Her bio will tell you she’s a singer-songwriter and multi-instrumentalist who creates electronic/pop music with sincere, clever lyricism. But all it really needs to say is “rising star.” As overused an expression as that often is, there’s truly no better way to describe Tatiana Zagorac. And we’re not the only ones who think so. Nominated for Electronic/Dance Artist of the Year at the 2019 & 2021 Western Canadian Music Awards, Zagorac, known professionally as Talltale, is turning heads across the globe. Her one-two punch? Well, in addition to being formally trained, she’s simply all the things that can’t be learned: compellingly relatable, effortlessly funny, and a natural storyteller with an impeccable sense of timing—just don’t ask her to play tennis! This week’s “I Am YEG Arts” story belongs to Talltale.

Tell us about your connection to Edmonton.

Born and raised here! My parents both immigrated here from Serbia, and whenever winter rolls around we (half) joke about why they chose this city of all places. But I feel like I grew up with this city in a way, it’s changed so much in the time I’ve been alive. I travel a lot for music, and coming back to Edmonton always feels like home.

Was music always a natural fit for you? What was it about the arts that made you feel like it could be your community?

It was always what I wanted to do, but by no means was it a natural fit. Most artists have a story where they talk about being gifted from a young age, and I have no problem saying that absolutely wasn’t the case for me. I think it’s important to share stories like that! One of my best friends recently reminded me that while he got “Best Band Student” in Grade 8, I got “Most Improved,” and that’s the kind of attitude that’s helped me get as far as I have, I think.

In regards to community, I think it’s possible to find it anywhere, but I feel incredibly fortunate that I found a lot of my community while attending the MacEwan music program. It felt like one big family to me, and many of those people I’m still gratefully in community with to this day.

What led you to focus on drums and composing music?

Drums was a bit of a happy accident—I was assigned to clarinet in Grade 7 band and found that it wasn’t for me. Halfway through the year they held auditions for percussion, and I saw that as my only way out of clarinet, while still getting to take a music class. I never would’ve guessed that I would’ve stuck with it and that it would be my instrument of study in university years later!

Songwriting I started doing at a very young age, though originally just writing lyrics and only hearing the melodies and production in my head until I picked up guitar later (and then production in university). As I’ve gotten older, I feel more at home with songwriting, composition, and production as opposed to live performance, probably because I’ve done it more, but also because I really enjoy being able to present something exactly the way it was intended, without anything being left to chance.

You’re both self-taught and formally educated. What would you say have been the biggest pros and cons of each?

I think a big con of formal education is discouragement that is fostered through feeling a sense of “right and wrong” while creating your art, and also through your “ears” (in the case of music) getting better faster than your ability. A pro, at least for me, is that, as someone with ADHD, having deadlines and a formal learning environment was incredibly conducive to the quality and speed of my development. I also have a hard time learning concepts when there’s no one for me to ask questions of, so having instructors and peers to draw upon was crucial for me.

Tell us about someone who’s been a mentor to you.

One of my biggest mentors was the choir and theatre musical director at Strathcona High School, Stephen Delano. Looking back at 16-year-old me, I was honestly insufferable—I was shoehorning myself into extracurriculars that I didn’t make the cut for, I was prideful and stubborn, and I gave artistic advice to peers with an unearned sense of authority on the subject. But Stephen found ways for me to learn and participate and grow, giving me responsibilities with running rehearsals or teaching the cast their harmonies once I had earned the opportunity. He even helped me decide between a drum or a guitar instrument major for university! He saw the potential in me, and I became a better musician and person for it.

Who’s someone inspiring you right now?

I’m endlessly inspired by the other female artists in Edmonton pursuing music, in particular, Laur Elle and Margo. I’ve been fortunate enough to work on both of their projects in a few different capacities, and watching them grow so rapidly is incredible. While their musical success is certainly noteworthy, I’m most inspired by their confidence and sense of self. And on top of that, they’re truly two of the kindest people I’ve ever met! I don’t know how they do it all.

Tell us a bit about Talltale and how that journey began.

I always knew I wanted to be a musical artist (though I think the vision of what that looks like changes as you get older, and you get a clearer picture of your options). In my last year of university, I felt ready to try and record an EP. I knew I wanted to come out the gate with something that sounded professional, and at the time, the only pop producer in Edmonton I knew was Ari Rhodes. I did my first EP with him, graduated school, won HOT107’s Hot Factor competition half a year later, signed a publishing deal right after, and have been continuing to learn the business and refine my skills as an artist since! From about 2018 onwards, I began working with local producer Robbie Townsend (professionally known as Father Bobby Townsend), and that was when I started creating music that I felt sounded like me. Since then I’ve been selected for a number of national development programs, received several grants and awards, and travelled internationally to write for artists in Japan, Korea, Taiwan, and LA. It was not at all what younger me pictured, but in many ways it’s much cooler.

