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Juwayon Clarke: Has been serving as Honey Jam Musical Director for the past several years. Juwayon is a Bass player, Producer, Sound Engineer, Tracks programmer, loving Husband, and Father. With over 20 years of experience in the industry, he has worked with renowned artists such as Glenn Lewis,Shawn Desman, Aqyila, Daniel Caesar, Shawn Hook, Divine Brown, Kreesha Turner, Melanie Fiona, Saukratis, Kardinal Offishall, and many more. In his off time he enjoys mentoring the future musicians of our city. Juwayon’s Goal is to inspire greatness that lies inside of those he has the pleasure of working with.
Meet Chris Blair!
A prolific drummer and Toronto native. Chris is known for his power, placement and creativity behind the drum set and is emerging as one of Toronto’s session go-to powerhouses!
Chris has been fortunate to collaborate with some of Toronto’s iconic talents, including Daniel Caesar, Jully Black, Savannah Ré, and more. Guided by an unwavering passion for music, he moves through his artistic journey with intention—leaving behind a trail of inspiration, soulful energy, and a sound that continues to stretch the limits of possibility.
Dyheim is a Hamilton based guitarist who is starting to get his music career off the ground. Growing up in a musical family, Dyheim was inspired at a young age to learn and listen to many different genres including jazz, soul, rock, and blues. Now as a developed musician, he is primarily working in the R&B space. Through live performances and recordings, he has had the opportunity to play for great Canadian artists such as Jully Black, Melanie Fiona, Kardinal Offishall, Glenn Lewis and many more emerging artists in the Toronto area.
Rachel Smith is a music educator, producer, and pianist with a deep love for music, live performance, and musical community. Moving between neo-soul, R&B, gospel and other genres for over 25 years, Rachel is known for creating beautiful atmospheres with trusted musicians, engaging spaces where the music feels honest, tight, and alive. Rachel’s approach prioritizes connection—between musicians, sound and story, and between the stage and the audience.
Toronto-based EDM/pop artist Miranda Carlin is a songwriter, vocalist, and emerging producer. Drawing inspiration from the golden era of EDM, she combines emotional songwriting with energetic electronic production to create music that is both personal and uplifting.
After years of developing her sound, Miranda is preparing to release her debut single this summer.
“At this stage, I have been focused on developing my sound by writing a lot of songs independently and then bringing them to life alongside my producer,” says Miranda. “These months have been filled with a lot of hard work from hours in the studio, to curating my style and presence on social media and getting to know more about the Toronto music scene”
Her music explores themes of self-discovery, confidence, love, and growth, bringing together heartfelt lyrics and dance music influences that encourage listeners to feel, connect, and move. As she continues to evolve as an artist and producer, Miranda is focused on creating music that is authentic, expressive, and uniquely her own.
“My short-term goal is to successfully release my first single this summer and continue growing my audience through social media, live performances, and future releases,” she says. “I want to build genuine connections with listeners and establish a strong foundation for my career.
“My long-term goal is to become a recognized EDM/pop artist and producer with a loyal fanbase, perform at major festivals and events, collaborate with other artists, and create a sustainable career doing what I love. I hope to continue evolving as an artist while inspiring others through my music.”
In September, Miranda will be starting a one-year producing course and is looking forward to continuing to create music that resonates.
“I feel like I’m at a really important point in my career right now,” she says. “With my first release coming this summer and the momentum I’ve been building through developing my brand and connecting with people online, it feels like the beginning of something I’ve been working toward for a long time.”
Manager: Fernanda Carlin
General Inquiry & Booking Email: contactmirandacarlin@gmail.com
Evie Marsten is a 15-year-old singer-songwriter and multi-instrumentalist who has been writing and performing original music since age 9. An actress who had a recurring role on the Paramount series Joe Pickett and a rising talent in Alberta’s country scene, she is releasing her first two singles this summer, “Everything Comes Back to You” and “Strangers.”
“I am a very upbeat and happy person, but a lot of my writing tends to be very emotional and thought out. My producer thinks it is so funny how my writing is so mature, but I am only 15,” says Evie.
“Everything comes back to you” is about losing a person in your life and their memories keep coming back, while the haunting “Strangers” is about distancing yourself from someone you no longer connect with.
In 2025, she was a Country Music Alberta Youth Award nominee and this year a finalist in Canada’s Teen Jam.
“I also do horseback riding, and I have grown a particular interest in welding,” she says. “I live on a small farm and enjoy taking care of my animals.”
Born in Edmonton, when she was 11, her family moved to a small farm near the village of Linden, about an hour outside Calgary. Evie was homeschooled until grade 6 and also learned to play multiple instruments, guitar, ukulele, banjo, mandolin, bass, and drums.
“I had a calling to perform and write,” she says. “When I was 5 years old, I told my mom that I wanted to be on stage. It was all I have ever wanted to do. That started a musical theatre journey and eventually my learning guitar and writing my own songs.”
When she was just 11, after taking Cree lessons for a year, she wrote the song “Hiy Hiy” in Cree about loving the Earth. “I performed it at my Cree class year-end celebration and won a Joey Award in Vancouver for it,” Evie says. “It was very exciting.”
Evie has performed for years across Alberta, including at the Big Valley Jamboree Horizon Youth Stage in 2024 and 2025. Her 2026 summer schedule also includes performances at Big Valley Jamboree and the Window on the West Stage at the Calgary Stampede and nearly two-dozen other events.
The grade 10 student has met some other young artists in the country music community but has always been the only person at school who has pursued music at this level. “I am really busy, but I love what I do,” she says.
In addition to her live music performances, she has contributed to film projects as an actress, composer, and score assistant, and still auditions regularly for film and TV roles.
With a growing list of accomplishments and an undeniable sparkle, Evie is an emerging artist with a bright future ahead.
“My plans are to release my first two singles, record my third, apply for funding, and book as many shows as I can,” she says. “My short-term goal as an emerging artist would be to release my first song and continue to build momentum. I would like to make industry connections and start to book bigger venues opening for established artists.”
Drawing from Newfoundland folk roots and contemporary jazz influences, Jessica Spurrell is a Toronto-based singer-songwriter and multi-instrumentalist inspired by the likes of Adrianne Lenker, Judee Sill, and Joni Mitchell.
On her recent EP, The Gentle Hand, Jessica displays her distinct blend of instrumental and songwriter elements. Compared to her 2024 EP, A Blessing, A Pearl, she takes a bolder approach to texture through vocal processing, foley, and doubling.
The title-track explores how empathy and love from others can inspire empathy and love for ourselves. Harmonically inspired by Joanna Newsom’s “Emily,” the result is a lush, twinkling arrangement, underscoring tender, intimate lyrics. The second single, “Sandcastles,” which she wrote at 17, was originally inspired by her mother and navigates ideas about age, expectations, aspirations, and inter-generational connection.
Jessica is a recipient of the SOCAN Foundation’s Young Canadian Songwriters Award for her 2021 song “Bury Me” and was selected for the TD Incubator for Creative Entrepreneurship, FACTOR’s Artist Development Program, and the Folk Music Ontario Developing Artist Program. Most recently, she attended Soundweavings, an intercultural music residency at Alberta’s Banff Centre for Arts and Creativity.
Jessica has been singing for as long as she can remember. At age 5, she began studying piano, which she continued throughout high school. After a few years of piano study, she also became interested in guitar and at age 12 taught herself. “These days I almost exclusively perform with my guitar but piano still has a huge place in my life and I play almost daily,” she says.
Born in St. Johns, Newfoundland, Jessica lived in Nova Scotia from ages 3 to 7, then Germany until she was 11, before her family settled in the small ltown of Angus, Ontario in 2014. “Moving around so much in elementary had a pretty big impact on me, and I actually started songwriting as a way to process my feelings about leaving people behind at age 12,” she says.
“Writing and performing music is a constant cycle of growth and self-discovery. The artistic goalposts are always moving. From an early age, I fell completely in love with this slow and never-ending journey. As a result, I decided to pursue music.”
In 2021, she moved to Toronto to take the Bachelor of Music program at Humber College and after graduating moved downtown “to get closer to live music,” she says. Jessica performs live, solo or with-band. She made her out-of-province live debut with summer performances in Banff (Centre for Arts and Creativity), Montreal (Centre Des Musiciens Du Monde), and in her hometown.
Collaboration plays a key role in Jessica’s artistic practice. She worked closely with over 20 young Canadian musicians to create her FACTOR-funded debut EP, A Blessing, A Pearl. She is frequently featured as a vocalist/guitarist in other bands, and has producer credits across multiple genres, including songwriter, alternative rock, and jazz.
