OUT OF EARSHOT: DAY 3

Day three of Out of Earshot started mid-afternoon with an outdoor show. I arrived at Bannerman park with a dog named Soda and a rootbeer cherry slushee; it was a beautiful day to sit in the grass with pals and listen to music.

Sandwiched between Neil Conway and Dormitories was Renders (ON) – Kelly McMichael’s feminist electro pop project. Joined by her pal Maria Peddle (and later Claire Whitehead), they harmonized their vocals and had a captivatingly silly stage dynamic. Through dancing and high-fives, it was apparent how much fun they had playing music together, and through the lyrics of she’s badass, it was clear how meaningful Kelly’s friendships with non-men are to her.

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Photo by Krystal Morgan

Post-outdoor show, I walked downtown to get a coffee from an Out of Earshot sponser and partner, Fixed Coffee & Baking. With americano in hand, I made my way to the Eastern Edge gallery for a talk by Chris Murdoch (NS) called “Black Dots” about the history and experiences of African-Canadians/Americans in punk and hardcore music communities.

While the talk was informative as Chris traced the history of African-Canadian/American musicians in punk and hardcore, he also shared his lived experience as an African Nova Scotian listening to punk and participating in his respective community. He spoke about having to do what he called, “the racism check”, where he would have to ask whether the music he likes, likes him. He spoke about the ways in which seeing other African-Canadian/Americans participating in punk scenes encouraged him to do the same. He spoke about the alienation he felt from within both the (predominately white) punk scene and the African Nova Scotian community when he started playing in bands.

Throughout his talk he drew parallels to how womxn and trans people might also experience discrimination and alienation in music communities. Instead of the racism check, we do the sexism, misogyny, and transphobia check. We feel safer going to shows and playing on bills where other femme and gender non-conforming people have been booked. We often experience imposter syndrome participating in music communities where space is predominately taken up by cis-men.

It is so important to support local musicians in your community that are BIPoC, femme/non-binary, or identify as LGBTQIA2S+. Show up, buy their merch, book them at your shows – the more space they are given and visibility they receive, the more other marginalized folx who want to participate in music communities will feel safer to do so.

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Photo by Isobel McKenna

Meanwhile, in an alleyway nearby, a generator buzzed loudly as they set up for a sneaky punk/hardcore show – there is something special about the excitment you get for a show you anticipate will get shut down.

Worst Lay (NL) played the alleyway first. Renee Sharpe is an incredible front person; when I spoke with her for the Out of Earshot interview series, she shared with me that she’s always creating what she needs in the moment, and right now, she’s healing. Worst Lay, for her, is punk therapy. Although I was deeply impressed by her ability to repeatedly scream “destruction! love!” without breaking, I think that there was more to this performance than vocal stamina – it’s about surviving.

worst lay

Photo by Isobel McKenna

DOXX (ON) followed their set and as I was disappointed to have missed their set the previous night, I was thrilled to have a second chance to see their set. Stephanie Muise (“smuise”) wrote about their set the night before, “this was the first time DOXX played in Newfoundland and you can tell that it won’t be their last – they were the talk of the town”. She wasn’t wrong – Newfoundland loves DOXX. Everyone showed up again with a kind of excitement as if they hadn’t seen them the night before. They delivered what I assume was a set just as loud and fast as the night before; twice (maybe three times) Jess Barry (yee grlz) had to run in to pick up the crash cymbal that made it off of its stand.

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Photo by Isobel McKenna

The generator powered down and everyone in the alleyway started to clear out; the late and final Out of Earshot show was up the street at Republic. Here we saw Conditioner, Hard Ticket, Doffing, and Surveillance.

Hard Ticket (NL) received a lot of warmth and support during their set as beloved member Meg Harnum (drums) is moving to Montreal and they won’t be playing a show together for awhile. While the support largely came from the crowd (you should have seen the bootleg Hard Ticket shirts Nicole’s (vocals/bass) parents made for themselves!!), much of the support was internal. This is a band that very obviously cares for and supports each other unconditionally.