What excites you most about the YEG arts scene right now?

I very recently started collaborating with local writer/musician/owner of Glass Bookshop, Jason Purcell, on some of their projects, and it’s opened my eyes to how much of the arts community here I wasn’t acquainted with, despite growing up here. The music community is quite small in a way, so I felt like I was familiar with the arts scene, but I’m really realizing how many folks are doing work in fields like the literary and visual arts that I’ve never met. I’ve seen Jason pull these communities together through collaboration, and it’s very exciting. I think the arts scene in Edmonton is uniquely supportive and uncompetitive but still incredibly high quality, so it’s exciting to think about how further collaboration between disciplines will impact that. 

Tell us a bit about what you are currently working on or hoping to explore next?

I’m currently finishing up an album! I’m very excited about it. I wanted to push myself musically to incorporate more electronic and orchestral elements, and I took a much heavier role in producing this record. I’m also really looking forward to putting together a great live show for it! With all the knowledge I’ve acquired over the years, it’ll be really fun to combine aspects of DJing, drumming, singing, and programming lights/visuals.

What makes you hopeful these days?

I wish I could say this wasn’t a tough question. I spend a lot of time kind of burrito’d in blankets feeling anxious and depressed about a lot of things. I think a lot of musicians would say “music,” but I even have a tough time doing music without wondering if I should be doing something that feels like it has more utility to people’s wellbeing. But I do think the one thing that makes me feel truly hopeful is community. As an individual, it’s easy to feel hopeless when you’re looking at problems on such a massive scale. But finding community allows you to create meaningful and impactful change with a group of people that is tangible.

Want more YEG Arts Stories? We’ll be sharing them here all year and on social media using the hashtag #IamYegArts. Follow along! Click here to learn more about Talltale and to check out the video for her latest single, “Tennis Club.”

About Talltale

Amassing over 400,000 streams as an independent artist, Talltale is a singer, songwriter, producer, and multi-instrumentalist who creates electronic/pop music with sincere, clever lyricism. Her most recent single, “Tennis Club,” has received notable positive attention from outlets like Canadian Beats, Buzz Music, and VENTS Magazine, as well as a premiere for the self-directed and edited music video on Indie88. Her live show sets her apart from other artists in her genre, as she plays a standing electronic drum set while singing. Her previous work has earned accolades such as Best Electronic Song of 2018 in the Canadian Songwriting Competition, Artist to Watch at the EMAs, and two nominations as Electronic/Dance Artist of the Year at the Western Canadian Music Awards.

The lead single, “Tokyo,” off her previous album, A Japanese Fever Dream, was placed on curated playlists and played across CBC, Sirius XM, and college radio, while the music videos for “Tokyo” and “Shed My Skin” were on rotation on Stingray’s 4k. Upon the end of the album cycle, Talltale was invited to perform at the Canadian Embassy in Tokyo. She regularly writes for other artists internationally, and has participated in several CMPA international writing camps. Talltale was selected as an export-ready artist for the Canadian Passport Summit in 2022 and is currently working on her next release.

Photo by Dhakshboo Photography

There are those who lead and those who follow. Saxophonist Allison Balcetis is the best of both. As a musician, teacher, collaborator, and performer, she has a lot of roles and responsibilities, but none delight her more than receiving the handoff from the composer—a moment she calls “the relay.” A close second best? That’d be the launch—a.k.a., sending out the music to the world. It’s no surprise then that the name of her album, Relay. Launch., is a celebration of that process. Sending music out to the world is exactly what she’ll be doing June 18, when she performs with the UltraViolet ensemble, presented by New Music Edmonton. Until then, and long, long after, you’ll likely find Balcetis doing what she knows best: championing the strength of multiple points of view, appreciating the foundation of family, and finding magic in the process. This week’s “I Am Yeg Arts” story belongs to Allison Balcetis.

Tell us about your connection to Edmonton and what keeps you living and working here.

I came to Edmonton to earn my Doctorate in Music from the U of A in 2007. I knew only one person here, William Street, who was my supervisor, and that was it! Beyond the very supportive community within the department of music, around 2010 I joined the board of New Music Edmonton (NME), a contemporary music concert non-profit, and that organization’s members and employees added immeasurably to my sense of belonging. The combination of rigorous study at the University with producing concerts with NME really professionalized me. It formed the basis of my arts network and has grown to include work with dancers like Gerry Morita of Mile Zero, Jen Mesch, poets like Shima Robinson, and other amazing musicians. I currently live about 2,400 miles from my nuclear family, but I feel so lucky to be both rooted and supported here by artists who want to play and make things together.

What drew you to the saxophone? Was it a natural fit or something you grew into?

