Acclaimed Indigenous songwriters named first Massey Hall Artists in Residence

Acclaimed Indigenous singer-songwriters Celeigh Cardinal, Sebastian Gaskin, and Julian Taylor are the first musicians chosen for the inaugural Artist in Residence Program of The Corporation of Massey Hall and Roy Thomson. The year-long residency is taking place across multiple spaces within the Allied Music Centre – a cutting-edge cultural ecosystem that includes a recording studio and artist development hub (the Deane Cameron Recording Studio); a 100-seat live music room (The Allied Music Centre Theatre); and a 500-capacity live music space (TD Music Hall). And, of course, the legendary Massey Hall itself, a dream venue for many musicians.

The residency is an opportunity for Cardinal, Gaskin, and Taylor to benefit from comprehensive support that includes studio time, live performance opportunities, creative collaborations, professional development, and mentorship. The resources used depend on each artist’s individual needs.

“We’re lucky to have facilities, amenities, and the hub that we have at Allied Music Centre,” says Stephen McGrath, Director of Artist Development & Original Content for the Corporation of Massey Hall and Roy Thomson Hall. “We’re using this residency to provide bespoke opportunities that help fill the gaps in the current support that these artists may have already.” The goal is to help these musicians enhance what they’re already achieving, as they forge ahead on a path that will hopefully lead to playing the iconic Allan Slaight Stage at Massey Hall. McGrath says, “We’re trying to create an environment where artists can see themselves on that historic stage.”

The residency is possible through the charity-giving platform Canada Gives, and the generous donation of an anonymous philanthropist committed to creating opportunities for Indigenous artists at Massey Hall. Both the selection of musicians and the development of the program are being made in consultation with members of the Indigenous Music Office, sākihwe festival, Tkaronto Music Festival, and the International Indigenous Music Summit. Though the artists are only three months into the residency, they’ve already benefitted considerably.

Cardinal, a folk-soul songstress hailing from Edmonton, says, “You can really feel the care behind this program. It’s not just about checking a box; it’s about actually supporting Indigenous artists in a way that feels real. There’s trust, there’s respect, and there’s space to show up fully as yourself.”

Gaskin says, “So far, it’s been great for shooting content and being in the environment – like getting access to tickets, and being able to go to some incredible shows to be inspired by new artists.” Cardinal, too, has been inspired. “I’ve had time and space to explore new sounds and ideas, without pressure,” she says. “I’m working on new music that feels more honest and experimental. I’ve already started making some really great connections, and had cool conversations that are inspiring new directions.”

In April, Cardinal performed at the Allied Music Centre Theatre, showcasing songs from her album Boundless Possibilities, which earned her a 2025 Canadian Folk Music Award for Indigenous Songwriter of the Year (in a tie with Alan Syliboy). The album was also nominated for Adult Contemporary Album of the Year at the 2025 JUNO Awards, while Cardinal received a separate nomination for Contemporary Indigenous Artist of the Year.

It was at the 2025 JUNOs in Vancouver, BC, that Cardinal, Gaskin, and Taylor met for the first (and so far) only time. Gaskin took home the JUNO for Contemporary Indigenous Artist of the Year, for his single “Brown Man.” When the Toronto-based Tataskweyak Cree Nation artist later learned he’d been chosen for the residency, he was incredulous.

“Me and my manager were kind of overjoyed,” he says. “We were like, ‘What the hell?’ We were excited and hopeful. It felt like a huge turning point for me, coming off of the JUNO win and then having to announce this. It’s just such an incredible opportunity to be able to work in the historic Massey Hall, with some incredible people.” The accomplished multi-instrumentalist, singer-songwriter, guitarist, and producer has had plenty of good news to share with his fan base as of late. Not only did he win a JUNO in 2025, but his song “Medicine” was recognized with the Vince Fontaine Indigenous Song Award at the 2024  SOCAN Awards.

Julian Taylor, a self-described “young veteran” has also received much acclaim recently. Throughout his 25-plus years in the music industry, the musician – of both Mohawk and Caribbean heritage –  has played a variety of genres, including rock, folk, soul, and Americana, and has assumed various roles to sustain his career. One aspect he hopes to improve is his live show.

“I was about to head out on the road with a friend of mine, Matt Andersen,” says Taylor. “We did five weeks in the United States, and before I went, I booked time at Massey Hall with their sound crew and techs. I got to run through my set, and create a new stage plot and rider, and a whole new live performance. It was great to do that on one of their state-of-the-art stages.”

Before the four-time JUNO-nominated Taylor was chosen for the residency, he performed at the Allied Music Centre. On Dec. 6, 2023, Taylor recorded Live at TD Music Hall, releasing it one year later. But the live album hadn’t been planned until shortly before the concert. Doug McKendrick, the head of production at Massey Hall, approached Taylor about doing a live recording. “In a way, it was a win-win for us both because they hadn’t used the recording facilities [yet] to do a show,” says Taylor. “It turned out great.” The concert marked both the first-ever live recording and the first sold-out show for a single artist at TD Music Hall — a truly historic evening.

McGrath has seen a lot during his 15-plus-year tenure working for The Corporation of Massey Hall and Roy Thomson Hall. “We know Massey Hall is famous because of artists like Neil Young, who played there in 71, or The [Jazz] Quintet who played there in 1953,” he says. “But we also know that history is happening here right now.” For McGrath, the most rewarding part of his job is helping artists to progress in their careers.

“Through my role, I get to see people making their dreams come true,” he says. “Witnessing hardworking and deserving artists realize those dreams is just amazing.” When McGrath sees an artist headline at Massey Hall, after performing at smaller venues and doing all the work it takes to get there, it’s a feeling unlike any other. “The moment they walk out on stage for the first time, they get a standing ovation, because the audiences know that it’s meaningful,” he says. “It’s not just another tour stop. It’s a special, meaningful event.”

And getting to that iconic stage without compromising your identity and artistry is crucial. “As a Cree/Scottish artist,” says Cardinal, “my identity, or continued journey in its exploration, is a part of everything I do: how I tell stories, how I connect with people, how I carry my history and community with me. This residency honours that, without asking me to explain or shrink any part of who I am. That kind of support is rare, and it means everything.”

Cardinal isn’t alone in feeling cared for. Gaskin says, “Being an Indigenous artist comes with its own issues – growing up in traumatized environments obviously informs the music, right? Being able to have a safe space in such an incredible historic venue, is very inspiring.”