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Lilith Winners To Be Featured On National Television Show Strictly Global

Strictly Global is a TV broadcast committed to breaking new trends and alternative lifestyles, especially in the way of music.  To kick off their season premiere, the fine folks at Strictly Global put together an episode dedicated to Lilith 2010.  Best of all, the episode will feature a number of artists who were chosen by the OurStage community to open select Lilith dates across the country. Legendary musician and festival founder Sarah McLachlan and Lilith co-founder / Nettwerk label owner Terry McBride will grace the screen, as will OurStage CEO, Ben Campbell.

The Strictly Global Lilith 2010 episode will air on over 30 million TV screens across the United States, and will bring viewers fantastic interviews and music videos from emerging talent. Click here to learn more about the featured artists. To listen to some tracks from each of the winners, check out the playlists below. Be sure to tune in tonight, September 17th at 10PM EST to catch the Strictly Global Lilith 2010  episode on your local channel.

Strictly Global Episode: Lilith 2010

Lilith 2010 Winners

Q&A With Tegan & Sara

The whole realm of musical duos is gaining more and more popularity in the music industry. She & Him, Matt & Kim, Meg & Dia and—of course—Tegan & Sara. The thing that sets the latter apart is sheer versatility. You’ll find these Canadian twins relaxing you with acoustic performances immediately followed by dance numbers to get you moving. They even mix a substantial amount of indie and punk rock into their sets. Needless to say, they’ve got something for everyone. We caught up with Sara Quin to talk about their collaborative songwriting, their view on music awards and their overall musical goals.

OS: Lately, you’ve attempted to write songs together, rather than separately. Any sibling drama when working together directly, as opposed to your normal “remote” collaboration?

SQ: You know, not just with music, but with every aspect of our career, there’s an element of debate and conversation about a lot things that we do—making decisions for art and video and that sort of thing. So, certainly when we’re face-to-face and we’re dealing with stuff, it can sometimes turn into arguments or animated debates. But, for the most part we’ve sort of found a way to work through those issues. Certainly doing the songwriting long distance and generally giving each other space to make art without immediate critique or feedback has been really helpful. Writing in person sort of eliminates that buffer zone, but we made it through without too much friction. I think, because we were so excited by the results, it was helping to smooth over some of the difficulties. We were really establishing, “Wow, okay so this is how you write a song. That’s so interesting. That’s not how I would do it.” I think we were able to get past some of those bumps because we were both really excited about what was coming out.

OS: Only one of these co-writes made the final cut of Sainthood. What happened here and are we ever going to hear the other songs?

SQ: Yeah! We would eventually love to release the material, and who knows, some of them might get spiraled into something else. I think, ultimately, it was really late in the writing process, and a lot of the music just sounded so different than what we had already written for the record, that the songs just ended up feeling a little bit like they wouldn’t work. So, we sort of set them aside for a later date. It was less about whether or not the songs were good, because it was such a new thing, they really had such a different feel it didn’t make sense.

OS: You’ve been nominated for a bunch of Juno awards, but have never taken one home. Your latest album was nominated for the Polaris Music Prize. Do you think winning this award would put you on a different level as Canadian artists?

SQ: I don’t know. I personally never have put a ton of energy, or assigned any sort of value to those types of things. When you’re in the music industry, you see that there’re a lot of politics behind them, and often it’s not necessarily representative of everything that is out there, or what I would deem as “good” or the “best of”. You’re always weighing that with the natural desire to be acknowledged and recognized within the industry and in the public eye. Certainly when you’re winning these awards, or being nominated for them, it makes you feel good, and it sort of elevates you to a different status, and your parents are happy—that sort of thing.  So, I definitely don’t want to speak too negatively about them, but it’s important to balance being interested and excited and also knowing that they don’t totally matter, whether you win them or not. I would still feel like we had made a really fantastic record whether it had been nominated for the prize or not. If we don’t win, that’s okay too.

OS: It seems that the band has an interesting presence in the punk scene as well as the indie rock scene (Tegan’s collaborations with Against Me! and Alkaline Trio and yours with The Reason). Are you simply rock stars at heart?

SQ: I’m not. I think we always sort of felt awkward. I don’t think we ever felt comfortable with the idea that this would be our career, or that we would be professional for years. There was always this idea that it was just a hobby or it was something that was really fun. Then, all of a sudden, you find yourself really addicted to the lifestyle. So much of what the public sees is you on tour and onstage, and I think that’s where this idea of the “rockstar” sort of comes from, but so much of our lives is behind the scenes—songwriting and working on projects. It’s very isolated, and there’s a solitary, introverted element to a tremendous amount of what we do.

