Avec sa musique et sa personnalité uniques, la jeune Lisa LeBlanc n’en finit plus de charmer le public. Son franc-parler et sa vivacité expliquent en partie la frénésie médiatique qui a débuté avant même la sortie de son premier album homonyme en mars dernier. Mais la qualité et l’originalité de ses pièces sont les véritables trésors qu’offre cette nouvelle venue sur la scène musicale. Celle qui qualifie sa musique de folk-trash, livre un savant mélange de country-folk, de rock et surtout d’authenticité.

Née dans un petit village du Nouveau-Brunswick, Rosaireville, au sein d’une famille plutôt musicale, Lisa LeBlanc est attirée par la scène depuis sa plus tendre enfance. Du haut de ses 21 ans, elle s’exprime avec beaucoup d’aplomb et raconte : « Tout a vraiment commencé vers l’âge de 14 ans, je me suis intéressée à la guitare puis le concierge de mon école – qui était un peu mon idole parce qu’il jouait dans des bars du coin – a commencé à me donner des cours et finalement je l’ai accompagné dans des shows. J’ai été mordue dès le début, être sur scène est ce que préfère le plus sur terre! »

Après un premier concours au Festival acadien de Caraquet en 2007, elle se retrouve à l’École nationale de la chanson de Granby, où elle écrit plusieurs des chansons qui se retrouveront sur l’album. Elle dit y avoir acquis une multitude d’outils très utiles en plus de s’ouvrir à la culture francophone hors du Nouveau-Brunswick : « Par chez-nous on connaît peu la chanson québécoise, on écoute surtout des radios communautaires qui jouent des artistes locaux. » Mentionnons qu’elle a également remporté le Festival international de la chanson de Granby en septembre 2010.

« Pour les paroles, je n’ai aucune censure. Je fais un peu de l’écriture automatique. J’écris le plus possible et je vais chercher ce qu’il me faut, puis je peaufine. »

Toutes ces expériences s’ajoutent à une bosse roulée un peu partout en spectacle et à une expérience et une maturité déconcertantes pour une si jeune femme. Lisa habite maintenant Montréal – Rosaireville, qui a une quarantaine d’habitants seulement, a perdu une citoyenne de plus – et elle dit apprécier pouvoir y voir beaucoup d’artistes en spectacle en plus d’avoir accès à d’intéressants collaborateurs. Toutefois, elle rappelle : « Je demeure une fille de la campagne et c’est important pour moi de retourner en Acadie souvent. »

À propos de ses méthodes de création, elle estime : « Pour les paroles, je n’ai aucune censure. Je fais un peu de l’écriture automatique. J’écris le plus possible et je vais chercher ce qu’il me faut, puis je peaufine. La mélodie vient souvent après mais des fois je développe des lignes de guitares ou de banjo indépendamment. ». Les pièces que l’on retrouve sur l’album ont toutes été écrites durant les deux ou trois dernières années et Lisa ajoute : « Plus jeune, j’écrivais beaucoup, surtout de la poésie, mais c’était des trucs d’ado. »

Son style? Lisa énumère quelques ingrédients :: « Ma mère m’a toujours dit de jouer des affaires avec du pep, pis j’ai toujours été tomboy et pour moi, faut que ça rock! Fallait juste que je m’en foute, que je laisse sortir le côté plus cru. Malgré que ce soit une musique que j’ai appris à aimer, je ne veux pas tomber dans les clichés du country et je préfère accentuer les arrangements atypiques. »
Sa voix et son merveilleux accent sont autant d’atouts et la présence du « franglais » donne une saveur toute particulière et évidemment très acadienne à son superbe premier opus. La collaboration de l’excellent réalisateur et arrangeur Louis-Jean Cormier (membre de Karkwa) participe également à cette franche réussite. En ce qui a trait à l’enregistrement, cette perfectionniste se souvient : « Ce fut une expérience assez longue et difficile, je n’allais pas sortir de là avant que ça soit parfait. Les tounes avaient déjà une vie et j’ai enregistré avec les gars avec qui je joue habituellement, mais on a dû quand même les retravailler. »

Pour ce qui est de l’avenir, Lisa affirme ne pas vraiment y penser. Très occupée dans les mois à venir, elle est prise, comme elle le dit si bien, avec un « beau problème ». Elle termine d’ailleurs en disant avoir très hâte de reprendre la route, elle qui se sent à son meilleur sur une scène. La promotion du disque en Acadie ainsi que plusieurs séries de spectacles au Québec l’amèneront probablement près de chez vous. Pour plus de détails sur ses prochaines dates, consultez www.lisaleblanc.ca.


Laissez un commentaire

Votre adresse de messagerie ne sera pas publiée. Les champs obligatoires sont indiqués avec *


Les traductions pour les articles avant l’automne 2013 ne sont pas disponibles pour le moment.

