There’s a moment in “Keep the Light On,” the new single from Toronto’s James Baley, where you expect the heavens to open up. It’s a Gospel/R&B ballad, after all. But Baley doesn’t need a dramatic orchestral crescendo to make you feel all the feels. Instead, for nearly five minutes it cradles the listener in his voice, with subtlety, emotion, and grace. It’s a gorgeous example of what can happen when you let a song simply… be.

Baley’s voice has been heard on a variety of tracks in recent years. He’s collaborated with such diverse Canadian artists as rock groups July Talk and U.S. Girls, electronic artist Azari, and jazz/R&B experimenters Badge Époque Ensemble and Zaki Ibrahim. And now he’s turning this spotlight on himself.

This fall, Baley releases his debut solo album, A Story. It’s a story that many will know, but few have told so boldly, about the search for belonging, and the pride of discovering one’s true self.

Raised in a family where singing was encouraged, he discovered the power of his voice early on. “Ever since I knew what music was, that I could make sounds with my body, I was hooked,” says Baley. “Myself, my older brother and my younger brother can all sing, and my mom taught us how to sing in harmony. It was kind of one of those things to keep us under control, especially in church, when she was leading praise and worship. But it became a really fun challenge for me.”

He cites ‘60s Motown, ‘90s R&B and hip-hop, and alternative female singers such as Tori Amos and Björk as early influences. But the one constant musical thread in his life has been Gospel. As a queer Black man, however, he admits it hasn’t always been easy to be part of that musical community.

“Let’s just say, for a long time I didn’t want to be put into that Gospel category,” he explains. “Knowing that I was gay, I’m like, ‘I don’t want to be gay and be a Gospel artist.’ ‘Cause that just feels so wrong. And I don’t wanna feel wrong in my body, with those labels attached to me. I feel like nowadays it’s not so much an issue, ‘cause I know that music really does bring me joy.”

“House music is like the church music of the dancefloor”

That complexity of emotion is captured beautifully on “Banishment,” another single from A Story. The driving dance track, in which Baley imagines what it would feel like to be Eve, banished from the garden of Eden, fuses gospel vocals with house music. Baley says the song went through several iterations over the years with different producers, from an “I Feel Love” disco vibe to one more inspired by the contemporary ballroom scene.

“I really love ballroom music,” he says. “[It’s] rooted in house music, and house music is like the church music of the dancefloor, of that nightlife,” he explains. “It’s like those Gospel tracks where people are catching spirit in the aisle. People are thrashing. People are singing ‘Hallelujah!’ That’s the feeling [house] brings up in my body.”

“Banishment” also features guest vocalist Twysted Miyake-Mugler, co-founder of the Toronto Kiki Ballroom Alliance, where Baley regularly performs. He says walking the runway is where he feels like his best self, and that the ballroom community has also been a place of healing. Like so much of A Story, the song honours Baley’s musical roots in the church, but leaves behind what he no longer needs.

“It’s like saying we would never go back to those ashamed, fearful selves when we were a part of communities that were so good for us at some point, but so dangerous for us when it comes to realizing that you are gay,” he says. “It’s saying, ‘You are amazing, you are important, you’re beautiful, you’re talented. Don’t be ashamed of yourself.’”

Baley at the SOCAN Foundation TD Incubator

James Baley was one of the first participants in the TD Incubator for Creative Entrepreneurship, powered by the SOCAN Foundation. The program launched in 2018, enables young music creators with cash grants, mentorship, and access to webinars on financial literacy, digital media, management, publishing and more.

“I feel like at the time when I applied it was something that I really needed for my career,” says Baley. “One of the things that really rang true for me from the knowledge those webinars imparted on all the artists was, ‘Don’t be afraid to reach for your dreams. Don’t be afraid to ask for the things you need, because if you don’t ask, no one’s going to ask for you.’”

As part of the program, Baley was selected to attend a residency co-presented by The Canadian Songwriters Hall of Fame, where he had the opportunity to write with songwriters from across the country, with many of whom he’s continued to keep in contact. He praises the program for “not just checking the boxes,” but its organic feel, and genuine approach to learning.

“I feel like the Incubator allows artists that are deciding to take their brand, their business, to the next level, to get to that next stage,” he says. “It was such a great experience. They really want you to succeed.”

On Oct. 22, James Baley will take over The Great Hall in downtown Toronto with a multi-media exploration of his multitude of communities and creative worlds, and a conceptual live experience with two performances, produced by somewherelse.

From time to time, each new generation shows up to create, consume, and shape pop culture. When it comes to social media, it’s clear that Gen Z is dominating the business. Seventeen-year old singer-songwriter Jade LeMac is one of TikTok’s freshest voices, and  she’s been using the platform to showcase her music and normalize conversations around sexuality.

The Vancouver-based artist has caught the attention of a million followers on the app, after releasing “‘Constellations” in early August of 2021. The song also went viral on Spotify, reaching more than a million streams on the platform in less than a month. (Though this wasn’t her first rodeo: Back in 2018, LeMac collaborated with Dutch EDM producer Dion Timmer on “The Right Type.”)

Although LeMac’s success across social media drove her into a career in music, none of it was planned. Like most people posting on TikTok, the musician was only having fun and connecting with other people in the midst of the pandemic.

“I started, believe it or not, as a joke,” says LeMac. “It was really cool, because right away, I started gaining followers. It wasn’t for music at first, but then I kind of realized that TikTok is a great way to gain an audience and a fan base that you can convert into your music career.”

According to the artist, the turning point came after she re-purposed a song based on Rihanna’s melodic solo vocal-and-piano ballad “Stay.” “I just re-wrote the lyrics, and that’s when I realized that I could really write songs on the piano,” she says. Her influences also include Shawn Mendes, whose career similarly took root in social media, on the now-defunct Vine app.

Similar to other young adults, LeMac is on a path to self-discovery, as reflected on her social media. In some of her TikToks, the singer comfortably talks and jokes about her sexuality. “I remember being younger and looking for someone to help me understand myself,” she says.

LeMac tries to keep negative comments out, but it’s hard to ignore all of them. “I’ve received homophobic comments and it sucks,” she says. On the flip side, the musician has been able to encourage her followers to open up more. “So many people have messaged me, saying how much I’ve helped them come out to their parents. It’s the best feeling ever,” she says.

Without taking any breaks, LeMac has already moved on to her next project, an EP with JUNO-nominated producer Jason Van Poederooyen aka JVP. LeMac has high hopes for her future – among them, to place her songs with a medical drama TV series. So stay tuned…

Live music is back! The Osheaga festival in Montréal celebrated its return to a “live-in-person” event with performances from Haviah Mighty, QCULTUR, Faouzia, DVSN, July Talk, Zach Zoya, Souldia, Valence, Geoffroy, The Damn Truth, Les Shirley, and AXLAUSTADE. Check out our photos from the event below, all captured by SOCAN’s Marie-Michèle Bouchard.