and cozy setting makes for a truly unique and memorable atmosphere.
On Friday, April 4th, CJLO presented Hanako, Holly Mclachlan and girl with dream, three exceptional talents of the Montreal music scene. As audience members crept inside mai/son, it was apparent that newcomers were struck by the unprecedented warmth the house offered. After many explored the character of the venue, guests gathered by the stage in anticipation of the opening set.
The evening began with a set by Hanako Brierley, more commonly known as folk singer and bassist Hanako. Of Japanese-Canadian origin, the singer-songwriter’s work continues to evolve as she makes her way towards her third studio album.
Offering a bit of old and a bit of new, Hanako performed a live debut of her 4-track Japanese EP, KakoBako, as well as an unreleased track, “Let Me Drive You”. The singer’s soft-spoken lullaby of a set perfectly set the intimate tone for the evening. Audience members sat cross-legged on the floor, eyes wide in awe of Hanako’s truly raw and emotional lyricism. Listeners swayed and held onto each other’s hands tightly, and it became apparent how serene the collective audience experience was.
After a brief intermission, the audience was introduced to Holly Mclachlan. Mclachlan’s storytelling through electroacoustic production, blunt lyricism and spoken word shines brightly on her most recent album, Faith Adventure. During the event at mai/son, the singer took the opportunity to deeply engage with her listeners, fixing one’s gaze on the enunciation of her every word.
Settled in between a bassist and violinist, Mclauchlan’s set perfectly encapsulated the eclectic musicality of her artistry, giving listeners nuanced, colourful folk. Her live rendition of “angel cardzzz” was hard-hitting and truly introduced listeners to her gritty tone. As she pulled out a special acoustic guitar, the singer spoke of the instrument’s supernatural qualities, elucidating the guitar’s “cursed” character.
McLachlan’s trio was also joined by a spontaneous fourth member, an old friend visiting Montreal who brought his bongos and tambourine along for his adventure. The harmony that manifested from Mclachlan’s spur-of-the-moment decisions illustrated how comfortable she was in her music. As the quartet dove into, “South Dakota’, the sound shifted from experimental to a more traditional folk style. With a catchy melody, Mclachlan had audience members singing the lyrics back to her and swaying along to her strum pattern. Mclachlan’s rambunctious crescendos and complete engagement with the music truly embodied her sound.
To close the show, Concordia Alumni Chrissy Lawson arrived at the Mai/son stage performing as girl with dream. I was fortunate enough to sit down with Lawson after the show to further explore what drives her as a folk-rock artist. She spoke of her early exposure to music, participating in her Pentecostal church’s youth music group and immediately being drawn to the stage. This led Lawson to perform for congregations of 800 people at just 14 years old.
Since then, Lawson has dipped her toes into a plethora of musical endeavors. The artist has worked with different groups including indie-rock bands Dresser and Ribbon Skirt, and has explored various unnamed solo work prior to girl with dream (we’ll let fans fester over that one).
Her most recent EP, Tell, divulges Lawson’s innate writing abilities. Her vulnerability and open dialogue surrounding heartbreak, hardship and self-identity give those struggling a place to feel heard and find a sense of belonging.
Amidst her hectic touring schedule, Lawson continues to exude strength as she rips apart some of the most confessional and thought-provoking themes in her music. In our conversation, Lawson explained, “I’m putting some really serious stuff and really serious feelings out there…I want to strip away those layers, the pretense of performance…” Lawson’s passion and grit exuded from her life performance at mai/son. girl with dream truly held audience members in the palm of her hand. The softness of her vocals against the deep hum of her bass further illustrated the catharsis she feels in her performance.
During her set, Lawson took a moment to bring attention to Quebec’s upcoming federal election: “It’s super important to show up this year and vote” she proclaimed. In our later conversation, Lawson admitted that this statement was premeditated with the strongest of intentions: “There is a contingent of people in society that like, kind of want to see me dead, and like, as a trans person, I don’t really get the opportunity to not be political.” Lawson stood strong in her statement during her set at mai/son, believing that as a performer, she holds an obligation to stand from her growing platform and urge listeners to make thoughtful actions when it comes to politics.
In its entirety, CJLO’s celebration of Folk music at Mai/son this past Friday gave voice to three artists whose performances left chills and sparked introspection. For every indie-folk lover who finds themself searching for a modern reincarnated 60s' folk, change your channel over to CJLO 1690AM.
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