I guess I came from a lineage of saxophonists, starting with my mother who played in high school, to my older sister (4 years older), and then me. My whole family is musical: my dad plays accordion and ukulele and sings in his church choir, my mom continues to play piano and is an avid concertgoer, and my sister continues to play saxophone. They’re all professionals in other fields, but my family was always going out to concerts.

They supported me early on by providing me with private lessons to supplement my public-school band education, and then my older sister went off to get her Bachelor’s degree in music and psychology, so I had a model of what was possible beyond high school. My sister and I would play duets together and, eventually, we busked together as a duo, so I had to be up to snuff at an early age or our act would fall apart! She kicked my butt in the best way possible, and I know I wouldn’t be here without that early inspiration.

Tell us about someone who’s been a mentor to you and how the experience influenced your path.

Well, beyond my sister, I’d have to say another early mentor was a jazz vibraphonist and drummer in Omaha, Nebraska (where I grew up). His name was Luigi Waites. You should google him, he’s a legend! He ran a jazz workshop for junior high and high school kids each spring and taught us the basics of jazz improvisation. He grew really close to my family, and I considered him like one of my grandparents. He jokingly called my mother his parole officer! He taught me about performing under pressure, not dwelling on mistakes in the moment, and being a reliable professional musician. He allowed me to play sometimes with his amazing band, Luigi Inc, in a bar before I was of-age (no period after “Inc” because It means “including,” not “incorporated.” This was the core of his spirit)! He and his bandmates were so supportive and treated me as a peer. I love and miss him dearly.

What’s one piece of advice you wish you’d had starting out? And what’s something you knew instinctively?

When I was in school studying music, I wish there had been more diverse music integrated into the curriculum. The post-secondary system of music education in North America is still pretty Euro-centric (even more so a while back), and I bought into that model. As a player of a non-orchestral instrument, for years I felt like the saxophone’s repertoire (and by extension, me) was not sophisticated enough, like I was studying music that (A) was just not as relevant to me as it was for my orchestral-instrumentalist peers, and (B) that I was all the lesser for it.

What did I know instinctively? I’m not sure, except that very early on I had the support of my family to study music in university, so if not “instinctively,” then at least early on I knew the inherent value of being a musician—that it’s important and worthwhile. It’s quite upsetting to work with students who are going against their parents’ wishes to study music. I admire their tenacity because it isn’t easy even in the best circumstances.

How important has collaboration been to your career, and why are you drawn to it?

Since moving to Edmonton, collaboration has been the focus of nearly my entire career. At the core of it, I guess it’s because I believe in the strength of multiple points of view when making something. I value the humility it takes to recognize that no one is an island. Perhaps the dread associated with climate anxiety and the fate of the planet (and then the myriad local issues as one zooms in) is better served by teaming up together. I think it’s true in matters of civics and democracy—and in creating art.

Relay. Launch. cover art by Parker Thiessen

Tell us a little about what your creative process looks like.

One aspect of my practice is to work with composers who are writing for the saxophone, whether it’s solo or in small groups. In this case, I research who interests me (and perhaps I’m already friends with them), and propose they write a piece for me or one of my groups. Then, if we’re successful in securing funding, the creative process begins. Sometimes composers want to know what I, specifically, can do on the saxophone, what I prefer, and what I excel at or find cumbersome. Then they start writing, sending me sketches of ideas, or simply asking if a certain musical gesture is possible. This can be a back-and-forth that lasts several months. Next, they send me a complete draft. After I prepare it, I’ll play it for them (this is often, say, about a few weeks before a public premiere), and they might find it necessary to make some small edits if there’s a discrepancy between what they imagined and how I played it. Then, it’s time for the public performance!

I love this process. I’ve done this with students who are assigned to write for me for school, as well as with professionals. In fact, I’ve probably done this process at least 100 times, and I really love being that half of the equation—the sounding of the thing that was written on paper. There’s a whole philosophical discussion to be had about when an idea becomes music. I like being in that timeline.

Who’s someone inspiring you right now?

American flutist Claire Chase is a big career inspiration for me. She founded the incredible International Contemporary Ensemble and has since moved on to a thriving solo career with a project that entails commissioning a slew of works each year. I admire her self-starting entrepreneurism and her commitment to the music of today.

Locally, there are several people who inspire me for their creativity and captivating performances: textile and sound artist Kelly Ruth, flutist Chenoa Anderson, poet Dwennimmen, percussionist Mark Segger, and dancers Gerry Morita, Jen Mesch, and Good Women Dance. This is only the beginning of my list though!

What are you currently working on or hoping to explore next?

I’m currently in between two concerts with my quartet, UltraViolet, where we’re premiering eight new works! Our second show is June 18.

Over the past few months, I have started some initial fiddlings with pedal effects on my saxophone, primarily for improvisation. I’ve been really inspired by the noise artists and improvisors in town who take either traditional instruments or atypical instruments and play them through various pedals, loopers, etc. It’s a mesmerizing performance, and I’m just starting out with it. My friend Kelly Ruth, for example, literally plays her weaving loom this way! She’s the one who encouraged me to plug in and amp up, so to speak.

