Weird and Wired, Saturday June 6 2026
Dispatches from Lawny Vawnya 16
We’re in the endgame now! Welcome to Day 4. Yesterday was jam-packed with a panel, a talk, a workshop, a screening, the Downtown Music Crawl, and 3 shows featuring 10 artists and the Merch & Print fair! So much to catch up on. And today—Are you ready? Today features our very first baby-rave, 2 panels, the Merch & Print fairs, a film screening and 4 music shows featuring 13 acts. One more issue of Weird & Wired coming tomorrow, abridged in print, or the full version here on substack.
RECAPS
Downtown Music Crawl /Andrina Cockerham
The music crawl began at Fred’s Records. As I made my way around the store I heard soft, indie-folk music from the other side—James Benoit on guitar. After his set we went to the Alt Hotel for Zaynab and Amy Colyer Holmes. The harbour sat to my left and the tulip garden was ahead. Zaynab and Amy serenaded us with the hazy narrows behind them… the music was atmospheric, almost cinematic..
Next stop was Salt on Water Street. Jaywood was setting up as we arrived and the small boutique turned into a dance club. He performed on the windowsill while the crowd bopped and the cashier danced behind the register while ringing up orders from before the music hoard arrived.
That set ended and we walked 30 seconds down the road to Johnny Ruth for Fiver with the Fiver Trois. Simone Schmidt stood center singing, Jeremy Costello played bass to her left, Dani Crowther on steel pedal on the stairs, and to her left, Nathan Doucet on drums. Their lyricism was fun and humorous. After their final set they asked that we leave with them still playing music, which made the audience promptly get up and dance while leaving. We take artist requests very seriously here at Lawnya Vawnya.
The crawl ended at Eastern Edge just in time for the first day of the Merch and Print Fair. I bought the best $1 hotdog ever and watched folk legends Klye Gryphon on banjo and Kady Meaney on guitar serenade us with moody tunes that matched the cooling harbour air. The backdrop was the official Lawnya Vawnya cruise ship (it was just some random cruise ship from somewhere…).
At the merch fair I got a shirt from my new favourite band, Shunk. As my friend said, “this is the best day ever”. #LawnyaVawnya4life.
Press for Independent Artists Panel /HAGS
The LSPU hall’s cozy second space, where one hag works part time ;), was the perfect setting for some behind-the-scenes content of the world of music journalism!
Expecting to be making merch, we were instead greeted by a panel of five independent artists and journalists from across Canada: Jake Thompson of Brampton, whose metal band LICE plays today at 3pm (his position in the band appears to be intentionally left blank in the press), Matt Horseman of Winnipeg, writer for Globe and Mail and bookshop worker, Jess Arcand of Calgary, PR, music editor, and founder of Reverie magazine, and Rachel Weldon of Ottawa, event producer and founder of Debaser. It was about halfway through that these hags realized that a “press kit” was a portfolio. Or as we call it, an archive!
Moderated by Corey Steinke, this panel of professionals spoke candidly about how to navigate your band’s publicity in changing times while also remaining authentic. Topics included what makes a good/bad bio, booking shows, developing EPKs (which, this hag googled, stands for Electronic Press Kit), and soul-selling red flags (ie: thanking Spotify, starting a Patreon). The panelists, all with DIY roots, spoke of the importance of having a job, even a part time one, so that you have the freedom to pursue creative dreams, and being present in the scene so that you are not just someone playing in a band, but a member of the community.
Though the panelists appeared to have met right then, the conversation flowed as smoothly as old friends, with confessions scattered throughout. “I might be too punk for my own good,” said Jake, who did not answer our pre-show interview questions and claims no one reads band interviews (except for this one that we are writing right now, right Jake?).
NARCY: on independence, identity and music Artist Talk /Deirdre Maguire
Albert Dalton and Yassin Alsalman’s conversation yesterday was an ode to freedom in independent music production and artistic practice. Starting with reflections on Alsalman’s youth spent between Montreal and Dubai, we heard about formative memories, like when he was gifted a 36 Chambers album in his first year of high school in Montreal, and listened to it on repeat all the way to the Gulf.
In the almost 20 years Alsalman has been rapping, he’s collected a truly impressive and varied list of features and collaborations, including Yo-Yo Ma, Todd Rundgren, yasiin bey (FKA Mos Def), La Force, and many others. Central to his approach is organic relationships; most of these collaborations are born out of friendships or spontaneous circumstances. Alsalman has “never accepted a box”, he has always been interested in blending genres and is truly an artist first.