Singer/rapper K’NAAN’s name has become synonymous with conscious music, and the man himself, a person willing to speak out about injustice and poverty, and suggest aid and solutions. Born Keinan Abdi Warsame, he had lived in Mogadishu as a child during the Somali Civil War and even when his family safely arrived in North America, when he was 13, the memories of those times never left him. Many years later, they found their way into his music, particularly on 2005’s Juno Award-winning The Dusty Foot Philosopher, then his international breakthrough, 2009’s Troubadour.

“Thirteen years in Somalia is going to be more important to you than 20 years in Canada,” he once said.

Over the course of the past two years, the 34-year-old, Toronto-raised rapper (now living in New York) has seen his single “Wavin’ Flag” become a bona-fide anthem for peace and unity, as he collaborated on versions with artists all over the globe as part of its license to Coca-Cola for the 2010 FIFA World Cup. Then Bob Ezrin produced a “Tears Are Not Enough”-type benefit single re-make under the banner Young Artists For Haiti – to help earthquake victims there – with 50 other Canadian artists, such as Avril Lavigne, Justin Bieber, Sam Roberts and Drake.

Long before the launch of his music career, K’NAAN appeared before the U.N. Refugee Agency when he was just 21, performing a spoken-word piece that criticized the U.N.’s failed aid missions to Somalia. Last summer, he met with Bono to discuss the drought and famine in his homeland. Later, the pair made media rounds together on CNN and other important outlets to raise awareness about the severity of the conditions in East Africa.

So it’s a little unusual that on K’NAAN’s new album, Country, God Or The Girl, out in June, that the musician should pull back a bit from politics and go for some “me” time.

He got divorced in 2010, but his new relationship had started to fall apart when he returned from an extensive world tour, and that – in the time-honoured tradition of songwriting – is the source from which he drew much of the inspiration for his songs this time. One title is “Hurt Me Tomorrow,” produced by Ryan Tedder; another “The Sound of My Breaking Heart,” produced by Redone; and then there’s “Alone,” featuring will.i.am, and co-produced by the Black Eyed Peas star and Ezrin.

: “You don’t really know the meaning of what you’re writing until you’re in the place to listen to it.”

“There was [a relationship with] someone I cared about that ended just as I was writing music,” says K’NAAN. “It was hard because in all my music before, I had written songs while having some distance from the events that I was writing about, and so this is the first time, while in the middle of the scenario, that I’m also writing songs.”

He’s not certain it made him feel any better about it, though.
“I can’t be sure,” he admits. “It would be as painful to listen to when I wrote one as it was when I was writing it, but it’s because I didn’t have any distance. It’s hard – I mean, an ensuing breakup. You’re still seeing the person going through this idea of ending something and, in the evenings, you’re in the studio writing it; it’s kind of insane, you know?”

While writing from both a temporal and geographical distance from his life in Somalia provided much-needed perspective, K’NAAN found that writing in the moment about a personal relationship brought forth a floodgate of honesty and emotion that he didn’t hold back.

“I wrote it all,” he laughs. “In fact, in that way it was therapeutic because of the lack of censorship, because I thought the only way I know to properly talk about something is to write it in a song. So a lot of time, it was actually helping me figure out where I stood within the context, and how I felt about what was happening, rather than already knowing and writing about it. ”

It’s not that his beliefs in activism and his interest in social and political justice – and just plain helping to improve the conditions of peoples in impoverished conditions – didn’t enter into the lyrics on Country, God Or The Girl. Much has been made of the viewpoint that this is a personal album, but that isn’t to the exclusion of all else.

“It’s not just an album about the heart, or about love in that sense,” says K’NAAN. “It’s because it introduces my personal life, and writing about those things in this album, which I haven’t before. And so, I think that’s the only way that it is different, but it isn’t that I’ve stopped writing about other things that concern me.”

He starts to recite the lyrics to “The Seed,” which was produced by Sham and Motzart.
“‘I was a seed/Planted by lovers in a refugee camp/Then overseas, I grew free/Out grew my roots and I became a tree/So now they’ll never cut me down.’ What that song is about is, out of the vulnerability of the concrete jungle comes something that can withstand and not break,” K’NAAN explains.

“Bulletproof Pride,” the song featuring Bono and produced by Brian West, Chuck Harmony and Jon Levine, he says can be interpreted in different ways.

“You don’t really know the meaning of what you’re writing until you’re in the place to listen to it,” says K’NAAN. “It’s like listening to the radio, and you listen to a song, and it’s totally cheesy, and sometime later you might have had an experience in which, when you listen to that song you’re like, ‘This totally makes sense.’ ‘Bulletproof Pride’ is a deceptive song because sometimes I listen to it and it’s about country, and sometimes I listen to it and it’s about the girl, and sometimes it’s about myself.”