Describe your perfect day in Edmonton. How do you spend it?

If we’re talking a Saturday or Sunday, I’m fortunate to live a few blocks from the south-side Italian Centre, so a pastry and latte is a great start. Then I’ll take my Chow Chow, Thor, to Buena Vista dog park. After that, the day might have a rehearsal with one of my groups, and the evening would involve attending a live show somewhere!

What excites you most about the YEG arts scene right now?

I love the cross-pollinating performances: the young jazz musicians who play a freer set with some of the more avant-garde “classical” musicians; the dancers who produce a visually stunning show with the visual artists and set designers; the poets who trust the musicians to improvise behind their words. Though the growing lack of affordable venue rentals is quite worrying to me, this is the kind of activity that buoys me and gets me really excited to be a part of this city.

Want more YEG Arts Stories? We’ll be sharing them here all year and on social media using the hashtag #IamYegArts. Follow along! Click here to learn more about Allison Balcetis, UltraViolet’supcomingJune 18 show, and her digital album, Relay. Launch, the proceeds of which go to Hares Outreach, a local mutual-aid network focused on advocacy, street outreach, and harm reduction.

Photo by Dhakshboo Photography

About Allison Balcetis

Internationally recognized as an ambitious contemporary saxophonist, Allison Balcetis has studied and collaborated with artists from around the world. Her international performance career includes concerts throughout North America, Europe, Brazil, Thailand, and Taiwan. Recent projects include partnering with André Mestre to create Curto-Circuito, a yearly workshop for young Brazilian composers, which has seen the creation of over 30 new pieces for saxophone and piano since 2014. Other creative partnerships include Colin Labadie, Ian Crutchley, Nicolás Arnáez, Thierry Alla, Rodrigo Bussad, and André Ribeiro. Her work as a soloist and chamber musician has produced over 100 world premieres.

As a faculty member of the University of Alberta since 2009, Allison trains the next generation of thoughtful, artistic musicians, teaching saxophone, chamber music, woodwind techniques, and aural skills. Outside of the university, Allison helps develop the contemporary arts community as former President of New Music Edmonton. From 2015–2018 she was co-curator of SubArctic Improv and Experimental Arts, a monthly concert series pairing dancers, musicians, text, and visual artists in a totally improvised context that saw over 200 artists grace its stage.

Allison’s recent chamber activities include the Edmonton Saxophone Quartet, improvisation ensemble damn magpies, UltraViolet ensemble, and work with Edmontonian musicians and dance companies, such as the Jen Mesch Dance Conspiracy and Mile Zero Dance.

In 2007 Allison co-founded Anubis Quartet, a Chicago-based ensemble with more than 30 commissions and premieres of provocative new music, performing with them until 2014. During her undergraduate degree, Allison won first place in the Fischoff National Chamber Music Competition in 2005.

Allison holds a Doctorate in Music from the University of Alberta where she studied with William Street. She also holds degrees from Bowling Green State University where she studied with John Sampen and is the first—and only—saxophonist to earn a joint degree from the Université de Bordeaux and the Conservatoire National de Région de Bordeaux where she studied with Marie-Bernadette Charrier.

Photo by Nadia Jade Photography

It is always better to be loved by few than liked by many. Emmet Michael knows this and couldn’t be more grateful. If you don’t already know his name, he’s a singer-songwriter winning the hearts and attention of music fans with his debut album, I Hope You’re Home. It’s an album that’s both an unflinching look at life as an outsider and the power of feeling at home in one’s own skin. As you’ll soon discover, this artist’s openness to talk about music is as generous and moving as his ability to write it. Equal parts grit and grace, this week’s “I Am YEG Arts” story belongs to Emmet Michael.

Tell us about your connection to Edmonton and why you make it yourhome.

I was born and raised in Edmonton. Up until recently, I spent a lot of time wishing I lived elsewhere. As time went on, I found more and more reasons to appreciate it here—particularly its vibrant arts and music scene. Even artists in more metropolitan cities, such as Vancouver or Toronto, are raving about the opportunities and support networks in Edmonton.

Alberta is a strange place to find yourself in as someone who is a part of a minority group—but Edmonton seems to be a safe hub for people like me. People in Edmonton appreciate and uplift unique voices in music in ways I think rural Alberta communities have yet to do.

What are your musical influences, and where do you see/hear them reflected in your work?

I grew up in the Christian church and was first introduced to music through worship. I think that’s a lot of where the more “ethereal” and “ambient” sounds in my songs come from. Despite never having written worship songs, I’ve been told often that they have a “worship music vibe.” Watching my mom sing on stages at church was what first inspired me to become a performer.

