Photo by courtesy of Kids Help Phone / courtoisie de Jeunesse, J’écoute. Left to right/De gauche à droite : Boslen, Loony, Haviah Mighty, Preston Pablo, Alessia Cara, Serena Ryder

Artists Feel Out Loud for Youth Mental Health

Story by David McPherson | Thursday May 25th, 2023

Mental health, once a private conversation, is no longer only talked about behind closed doors. Those messy, unexplainable feelings are now more common, especially among youth. Statistics show that in any given year, one in five Canadians experiences a mental illness. Post-pandemic, according to Katherine Hay, President and CEO of Kids Help Phone, that number is closer to one in one.

“When COVID-19 hit three years ago, we were ready to scale and meet this increased demand,” she explains. “Since 2020, young people have connected with Kids Help Phone more than 14 million times.”

On March 2, 2023, to amplify those connections, the national charity launched its latest campaign, Feel Out Loud – the largest youth mental health movement in Canadian history – with the anthem “What I Wouldn’t Do (North Star Calling).”  Produced by Grammy nominee Bob Ezrin, Randy Lennox, and Carrie Mudd, Artists for Feel Out Loud features more than 50 Canadian musicians. SOCAN members from a variety of genres lent their voices and volunteered their time, including Serena Ryder, LOONY, Boslen, Johnny Orlando, TOBi, Roy Woods, JESSIA, JP Saxe and many more.

Kids Help Phone, Artists for Feel Out Loud

Click on the image to play the Artists for Feel Out Loud video ““What I Wouldn’t Do (North Star Calling)”

And, as befits a truly national charity, the Francophone counterpart of Kids Help Phone – Jeunesse, J’écoute – was equally involved in the initiative, Libère tes émotions. Among the Francophone SOCAN members who joined in to sing on the charity anthem were 2Frères, Dominique Fils-Aimé, Jeanick Fournier, Jonathan Roy, Marie-Mai, Naya Ali, Preston Pablo, Rêve, and Zach Zoya.

The charity song combines the melody of Ryder’s hit “What I Wouldn’t Do” with Leela Gilday’s JUNO-winning “North Star Calling.” In two months, the YouTube video has earned 1.2 million views, and the single has been streamed more than a million times. Kids Help Phone has also seen a 31 percent increase in its service volume.

For more than 30 years, the organization has offered free, 24/7, e-mental health services for youth. The charity set a campaign fundraising goal of $300 million by the end of 2024, to expand its confidential mental health services and reach even more equity-deserving communities. All proceeds generated from “What I Wouldn’t Do (North Star Calling)” will be donated to Kids Help Phone.

“You’re not alone” is the campaign’s main message. Feel Out Loud is about breaking down barriers to mental health services and supports by creating more space for young people to express themselves, feel seen, heard, and have their feelings validated, safe from judgement. It’s no surprise Serena Ryder was involved; the multiple-JUNO-Award-winner’s last record, The Art of Falling Apart, explored her mental health journey, and she frequently talks about her emotional struggles.

“The whole idea of feeling out loud is the most important thing I feel in my life, not just as an artist, but as a human being,” says Ryder. “It was truly amazing to have all of these artists come together, because they’re affected, and because they know what it feels like to have mental and emotional wellness struggles.”

Dominique Fils-Aimé

Dominique Fils-Aimé

Dominique Fils-Aimé was happy to participate. “I want to help get rid of the taboos surrounding mental health, that have no reason to still exist,” she says. “Our emotional universes are complex, so imagine how overwhelming that can be for a young person. Having had to struggle with depression as a teenager, I know I was fortunate to have access to support – I can’t imagine what I would’ve done without it.

“Young people swiftly realize the absurdity of the world we leave them. I believe it’s our duty to make sure organizations like Kids Help Phone are there to validate their emotions and support their mental evolution. By giving them those crucial tools at a younger age, we make sure they have even better odds of becoming fulfilled, mentally healthy adults equipped for the rollercoaster ride that is life.”

Growing up in Scarborough, ON., Canadian R&B artist LOONY (aka Kira Huszar) recalls watching after-school TV and seeing Kids Help Phone commercials. She never reached out, or used any of their resources, but one of her friends called a couple of times and had a good experience; she knew that Kids Help Phone was always a resource she had “in my back pocket.” Though she never picked up the phone as a teenager, when the ask arrived to participate in Artists for Feel Out Loud, she said yes immediately.

“I am a super-anxious person and have ADD [attention deficit disorder],” admits the 2020 SOCAN Songwriting Prize nominee, during a break from recording her next project. “Like everyone, I’ve been through situations and traumatic events. I’m usually pretty insular in the way I work. I don’t do a lot of collaborations or features and I’ve never been in a commercial, but I figured if there was ever something to be a part of, this was it.”