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Photo by Isobel McKenna

As the final show of the festival came to a close there were many big feelings being tossed around. The organizers (Jess Barry, Sarah Harris, Nicole Boggan, Pepa Chan, Robin Follett, Riley Pike (they/them), Nicole Squires, Becky Gibson, and Maria Peddle) were celebrating an inaugural festival that went beyond just going well logistically. Between sharing and eating food together, supplying water bottles and phone chargers, having naloxone kits on hand, never turning anyone away for lack of funds, having both all ages and bar shows, providing accessibility information, and being some of the kindest folx I’ve ever met, they successfully created a positive, safe, inclusive, and supportive environment for artists and attendees.

❤ ❤ ❤


STAFF CONTRIBUTION: Nikki A. Basset

OUT OF EARSHOT: DAY 2

I woke up on Friday morning and knew something was wrong. Despite my intention of making it out to every show, reading, and dinner, a stomach flu kept me home that day. Although I regrettably missed Amery Sandford and Pepa Chans zine making workshop, readings by Heather Nolan and Violet Drake, and sets by Emo Pope, Syngja, Blunt Chunks, Eastern Owl, Ritual Frames, Doxx, Frail Hands, and Yee Grlz, I was lucky enough to have some kind pals write about and photograph some of them for me.

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Violet Drake took cool command of the room at Broken Books. Though she tackled difficult topics such as violence, sexual assault, alienation, and dysphoria, she addressed the crowd with a certain gentleness. Her poetry was heavy, impactful, important. You could feel the weight of it in the room. For me, the most powerful aspect was how she brought her characters to life with their accented Newfoundland voices. These voices drew soft giggles from the crowd, yet they spoke harsh realities of judgement and ignorance, reminding me of every “it’s only a joke b’y” I’ve ever heard. Violet’s poetry is rooted firmly in Newfoundland soil, but it is not afraid to dig up a little dirt.


GUEST CONTRIBUTION: Samantha Fitzpatrick

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After hiking up Signal Hill and eating tacos at the Eastern Edge gallery, I headed to The Republic to see the late show for Out of Earshot day 2.

Yee Grlz (NFLD) started their set with my absolute favourite track who’s protecting who. They played all the songs from their new EP mercury retrograde, which should be added to your end of summer playlist immediately. Catherine Roberge also introduced their song imposter syndrome by saying “This song is about thinking and worrying you won’t be good at something but then doing it anyways – it’s about saying fuck it and having fun with your friends!”, a sentiment Chris Murdoch later echoed during his presentation Black Dots on Day 3.

yee grlz

Photo by Isobel McKenna

Frail Hands (HFX) played next – opening up with the song image of you from their newest split with Ghost Spirit (CA). This was the tightest set I’ve ever seen Frail Hands play. It’s rare to see a skramz band playing a punk festival but this is the perfect example of the inclusive and diverse nature of Out of Earshot. My favorite part of the set was at the end when vocalist Dawn parted the crowd like a sea and took up the space she needed for their final and most emotional track every volatile thing.

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Photo by Isobel McKenna

DOXX (OTT) closed the show and played the absolute ripper of a song STAB RISK from their most recent EP. At this point all the dominion beer was sold out at the bar which could possibly explain why I don’t remember the exact order of their setlist. This was the first time DOXX played in Newfoundland and you can tell that it won’t be their last – they were the talk of the town. Their set left me wondering how music so mean (see: chain) can come from the sweetest people you’ll ever meet.

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Photo by Isobel McKenna

VOLUNTEER CONTRIBUTION: Stephanie Muise (“smuise”)

OUT OF EARSHOT: INTERVIEW #6 – SOF FROM DOXX

As part of the media coverage for Out of Earshot’s inaugural festival on the weekend of August 23-25, 2018, not your boys club will be showcasing some of the truly wonderful people organizing, playing, and performing at the festival in the weeks leading up to it.

For the final interview in this series, I spoke with Sof (she/her) who does vocals for the hardcore band DOXX. She’s a student, bartender, and musician born in Irkutsk, Russia and based out of Ottawa, ON.

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Photo by Aidan Thatcher

How long has DOXX been making music music and how did everyone meet each other?