In my adolescence I really fell in love with emo music, and then later with more “folky” singer-songwriter types. Some of my favourite artists include: Manchester Orchestra, Brandi Carlile, Corey Kilgannon, Ruston Kelly, and Phoebe Bridgers. I listen to a lot of different genres and find that a little bit of everything makes it into my own sound. I don’t ever want to stay married to one particular avenue or get pigeonholed into a single style. I think the one thing that all of the artists I listen to have in common is the depth of meaning in their lyrics. They’re all poets in their own way, and that’s what I aspire to reflect in my writing as well.

What is the songwriting process like for you? Where do you usually begin?

My songwriting process is always quite abstract. Inspiration often hits at really inopportune times, like while I’m at work, driving, or in the middle of the night when I should be sleeping. I try to take advantage of it whenever it comes because it doesn’t come all that often. Most commonly my process is sitting down with a guitar or at the piano and tinkering around until something resonates. At that point, the words just follow naturally and are often just an expression of whatever I’m wrestling with at a given time. It’s always been a very personal and very cathartic experience for me. I live with a lot of anxiety and overthink everything. When I sit down and write a song, it’s a time where my mind is actually quiet enough for me to process underlying emotions. Having something tangible at the end of all of that—a fully completed piece of music—is just an added bonus to the whole experience. Writing lyrics enables me to actually understand and communicate what I’m going through in a way that I’ve always struggled to articulate in words.

What does community mean to you, and where do you find it?

As someone who hasn’t always felt a sense of belonging, community is life-saving. As a queer and transgender individual growing up in a religious community, I always felt a sense of loneliness and “otherness.” I felt like I had to suppress who I was in order to be accepted. I think authentic community breeds the opposite of that. It is about finding people who not only accept you as you are, but CELEBRATE you for who you are. I found that in the Edmonton arts community, at open stages in particular. These were places where you were encouraged to listen and share the things that make us all the most human, in a language that everyone understands—through music.

Tell us about someone who’s been a mentor to you.

I have had a lot of important mentors throughout my life and career, too many to name them all. One of the most prominent was Rhea March. I met her at one of her open stages almost a decade ago, when I first started performing my original songs. She helped me get some of my first gigs, interviewed and aired my music on her show, It Takes a Village, on CJSR radio, and later got me my first larger-scale opportunity at Canmore Folk Music Festival, in 2019. Among offering me support professionally, she also encouraged me personally. Early on, I dealt with a lot of self-doubt and struggles with mental illness and addiction. She saw my potential from the very start and helped coax it out of me. I will forever be grateful to her for that above all things.

I Hope You’re Home album cover. Photo by Nadia Jade Photography

What’s one piece of advice someone gave you growing up that turned out to be true. What’s one piece that didn’t hold up?

One piece of advice given to me at the beginning of my music career was to be able to take constructive criticism and “no's” well. If you manage to persevere through enough times hearing “no,” you were bound to get a “yes” eventually. I most certainly found that to be the case. I still get declined opportunities all the time, and sometimes it really stings, but the wins I’ve experienced as a result of pushing through have been well worth all of it.

Before recording my first project, the 5-song EP, I Feel Like I Just Woke Up, in 2019, I was told by someone in the industry that my songs were never going anywhere unless I made them more “mainstream.” I was encouraged to warp my sound and lyrical content to fit what he thought the greater public would be most apt to consume. The reality is that people gravitate the most to people who are authentic in what they create. I have learned the importance in knowing that it is always better to be loved by few than to be liked by many. A small audience of people who really resonate with what I’m doing will always mean more to me. The numbers don’t matter as much as people seem to think they do.

Tell us about the role that funding and awards have played in your career. What doors do they open for artists?

Funding has played an invaluable role in the advancement of my career. It is because of grants from the Edmonton Arts Council, The Alberta Foundation for the Arts, and FACTOR that I was able to afford to record and market my debut full-length album, I Hope You’re Home, released in May 2021. Having a professionally produced, full-length album put my name on the map in a way that it hadn’t been before. I had music played on radio across Canada, including CBC and SIRIUS XM radio. I had interviews on Global News and CTV Morning Live. I am now being offered far more performance and showcasing opportunities, which have allowed for me to be able to support myself financially in a way I couldn’t before. Just recently, I was awarded the Edmonton Music Prize for my album. The prize money will allow me to invest in my career even further, through the purchase of better equipment, studio time, and the cost of accommodations for touring.

I would not have been able to continue investing in my growth without these supports, and I am just so grateful to live in a place that values investment in creative work. It is my hope that I can use these investments to enrich my community the same way it has so greatly enriched me. These types of funding and awards help connect artists to their potential audiences, record music they might not otherwise be able to afford to, and promote the economy of Edmonton arts as a whole.

What makes you hopeful these days?