“I plan to continue playing lots of shows around Canada in the rest of 2026,” she says. “I am also planning to record more music and have some exciting tracks already in progress. My goal is to release my first full-length record before 2028.”
Saraphina Knights is an emerging vocalist and bandleader, who has received multiple scholarships, including two in one year from Humber Polytechnic, Arden Gift of Song and Jazz and Beyond. With her debut single, “Change Everything,” a jazz-soul ballad, slated for release in the Fall of 2026, the Scarborough, Ontario native is developing a body of original music rooted in traditional jazz and contemporary soul.
The single represents the first chapter of her recorded work. “’Change Everything’ is about making a romantic gesture that changes the dynamic of a friendship,” Saraphina says. “When they play it off as if nothing has changed, you realize your kindness has been taken for granted and you take a stand and cut the person off.”
Saraphina started singing when she was a toddler, then joined her school choir every year, often getting solos during Black History Month. Now trained in jazz performance, she brings a strong intimate and emotional approach to her music, leading her ensemble and crafting arrangements for her voice. She is heavily inspired by Sade, Erykah Badu, Robert Glasper, and the RH Factor, masters of fusing different genres with jazz.
“I decided to pursue music because I couldn’t see myself doing anything else,” she says. “When I tried to quit right before the pandemic started because I was too afraid that I wouldn’t succeed, after posting a cover purely for fun, a friend from school sent me a heartfelt message about what my cover of ‘Ride’ by Twenty One Pilots meant to her during a difficult time in the pandemic. That gave me the reassurance to pursue music wholeheartedly.”
Since then, Saraphina has received the RBC’s Future Launch Scholarship for Black Youth, SHINE Concert’s James Gray Bursary, and the aforementioned Arden Gift of Song and Jazz and Beyond Scholarships. She has also received continued support from the Toronto Symphony Orchestra and the YMCA Black Achiever’s program.
Having only started her professional career two years ago, she has performed at the Rex Hotel Jazz & Blues Bar, The Pilot, Reid’s Distillery and other iconic Toronto venues. She has also appeared alongside artists like Anomalie, and was a featured artist for Waveland’s Soul in The Park series and Listening Room: Sade Vol. 3. As a bandleader, she has presented original works through the Chalmer’s Residency at the Canadian Music Centre.
“My short-term goal is to perform in big capacities like TU Jazz fest, Toronto Jazz Fest, Montréal Jazz Fest, book Koerner Hall, Jazz Lounge at the Old Mill, while releasing music and gaining a healthy number of monthly listeners on platforms,” she says. “My long-term goal is to be able to tour worldwide and perform at world class venues and festivals like Blue Note New York, Ronnie Scott’s jazz club, North Sea Jazz Fest, and Newport Jazz Festival. I’d also like to one day be recognized for my work by winning a Juno or Grammy for vocal jazz album.”
Perswasian is a Toronto-born singer, rapper, songwriter, performer, and dancer proudly representing Scarborough. She calls herself a “Scarlem Baddie.” Blending pop, hip-hop, R&B, trap-soul, and rap, her latest singles are the summer-pop track “No Air” about a crush finally giving you a chance and “Scarlem,” inspired by her Scarborough root, which will include videoed skits. Later this year, she will drop her next EP, Get It How You Live It.
“My most exciting project/song for the summer is ‘Scarlem,’ as I will come with many visuals leading to release,” says Peswasian.
Influenced by her Filipina heritage and personal experiences, she says, “My music covers themes of self-discovery, what and where I come from, confidence, relationships, and personal journey/growth.”
Perswasian released her debut album, Overthinking, in 2020, followed by EPs, Popular Loner in 2022 and Out of This World in 2024. Her singles include 2026’s “Britbrat,” celebrating girl confidence, 2024’s “Forgiveness” about healing and vulnerability, and 2022’s Gifted,” reflecting on embracing her talent.
Known for being kind-hearted yet bold, Perswasian brings a unique mix of her humour, sass and true authenticity to everything she does. Born Britney Waito, she has been singing since age 6, and performing at community events, family parties and in choir.
“At that age, I was doing covers of Whitney Houston, Christina Aguilera, Beyoncé songs,” she says. “My mom and brother would record and post them to YouTube and Facebook.” She also started vocal and dance lessons and was enrolled in various arts school until age 13.
“I was very much involved in the Filipino community events, especially performing arts school, as most of my classmates and teachers were born in the Philippines or have Filipina heritage like me,” she says.
“My Mom was born and raised there, and in her childhood was involved in singing and pageants. As a kid too, I competed In pageants like Little Miss Philippines and competitions like Filipino Idol. It has taught me the importance of family, resilience, and expressing emotions openly. Those values naturally show up in my music.”
2026 is a major growth year for Perswasian with a series of music releases, live performances, and collaborations. First up is a visualize for the single “Britbrat.” She is also collaborating with artist Crow905 on an upcoming EP and music video, while opening Ontario dates on the Crow Tour: Anemoia over the summer.
“Music has always been my way of expressing emotions and telling stories,” she says. “It’s what makes me happy, as well as it’s my muse. I’m in my element as a performer. I want to connect with people through my experiences, inspire others to be themselves, and create music that makes people feel understood.”
Executive Producer: Manvir Dhatt (Manvirdhatt@yahoo.com)
Freya Milliken is an alt-folk artist based in Halifax, NS, known for her rich voice and introspective songwriting. She is currently working toward a full album, the follow-up to her debut EP, 2023’s Wholeheartedly, which explores queer love and identity.
The four-track EP, produced by her friend and former university classmate Reuben Gilbert, was nominated for Folk/Roots Recording of the Year at the 2024 Music Nova Scotia Awards, and the title track, about “seeking a romantic partner you can be your whole self with,” won Song of the Year at the 2023 Music New Brunswick Awards.
“Reuben brought a sensitive, gentle and thoughtful approach to the process,” Freya says. “He is a multi-instrumentalist, vocalist and songwriter, making him a very versatile producer. He is also encouraging, trustworthy and easy to get along with. He has a great sense of humour too, which I cherish in the studio, especially when there are challenging moments.”
Her latest single, “Where I Stand,” a standalone not on the EP, was produced by Mark Adam and written with Cape Breton percussionist Tyler McDonald. It balances vulnerability with momentum, moving into a sound that feels more unguarded.
“The song came from a period of soul searching and explores themes of obscurity, anxiety, and moments of desperation lyrically and musically,” Freya says. “It’s about grief, looking for answers, and feeling lost on the path you’re on.”
Described as “a fresh new voice in folk music” by radio veteran Jan Vanderhorst of Just Us Folk, Freya grew up in Dorchester, New Brunswick, a small historic village on the Tantramar marsh near the Nova Scotia border. “One of my earliest musical memories is of singing a solo at my elementary school Christmas concert at five years old,” she says.
At age 12, she started piano lessons, teaching herself guitar and writing her own songs. It wasn’t until university that she began guitar and vocal lessons. She enjoys trying her hand at any instrument “for the practice of musical exploration.”
She holds a Bachelor of Music from Acadia University (2023), is the recipient of several Music Nova Scotia grants, and has performed at Lunenburg Folk Harbour Festival, Deep Roots, the ECMAs, Nova Scotia Music Week, and on a European tour with the Acadia University Singers. She was also chosen for emerging artist programs at the Winnipeg Folk Festival and Folk Canada and received commission requests for Symphony Nova Scotia and United Way Halifax. Her songs have been featured on radio stations across Canada, including CBC, CKUA, CHMA, CKDU, CIOE, Q104 and CKAR.Beyond her performing career, Freya is a passionate music educator and community builder, inspiring students of all ages and interests.
“Arts and culture are the foundation of community, and I have been able to make so many beautiful connections through music,” she says. “It’s also a great way to experience travel and learn about history. Music is a huge part of my identity and the way I move around in the world.”
“I am always experiencing music, even in mundane situations, such as hearing wind through the trees, standing on a city street corner or sitting at a busy restaurant. I have a strong desire to create and express myself. I also love to teach and help my students realize their potential. It has been especially beautiful to watch my students grow over the years through music and embrace who they are.”