DOXX has been making music for about 2.5 years now. I met Britt (guitar) early 2014 when she was a TA in one of my first year gender studies classes at the University of Ottawa and we would see each other at shows in Ottawa here and there. Kieran (drums) and Britt are partners and they formed what was supposed to be a one-off show hardcore band with Jeff (bass) for a show Jeff was booking in I believe March 2016. Originally Britt was gonna be doing guitar and vocals but then it was like, no, this music is too fast to do both – who should we ask to front this band? Britt reached out to me because i would go off in the front row of the audience at every show but had never been in a band. We didn’t know each other super well at that point but I’m so glad they did because now Britt is my #1 ride or die. And I guess it was just too fun to let it go after one show. The rest of my bandmates are pretty much born and raised in Ottawa and so have known each other for much longer than they’ve known me. But we’re tight. I’m the baby of the band.

Were the issues that you sing about (capitalism, white supremacy, heteronormativity, etc.) what inspired the formation of this band?

I would say a heavy love of hardcore punk is what inspired the formation of DOXX, but these issues you mention are important to me/us generally, so naturally that’s what I end up writing lyrics about. I think it’s sick both if someone starts into doxx because they like our sound and then later get something from the lyrics, or vice versa if they’re really into our “”message”” initially and maybe later get more into hardcore and punk because it’s like, oh i actually really like this style of music and it’s not just all angry violent men yelling about “brotherhood” – maybe this music can be for me? The conversation about representation and politicization is interesting and definitely complicated. I put “”message”” in those quotes above because I don’t really think there’s one distinct message I’m aiming to convey with my lyrics…much like, you know, humans in general, there’s a lot going on in my brain and heart…some of it is contradictory, some of it is political, some of it is about my relationships, some of it is sarcastic, some of it is real serious and affecting, but for sure it is still very personal. Sometimes I feel my lyrics are over-analyzed, almost scrutinized, because of how my identity is perceived. It has made me more hesitant to define myself or our music in explicit ways. We’ve been criticized in the past for not being “queer enough” to call ourselves queer punk(s)…I don’t really know what to say to that. Ask my girlfriend. Actually, don’t. I don’t owe nobody shit, leave us alone (lol). Ultimately, I have some shit to say but also ya girl just loves a breakdown, you know? A decent amount of my favourite punk and hardcore bands maybe weren’t intended to resonate with me and my particular experience of life as a young woman…but somehow they do…but maybe if I went to see one of those bands live I wouldn’t feel totally welcome in the space. Like I said, it’s complicated. I guess the best thing about being in doxx is that i’m able to just say fuck it and take that space for myself and others like me, and I think that was definitely at the heart of the formation of the band.

Do you feel like there is a shift in which bands/individuals are given space in the Ottawa music community?

Yes absolutely! I like to think of this kind of growth as a tension between “being given” space and “taking” space – a mix of personal agency and community support that facilitates the status quo being challenged and shifted. There are many older and more established community members in Ottawa (even some cis white men, lol) who are unfailingly encouraging and helpful and recognize that making active efforts for the inclusion of marginalized folks not only makes our community more vibrant and fun but is just like…the right thing to do. For example, my bandmates, who reached out to me to front DOXX even though I had never been in a band before. There are also hella young/queer/trans/POC folks pushing more established community members to complicate how they understand the world and the scene. Both groups are valuable and sick as fuck and strengthen community. At the same time, there will always be those shitheads who are more about their own egos than community building and helping others learn – that’s fine. It’s obvious to me that that kind of attitude comes from a place of bitterness and insecurity and they will eventually become irrelevant and for damn sure aren’t having as much fun as we are.

Empowering femme and non-binary people to participate and take up space in their respective music communities is really important to not your boys club and so I was thrilled to read in an interview that you put out a zine with Britt for femme and queer youth on how to start a band. What would you say was the most important (or the overarching) message you were trying to communicate?

Most important message: starting a band is probably easier than you think! Just do it! If you have questions about resources reach out to us!

Are there any femme and queer folx in your community making music that you would like to give a shout out to?

Yessssss:

TORPOR

TIGHTLIP

SAILOR JUPITER

Sailor jupiter sadly doesn’t exist anymore but are probably my favourite Ottawa band ever.

OMERTA

BONNIE DOON