Pop superstar Shawn Mendes picked up album of situs slot online the year, but he wasn’t able to situs slot terpercaya attend the event because he’s on tour.
Sun., March 17, 2019timer6 min. read
updateArticle was updated Mar. 18, 2019
It wasn’t a full-on “sweep” for the adorable 20-something chap from Pickering with whom your daughter – or your daughters or your son or your sons or your mom or your moms or your dad or your dads or your wife or your wives or whatever, as long as you get what I’m saying about the universality of the Shawn Mendes thing – but it was all but a sweep for Shawn Mendes at the 2019 Juno Awards in London, Ontario.
Mendes went five-for-six at the end of Juno Weekend. Artist of the Year. Album of the Year situs judi slot online resmi and Pop Album of the Year for Shawn Mendes. Single of the Year for “In My Blood.” Songwriter of the Year for “Lost In Japan,” “Youth” and “In My Blood,” despite the fact that Mendes shares those songwriting credits with a half-dozen other people.
And then … a loss at the end of CBC’s big Sunday-night broadcast of the Juno closing ceremonies from London’s Budweiser Gardens to Napanee-raised comeback queen Avril Lavigne in the online-voted Juno Fan Choice Award. How’s that to suck the wind from your sails, Mendes?
He’ll be fine. Five for six ain’t bad. And Mendes, despite being on tour in Europe currently, did show his love for Canada with a live performance from London pre-taped and presented on the CBC broadcast after his fifth and final win of the weekend for Album of the Year on Sunday. But that was about it for the big winner in terms of “presence.” Avril didn’t show up, either, if you were wondering. But Sarah McLachlan hosted. And Corey Hart got a much-deserved induction into the Canadian Music Hall of Fame. That’s pretty good star power, right there.
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As über-producer and songwriter and umanitarian-award recipient David Foster put it the night before at the pre-broadcast Juno gala, citing the dunia dominance of Drake, the Weeknd, Justin Bieber and Mendes, Canada’s contribution to the dunia superstar circuit is grossly “disproportionate” to the size of the country. Our stars don’t even need to show up to their own awards shows. Sting will do it in their place.
Other than Mendes, anyway, the only runaway winners on the weekend were Hamilton-born rockers the Arkells, who performed “Hand Me Down” and took Group of the Year after tucking away a Rock Album of the Year award for last year’s arena-baiting Rally Cry album – which also netted a Jack Richardson Producer of the Year award for American import Eric Ratz on Saturday for his self-expressed efforts to make that album arena-worthy — during the Saturday pre-broadcast gala.
On Saturday, they graciously gave up the time at the podium they would have had to accept their award to New Brunswick’s Jeremy Dutcher, who had earlier won Indigenous Music Album of the Year for Wolastoqiyik Lintuwakanawa but had expressed his displeasure that he and his fellow nominees in the category were only considered “viable” in a category that kinda ghettoized them.
Dutcher performed again on the Sunday broadcast with classical violinist Blake Pouliot and might have stolen the whole show from everybody this weekend. The Arkells were again happy to let Dutcher dominate much of the backstage discussion, while treating the matter of their own double (or triple) Juno victory humble.
“The first time we played London as a band, we had to take the Greyhound here and we put our gear underneath the bus,” frontman Max Kerman said backstage, before questions turned to the obvious. Which stood.
Fredericton’s Dutcher, afterall, gave the previous evening its one real (and welcome) jolt of politics by declaring from the podium – and echoing the past public sentiments of such former Juno winners as Tanya Tagaq and A Tribe Called Red – upon taking Album of the Year for the Polaris Music Prize-winning classical-fusion opus Wolastoqiyik Lintuwakonawa that the most desirable victory yet to come for Indigenous artists in Canada will come when their music is considered outside of the “Indigenous” category.
“Our music is not niche. Our music is saying something,” he said from the podium, asking fellow nominees Elisapie, Leonard Sumner, Northern Cree and Snotty Nose Rez Kids to daftar situs judi slot online terpercaya stand up and be applauded along with him.
Backstage a little later, he repeated his message to the Indigenous Album nominees – each of whom, he noted, represents “a different tradition and a different language.”
“You’re all beautiful. What you do is magic. What you do is magic, truly,” he said. “Our music is not niche and our music is viable … Our music does deserve to be on these stages and seen because it hasn’t been seen for a long time. Until 1951, we weren’t even allowed to gather and share our music. It was illegal under the Indian Act.”
Arkells were so taken with Dutcher’s truncated speech on the convention-centre floor that they gave him their “space” at the front of the room when they collected Rock Album of the Year honours for Rally Cry at the very end of the night to pick up his message and give Prime Minister a public drubbing on the “reconciliation” arsip for building pipelines through Indigenous territories and not yet taking care of “boil-water advisories” across the nation.
“His first speech was amazing and I think when you dream of winning these things you think ‘What profound thing could I say’ and he said way more profound things than I could ever think of and half-a-dozen people after him said way more profound things than I could ever think of and Jeremy got off,” shrugged Arkells frontman Max Kerman afterwards, admitting that he’d cornered Dutcher in the hallway while “I was going to the bathroom to take a piss” and hadn’t fully made clear his ambitions to bring him back onstage.
“When our name was called, I just grabbed him and I think he was a little startled,” said Kerman. “He’s a real performer and the way the room quieted when he was speaking, it was amazing. We could only dream of relaying that message. It was really powerful.”
The big “sentimental favourite” winners on the night came from very, very different worlds.
Long-lived Québecois prog-metal crew Voivod won the first Juno of its 36-year existence for last year’s ripping The Wake and, contrary to the menacing, dystopian vibe of their entire oeuvre, were practically walking on air after their victory.
“It’s such an honour after 35 years in the industry to finally have some recognition. This is kind of surreal right now,” said frontman Denis “Snake” Bélanger, before embarking to what was all but guaranteed to be a ferocious JunoFest performance at the nearby Toboggan microbrewery. “Ce soir, c’est comme ‘Wow.’”
Toronto singer/songwriter Donovan Woods, who’s been the bridesmaid but not the bride at a few Juno Awards in recent years, finally got to take a trophy home. With typical dry wit, he pronounced backstage that it would erase his memories of being beaten up after drinking too much in London a couple of times during his younger years.
“Now this is the first place I’ve ever won a Juno,” he laughed. “I got beat up outside Ceeps when I was 24. Now I can forget about that.”
Hometown-London love was given by the Junos to dance duo Loud Luxury, whose Joe Depace and Andrew Fedyk started making music at London’s Western University and actually won the first Juno of the entire weekend when they collected Dance Recording of the Year for the unendingly popular single “Body.” Fedyk called the victory “an incredible full-circle moment” for us. And no, they’re not sick of “Body” despite the fact that it’s been haunting various charts for a solid year now.
“I hear Martin Garrix say he’s sick of playing ‘Animals’ and I’ve heard that the Chainsmokers are sick of ‘Selfie’ but this song has done so much for us,” gushed Fedyk. “We could never get sick of that feeling.”
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