In recent years, I have watched Alberta embrace more diversity in the music scene. There have always been plenty of talented artists that are 2SLGBTQ+ and/or BIPOC, but now they are being given a platform. We still have a long way to go, but progress is happening. That gives me hope for the future of music in Edmonton and in Alberta.

Tell us a bit about your latest album, I Hope You’re Home, for which you were awarded the 2022 Edmonton Music Prize. What inspired it, and what story did you want to tell?

I Hope You’re Home is a culmination of all of the experiences I had that made me the person I am now. It expresses the longing for a feeling of “home,” not as a place, but as a comfortable existence in your own skin. There are songs on this album that I wrote as a teenager, and others I wrote just a couple of weeks before getting into the studio. Each song is a snapshot of a point in my life where I was really wrestling with something. Some of those things included: coming out as trans, going through an addiction, battling mental illness, grieving a loss, and trying to discover what love means in all it.

Years from now, when you look back on this album as a snapshot in time, how do you hope to finish this sentence: I didn’t know it at the time, but…

I am worth more than the story I tell.

You visit Edmonton 20 years from now. What do you hope has changed? What do you hope has stayed the same?

I hope that people are less afraid to express themselves as they are—for how they identify and who they love. I hope none of that matters at all. I hope that we continue to cultivate a culture of collaboration over competition. I hope there are more opportunities created for open and honest dialogue. I hope that we continue to see an Edmonton full of arts and music festivals and events. I hope that we continue to expand upon investment in art and music, as I believe these mediums are imperative to social change and a thriving community.

Want more YEG Arts Stories? We’ll be sharing them here all year and on social media using the hashtag #IamYegArts. Follow along! Click hereto learn more about Emmet Michael, and visit the EAC’s website for more information about grants and awards that support artists.

Photo credit: Kassia J Photography

About Emmet Michael

Introspective and enthralling, with equal parts grit and grace, Emmet Michael is a musician who was built on his trials. Turning to music in his darkest times, he found solace in his ability to share his heart with others through his lyrics. Drawing on his experience of transitioning from female to male, living with mental illness, and battling addiction, his songs carry a tone of desperation and sorrow. With soulful melodies and heart-wrenching lyrics, his music conveys a message that is both powerful and vulnerable. Entirely unique, yet familiar.

There is a lifetime’s worth of honesty and vulnerability encapsulated in the Edmonton Music Prize Winning album, I Hope You’re Home, the debut full-length album released in summer 2021. A bold, unflinching look at life as an outsider before undertaking a journey of self-discovery that would help mould him into the person he is today, it is the sum of those experiences that resonate throughout the course of the record.

Recently showcased to larger audiences at Canmore Folk Music Festival, Festival Place, and the Northern Lights Folk Club, his live shows provide an experience simply too incredible for words. His eloquent storytelling pairs perfectly with an always evocative performance, allowing those in attendance to connect to him, themselves, and each other.

Raw vulnerability is what will always set Emmet apart. He bares his soul in a way that is sophisticated far beyond his youth. This is only the beginning for this talented songwriter.

“I Am YEG Arts” Series: VISSIA

Photo credit: Kane Wilkinson

There’s always more to discover. But for singer-songwriter VISSIA, the through line is always emotion, and her new album is no exception. Titled, With Pleasure, the compilation is a reflection of just that: taking pleasure in the whole process of being here and creating something out of nothing—discomfort and all. That journey is exactly what her curiosity craves. Rather than stepping where she’s already been, VISSIA’s embracing the challenges that come with venturing out past one’s comfort zone. And she’s doing it—With Pleasure. This week’s “I Am YEG Arts” story belongs to VISSIA.

Tell us about your connection to Edmonton and what keeps you working and living here.

I settled in Edmonton permanently when I was studying music at MacEwan in 2010 (It’s actually kind of wild to look at that. I’ve been calling Edmonton home for 12 years!). Edmonton is the only city outside of my hometown (Stony Plain) that I’ve ever lived, and going to university here put me in touch with creative collaborators I am still working with to this day. I’ve seen venues sprout up and grow—and also go.

I’ve made friends in the arts community who have moved on to other places. I’ve stayed. I can’t say whether I’ll stay forever—the future is unknown—but Edmonton has been good to me. It’s where I played my first shows as a solo artist. I appreciate how unpretentious and creatively inclined this place is for artists. And there is always more to discover, within and outside of the arts community, which is exactly what my curiosity craves.

What are your musical influences, and where do you see/hear them reflected in your work?

