What is the value of an apology? That is one of the questions that JUNO-nominated singer and songwriter Khari Wendell McClelland is exploring in his new concert, We Now Recognize. The show, which consists of all new songs, will tour six Canadian cities for Black History Month. It comes to the Lincoln Alexander Centre in Hamilton on Feb. 19 at 8 p.m.
We Now Recognize is a partnership between McClelland and Project Humanity, a non-profit organization that uses the arts to raise social awareness. The two collaborated in 2017 and 2018 to create the documentary theatre musical of the Vancouver-based artist’s debut solo album, Freedom Singer. Freedom Singer interpreted songs that might have accompanied McClelland’s great-great-great-grandmother Kizzy as she escaped from slavery via the Underground Railroad.
This show is another personal work, although McClelland originally took inspiration from the current sociopolitical landscape. The number of political apologies that have occurred struck him in the past decade or so and especially in Justin Trudeau’s term. He began to question what constitutes a substantive and meaningful apology.
In writing the show, McClelland found himself reflecting on being wrong and the extent of his compassion for those who do wrong. He considered how recognizing wrongdoing feels and how to move forward from it. With this, he also thought about the relationships he has with the generations of men in his family.
“[I was] looking at my grandfather and my father and my brother and even considering what it would be to be… a father and what the implications might mean for a larger society… [I]t's men who are exerting power and have a lot of control in society… What are some of the ideas… I grew up with that I have at different times perpetuated in my own life and trying to figure out like what that might look like through a generational lens,” said McClelland.
The show explores other ideas that McClelland cares about, such as community and the way we wield power over the natural world. In bringing different ideas in proximity with one another, McClelland sees the work as an assemblage like a quilt or collage.
McClelland sees being able to explore a multitude of ideas as a way of celebrating Black life. Unlike his past work with Freedom Singer, which tackled the history of slavery head on, We Now Recognize, is a subtler approach to Black history that it more rooted in the present and in the future.
“I feel like there are ways in which black life can be can be understood as a monolith, that black people in Black communities aren't allowed to have a diversity of experiences and perspectives. I'm very curious… about creating some kind of radical subjectivity around Black life, like being able to be all these different ways that we are just as human beings,” McClelland said.
Not only will the concert allow McClelland a chance to bring forth the multiplicity of Black life, it will allow him to stretch himself and grow as an artist. The personal show will force him to be vulnerable in a way that he hasn’t been before with the communities across Canada that has supported him.
McClelland sees the connection to music as something that erodes for many people over their lifetime. For him, however, it is something that he hasn’t stopped doing ever since it became a part of his life as a kid growing up in Detroit. It moves him in a way that isn’t necessarily positive or negative, but just is. He also sees the medium as essential to building community.
“I feel like healthy communities move together. That they practice together, that they have rituals together… [O]ur connection to artful practices actually has the potential to heal us as communities and individuals coming together… has this real potential for a deep kind of healing… I think it is just a deep medicine in the way that we come together and make music and make art,” explained McClelland.
McClelland is looking forward to this tour to see how audiences connect with the new songs. He is eager to see the way in which people are moved by this meditation on wrongdoing and apology, whether positively or in a way that is a little uncomfortable.
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The music video for Ellis’ first single “The Drain” opens with less than a second of television static. That glimpse of static appears several more times throughout the course of the video but it’s more than just a motif for the video, it’s the overarching theme of her debut project, The Fuzz.
[spacer height="20px"]Ellis is the musical project of Hamilton-based singer-songwriter Linnea Siggelkow, who derived the name from her initials. Her sound was once described to her as emo dream pop and this is the label she assigns to it. It is beautiful, dramatic and sad music.
The Fuzz, which dropped on Nov. 9, is a collection of songs that Ellis wrote around the same time. She independently released the six-track project, which includes her first two singles “The Drain” and “What a Mess.” The EP gets it its name from the feelings that Ellis felt while writing the songs.
“[T]he fuzz is… this metaphorical place like the noise on a TV screen. It's just the lack of clarity… a feeling of being lost and a place I found myself in often and... where a lot of the songs came from was feeling sort of disoriented and confused and uncertain in this sort of metaphorical place,” Ellis explained.
On Nov. 28, Ellis will be playing at The Casbah for her EP release show. While performing makes her anxious, one thing she loves about performing in Hamilton is being able to see the familiar faces of her friends and collaborators in the audience.
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Not originally from Hamilton, Ellis loves the creative and caring community that she has found in the city. On The Fuzz, she collaborated only with the circle of talented individuals that she feels lucky to call her friends. Being able to trust her collaborators was important in creating this personal project.
In order to share some of the meaning behind her intimate tracks, Ellis created a zine with collaborative partner, Sean Richman. The zine features a spread for each song consisting of photographs, handwritten lyrics and GPS coordinates for significant places.
“I'm trying to create a mood… and I think to me the project is moody. But I also want it to just be beautiful… I love having visual elements. I think it's a great way to connect the listener with music in a different way… I hope it's a way of, if people are interested, going a little bit deeper into the songs themselves,” Ellis explained.
While the personal nature of the project means that it’s hard for Ellis to discuss all the events that inspired the EP’s tracks, she wants listeners to be able to relate to and resonate with the music. For her, making music is a way of processing emotions and using them to create something productive and tangible.
She started playing piano as a child since her mother was a piano teacher. When she was 12 years old, she began playing guitar and writing songs. Song-writing is very much ingrained in who she is.
Her song-writing process begins solitarily, which lends itself to the intimacy of her music. She always begins with a lyric and then builds up the song as much as she can on her own before she brings in her collaborators.
[spacer height="20px"]Ellis was deeply involved in all aspects of The Fuzz. She co-directed the videos for “The Drain” and “NYE” with her friend Andy Friesen.
“I think for this project it's been mostly DIY… I definitely like to have my hands on as many things as I can to do with the project. I feel a bit possessive of it,” Ellis explained.
This homespun approach has created a sound and visuals that feel attentively crafted and beautifully raw. In the new year, Ellis hopes to create a full-length album and tour, allowing her to share her stories of fuzz and freedom with more of the world.
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