Magazine

It should go without saying at this point that 2024 has been a wild year for music. We’ve seen artists like Chappell Roan go from sleeper hitmaker to megastar almost overnight. We’ve seen albums like BRAT absolutely dominate pop culture to the point where its aesthetic has been used in American political campaigns (to varying levels of success).

Weekday shows have always irked me a little; standing in a crowd at 9 pm, with that lingering dread of class the next morning sitting idly in the back of my mind. It takes a special kind of music to cut through that sadness, and thankfully L’Escogriffe Bar had exactly that this past Tuesday night. 

Tinashe’s world tour show at MTELUS did not live up to the level of freak I expected. The R&B legend, who’s been in the game for over a decade, gained more popularity with her album Quantum Baby riding the wave of Brat Summer. The show was well done and long, the dancers and Tinashe were very talented, but there was a lack of aesthetic continuance. Song transitions felt disjointed, as if there was a slew of creative directors who didn’t talk to each other.

This last Wednesday, November 6th, at the cozy Bar le Ritz, I had the opportunity to see the indie singer-songwriter, Odie Leigh. The folk singer was here to tour her new album Carrier Pigeon, though you may know her through Tiktok for her song “Crop Circles”. I was introduced to Odie Leigh during a time in my life where I was doing some serious soul-searching. I feel this encapsulates how her songwriting impacts her listeners.