When it comes to her mental health, what helps LOONY is to be aware of the signposts and the triggers that affect her mood. “For me, that means to get outside, remember to eat food that nourishes me and just notice the things that make me feel good and do more of that,” she says.

For Vancouver-based alternative hip-hop artist Boslen, music is the eternal saviour that always helps him heal, and keep the darkness at bay. The 23-year-old spent his formative years in rural Chilliwack, B.C., hunting with his dad and “chasing bees and lizards.” When his parents divorced, he was only 12 years old, and didn’t know how to express his feelings. Clarity came when he first heard the song “Up Up & Away.”

“Kid Cudi and that song saved my life!” says Boslen. “He was the first artist to ever say his dad wasn’t around. As a kid, you don’t know why you’re feeling depressed when you are just hanging out at the playground… You don’t know why you have anxiety. But when somebody else says it, you’re, like, ‘Oh yeah, that might be a reason!’ As a man, you have to be open to growth, and putting your ego to the side sometimes. Music is the best therapy for that.”

Like LOONY, Boslen jumped at the offer to get involved in the Feel Out Loud campaign. “I love the message behind it, and I’ve always wanted to try something in this world where it’s not just me,” he explains. “As artists, everybody on that song can relate to this fact, we constantly slave ourselves to our own music to make it perfect. I felt like with this song, we were doing something selfless for other people. How can you say no to that?”

Kids Help Phone’s Kathierine Hay is filled with gratitude that no one said no, and she thanks all of the artists, and the corporate partners, that helped make the Feel Out Loud campaign possible. For the senior executive, the following lines in the song’s second verse, sung by 2023 Breakthrough Artist of the Year Preston Pablo, are the most poignant: Life can bе like a river/ That you are floating down /You may not be a swimmer/ But I’ll never let you drown.

“That’s the most common feeling that our frontline staff say kids calling us share,” says Hay. “Our message back to all kids out there is this: We won’t let you drown. We’re here for you.”

Photo by Charlotte Rainville

Philippe B : Mastering the ordinary

Story by Élise Jetté | Tuesday May 30th, 2023

Exactly six years after La grande nuit vidéo, Philippe B is releasing Nouvelle administration, an album on which he’s recognizable in every story and melody –  or just about. The singer-songwriter is back with everything people always loved about him: a malleable, fictionalized “self,” in which one ends up seeing one’s true self, at some level.

Philippe B, Charlotte Rainville“I love the irony of a restauant that changes owners, and you can read the large sign that says Under New Ownership, but the soup continues to be made by the same dude,” says Philippe B, explaining the title of his second album. The restaurant’s menu hasn’t changed through his entire life; what’s changed is life itself. Becoming a father a year before the start of the pandemic, Mr. B wrote all of the words and music of Nouvelle administration inside a new family dynamic, one that modified the album’s main theme.

“This album is about Philippe B writing in the style of Philippe B during the pandemic,’ he says. “I wasn’t trying to re-invent myself, but instead [I was] in the process of checking whether I still existed.” The similarities between the new and the old pieces were reassuring in the context of isolation. “The fact that my character, i.e. myself, had changed after becoming a dad was renewal enough for me,” says B. “Those are songs that say something more, and I managed to control my normalcy.”

As the boss of the new administration, B built everything himself. Guido del Fabro (violins), Émilie Laforest (voice), José Major (drums) and, in this case, Philippe Brault (bass) join the singer-songwriter, who takes care of the arrangements, mixing, and production. “It was the first time I was also looking after the mixing,”he says. “Guido was my second ear for everything. He came along rather late in the process, but I gave him that responsibility. He can adjust the frequecencies, and the arrangements, and the words, all at once. Above all, he knows me inside-out.”

Becoming a parent can change a life, and that change can be felt throughout the album. “For a long time, we were stuck in a place where I meant me, and you meant my girlfriend, or some other character,” says B. “But since my daughter was born, we is a threesome, and you is a duo.” That’s the case with ‘Les filles,’ a song depicting the whole range of anguishing thoughts, large and small, that can haunt a vulnerable man, who realizes the possible pain that he might inflict on the very people he’s trying to protect.

Philippe B. Marianne S'ennuie

Click on the image to play the Philippe B video “Marianne s’ennuie”

Outside of his personal life story, two stories took shape in spite of the fact that they’re not being “played” by his character: “Marianne s’ennuie” and “Souterrain.” In the first one, B chooses to tackle the idea of polyamorous love, and all the possibilities that lie behind the “love” concept.

“The chosen name is Marianne, Leonard Cohen’s girlfriend,” says B, adding that he didn’t want to shape this story too clearly, either. “I wonder how Marianne would have faced that sort of aggressiveness today,” he says. “She was Cohen’s muse, and their long-distance love had several peculiarities, although in the end the pretty things that one heard in the songs all came from him. I acted as if, for once, one were passing the mic to her.”