K’NAAN says of “Gold In Timbuktu,” a song produced by Chuck Harmony and Gonzales, is about old age. “The way that I wrote the song, it’s the perspective of someone who has gotten old, and instead of looking back at their years, in that kind of grace, they look at their son and they’re envious of the infinite potential of someone who now has their life to live, when they [themself] are at the end.”
The new album also includes guest appearances by Nas on “Nothing To Lose,” Nelly Furtado on “Is Anybody Out There?” and none other than Rolling Stones guitarist Keith Richards on “Sleep When We Die.” The Richards connection came through K’NAAN’s friendship with drummer Steve Jordan, who’s also on the album.

“Steve is friends with Keith [he actually co-produced Richards’ solo material and played in his band],” says K’NAAN. “So he played my music for Keith in a studio and Keith, from what I hear, just loved it. In fact, I was away and Keith phoned me, and I remember my response to the person on the other end, and me saying, ‘Whoever you are, you do a very good Keith Richards.’”

Country, God Or The Girl features many producers, but only a few share in the songwriting with K’NAAN, namely Tedder, Sham and Motzart, and Lil Eddie.

“The way that I look at production – because it isn’t just somebody who has made a beat, and then I write [to it] – is, I don’t separate it from songwriting,” he says. “So in that sense, because Chuck [Harmony] – who doesn’t write lyrics at all, or melody, I write all of that – plays the chords, and because that takes the song in a direction that I otherwise probably wouldn’t have taken it, he becomes part of the writing for me.”

Country, God Or The Girl comes at a time when K’NAAN’s persona has come to mean a lot more than the words he puts to music. He is viewed as an advocate and activist. This new album just might be the thing that stops him getting pigeonholed as the guy who writes about his childhood in Somalia and refugee status.

“It would be dishonest to just be that guy all the time because I am not that guy all the time,” he states plainly. “I have a life. I have concerns. I have thoughts. I have feelings. It’s not a tactical decision, but it is the truth and I couldn’t imagine just writing another Troubadour or another Dusty Foot Philosopher because it’s not how I’m feeling. So I think it’s a good time. “We’ll see how people respond to it, but that’s secondary in my view. What’s important to me is just to create what I need to create.”


Laissez un commentaire

Votre adresse de messagerie ne sera pas publiée. Les champs obligatoires sont indiqués avec *


Les traductions pour les articles avant l’automne 2013 ne sont pas disponibles pour le moment.

Over the past decade, Simon Wilcox has always placed an emphasis on forming strong personal relationships with her professional partners. “True trust and friendship are hard to come by in the industry,” Wilcox says, “but they’re everything. You won’t give 100 percent creatively unless you absolutely love your team.”

That was the driving force behind the L.A.-based songwriter and recording artist’s decision to ink a worldwide enhanced administration deal between her publishing company, Fun Cooker, and peermusic Canada Inc. in January 2012, at the urging of longtime friend and supporter, Cheryl Link, peermusic’s Director of Synchronization and Creative.

The two first met at the North by Northeast conference in Toronto 12 years ago. Shortly thereafter, Link loaned Wilcox the money to press her first album, Mongrel of Love (1999), acted as her manager for a time and, while working at BMG Music Publishing Canada Inc. in the early 2000s, attempted to broker a deal between Wilcox and BMG. They’ve literally grown up in the industry together.

“I consider her my best friend,” Link says. “We can be completely honest with each other. But we’re also providing the deal she was looking for – ensuring her copyrights revert to her, and that she not be subject to delivery requirements.”

“Really, what was instrumental in going with peermusic was Cheryl,” says Wilcox. “I know she believes in me and if I’m going to win, or lose, I want to do it with her.”

Personal connections have always been integral to her career, Wilcox insists, particularly those developed following her 2003 signing to EMI April Music Canada Ltd., a partnership that led to collaborations with Grammy-nominated Quebec duo, Beast, The Trews, Three Days Grace and Quebec singer/cellist, Jorane on “Stay” – which garnered Wilcox her first SOCAN No. 1 Song Award in 2005. “EMI were instrumental in my career. I wouldn’t be here without them.”

Although Wilcox felt very much at home at EMI, changes at the company – including President Michael McCarty’s move to ole – left her shaken. When the deal ended in 2011, she was hesitant to sign with anyone. “I was gun-shy, so I just wrote songs for a year, but at the end of that year Cheryl was, like, ‘Okay. C’mon now. I’ve waited long enough,’” she says, laughing.

Currently, Wilcox and Shridhar Solanki (PRS) are preparing to release their first full-length independent album as Cider Sky, tentatively scheduled for release this summer. As a writer, Wilcox is experiencing truly global success with tracks such as “Northern Lights,” featured on the Twilight Saga-Breaking Dawn Pt. 1 soundtrack, and “Blackout,” from Breathe Carolina’s 2011 record, Hell Is What You Make It – both of which have achieved certified gold status (500,000 sold) in the U.S.
“[And] I’m really excited to see what new relationships I can build with peermusic internationall


Laissez un commentaire

Votre adresse de messagerie ne sera pas publiée. Les champs obligatoires sont indiqués avec *