My musical roots are steeped in the country and folk traditions of songwriting, and those styles will always have a place in my heart, but in the past couple of years I have been really influenced by pop-leaning styles of music—pop, R&B, soul, rock. I listen to a lot of music from both indie and mainstream artists, anything from Lady Wray to The Weeknd to Hovvdy. The way that pop music connects with so many people across cultures and geography is so fascinating to me. I don’t love all pop music—a lot of it is not made to last—but the stuff that cuts to the core of the human experience in a way that hooks and begs to be listened to over and over again is something that I’m interested in exploring more. I dug into this exploration with my most recent album, With Pleasure. I think my roots show in songs like “Doorway” and “I Just Wanna Hold U,” and then with the rest, I’m pushing into new (to me) musical territory. The through line is always emotion.

VISSIA performing live in Kingston. Photo credit: Kane Wilkinson

On the business side of being an artist, what’s one decision you’ve made that’s moved your career forward in a significant way, and what’s something you wish you’d passed on?

The business side of being an artist involves so many more small decisions than really big significant ones, I think. It’s about consistency in work ethic and learning how to decide which opportunities are right for you as an artist, and which ones are not. I think how one does that is by constantly reconnecting to one’s values and reasons for doing this line of work and learning how to weigh risk versus potential positive impact. The more that I stay grounded in myself and what is true for me, the easier it is to say, yes, to the right opportunities and, no, when it just isn’t the right fit for me. Passing on something that doesn’t feel right or make sense creates space for the things that do. Through it all, I try to stay centred and focused on what I am looking to accomplish and trust that what is for me is already on its way to me.

What was the first song you remember wishing you had given to the world?

I remember being completely intrigued by “Vincent,” by Don McLean, when I was probably 11 years old or so. The Best of Don McLean CD got a lot of spins in my household—my mom’s influence—mostly for “American Pie” and this one. I’ve been a hard-falling romantic since I was young, and this beautiful song felt so tragic to me. The melody is gorgeous and a joy to sing, and I loved the challenge of trying to learn the finger-style guitar accompaniment. I didn’t even fully understand the meaning behind it at first; I just knew it made me feel deeply.

Tell us a bit about your latest album, With Pleasure, and what the highlights have been for you so far.

With Pleasure has been playful and explorational for me as an artist and performer. When I initially sat down to write for the album, I had a different title and intention. I thought I was going to write something closer to my previous album, Place Holder, which is more of an alternative, roots-leaning singer-songwriter album. When I was initially denied funding for a grant I had applied for, I decided to take a step back and really figure out what I wanted to experience artistically with this album. Rather than taking steps where I’d already been, I decided to move into a new direction and embrace the challenges that come with venturing out past one’s comfort zone. The process was all about play and fun—and pleasure. So that’s where I got the idea for the title of the album. It doesn’t mean that this is an album full of experiences that are entirely pleasurable. It’s about taking pleasure in the whole process of being here and creating something out of nothing, discomfort and all.

In addition to receiving some really lovely press and feedback from the UK, US, and across the globe, highlights for this album have included landing at #7 on CKUA’s Top 100 Chart for 2021, going on tour and playing to sold-out shows across Alberta and Ontario with Toronto duo USS, and now embarking on my own Canadian tour, followed by an international festival showcase at c/o Pop in Cologne, Germany. With every album I make, I feel like I am coming more into myself as an artist and person, and With Pleasure is a personal highlight in my own emergence.

Album cover of With Pleasure.

What does community mean to you, and where do you find it?

Community is like chosen family to me. It’s about gathering and nurturing all of the one-on-one relationships. I find community when in relationship with people who reciprocate support, trust, and vulnerability. Community is fluid and changes all the time though. Some people will be with me for decades, but I also accept that some people are in my life for only a season. I just want to connect with people who share my values, goals, and passion for creating. I also love how we can be connected over distances, and in that way, community is not limited by where one is physically.

Tell us about someone who’s been a mentor to you.

My stepdad, Ted, has been a significant mentor to me; not specifically related to music and what I do in my career, but a mentor in life and growing up. He’s seen me through some of my

biggest personal struggles and helped usher me along my personal growth journey. I feel very lucky to have him in my life as someone I can turn to for advice, a second opinion, or just an ear to listen. He always makes space and time for me, and I’m really grateful for the meaningful connection we have.

What excites you most about the YEG arts scene right now?

I’m most excited about the upcoming emerging local music artists here in Edmonton. There are a lot of artists in their early-to-mid 20’s who are passionate and putting out really great work at a high level, and they deserve to be heard.

Describe your perfect day in Edmonton. How do you spend it?

I live in Queen Alexandra, and I love being within walking distance from the river and places to drop in to grab treats and pints. My perfect day is quiet, slow, and meandering. I’d be sleeping in to the best of my ability, grabbing breakfast at the Sugarbowl, and then going on a long walking adventure through the river valley. I would eventually end up at the Black Dog to catch the sunshine on the rooftop, probably with a friend or two.

What makes you hopeful these days?

Playing live concerts again gives me a lot of opportunities for meeting new people. People will come up to me after a show and share their stories with me, and it’s those interactions I have with complete strangers that make me hopeful. Everybody wants to be seen and heard, and I think listening to each other’s stories—without feeling the need to relate—is how we stay connected to our humanity.