Behind the scenes, you’re interested in working on stuff. Mostly it’s alone, but then every once in a while an artist or someone will come along and ask you to contribute something. It’s just naturally reaching out, branching out and having a community. When people are working on albums and they’re looking for other people to throw their personality or their style into the project, you jump at the chance to do it. Like, for us, obviously we’re not a dance project, but it’s really fun to work with dance artists, because you get to sort of see yourself in a different light.

OS: Along the same lines, you perform along side artists of many different genres, like this year’s Civic Tour with Paramore and New Found Glory. What’s it like keeping up with acts like this?

SQ: I think what we do is adaptable. We’re versatile and we can tailor our set, energy level and the dynamic of our set to meet a lot of different venues and support gigs and festivals. Maybe we’ll stand out. I don’t know that we’ll necessarily fit in in the sense that we’ll be interchangeable with those bands. But, I definitely think that there will be people in the audience that appreciate hearing something different, or seeing a different approach to the music that we’re making. I feel really excited about it. There’s always an element of fear or danger when you’re opening for a band that isn’t exactly doing what you do, because you don’t want the audience to hate you. But, I really believe Paramore in particular have a fantastic audience. Hayley is so wonderful, and I think even though they have a very big audience, there’s a parallel in the way that we connect with our audience. It seems very personal, and they’re rooting for her, and I’m hoping that will extend to our band.

OS: You’ve both had mixed responses to the media’s portrayal of you as “twin, lesbian, female musicians”. This year, you had one date at the Lilith tour which celebrates women in music and their sexuality. How does the whole Lilith thing fit in with you guys?

SQ: Well, we are doing one show with Lilith. You know, it’s like a festival. For example, we were over in Europe doing rock festivals in Germany, and we did Glastonbury in the UK. You take into consideration who the audience is and what might get their attention, and you sort of write a set list that will make sense at that venue. With Lilith, obviously with the focus on women musicians, you’re going to see a lot of women in the audience. I think that it means that Tegan and I can do what we do best. We have a really dynamic catalog of music, and I think I’ll feel more comfortable doing a set that’s a little more representative of what our entire catalog is representative of.

Whereas when we’re playing a rock festival at midnight in Germany, we’ll probably play more heavy music, or we’ll play most of our rock songs. We won’t be trying to do the acoustic sing-a-long’s. I think Lilith is great. I don’t worry as much about being pigeonholed because of our gender or sexuality the way we did when we were younger. I think we now have the history in the industry. That helps us get out of the category of “women making music for women,” which used to sort of drive us crazy. Based on the artists that we’ve supported and the festivals that we’ve done, and how mainstream/wide of a spectrum our audience is now, I think we’re not worrying that there’s limitations because of our gender or sexuality.

Check out Tegan & Sara’s upcoming tour dates:

9/7- Kiefer UNO Lakefront Arena, New Orleans, LA

9/8- Cynthia Woods Mitchell Pavilion, Houston, TX

9/10-Nokia Theatre, Dallas, TX

9/11-Cains Ballroom, Tulsa, OK

9/13-Red Rocks Amphitheatre, Morrison, CO

9/15-Dodge Theater, Phoenix, AZ

9/17-Theater at HP Pavillion, San Jose, CA

9/18-Viejas Arena, San Diego, CA

9/19-Honda Center, Anaheim, CA

9/24-Malkin Bowl,Vancouver, BC

Ladies First: Lilith 2010 Comes To Boston

Music fans, artists and festival organizers couldn’t have wished for a better day for the Boston area stop on the Lilith 2010 Tour.  While the sun shone down on the Comcast Center in Mansfield, MA, a cool breeze provided attendees with relief from the area’s recent record high temperatures. Festival goers found pre-evening action at the Village Stage and the ABC Stage, which were both set up in a lovely shady grove of trees alongside tents housing some of Lilith’s sponsors and the non-profit organizations each tour stop benefits.