Killa Kels is an open-format DJ, event curator, influencer, mentor, and mother from Toronto, Canada. Immersing herself in the industry through careful research and mentorship, she has been able to quickly rise to the top, spinning the hottest events and working with an established roster of clientele including Puma, Ciroc, American Express, Foot Locker, Smashbox, and Shea Moisture. Most notably, she was the official Jurassic Park DJ for the Toronto Raptors’ first NBA Championship in 2019 – a proud moment for her and her city. Kels’ versatile sound and restless feet have brought her across the globe for concerts, festivals, brand activations and more. Since the start of her career, her name drop has echoed through venues across Canada and major international cities like Los Angeles, Miami, Boston, Nassau (The Bahamas), and Budapest (Hungary). Her confidence and personal style has led her, naturally, into the influencer/model role. She has landed several long-term brand ambassadorships, led various campaigns, and has been featured in fashion and culture editorials such as HYPEBEAST & Complex. Understanding the struggles of the industry first-hand, Kels has made it a part of her mission to mentor other DJs in their future career aspirations, coaching and hiring rising talent in Toronto. She has developed a following through her passion for music and social projects focused on empowering women and the community, whilst supporting other creatives in chasing their dreams. Killa Kels continues to upgrade her DJ skills, curate events, travel, and enjoy new experiences with her son. She is looking forward to reconnecting with her supporters in 2024 through events, DJ mixes, and her socials.
Mrii is a Toronto based DJ, producer, and curator. She is the founder of MOOVE and is known for blending global club sounds into high energy, community driven dancefloors. Her work focuses on creating inclusive spaces where music brings people together.
AHSIA is a multidimensional singer, songwriter, producer, educator, poet, and activist, who fuses soul, R&B, and hip hop with nuanced jazz into her sound. A former student of the Sarah McLachlan School of Music, she opened for her at the Pacific Coliseum in 2024. Her single, “My Bad,” was declared Unsigned BCʼs Song of the Summer from Unsigned BC Music Society, and the following year led to a nomination for Best R&B Artist at the BreakOut West Music Awards.
“This song explores the reality that we all make mistakes, yet those mistakes can be interpreted very differently depending on who’s telling the story,” says AHSIA of “My Bad.” “The song reflects on the experience of being misunderstood, judged, or blamed while recognizing that perception is often shaped by personal wounds, biases, and unresolved lessons. At its core, it is about accepting that you cannot control how others see you.”
Since then, AHSIA has released three other singles, “Patterns,” “Radiate,” and “Lucky,” that will be added to her debut album, Miss Understood, dropping in late September.
“Many of my songs explore themes of self-love, confidence, personal growth and relationships,” says AHSIA, who was born Aisha McCarnan. “My music often explores what it means to evolve and embrace every part of yourself. With every song, I aim to leave listeners with a question to reflect on, whether about themselves, their relationships or the world around them.”
AHSIA’s most recent song, “Patterns,” explores the cycles, habits, and versions of ourselves we eventually outgrow, while “Black Woman” celebrates resilience, self-acceptance, and the beauty of embracing one’s identity despite stereotypes and microaggressions.
A storyteller at heart, her words guide the listener through themes of healing, identity, and transformation.
Raised in Vancouver, AHSIA not only sings, but plays piano, guitar, bass and a bit of drums. Music has been a part of her life for as long as she can remember. “By age 5, I already knew it was what I wanted to do,” she says. “My parents encouraged my passion by enrolling me in voice lessons at a young age and having that support helped me develop both my confidence and my skills.”
A student at the Sarah McLachlan School of Music from 2016 to 2018, she released her first single in 2019, “Soul N Me,” and just a few years later she won Female Vocalist of the Year from African Fashion Week’s AFAM Awards in 2022. That same year, after graduating from the music program at Douglas College. she was hired at McLachlan’s school. “I teach production, songwriting, artist development, musical theatre, band classes and voice classes,” she says.
As her own career got rolling, she was given the opportunity to open for the multiplatinum singer-songwriter at Vancouver’s Pacific Coliseum for the Fumbling Towards Ecstasy 30th Anniversary Tour. “Standing on that stage during soundcheck and hearing my voice fill such a massive venue was unforgettable,” she says.
Since then, she has also delivered standout sets at the Shambala Music Festival, Grey Cup Festival, and the Dragonboat Festival.
Pursuing music has never felt like a choice for AHSIA. “Creating, performing, and connecting with people through music is what I believe I was born to do,” she says.
“Beyond performing and releasing new music, I am focused on growing my career as an independent artist and connecting with new listeners across Canada. Long term, my goal is to take my music around the world and build an international career, performing for audiences across different countries and cultures.”
Posic is a Haitian/Armenian alternative-pop singer-songwriter, based in Montreal, whose debut EP, Lemon Sour, is inspired by the traumas and triumphs that have led her to who she is, not only as a musician but as a person. Her music is an outlet for specific events and emotions she’s been through, ranging from derealization to racism.
The opening track, “14,” is about her childhood trauma. The dark grittiness of the beat and the intense distortion make the song feel personal. The raw and intense song is the start of a timeline that ends with the final track, “Kaya,” on which she sings about who she is now and how she will be perceived going forward.
“It’s a sort of a send-off to my next steps as Posic,” she says.
In the title track, Posic writes about the feeling that comes with missing someone but still not wanting to see them again. It holds a lot of significance, she says, “because the entire reason I decided to push myself out there is because of someone I don’t speak to anymore. This song is a dedication to that person, who sent me down the path I’m on now as an artist.”
Born Shanti Merlin in Aurora, Ontario, but raised in Saint-Lazare, Quebec from the age of 2, she started singing at age 10 in school talent shows. Through music, she found she was able to express herself in ways she wasn’t able to otherwise. “I was always told I was not focused enough, that I needed to pay attention to the more important things,” she says. “I decided to blend my personality into my sound to tell people who I am through my art.”
Adopting the stage name Posic, she began releasing music in the Fall of 2024. Her first single, “Where I Will Go,” is about struggling to find her passion. She writes about inadequacy and comparison, but ends on a strong note, that she is ready to be seen. Soon after, she released her second single, “Root Rot,” in which she sings about insecurity and wishes she wouldn’t rely on people’s approval to feel validated.
Now 23, she taught herself how to work on a Digital Audio Workstation (DAW) and often collaborates on beats with her producer, Ben Duff. She says, “I’m influenced by artists like Saya Gray, Brakence, and Sampha and my personality shines through the unique beats I create. I’ve always felt as though I was in love with too many genres. I was never able to say I am just one thing.”
As she takes this year to promote Lemon Sour, she will release new singles through this fall and is working on her next big project, due in the Fall of 2027. Along the way, she hopes to grow a loyal fanbase. “I do not want temporary listeners; I want people to want to continue to hear me, and listen to what I have to say, not only as Posic but as Shanti,” she says. “I want to come out with my first full album and be able to tour. I have very big plans for my future, and I plan to make it there.”
Over the years, Dayana has been invited to perform in a variety of spaces including school concerts, school board conferences, sporting events, and award ceremonies, steadily building her confidence as a live performer. In 2024, she was one of only two students selected to open for TÖME, Cocanina, Wave Montega, and Kibra at The Greenprint Network’s Print Sessions LIVE showcase — a milestone moment that highlighted her growing stage presence and artistry.
Alongside performing, she has already written six original songs and continues to develop her artistry through honest storytelling and emotional depth. Blending soulful melodies with heartfelt lyricism, Dayana’s music explores themes of heartbreak, love, and the complexities of growing through life’s experiences. Inspired by artists such as Luis Miguel, Michael Jackson, PinkPantheress, and SZA, her sound carries both classic emotion and modern edge. As she continues to evolve, Dayana is quickly establishing herself as a promising young voice with a bright future ahead.
Management Contact: Kibra Tesfaye (thegreenprintnetwork@gmail.com)
A multidisciplinary artist—rapper, singer, songwriter, choreographer, creative director, producer, and audio engineer, Toronto’s Getchnah is a first-generation child of Eelam Tamil refugees and the orphan community. Her music uniquely fuses hip hop, EDM and R&B with South Asian and other global influences.
“My mission is rooted in building safe spaces for the femme collective and telling stories that are underrepresented,” she says.
Getchnah’s debut album, Femme Fobia, was produced by Chin Injeti (Eminem), Jeia Rouge (Coco Jones) and Taabu (Haviah Mighty, Omega Mighty). Injeti and Rouge have both worked on Grammy winning and nominated albums, and Taabu on Juno and Polaris winning and nominated albums.
The lead track, “Got Me Running,” is about shedding light on capitalism and how it affects our mental health. “Running where you might ask? Running on this hamster wheel while trying to get away from it, running away from the cycles that hold you back, running away from numbing to what truly matters,” she says.