The story of “Souterrain” was written in the peculiar ambience of Sophie Dupuis’ 2020 film. “To keep my brain active during the pandemic, my record company offered me, and some others, a project that represented a false order, as if we had to write a song that would be the film’s credit,” says B.

Nouvelle administration took its time coming out, and many other songs of the album took life multiple times. “I would write them, and allow enough time for me to forget about them,” says B, “before coming back to them, re-discovering them, and making sure I still liked them.” He adds that he’d adopted a creative process that made him feel “more lonely than ever before.”

At the end of the album, “L’ère du verseau” brings a conclusion to the 10 stories – unrelated ones, in spite of the songwriter’s intention of wanting to stick to his main theme of fatherhood. “Talking about your new family is a nice thing, but turning it into songs sounds a bit cheesy,” says B with a laugh. “I also wanted to make sure that a guy who has zero children could come up with his own interpretation. I wanted to go back to Philippe the chameleon, who can be just about anybody. I think, or least I hope, it worked.”

Photo by Katrin Braga

Debby Friday’s Good Luck

Story by Liisa Ladouceur | Wednesday May 24th, 2023

There’s a good chance that you’ve never heard a Canadian record quite like Debby Friday’s Good Luck. The Nigerian-born, Toronto-based singer/producer’s debut album is a 33-minute adrenalin rush of modern music fusion, with influences including rave, rap, industrial, alternative, R&B, and hyperpop, to name just a few.  Friday’s official bio refers to her as a “zillennial anti-heroine,” and when asked what she calls her style, she offers simply “hybrid.”

Debby Friday, What A Man, video

Click on the image to play the Debby Friday video “What a Man”

Friday herself has a story that’s both typical of many young first-generation Canadians, and unique to her creative mind and vision. She immigrated to Montréal with her parents, where she was educated by Catholic teachers at an all-girls’ school in Westmount and, not much later, the city’s after-hours club scene. While she didn’t grow up dreaming of a music career, she did want to be a writer.

“I was always a very creative child,” says Friday, on the phone from her home, days before embarking on a European tour. “I wrote a lot when I was young, thinking maybe I’ll be an author. But I didn’t have this idea of the arts as a career, because that wasn’t a thing that existed in my upbringing. My parents are very supportive now, but they didn’t have any context for this type of work, or this industry. The younger generation, we have a lot more choices. We can essentially create [our] own career[s], and that’s what I did.”

Good Luck, released on Arts & Crafts in Canada and Sub Pop for the world, follows a series of singles and EPs that established Debby Friday as a new artist to watch – literally. Friday holds a Masters of Fine Art, and her music videos draw on her studies, and passion for visual storytelling. The clip for her single “What a Man” references the infamous 17th Century “rape revenge” painting Judith Slaying Holofernes by Artemisia Gentileschi – one of the only professional female artists of Italy’s Baroque era. She’s also released a surrealist short horror film to accompany the album. Still, Friday says that of all the arts, nothing compares to a song.

“I think music is the greatest connective art because you don’t have to speak the language of the song,” she says. “And a song doesn’t even have to have words in order for you to connect with it, and to connect to other people through it. Like people who are on opposite sides of the globe can have the same feelings elicited within them by hearing a song. I think that’s really beautiful.”

For her full-length debut, Friday explains that she wanted to level-up her songwriting, and her production skills. “I think previously, I was really comfortable with one mode of expression, but this time I wanted to be a little bit more open, more vulnerable. Like, I could just feel that there was something inside of me that was, like, ‘OK, we have to do something different. We have to do something more.’ I listened to that impulse, and I leaned into it.”

Debby Friday, So Hard To Tell, video

Click on the image to play the Debby Friday video “So Hard to Tell”

Part of that process was working with Graham Walsh, a member of electronic experimentalists Holy Fuck, who’s produced for Operators, Doomsquad, Sam Roberts Band, and co-written with Lights. Friday, who writes, records, mixes and produces her own music, met Walsh through her management, and says he “got it right away.” Her initial 17 songs, mostly written during the pandemic lockdowns, were edited down to 10 short tracks that condense decades of electronic music history into three-minute pop pleasures.  And if seductive club tracks like the high-BPM “I Got It” (featuring Chris Vargas of Montreal’s Pelada/Uńas), or the serpentine, Biblical-themed “Let You Down” are brooding explorations of the dark side, a song like “So Hard to Tell” shifts into a beautiful falsetto ballad.

For Friday, her diverse musical explorations are a natural result of growing up in the digital age. “We essentially have an archive of all of human thought and musical history,” she says. “You can pick and choose from that; like, take what works and leave the rest. I do love experimenting. I want to make beautiful things. And we’ve kind of come to this place where everything has become everything else – there’s not necessarily just one context for things now. That’s why I just call it hybrid.”