Winterbloom with Lilith co-founder Sarah McLachlan. Photo by Asia Kepka

OurStage “Lilith Local Talent Search” Boston winners Winterbloom were the first band of the day on the Village Stage. Winterbloom, a singer-songwriter/folk supergroup of sorts, is made up of Boston singer-songwriter stars Meg Hutchinson, Antje Duvekot, Anne Heaton, Natalia Zukerman and special guest Rose Polenzani. Separately, each of these women is a musical force to be reckoned with. Together, they are on another level. The Winterbloom women and their sweet vocal harmonies greeted Lilith attendees as they filled into the Comcast Center. What did it feel like to perform at Lilith? “It felt amazing!,” said Winterbloom’s Ann Heaton, “Each day I keep wanting to know who to thank at OurStage for managing the competition and helping this come to be…Lilith itself had such a great supportive feeling of community… It was great to be around such talented, smart and kind women doing their own things in their own ways!” Bandmate Rose Polenzani echoes Heaton’s sentiments. “We had such a wonderful time at Lilith Fair… Right before the finale, one of the backstage crew members held up an assortment of percussion instruments and offered them to anyone who wanted to play them. This gesture showed such a spirit of fun and welcoming…” “Having the Lilith Fair date did give us something to work toward as a band,” said Winterbloom’s Antje Duvekot, “And the audience at Lilith Fair was really great and supportive of our performance.”

Did your judging help Winterbloom win? The women of Winterbloom put together a special video just for you! View their thank-you video here.

Butterfly Boucher belts it out. Photo by Mike Splain

Butterfly Boucher (Yes, that is her real name. “I have creative parents,” Boucher told the audience) also played a great set on the Village Stage. After performing a few songs solo with her “band in a box,” she was joined onstage by Sarah McLachlan’s band. The crowd got a big surprise when Sarah herself came out to join Butterfly and the band for a few songs.

Boucher was followed by Serena Ryder, who opened with an almost acapella,  gospel-tinged number which blew the crowd away. Ryder’s stage presence was dynamic, evidenced by her jumping up and down and thrashing her head in time with the music.

Missy Higgins tunes up. Photo by Mike Splain

In contrast was Missy Higgins, who’s set included herself, a keyboard, a guitar and a bassist. With such a minimalist setup, an artist can’t afford to have a weak voice or stage presence. Missy had neither, hitting every note spot on and engaging the audience with stories about each song. She played several songs from her newest album On A Clear Night, including “Steer, ” which she introduced by telling the crowd “This song’s about being free.” Set closer “Where I Stood” left many audience members wiping away tears.

Sara Bareilles performed what was maybe the most active set of the evening. She

Cheers, Boston! Sara Bareilles. Photo by Mike Splain

opened with her hit ”Love Song,” which sounded fresh and full of emotion, even though she has surely played it thousands of times by now. Bareilles then launched into a cover of Beyoncé’s hit “Single Ladies,” which involved the vocal assistance of a young fan named Sammy, who ran up to the front of the stage and was given the mic by Barielles.  Newer material left audience members eager for the September release of her new album Kaleidoscope Heart.

Sarah’s high-energy show was followed by the soulful sounds of Chan Marshall (aka Cat Power). Chan and her band opened with “Good Woman” from her 2003 album You Are Free, which then segued into a cover of the Rolling Stones classic “Satisfaction”. Another noteworthy cover in Chan’s set was the Billie Holiday standard, “Don’t Explain.” The cool evening breeze and the last of the sunlight was the perfect match for Chan’s smoky vocals.

Korgs for Quinns: Tegan and Sara. Photo by Mike Splain

The second to last slot of the night belonged to Tegan & Sara. The duo kept their notorious stage banter to a minimum, as they only had a short time to play, but they made sure to mention how much of an impact playing Lilith Fair 11 years ago made on them, and how happy they are to be a part of Lilith again. The Quinn sisters and their band tore through a wide range of songs from their catalog, including “Speak Slow” and “Where Does The Good Go” from 2004’s So Jealous, “Living Room” from 2002’s If It Was You, and “Alligator” off of their most recent album, 2009’s Sainthood.

All of the Lilith artists join together on the Main Stage for the finale. Photo by Asia Kepka

The night closed with Lilith founder Sara McLachlan, who was greeted with a deafening round of applause from the crowd. McLachlan kicked off her set with a bang, leading off with her hits “Angel” and “Building A Mystery.” Her newer material was also well received by fans. At the end of her set, all of the days artists were brought back out to join McLachlan for a performance of the Patti Smith classic “Because The Night.”

The night (and the afternoon) really did belong to the ladies of Lilith. The crowd was diverse—  mothers, daughters, girlfriends, boyfriends—and attendees were just as likely to see young kids dancing to Sara Bareilles as middle aged women rocking out to Tegan and Sara. Everyone genuinely seemed to enjoy the music, which was absolutely top notch.  I wouldn’t be surprised if some of the kids in attendance were on stage at the 20th anniversary of Lilith Fair talking to the crowd about how inspired they were by the amazing talent and sense of community at Lilith 2010.