“Wake Up” is about trying to help yourself and your community to get out of mind muzzles which were put onto you, generationally and systemically, while “Rising Sun” is a gripping and introspective track that “confronts generational trauma, war, and survival through the lens of my Sri Lankan Tamil heritage,” she says.
Born Garjanah Thayakumar in Scarborough, Ontario — a suburb of the Greater Toronto Area — she faced significant early-life adversities, such as growing up in government housing and in poverty, but she has transformed hardship into artistic purpose. Her early love for performance began at age 4 and continued in her youth at local community centres and at school during multicultural day.
“I decided to pursue music when I turned 18 and was at my first day of nursing school,” Getchnah says. “Sitting through that first lecture felt like torture. I left class abruptly and called my sister. I let her know that I did not want to do nursing, and she asked me, ‘What do you want to do instead?’ I replied, ‘Music.’ She told me to drop out of nursing school, instead of accumulating debt doing a program I did not like.”
She then enrolled at Trebas Institute, where she became one of only two women who graduated in 2017 with an audio engineering diploma. She cut her teeth as a junior engineer at Sandbox Studios, and taught music and audio engineering at St. Alban’s Boys and Girls Club, but her main goal was to be an artist.
Two years later, landed a spot on the prestigious all-female Honey Jam showcase and released her debut single, “Benjamin.” In 2020, she released another single, “Around For Now,” and performed at Manifesto. She dropped her debut EP, Gem-In-I, in 2021 and continued to perform around Toronto, such as at FLOW 93.5 After Hours, NXNE 2022, Pride TO 2022-2024, and, in 2023, Honey Jam x Puma, celebrating 50 Years of hip-hop.
She released another two singles, “Madame Femme” and “Rambo,” in 2024, both found on Femme Fobia. “I am the creative director behind all of my music videos, from lighting, types of camera shots, choreography, makeup, my outfit, the dancers’ outfits, are all conceptualized and brought to life by me,” she says.
In 2025, Getchnah was written about on the University of Toronto website and in the newsletter recognizing her as a changemaker during Tamil History Month “for representing the Tamil community and Scarborough,” she says with pride.
This year, she performed at World in a Block Party, presented by Scarborough Arts and Rise Edutainment and at KOTHU Fest in July. She will soon release a music video for the Femme Fobia track “Neelambari,” which brings together her Tamil heritage and will uplift women. Meanwhile, she’s writing, and working on producing beats, for a new project.
Singer-songwriter Tea Valentina has released music that captures the immediacy of growing up. Each single contributes to an evolving narrative, with recurring themes of self-discovery, relationships, and the emotional complexities of youth. Blending the introspective storytelling of Gracie Abrams with the dynamic and hook-driven sensibility of Olivia Rodrigo, the 16-year-old’s sound sits comfortably between intimate bedroom pop and polished mainstream pop.
“Most of my songs are emotional and are usually about love, heartbreak, or relationships,” says Tea, who has written over a hundred songs. “I’ve always loved music, but songwriting made me realize it’s what I want to do. I love being able to tell stories and express emotions through my songs.
Emerging through digital platforms, Tea began releasing music that felt diaristic and stripped back, introducing her as a thoughtful and emotionally perceptive songwriter. Early singles, like “I Blame You” and “Molly,” have laid the foundation for her artistic identity, with acoustic-driven arrangements and confessional lyrics drawing in listeners and building initial streaming momentum.
“I Blame U” is about having a crush on someone you’ve never actually talked to,” she says. “It’s exciting, but at the same time it’s kind of crazy because you’ve created this whole story in your head without even knowing them,” while “Molly” is about a relationship where one person’s insecurities slowly take over and end up ruining something that could have been really good. “It’s about how overthinking and self-doubt can sometimes become the biggest problem, even when the fears aren’t actually real,” she explains.
Born in Milton, Ontario, Tea has been singing since the age of four. “When I was six, I realized it was something I wanted to take more seriously,” she recalls. “I started writing music when I was six, began vocal lessons when I was eight and learning piano when I was nine. “
After her family relocated to a small town near Orangeville when she was 11, during the pandemic in 2020, she taught herself how to play the ukulele and a few months later switched to guitar. “More recently, I’ve started learning the drums because I love challenging myself and learning new instruments,” she says.
Across platforms like Spotify, her songs have accumulated thousands of streams, with steady growth reflecting an expanding and engaged fanbase. Tea has also cultivated a strong presence on platforms like TikTok and Instagram, where her authenticity and behind-the-scenes content deepen her connection with fans.
As her catalogue has grown, so too has her sound—recent releases feature fuller production, layered vocals, and more confident pop structures, signaling an artist quickly finding her stride.
“This year, I want to keep improving my songwriting, continue releasing my own music, learn more about producing, go to music camp this summer, and perform live as much as I can,” says Tea. “My goal is to keep growing as an artist and keep challenging myself to try new things,” Tea says. “My biggest hope is that people can relate to my music, feel understood, or find comfort in it. I can’t imagine doing anything else—I just want to make music every day.”
Blending punk energy, theatre-kid chaos, and stadium-sized ambition, Toronto-based queer, BIPOC, East Asian rock artist Feura creates music that hits like voltage, powered by a simple belief: life is too short to make yourself smaller for other people. That belief runs through their debut album, Lose Your Head, which pushes against conformity, insecurity, ego, and the pressure to smooth out the parts of yourself that make other people uncomfortable.
The record has already drawn attention from press such as Cashbox Canada, Fring Mag, and Trinnitist with coverage describing the project as “bold,” “hard-hitting,” and “rooted in a refusal to ask for permission.”
The title-track and lead single is an unapologetic and unrelenting anthem pushing back against systemic oppression and social exclusion. Written by Korol Pikulik, Alexandra Jelilyan, and Marc Koecher, and produced by Illegal Audio, the song delivers a sharp, biting critique born of Feura’s real-life experiences growing up in rural Ontario, in Simcoe County, north of Toronto.
This arena-ready track marks the opening statement of the album.
Before Lose Your Head, Feura released two companion EPs: EAT IT! and CHOKE IT DOWN. “They weren’t separate projects so much as different entry points into the same story,” Feura says. “EAT IT! introduced the more satirical, playful side of my songwriting, while CHOKE IT DOWN explored darker themes and a more political perspective. Together, they laid the groundwork for Lose Your Head, where those songs are rearranged into a larger narrative about self-expression, identity, and refusing to let other people define who you are.”
Born Korol Pikulik in Barrie, Ontario and growing up just outside of Hillsdale, while they have sung and played guitar since high school, and rock music was constantly playing in their house, they were more focused on acting and directing. “I planned to study theatre professionally and, eventually, open my own theatre company,” they say. “When the pandemic shut down live performance spaces, I began learning music production and songwriting as a creative outlet.”
It wasn’t until Feura discovered alternative and punk communities that they truly connected with the genre. “My introduction to punk came through local shows and local artists rather than major bands,” they say. “I fell in love with the freedom, creativity, and sense of community that existed in those spaces. I also love the collaborative nature of rock music. There’s something special about building a live show with a band and creating moments on stage together that can only happen in that moment.”
In recent years, Feura has dedicated themselves to vocal training and development. “That work has completely transformed my confidence as a performer,” they say. “My journey hasn’t been about natural talent. It’s been about learning, practicing, and continuing to improve every year.”
Through the punk community, they found a space where they could explore their identity, express themselves freely, and connect with people who valued authenticity. “That sense of belonging is what made me want to dedicate my life to it,” Feura says.
Feura is set to bring her radical, uncompromising energy to the stage with a series of all-ages summer 2026 tour dates, including performances at London Pride, Kempenfest in Barrie, Honey Jam at Toronto’s Massey Hall, JUNOFest, Pride Toronto, and support slots with Silverstein, Big Wreck, The OBGMs, NOBRO, Panic Shack, and Cam Kahain.
Beyond the stage, Feura has built a fast-growing digital audience across TikTok and Instagram, with a combined following of over 180K and multiple viral videos reaching over a 1 million views. What started as performance clips and behind-the-scenes moments has evolved into a community. Fans are also increasingly gathering in direct community spaces, including an active Discord, where that conversation continues beyond algorithm cycles.
“Growing up in a rural area, I often felt isolated, and creative spaces became places where I could connect with people,” Feura says. “What drew me to music specifically was its ability to bring people together regardless of their background or differences.”