Want more YEG Arts Stories? We’ll be sharing them here all year and on social media using the hashtag #IamYegArts. Follow along! Click here to learn more about VISSIA, her new album, and where to catch her on tour.

VISSIA performing live in Kingston. Photo credit: Kane Wilkinson

About VISSIA

It is undeniable that Edmonton, Alberta, artist—VISSIA—is a songwriting and performing force to be reckoned with. With a show-stopper of a voice and a knack for storytelling, VISSIA captures the minuscule moments of monotonous everyday life and turns them to gold on her fearless new album, With Pleasure—an album that pines for connection, reminiscing on missed connections, and blurry nights out that meant everything. On every song, it feels like love is just around the corner. It’s a contagious feeling that makes us hopeful for the future and desperately excited to meet it.

VISSIA has made high-profile appearances including the UK’s Great Escape Festival, NXNE, the Edmonton Folk Music Festival, and the Canmore Folk Music Festival, opening for the likes of Hawksley Workman, Jim Bryson, Matt Andersen, and Lindi Ortega.

Artists Jody Shenkarek (left) and Thea Bowering (right). Photos supplied by the artists. 

The third artist pair to take up residence at the Yorath House Artist Studio Placement are Jody Shenkarek and Thea Bowering. Friends for over two decades, during this joint residency at Yorath House, they will begin a long talked-about collaboration that blends Jody’s music with Thea’s storytelling. 

Jody Shenkarek is a long standing member of Edmontons music and arts community. A singer and songwriter, she is currently leading the band Jody Shenkarek and Hot Kindlin’. Her musical career has enabled her to share the stage with many local and touring artists over her 30 years in music. Jody is excited to be working toward releasing her second recording that was put on hold due to COVID 19. She is also a member of the Edmonton Potters Guild and a pinhole photography enthusiast and artist. Jody’s many talents extend beyond the arts as well. She is an accomplished vegetarian chef and former owner of Café Mosaics in Edmonton. Jody is a current student at Chestnut School of Herbal Medicine. Music, food, art and nature’s medicine are her way of connecting with her community. 

Primarily a fiction writer, Thea Bowering also works in several forms of creative nonfiction. Much of her work is an experimental hybrid of both fiction and nonfiction. Her subject is often the city she’s living in–its underrepresented locales, work, and circumstances–presented through an immediate perspective. She explores the relationship between walking and writing, and themes of memory and trauma, the technologization of culture, the environment, and intergenerational conflict. But she’s also funny! Her collection of short fiction Love at Last Sight (NeWest Press, 2013) won the Alberta Book Publishing Award, Trade Fiction Book of the Year in 2014 and was longlisted for the Alberta Readers’ Choice Award. She has taught in the areas of film, fiction, and creative nonfiction, and has helped organize literary events and reading series around Edmonton. Currently she sits on the board of NeWest Press. 

Jody and Thea intend to use this residency time to blend their respective practices. The work will continue the story of a city as told through the artistically generative relationship that they’ve been developing for years. Their process will involve long walks and talks around Yorath House, during which they will record the sounds of the trails and river, as well as their unfolding ideas about place and nature within the city, their shared history in Edmonton, memory and loss, aging, and finding hope and purpose in this current difficult moment. The afternoons will be spent writing, together and apart, delving into shared musical and artistic influences and experiments in form. Each one will push and encourage the other to work in the medium less familiar to the her: Thea will move her prose closer to song, try her hand with the keyboard and maybe even sing, while Jody will work in new areas of sound recording, prose narratives, and page poetry.

While on a nature walk, the artists happened on the central symbol for their project — a healing flower called the ghost pipe. Although hard to find, ghost pipe grows all over the world in dark woodland areas. Jody has even seen it growing close to her home, here in Edmonton. It has been used for both physical and mental pain by allowing a person to stand beside their pain—experiencing and observing it without being overcome by it, and without trying to obliterate it. The flower itself is ghostly white. It does not get its nourishment from the sun; instead, it takes nourishment from nearby trees through the dark earth. It has a single bowing head on a stalk that it raises slowly to the sun just before it turns black and dies. While Jody and Thea will hunt for the ghost pipe during their time at Yorath, they will also put the ghost pipe at the center of their project, as an organizing motif. The aim will be to have enough songs and spoken word pieces by the end of the residency to put on a small performance at Yorath House. The long-term goal is to develop and record the material towards an album accompanied by a book of stories and photos.

The Yorath House Artist Studio Placement pilot program began in 2020 as a partnership between the Edmonton Arts Council, the City of Edmonton, and the City Arts Centre, investing in artists working in a range of art forms and practices to foster experimentation and creative collaboration. You can learn more about Yorath House pilot program here.