Check out the official Lilith Boston recap video (featuring OurStage ‘Lilith Local Talent Search’ Boston winners Winterbloom) here and check out some more pics below!

Fringe benefits: Serena Ryder. Photo by Mike Splain

A Lilith fan shows her support. Photo by Mike Splain

Chan Marshall aka Cat Power. Photo by Mike Splain

Q&A With Metric

The concept of a female-fronted band isn’t really old news. Most often, you’ll find these acts forging more of a straight up “rock” sound. Metric offer flavor all their own. The band presents memorable songs in energetic, jump-worthy packages. While many indie acts try to arrange “singer/songwriter-esque” tunes into a band setting, the members of Metric all add their own distinct stamp to their songs. Singer Emily Haines’ voice seems a natural fit for the synth-y, electronic arrangements and danceable grooves that have become synonymous with the name Metric.
OurStage got ahold of Metric  guitar player Jimmy Shaw to get a little more information about how Metric actually puts together a song. Check out his answers as well as his thoughts about their recent dates and even their work with film composer Howard Shore.
OS: The band has stated that Emily Haines writes “sad” songs that fit with “happy” arrangements by the rest of the band. How, then, does a typical Metric song come about?
JS: Well in that instance it’s usually a song that Emily will write on the piano that is slow or somber, and I will take it, speed it up and “metrify” it. Guitars, dance beats, loudness in general. We have found that juxtaposition to be a major part of Metric’s sound.
OS: We recently spoke with hip hop artist k-os who talked about a certain camaraderie and simultaneous competition between Canadian artists. Do you find that there is a connection/competition there?
JS: If there is a competition, I believe it’s a healthy one. I see it that we all wanna be there at the finish line. None of us will make it if we all don’t achieve greatness, but the trick is we all have to achieve greatness in order to succeed in the goal. I am not so interested in reaching the top of the mountain to find I’m the only one there, only to look down and see all my friends partying at base camp.
OS: This year, you worked with Howard Shore to write a song for the Twilight Saga: Eclipse soundtrack. What was this like and how did you merge your songwriting process with Shore’s cinematic writing?
JS: This really was an amazing experience. Howard is a wonderful and incredibly talented man and musician. It actually came very naturally. He played us the scene along with the rough musical ideas that he had. We took those ideas and ran with them, writing a full scale pop song, going back and forth with Howard the whole time. He then took those melodies and implemented them throughout the movie score. For something I was so intimidated by at inception, it was actually quite smoothly achieved.
OS: Metric is a headliner on this year’s Lilith tour with Sarah McLachlan. Why is it important for you to support a tour like Lilith 2010?
JS: I don’t really see it as supporting the tour but just something that made sense at the time. I prefer not to think of things as symbols or gestures. As a great friend of mine once said, its just what happened on a Tuesday…
OS: Later this year, you’re embarking on a much different tour with Muse. Will this be your first time transitioning from big outdoor festivals to rocking huge coliseums, or is this just business as usual?
JS: The only time we’ve played that type of arena is MSG with the Rolling Stones. That was uh, ok I guess. I’m excited to play all venues, big, small, outdoor, indoor. We have a mission to be the first band to play in space (you hear that Sir Branson? The name is METRIC).
OS: The band spends a lot of time touring between releases. Do you like life on the road, and what is your key to staying sane while touring?
Photo by Justin Broadbent
JS: I think the key is to give up trying to stay sane touring. Why fight the inevitable. Just feel weird. It’s ok, you wont die.
OS: After a smaller EP release and a few singles, is Metric planning to work on a new full-length album soon?
JS: Absolutely. We cant wait!! Aaaand GO!
Catch Metric at Lollapalooza this Saturday August 7th or on the following upcoming tour dates with Muse:
10/11 Cincinnati, OH- US Bank Arena
10/12 Columbus, OH- Schottenstein Center
10/21 Quebec, QC- Colisee Pepsi
10/23 Uniondale, NY- Nassau Coliseum
10/24 Newark, NJ- Prudential Center
10/26 Raleigh, NC- RBC Center
10/27 Charlottesville, VA- John Paul Jones Arena

Lilith Local Talent Search Winner Announced For Edmonton!

And now on to the next region. With two announcements down, it is time for another update in the “Lilith Local Talent Search” Competition. We are just two weeks away from the Lilith 2010 tour getting under way on the west coast, so we figured this is as good a time as any to announce the winner for Edmonton! Please put your hands together for….

Lilith Winner
Souljah Fyah


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