The biggest opportunities that have come from Lose Your Head have been on the live side. Releasing a full-length album allowed them to build a complete headline set, which has led to opportunities including JUNOFest, opening for Silverstein, opening for Panic Shack, and performances at festivals across Ontario
The album has also received support from stations including ROCK 95, 89.1 The Max, Pet Rock Radio, Radio Humber, Met Radio, and others. Singles such as “Lose Your Head,” “Sick Medicine,” and “Ride Baby Ride” have all received radio play, and the album opened doors to press coverage, industry development opportunities, and interviews, including SiriusXM.
This year is focused heavily on live performance. They have shows lined up at events and festivals, including London Pride, Collingwood Pride Gussapolooza, and Kempenfest, while continuing to add new dates throughout the year. Feura is also participating in the RBCx Music and Music Counts Emerging Artist program, which includes mentorship and professional development opportunities.
On the release side, they have music videos for “Sick Medicine” and “PLASTIC,” and later in the year will be exploring acoustic versions of songs from Lose Your Head.
“My ultimate goal is to spend my life creating ambitious live shows and sharing them with as many people as possible,” Feura says. “If I could, I’d play 200 shows a year. What excites me most isn’t necessarily fame or numbers, it’s the experience of building larger and larger productions, combining music and theatre, and creating unforgettable live experiences. I want to keep releasing records, collaborating with talented artists, and pushing my creative ideas further. If one day that means arena-sized productions with ridiculous stage concepts and elaborate storytelling, even better.”
Afro-Indigenous singer-songwriter Aiyana’s powerful voice has quickly elevated her presence on major Canadian stages, including opening for Juno Award-winning artist Aysanabee, then again at the National Arts Centre for the 2026 Governor General’s Performing Arts Awards with a trilingual rendition of “O Canada,” accompanied by the orchestra. She regularly performs the anthems for the NHL’s Ottawa Senators.
Her debut single, “It’s Getting Bad Again,” is also the first song she ever wrote, a personal lyric reflecting on a time of deep sadness and grief, realizing the signs of depression before fully accepting it.
“It is written with excerpts from my diary, played over a piano tune I picked from my voice memos that I created as a young teen, several years before the lyrics came together,” Aiyana says. “It gathers feelings of hope towards the end, as I use music as an outlet and healing tool to release heavy emotions, knowing emotions are not destinations but vehicles to bring us through personal transformation.”
Aiyana has also penned the soulful, vibrant and tender single “Sweet Lovin’” about feeling the infatuation, desire, and excitement of a new love. “The tune first came to me because I wanted to write something fun and upbeat to follow ‘It’s Getting Bad Again,’ but I didn’t feel the inspiration I needed to complete it,” she says. “Luckily, I met someone shortly after, and through our budding romance I finished the song.”
In June, she was asked to sing the national anthem in her native language, Ojibwe, as well as French and English, to commence the 2026 Governor General Awards at the National Arts Centre in Ottawa. She also had the pleasure of singing the national anthem and the hymn “Lift Every Voice and Sing” to honour the first Black woman elected to the Canadian Parliament, Dr. Jean Augustine, at her Pearson Laureate Award dinner.
In addition to these personally historic moments in her career, Aiyana says, “My performance opening for Aysanabee has been a highlight thus far. Hanging out with him and his touring crew and band helped me understand the importance of finding other creatives who you can align with artistically. Opening for him reminded me that not only am I capable of large-scale performances, but that collaborating with a like-minded team can bring more opportunities like this.”
Born Aiyana Louis, in N’Swakamok (Sudbury, ON) and based in Ottawa on Unceded Algonquin Territory, her roots intertwine with Anishinaabe First Nation of M’Chigeeng on Manitoulin Island and the Caribbean island of Barbados. She began singing as early as she could speak. Moved by powerhouse vocalists “who could make you cry,” like Whitney Houston, Aretha Franklin, Lauryn Hill, and Luther Vandross, her first vocal lesson was at age 8. A few years of dance and musical theatre in middle school helped her develop her stage presence. “I also took a few years of piano lessons, after watching my older cousin play it. I instantly fell in love with the keys,” she says.
In high school, Aiyana enjoyed performing in school musicals and talent showcases, and at Carleton University, while earning her Honours bachelor’s degree in environmental studies, kept up with small grassroots organizations looking for local entertainment and open mics, mostly performing covers. “Finally, I wrote my first song and that has propelled me into the world of songwriting and sharing my own music,” Aiyana says of “It’s Getting Bad Again.” She then picked up ukelele and now guitar.
“There is nothing in this life to me more powerful than creating, sharing, and connecting through music,” she says. “My soul needs self-expression through music to feel free. My voice and stomach need to sing to release tension. My hands need to hug the keys and strings in order to feel loose and light again. It is everything from biological to spiritual to societal and political.”
Her next single is “Johnny’s Song,” set for release in early September. “It’s about a warm summer romance turned cold, and the sweet release of moving on”. This song guided me to the ukulele, which is the instrument it was meant for,” she says.
She will also release a live band version of “Sweet Lovin’.”
Along with more live performances, towards the end of 2026, Aiyana plans to dedicate time to writing and collaborating for her debut EP, expected to come out in the Spring of 2027.
“My ultimate goal is to be the most authentic I can be in my creativity, and that requires letting myself express without judgement,” says Aiyana. “I’m still learning the type of artist I am, knowing that I will grow and change as time flows and obstacles present themselves. Nonetheless, I am dedicated to making this happen for myself. I look forward to making these dreams come true.”
Toronto-based singer-songwriter Madeleine Lindo fronts indie alternative band Rosewater Park, but she has also started a solo project under the moniker Silver Fae, which she describes as alternative fairy-pop.
“I write music for both projects,” she says. “My solo project allows me to experiment more with electronic sounds and production, while my band’s music are live arrangements that we create as a group.”
Silver Fae has only put out one song, “Alone,” which came out in late 2025.
Rosewater Park, on the other hand, has released a steady run of singles since 2024, nine to date, including their first single, 2024’s “Inside,” and their most popular single, 2025’s “Holy Ground,” which has over 800,000 Spotify streams, and counting.
The latest single is “What Time Will Take Away,” released in May 2026, with support from the Ontario Arts Council. “It’s an alternative pop song I wrote, inspired by the fear of aging that society instills into women from a young age,” says Madeleine. “It’s about wanting to be wanted for more than just the things that time will take away.”
Other Rosewater Park songs, like “Dreaming in Blue,” “Reckoning” and “Saviour,” explore themes of heartbreak and pain, while “The One” and “Poets” explore themes of love. Silver Fae’s “Alone,” is about self-sabotage and the coexistence of not wanting to be alone, but not wanting to get hurt again.
Born and raised in Burlington, Ontario, Madeleine always enjoyed singing from a young age. She started getting into songwriting in 2020 and really enjoyed it. “That’s what prompted me to apply to music school and study music seriously,” she says of attending Centennial College’s music industry, arts and performance program in Toronto. “Songwriting is still my favourite thing about being an artist.”
While she plays guitar, Madeleine has also been building an online following for her Omnichord videos. “I love the instrument and its dreamy sounds,” she says.
Rosewater Park has been consistently playing shows in Toronto since 2024, including in May at Departure Festival for Range magazine’s showcase at The Garrison and in June for NXNE at Burdock Music Hall.
“My plans for the year are to continue actively releasing solo music, as well as music with my band,” she says. “I also plan to continue playing live shows around Toronto and connecting with others in the music scene.”
Toronto pop-R&B singer-songwriter Maya Gamzu, who at 14 years old received the Golden Buzzer on Canada’s Got Talent in 2023, released her first single, “Forget It All” in 2024, and two singles, in 2025, with the international group Five Flows, called “Drown On You” and “Way Out.” In April 2026, she performed her debut solo concert at Harmony Hall in Toronto, an important milestone in her development as an artist.
“My songwriting is often inspired by personal experiences and emotions,” says Maya, now 18. “I write about relationships, self-discovery, resilience, heartbreak, growth, and the complexities of human connection. I am particularly interested in writing songs that transform difficult experiences into something meaningful and relatable.”
An unreleased song “Torn” is about betrayal and heartbreak, “Forget It All” about letting go and moving forward, while Five Flows’ “Drown on You” is about emotional attachment and vulnerability, and “Way Out” about searching for direction and hope.
Maya started singing in her parents’ living room at the age of three and taking voice lessons at age 5. In addition to singing and songwriting, she also plays piano and guitar and self-produces using software to develop her original material. When she was 14, she auditioned for Canada’s Got Talent and received the Golden Buzzer from judge and noted hip hop artist Kardinal Offishall, immediately advancing to the semi-finals.
