“I could pop another pill tonight/Even though I don’t really want one,” he sings, sounding both bored and boring. “Can I speak some Spanish? Te amo my darling, babe,” he croons for no reason to a distant love interest on “Menace.” There are tedious reference-points of a night out. (To his credit, he at least mentions that time he showed up late for prom.) The more gut-wrenching missteps manifest as corniness. On “Why,” a song that tiptoes around the singer’s emotional crimes to a lover, he almost never anchors the romantic separation in specifics, so when he moans a repetitive apology during the outro-“I’m sorry for so much”-it doesn’t mean much. Instead of coming off as mysterious or suffered, the Ontario native spins drama that is too often dull and vague. The most troubling shortfall of Waking at Dawn is the songwriter’s lyricism. He nails the mood via dark and legato synth work, but the upshot is severe: Spencer isn’t doing anything new. Elsewhere, on a track called “Why,” he channels the Weeknd in both vocal tone and emotional despondency. It’s a technically accomplished trick that does nothing in the way of character development because he slips in and out of these vocal tics, they sound like shticky put-on instead of resourceful identity-building. You can hear the imitation on songs like “How I Feel,” where he hiccups, gasps, and adds breathy grit into an otherwise pure tone. He also frequently puts on a strained Michael Jackson impression. Spencer sings confidently in a smooth, thin tenor that he commands with a pattering agility. Correspondingly, his aesthetic is perilously Drake-adjacent. Nonetheless, he has enjoyed the benefits of OVO’s infrastructure over the last year: a Drake feature, song premieres on Drake’s Apple Music radio show, Drake retweets, an opening slot on Drake’s upcoming summer tour. Spencer, on the other hand, hasn’t provided a creative burst for his boss yet, and Waking at Dawn finds the artist more interested in conforming to the house style than pushing it forward. Up to this point, OVO Sound has been a cautiously experimental vehicle for new musicians, many of whom churned out hits for Drake before struggling to do the same for themselves. But these same talents are frequently squandered on his debut album Waking at Dawn, which offers a polished dose of brooding unoriginality. Like the rest of the mostly Toronto-based roster, the singer born Denzel Spencer has the skills of a malleable R&B crossover: a capable and identifiable voice, practiced comfort riding a beat, a knack for moody melody. Although the Juno Award winner had a smaller crowd than the artists who performed later in the night, everyone present was still moving, dancing and singing along with her within the first 10 minutes of her set.At 20, Roy Wood$ is the youngest artist signed to Drake’s OVO Sound label. TÖ ME partnered with the Royal Bank of Canada’s (RBC) music fund to give the audience a performance that included singing, dancing, talking and guitar playing. The bilingual artist combined upbeat pop beats with the rhythm of reggae to create the unique sounds known as Afro-fusion. She opened the night with some of her biggest hits such as Champagne and All To You.
The event drew audience members of all ages including students, families and couples.įirst on the stage was TÖME, a Nigerian-French Canadian singer-songwriter. Those attending the festival had to be fully vaccinated and comply with extensive COVID-19 screening procedures, such as agreeing to a “ Festival Fan Health Pledge. The first night of the CityFolk music festival was hosted at Lansdowne’s Aberdeen Pavilion on Thursday night, one of the biggest live music events in Ottawa since the city went into its first lockdown 18 months ago. This is the first concert in over a year due to COVID-19 Artist Charlotte Day Wilson performs during the Ottawa CityFolk festival on Thursday, Sept.
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