Alsalman has diligently ensured a high degree of independence within his practice, which manifests in a clear freedom in his artistic process. By saying no to deals he described as abusive, Alsalman has been able to make more money through his art than he would through a more commercial approach, while maintaining artistic integrity. He has built a varied career that includes the titles of bookstore owner, university professor, published author and award-winning director.
This independence has enabled him to pace his projects in ways that align with what he needs and what feels right, and his music is all the better for it. His album and art project To Be An (Arab) took three years to complete. Dalton described the album as a “love letter to [Alsalman’s] own music”. In true Gemini style, Alsalman created this two-sided album exploring both his problems with and the solution to making music. One side is grounded in a moodier undertone borne out of the underground scene he grew up in, the other side features upbeat dance music exploring the freedom of what he can make when he’s free of concerns. This album was both a letting go and a commitment to self-expression. Maybe To Be An (Arab) was preparing us for NARCY’s current album fury, where he is now releasing projects every three months.
JAMZONE with Miesha and the Spanks /Andrina Cockerham
Jamzone was so much fun! Meisha and The Spanks are singer‑songwriter Meisha Louie and drummer Sean Hamilton, and this one‑hour session felt like a mini bootcamp they run back in Calgary that (from my understanding) teaches the next generation how to become rock stars.
The Jamzone was held at First Light, which operates out of an old church. As someone who went to church growing up, I freaking loved hearing punk rock echoing in that space. Meisha showed everyone how she uses a stack of pedals to change her guitar’s voice — acoustic to electric, then synth-like textures, fender twang, then bassy growl. I don’t know much about pedals, but watching those sounds morph was very cool.
They kicked off with one of their newest singles, “Smile,” and explained how the set would teach people to jam. They invited those who wanted to step forward, then split everyone into groups. Meisha taught the guitar parts and had people divide into roles while Sean demonstrated drum parts and coached timing.
I walked up to a group of friends who had volunteered to jam because I was curious if they played in bands. They said they were just here to jam and didn’t play much — and I overheard them practicing the stories they’d tell their families about why they came. Safe to say the next generation of rock stars was standing right in front of me.
I was blown away by how quickly the crowd locked in and made music together. As a musician, there’s nothing I love more than creating with other people; seeing hesitant hands become confident grooves in minutes was electric.
The session closed with everyone performing together. The Jam had truly commenced, and smiles were everywhere. Jamzone = success.
Cassia Hardy, Fiver with the Fiver Trois, Kelly McMichael /HAGS
The first act at the Ship performs currently—and will continue to perform—as Cassia Hardy. There was nary a head that was not a-bopping along to their funky bop bass, the house so packed that the door person started turning people away (most notably the festival photographer). Hardy’s performance style is passionate and embodied, confident and high energy. A welcome respite to the blood-pumping set was a soulful ballad at the halfway mark—“Ohh, a ballad!” as one hag remarked.
The whole room swayed together during Fiver with the Fiver Trois’ evocative folky set. As their new biggest fan noted (dear friend of HAGS—not a hag), “She’s drawing you into her world.” A beautiful drunk patron told one hag: “there is power in the stories we tell ourselves,” and the story told onstage tonight was nothing short of powerful. These two short HAGS couldn’t even see the stage from behind the crowd, but the prohibition martini bar vibes created by the band made it so that they didn’t even care.
Kelly McMichael confided in two HAGS in the Ship bathroom that she was nervous before the show, but she and her band gave the audience the classic Kelly McMichael treatment: excellence. They had the whole floor dancing, singing every word, and clapping along to our favourites, as well as dropping TWO (2) brand new songs that these two HAGS picked up and couldn’t put back down. Our favourite of the new songs, “Rouge,” tells the story of her old band from Toronto, Rouge, who played Lawnya Vawnya in 2012. After playing the festival for the first time all those years ago, McMichael decided to move to St. John’s, and we’re all so lucky that she did.
Despertá, Dear Evangeline, UZU أوزو, NARCY /Andrina Cockerham
I’ve never left The Rockhouse disappointed—not even close. I usually take home half my hearing and a permanent jam in my head; tonight was the same (thanks LV staff for the free earplugs—most of my hearing survived).
The night opened with Depertá—which, per our host Whoreville Pecs, doubled as their album release party. The bass hit so hard I felt it move through my soul; I may have left a little of it behind when I left.
Whoreville Pecs returned for a saucy drag set. I took a beat to admire the handmade paper chains draped around the room before my attention snapped back—honestly, whose attention wasn’t glued to them?
The next set was Dear Evangeline. I sent them an interview question prior to this show about who would win a zombie apocalypse, and though they didn’t respond, after watching them on stage I think they would all have a fair shot. The audience was moshing and so were they. “They absolutely ate that performance and left no crumbs.” (I overheard from an audience member.)