“The experience introduced me to a national audience and opened many doors,” says Maya. “It led to performance opportunities, media appearances, industry connections, and increased confidence as a performer. Most importantly, it reinforced my belief that pursuing music professionally was the right path for me.”
In 2024, Maya attended Berklee College of Music’s Aspire Summer Program on scholarship, where she further developed her skills as a vocalist, songwriter, and live performer while collaborating with musicians from around the world. Alongside her solo work, she is also a member of the international band Five Flows, which formed at Berklee, and released original music. In the fall of 2026, Maya will attend Berklee full-time on a merit scholarship.
“Music has always been the way I understand and express the world around me,” she says “What started as a love of singing eventually became a passion for storytelling, songwriting, and connecting with people through performance. Music has helped me through difficult moments in my own life, and I hope my work can do the same for others.”
Maya also plans to release another original song, “Tear Me Down” that leans more towards pop, allowing her to explore a different side of her artistry.
www.maya-gamzu.com | Apple Music | Five Flows (Spotify) | Five Flows (Apple Music)
Toronto singer and multi-instrumentalist Nicole Glazunov’s debut EP, Youniverse, is a gentle-pop record tinged with elements of R&B and jazz. Using powerful yet soft imagery, she touches on themes of womanhood, inner power, and self-discovery. She is currently developing her next project, which is evolving lyrically into themes of femininity, self-love, and unity.
“Youniverse was meant to be a reflection of my internal world, as most battles I face with myself had to do with wanting to feel safe and understood as a woman,” says Nicole. “Battles such as hyper-independence and wanting to finally be able to rely on someone else, finding the balance between loving with your all and having enough discernment to know when you are compromising yourself and your needs.
“The themes circle back to not being scared to open your heart and love, and that first and foremost includes yourself,” she adds. “I hope to send this message through all of my music.”
Nicole remembers singing around the same time she started speaking. By age 6, she was playing piano and doing classical vocal training. She now excels at piano, ukulele, guitar, bass, and harpsicle. “Growing up in a place that couldn’t guarantee safety, music was my way of letting go of heavy feelings,” she says. “It has greatly shaped the perspective from which I write.”
She did every music-related activity that she could as a kid, from choirs to bands to performing covers and writing her own songs. “I realize it has always soothed my anxiety and brought me to the present moment when I needed it most,” Nicole says. “I felt a love and passion that overpowered any other plan career-wise.”
Before releasing her EP, Nicole released a series of singles, starting in 2022 with “Nevermind,” then 2023’s “Love Language” and “WBKI (We Both Know It),” and 2024’s “Peace” and “Here.”
The six songs songs on Youniverse include the sensual “Lipgloss,” about allowing yourself to fully soften and feell safe with your partner; “Better Me,” about the challenged of letting go of your baggage in order to have a healthy relationship; “Lifeline,” about the fear of depending too much on other people; “Dreamgirl,” about feeling the need to be perfect for your partner;” “Baby Please,” about a beyond-body experience with your partner; and “Heart in Your Hands,” about putting your heart into someone’s hands.
“I want to spread the message of less fear and more love through my music and build a brand based on making women feel powerful, attuned to themselves, and confident,” Nicole says, adding, “I would love to create with more women and further develop my production skills.”
She is currently working on a new project, which will be a more sonically and thematically evolved version of Youinverse. “It will be sensual, feminine, and address themes of knowing your power, appreciating yourself and what makes you you.”
Chinese-Canadian singer-songwriter Oh Alice explores themes of identity, grief, healing, love, and belonging in her songs. Rooted in both personal experience and observation, she has released two singles so far in 2026, “Tiramisu,” and “Where the Bones Remember,” feat. Lina Cooper. The songs follow her 2025 debut EP, Heartshot.
“My next EP, or possibly a full album, is the most personal and intimate project I have written to date,” says Alice. “The project explores some of the most vulnerable experiences of my life and feels like a step toward being completely honest with myself as both a songwriter and a person.
“More than anything,” she adds, “this project feels like the closest I have ever come to writing exactly what I mean.”
Based in Halifax, Nova Scotia, Oh Alice — whose real name is Alice Liu — has a dark, rich vocal tone and incorporates piano and harp into her music, creating a sound that is nostalgic and cinematic. Growing up, she was constantly writing songs in notebooks, on homework sheets, and anywhere else she could find space to write. She started learning piano and harp in her early teens, while developing her singing voice.
She later attended Boston’s prestigious Berklee College of Music, where she earned a Bachelor of Professional Music in 2023 with concentrations in Music Production, Songwriting, and Music Business. During that time, she released her first single, “Hurricane,” in 2021, followed in 2023 by “Butterflies.
After graduating, Alice spent time in Los Angeles working on her music, before returning to Canada. In 2024, she put out the single “Dive,” then the “Focus (On Me)” and “Bubblegum POP” which were included on the six-song EP Heartshot the following year.
“Heartshot was a very special project to me because it is my first EP,” says Alice. “I wrote it during a period of my life when I was navigating my early twenties, moving away, experiencing new relationships, saying goodbye to people and places, and slowly learning who I was underneath all of those changes.”
The EP is sequenced as a story.
“To me, it feels almost like a night out in Los Angeles. It starts with the excitement, uncertainty, and attraction of ‘Focus (On Me),’ where you are trying to understand someone and getting lost in mixed signals. ‘Bubblegum POP’ throws you into the party, while ‘Zip Tie’ captures the thrill of wanting someone so badly you cannot look away.
“As the story unfolds,” Alice continues, “’Whatchuwant’ explores the tension between two people who know exactly what is happening between them, while ‘(Don’t) Interlude’ pulls everything inward and becomes a moment of reflection. By the time the EP reaches ‘Elliot,’ the realization is that the thing holding you back is not another person at all—it is yourself.”
The two singles, “Focus (On Me’)” and “Bubblegum POP,” represent the heart of the project, she says, and “capture the curiosity, excitement, confusion, and vulnerability that run throughout the entire EP.”
Oh Alice also released singles in 2025 that are not on the EP, “Don’t You Worry, Baby,” “Ready To Go,” “A-Ha!” and “Someone,” and will continue releasing new music in 2026. They showcase her ability to pair thoughtful storytelling with contemporary indie-pop production.
She has also performed across Canada and the United States, including showcases with Sofar Sounds, NYC Public Radio, Breaking Sound, and We Found New Music, as well as a live recording session with popular clothing retailer Brandy Melville. She is also scheduled to appear on artistic development platform CMCTV Talent later this year.
Ultimately, Alice’s mission is to create music that serves as a safe space for listeners—a place where vulnerability is welcomed and emotions can be explored without judgment.
In addition to her solo work, she is also member of the band Internet Detectives, which will be putting out music this year. “Alongside those releases, I am working toward a larger body of work that feels deeply personal and rooted in storytelling,” she says. “My goal is to continue creating music that feels honest, emotionally driven, and reflective of where I am in life right now.”
Global-pop artist Sonaali redefines R&B through the lens of her South Asian heritage. The Toronto singer’s brand new single, “Lost & Found,” was inspired by “situationships,” the exhilarating, yet frustrating, push-and-pull of wanting someone who can’t decide if they’re ready to commit.
“It’s about the emotional confusion that comes with unclear relationships, reflecting on attachment, distance, and finding clarity within that experience,” says Sonaali.
The new single follows her three singles in 2024, “Kush,” a collab with Spitty, and tracks “Solo” and “Crazy.” Her very first single was 2022’s “Like a Tide.”
“My music explores themes of identity, love, self-discovery, and empowerment,” she says, pairing the lyrics atop a blend of hypnotic melodies, intimate storytelling and cultural duality.
Born and raised in Toronto, Sonaali — born Sonali Goel — has been singing since age 5. She began taking professional vocal lessons at age 9 and trained with former Canadian Idol judge Zack Werner at his talent school, which helped shape her early foundation as a vocalist and performer. “I also dabble in piano,” she says.
Sonaali found herself navigating two worlds, the vibrant traditions of her heritage and the modern rhythm of Western life. While that duality came with its challenges, it also became her greatest inspiration. She is influenced by the music of Rihanna, Tyla, and Alicia Keys and drawn to the voices of powerful South Asian artists, such as Asha Bhosle and Shreya Ghoshal.
“For me, genre blending is important because it allows me to stay connected to my heritage while creating music that feels authentic to who I am,” Sonaali explains. “As a second-generation Canadian, I often found myself navigating two different worlds and, at times, feeling disconnected from my culture. Music became the bridge between those experiences.
“By blending Western pop/R&B with South Asian influences, I’m able to celebrate both parts of my identity and create something that feels true to my story. It’s also a way to bring representation to a space where artists who share my background are still underrepresented, while introducing audiences to sounds they may not have experienced.”
Sonaali’s debut single in 2022, “Like a Tide,” led to performances at major Toronto events, such as Desifest, The Taste of Danforth, and large-scale galas that drew thousands of people.
Her 2024 collaboration with Indian-Canadian rapper Spitty on “Kush” exposed her to a wider audience, becoming the breakout track from his album, Motherland, with over 360,000 streams on all DSP’s and placements in over 3,000 playlists.
Sonaali’s sound continues to evolve through genre-bending sultry R&B production with experimental tones, and melodies that feel both nostalgic and new. She plans to release a handful of singles this year, while working on a full album for 2027.
“This year, I made the decision to leave my job in the music industry and pursue my own artistry full time,” says Sonaali, who worked as an account executive at Maple Leaf Sports & Entertainment. “My upcoming July single, ‘High,’ draws inspiration from global sounds and the Indian house music scene, while still staying rooted in my pop and R&B identity. It’s made for dancing. It marks a new chapter in my sound, and I can’t wait for people to hear it.
“My ultimate goal is to build a successful business around my music and create a career that allows me to do what I love full-time. I want to continue growing my fanbase, reaching new audiences around the world, and building a lasting brand that extends beyond just the music itself.” She adds, “I also strive to increase South Asian representation in mainstream music and entertainment, showing that South Asian sounds, and perspectives belong on global stages.”
Ottawa-based singer-songwriter mars aspen (they/them) digs into the hardest parts of intimate connections, spilling their heart so that you, in turn, can better understand your own. Signed to Toronto’s Twin Fang Records, their new EP, baby teeth, offers raw, direct snapshots into the ups and downs of past relationships, as well as perspective on their own mental health.
These lush folk confessionals “stem from past trauma,” aspen explains. “I’m coming to terms with where I’ve been before, while honouring where I was at that time.”
The songs describe when heartbreak feels like swallowing hot glue, when yearning pours out like juice, and when the remnants of relationships are—as aspen sings—”mushrooms and roots in the dirt with the beetles and moss.” With shades of Lizzy McAlpine and Imogen Heap, the EP epitomizes aspen’s songwriting mantra: “The only way it works is to let it all out.”
The title track is about “how childhood influences the present and how things I have learned as a child have affected thoughts I continue to have,” says Aspen. “Towards the end of the song also resigns to the fact that I have to make peace with the past and continue moving forwards.”
Born Mars Aspen McGregor, they have been singing they learned how to talk, but only started taking it seriously when they started songwriting in high school. A multi-instrumentalist, they mainly play guitar and piano, but also bass, ukulele, and some violin. They decided to pursue music while at Carleton University, graduating with a Bachelor of Music Performance in the singer/songwriter stream.
“It was there I really fell in love with the craft and process of writing my own songs,” aspen says. “I started to play a few gigs around town, and eventually found that I wanted to record, release, and share my songs.”
Their first EP was 2021’s Rosewater, containing three songs, “i feel sad today” “fool’s gold” and a cover of Billie Eilish’s “Ocean Eyes.” That same year, aspen dropped the standalone single “Who Could Say? (Feeling So Blue).” They followed it up in 2022 with another EP, in orbit!, self-produced in their basement, with songs “square one”, “don’t fuck with a (hopeless romantic),” “lovesick,” “better” and “cherry on top.” In 2023, they dropped another standalone, “Overgrown” and a live version from Odd Songs, before signing a record deal with Twin Fang.
“Working with Twin Fang really jump-started the start of my career,” aspen says.
The label released two singles, 2024’s “pest control” and 2025’s “spilled milk,” before the title track from the EP in January, 2026. baby teeth features stunning arrangements, dreamed up alongside producer Kieran Isley, swaying from haunting, softly-strummed ballads (“I grew up as an emo kid,” Aspen admits) to Kate Bollinger-inspired folk-pop.
Having always practiced songwriting as a form of therapy, the songs on baby teeth are disarming in their candour. “pest control” explores the complexities of queer relationships, while “I’d like to stay mad” confronts holding onto righteous anger. The five-song collection is ultimately a collection of songs about growth. “They’re about realizing that we need to grow up sometimes,” aspen laughs, “despite how jarring a sentence that is.”
Apsen, who has already opened for such names as Joel Plaskett, Rae Spoon, Raphael Weinroth-Browne, and BURRY, plans to play her own shows in Ontario, support slots for touring acts, as well as festivals, including the famed Winnipeg Folk Festival for the first time, in the Young Performers Program. They are also in the process of writing their first full-length album, due sometime in 2027.
“I am almost finished writing the main bulk of songs, and am itching to start recording demos,” they say. “It will be a giant homage to connection, love, grief, and all that it means to be human. Sonically, I’m going to try some new, jazz-inspired moments, but I imagine I will keep the intimate-folk, and alt-pop vibes from my previous releases alive.
“My ultimate goal as an artist is to simply keep sharing art with people. Though I have goals to build my audience and community, travel globally, and release at least a few full-length albums, my main goal throughout this journey is to keep remembering that what drives me is making music.”
Toronto-based R&B singer Rianna Jones has sung background vocals on two records Shahaddah’s “If These Streets Could Talk” and Truss’s “Jacob v. The Angel,” and plans to get in the recording studio this year to make her own music.
“I have some drafts and unreleased songs,” Rianna says. “The topics that I explore are often about forgiveness, grief, healing, confusion, love, rebirth, estrangement, solitude, faith and spirituality.”
Growing up in Brampton, Ontario, Rianna developed a deep appreciation for the music of gospel, soul, indie and hip-hop artists. Her dad is a musician too. “That’s where I must get it from,” she says.
Music has been a constant in her life. She grew up in church, where she sang in choirs and loved being in that community.
“What drew me to singing as a kid was the freedom I would feel,” she says. “Whenever I sing, I soar, and that’s a feeling that I will never experience doing anything else. It feels like I’m connecting with God. Another thing I really like about singing is how it makes people feel. Nina Simone explains it best, ‘It’s like, how do you tell somebody how it feels to be in love?…That’s what I mean by free.’”
When Rianna was singing in church, her parents realized that she had a gift and encouraged her. She attended regional arts school, Mayfield Secondary School, where she earned her Associate Diploma (ARCT) in classical music voice from the Royal Conservatory of Music, advancing her understanding of performance and emotive storytelling. Also, in high school, she performed in musical theatre productions, playing Fantine in Les Mis and Joanne in Rent, as well as the role of Andrea in Once on This Island at Innovative Arts.
Rianna then enrolled at Western University in London, Ont. for opera, during the pandemic, as well as studied under New York-based vocal coach Natalie Weiss.
“When I was studying opera, I decided to move from London to Toronto and there was so many divine moments that occurred to me as a reminder that music is and will always be my purpose in this lifetime,” says Rianna. “That’s why I decided to pursue music as a career.”
One of those opportunities was in 2023 in NYC, performing at Weiss’ showcase at the City Winery. Another was back home Toronto’s Sankofa Square, as part of TMU Superstars, while studying creative industries at the Toronto Metropolitan University.
Her live performance serves as a vessel for self-expression, reflecting her personal experiences and perspectives, but also as an explorer of cultural identity. She is an innovative and versatile artist who sings various genres, but finds her creative home in R&B.
She has sung background vocals live for Ryan Douglas, Luna Elle, Arianna Reid, Michelle Hopkins, and Amaka. She also handled vocal direction for Shahaddah Jack and Jada Hope at The Remix Showcase at History.
“My goal is to be able to have the freedom to travel and heal others through sharing my voice with the world and utilizing my skillset to create unforgettable experiences for people,” Rianna says. “I’m interested in exploring multiple different career paths in the creative industries including production and tour management, musical directing, BGVs, live performance, musical theatre, and voice acting.”
V!LLAH is a Filipino Canadian rapper, singer, songwriter known for her energetic performances and empowering messages. Often described as “Tiny but Mighty” V!LLAH’s music and stage presence aim to inspire, encourage and empower others.
Drawing inspiration from legendary artists including Lauryn Hill, Missy Elliott, Eve, Nas, and Freddy Mercury . V!LLAH infuses her music with a fusion of empowering lyrics, infectious beats, and an unapologetic confidence.