Next up was Uzu—a Montreal based band. Their music was punk yet also meditative? The whole audience was in sync while watching them. It was truly an experience.
NARCY and his partner DJ Buddha Blaze closed off the evening, and as an ethnomusicologist whose preliminary area of research surrounds protests, this was an awesome set. I mean, I will take any opportunity to yell “F Israel” with a crowd of people.
As I was making my way home, I felt like I needed to find a way to wrap up this recap. I’ve decided that I won’t. You had to be there to experience this performance.
AEXEL, QUIN, and DJDecision b2b Aniiiiiiiiiiiiiiiiita /Deirdre Maguire
Friday night at The Space brought together DJs from within Atlantic Canada, creating a night that moved steadily from atmospheric listening to a packed dancefloor. Aexel opened with a thoughtful set incorporating ambient sounds and club tracks, establishing a relaxed and inviting atmosphere that set the tone for the evening. Next up, Quin’s set built an organic and progressive momentum, guiding the room through shifting moods while maintaining a strong sense of cohesion. Closing the night, DJ Decision and Aniiiiiiiiiiiiiiiiita delivered a back-to-back set that brought the high-energy sensual sounds Halifax’s Nectar Collective and their seminal party Slurp are known for. Their selections balanced intensity and playfulness, keeping the dancefloor engaged into the final hours of the night.
ARTIST QUICK Q’s
HAGS What compelled Feminotica to burst onto the scene?
Feminotica: I’d been wanting to make pop music for a long time but I honestly wasn’t sure if I could do it! Between having a sort of odd voice for a female pop singer and being a gay person that grew up in a small town, I worried my songs would be off putting and unrelatable. Eventually it was like, okay I either make all my lyrics vague and “relatable” or I write what I like and hope it resonates. I went with the latter and I’ve gotten a pretty positive response so far! So I’d say there’s two things that compelled Feminotica to burst onto the scene. The first is that I just really wanted to make party music. The second is that it was important for me to not censor who I am out of fear. Little me didn’t know you could write openly gay songs!
HAGS What is your dream archival project?
Fiver: I actually am pursuing a literal dream archival project very slowly over many years now, and I don’t talk about it publicly. The reason for that is that any project I start changes based on what I learn - which is just to say that the relationship between content and form is alchemical. So what I say now will become misinformation upon this project’s completion.
HAGS Where is your favorite place to party in St. John’s?
Feminotica: I would have to say either the Ship Pub or The Rockhouse! The Ship has a wide range of live music from folk, rock, and pretty much anything else in between. The Rockhouse puts off some fun dance and pop events that I like as well. I’ll actually be playing there this Saturday with HRT and Slash Need! Gonna be a sick event for electronic music.
HAGS Your second album “After the Sting of it” put you on the national radar! What’s next?
Kelly McMichael: I have long had a rebellious feminist approach to my art, and in recent years, I’ve been motivated to up the political content to include themes of class consciousness, late stage capitalism, anti-war and environmental destruction etc... The pressure has been building, taking over my thoughts and becoming necessary to infuse my music career with antifascist activism. I have a gift / tool that I’m sharpening to help people process the times and motivate connection, togetherness, and standing up for our rights and our futures. I’m 3/4 of the way through writing and I’m reaching outwards more on this third album, compared to the last one, which involved more personal introspection: betrayal / divorce / rebirth.
HAGS We notice your single is called Love Thy Neighbour. Do you?
Feminotica: A friend of mine once said “love thy neighbour” as a joke to me and that struck me as a hilarious concept for a song. I wrote a bunch of absurd lines into a word document and thought it would be funny to put a club beat over them. A single and an EP later, here we are!
HAGS Any plans for changing your alias again in the future?
Fiver: I always change my alias, and have many other ones. For this musical project, Fiver, which I’ve been doing since 2011, I collaborate with different ensembles, and the unifying thing is that I produce and arrange for the work to be made. So in the past Fiver albums, I’ve worked to arrange songs with different ensembles, be it my old band the Highest Order, and the Lonesome Ace String Band, or the Atlantic School of Spontaneous Composition. The band I’m working with now is the Fiver Trois, and the Trois is in reference to a band of three which always includes drummer Nathan Doucet, bassist Jeremy Costello and myself.
DAILY PUZZLE
Goodbye Wordsearch: We are coming to the end of things. Find ‘goodbye’ in the languages listed below (spaces aren’t included):
and here’s the solution to yesterday’s Cryptogram: What does Lawnya Vawnya mean?
Last recap coming tomorrow…