1) What is your favourite Honey Jam memory, moment event?
My favourite Honey Jam memory was The Honey Jam Concert 2022, the concert that I was involved in. After the pandemic and surviving Covid, 2022 was the year concerts, festivals, gatherings were all coming back. This was the 1st year I started doing live performances, and getting myself out there in the city of Toronto. Being introduced to Honey Jam, its purpose, and process of auditions (which I was informed 3 days before), this was something i’ve never done before and just went for it! Feeling the raw emotions from the auditions, I felt very nervous that the majority was singing for their auditions and I was going to rap mine. But that did not stop me from rapping and still went for it.
Being one of the only hip hop artists chosen for Honey Jam 2022, I felt that this was my time to really shine and show people what I am about. This helped me grow so much as an artist especially representing Hip Hop as Honey Jam has roots of Hip Hop and I am grateful to continue that legacy right after the pandemic. It was one of my favourite shows in 2022 I have ever done with professionalism, full band, mentors, and being part of a community that is forever now! <3
2) What is next for you in terms of projects, releases, performances, tours?
Next up for V!LLAH is the very 1st album shaping around my Filipino culture, what it’s like being the 1st generation Canadians in my family, unapologetic growth, and what it means to be Tiny But Mighty.
4) What do you like about Honey Jam and/or what impact did it have on you?
Honey Jam gave me sisterhood, a community, a group of talented queens that I can go to for advice, opportunities to expand my knowledge about the music industry, a place for me to fail, learn, feel inspired and grow. I’m very grateful to have been part of the concert but happier to have people I can call my Honey Jam Fam. The impact Honey Jam has on me is very expressive, i’m still very good friends with the alumni, attending / involved in their events, I’ve learned a lot about my time management and respecting others’ time.
I always recommend Honey Jam to EVERY girl who has a passion for music.
LolaBunz is a multidisciplinary artist born and raised in Toronto, Canada. She has held several titles as a hip-hop and spoken word artist, and an Entrepreneur. Infused with a Nigerian background, her music is a tribute to all the different influences she grew up around, which made her the accomplished artist she is today. LolaBunz is highly known for using her music and words of influence to inspire others, locally and internationally.
Lola has been making strides as a fierce lyricist with her work woke attitude and raw talent, proudly representing her city. Over the years LolaBunz has landed major performances including Rolling loud Toronto, BET, South by Southwest (Texas), AC3 Hip hop festival (Atlanta), Manifesto, AfroChic (Miami), Canadian Music Week, Toronto International Film Festival (TIFF) and much more. In mid- October of 2022, she was billed as the official opener for dancehall sensation, Beenie Man at the Universal Event Space in Toronto. Never static, Lola tends to catch her fans off guard with the versatility of her music.
Lola also holds a B.A in Social Science from York University and Recently completed her Masters of Education in Buffalo NY.
Blue Will came into the national spotlight in 2019 after she was chosen to appear on season 2 of CTV’s talent search The Launch, where she worked with such mentors as the legendary Nile Rodgers, and Bebe Rexha. Her vibrant personality and vocal talent helped build a community of supporters for her music, from 2022 singles “Not Love” and “Prophecy” to the release of her 2023 debut EP, What Love Looks Like.
Born in Trinidad, Blue moved to Ottawa before settling in Toronto. In pursuing her music career, she signed up for various music competitions. In 2017, she was a top 4 finalist in CBC Music’s Searchlight; her haunting performance led to her own segment on CBC’s First Play Live, an intimate performance showcase. Blue’s songs have premiered on BBC Radio 1’s Future Sounds, as well as in various editorials for Spotify, Apple Music, and Amazon Music playlists. She also premiered “Not Love” and “Prophecy” on Canadian television’s entertainment news program eTalk where she also discussed her future plans. To this day, music serves as a crucial outlet for Blue Will to translate her life into songs.
My favourite HoneyJam memory was being chosen to go to LA for the Grammys in 2020. I felt very honoured and grateful because I knew it wasn’t a very easy decision; a lot of the alumnis were very deserving of this trip. The trip itself was very life changing and I was able to attend many industry events and meet a lot of female celebrities that I look up to.
This year, I am singing Soca. I have chosen two of my current favourite Trinidadian Soca artists, Nailah Blackman and Patrice Roberts. These two amazing women are a perfect representation of new school and old school Soca. Myself, being Trinidadian, I wanted to make sure that I properly represented not only the genre of music that I’m singing, but also the beautiful island I where I was born.
Something that’s next for me is that I’m working on a lot of new music and the rest of it will all be a surprise! But you can rest assure that 2026 will be an explosion of all things great.
Something that I like about HoneyJam the most is the sisterhood and the friendships that you build between other female artists.
Internationally lauded steel pan composer Joy Lapps has two Afrobeat remixes from 2022’s Girl in the Yard set for release late summer, “Lulu’s Dream (E-Series Remix)” and “Fly (E-Series Remix),” after capping 2024 with her sixth album, The Caribbean Christmas Mixtape Vol. 1 created with her partner, renowned drummer Larnell Lewis.
“With the support of the Canada Council, I am currently working on a project to digitally map steelpan across Canada,” Joy adds, which “organically developed into a conference focused on the Canadian steelpan music industry,” August 8-9 at the University of Toronto’s Scarborough campus, in collaboration with Soundlife Scarborough and UTSC.
The award-winning instrumentalist of Antiguan and Barbudan descent treats the steelpan as a tool for engagement. Throughout her six releases — starting with 2004’s How Great Thou Art — Joy’s repertoire teams with Afro-Caribbean and Afro-Brazilian-inspired rhythmic and harmonic patterns, garlands of melody and plenty of space for spontaneity. She has performed at festivals and events across Canada, the U.S. and the Caribbean with more dates this summer. Joy and Larnell are also co-artistic directors of Flow Fest, Brampton’s International Drumming Festival, in its fourth year, Oct. 4 at The Rose Theatre. Other shows include Nov. 28 at Montreal’s Maison de la culture de Côte-des-Neiges and Dec. 18 at Toronto’s Lula Lounge.
My favourite Honey Jam memory: Being welcomed by a production team of predominantly women that were there to support Ebonnie [Rowe] in her vision. To this day, I continue to be inspired by them as they are trailblazers in the arts industry. There are many names I can name, but I will highlight Vivian Barclay, Emily Mills, Marsha and Maxine Green and Janice. Seeing their faces at artist check-in, in the green room and side stage always made me feel safe.
What I like best about Honey Jam: It helped to bridge important connections in the music community… the most important to me… I met my now husband Larnell Lewis at my first Honey Jam performance. We will be celebrating 15 years of marriage this September and have three amazing children, Khari, 7; Kaya, 5; and Kianna, 10 months [as of early June].
On 2025 song choice: I will choose something due to its inspirational nature.
Mesmerizing audiences with her high-energy rapid dancehall, Chatta has released a constant flow of singles over two decades, including “Ganja Tea,” “My Flow in Toronto,” “Bun Dung,” “Complain Not,” “Holiday Time,” “Murderah,” “Ethiopia” and latest “Unload It.”
Her journey began with her 2004 debut, Speed of Consciousness, which soared to the top of Roots I radio in Kingston, Jamaica. In 2007, she won Top Dancehall Female Artist at the 21st annual Canadian Reggae Music Awards and went on to win nearly 10 consecutive female dancehall DJ recognitions at the ReggaeXclusive Awards. In late-2024 she released “Unload It,” a call to arms promoting unity over destruction; the track won The Spotlight Award at the 2024 ReggaeXclusive Recognition Awards. Her next single, “Mind Control,” is a challenge to break free from mental constraints and reclaim your power. This will be followed by “Summer Blitz.”
“I plan to bring back the energy of classic dancehall riddims from the 80s and 90s, as that era is where my soul truly lives,” she says. “Furthermore, I continue to write, build, and constantly insert my healing, as a Doctor of Natural Medicine / holistic healer into most of my tracks in some shape or form. I also plan to visit Jamaica to reconnect with my roots, sharpen my sound, and finally release song ‘Oneness’ that I recorded with reggae superstar Turbulence, which will be included on my upcoming 2026 EP.”
My favourite Honey Jam memory:
I’ve got so many touching Honey Jam memories, but the first one that stands out is in memory of my
amazing late mother, Marcia Angella Riddell Edwards. At 18, still in high school, full of vibes and fire with my hip hop music partner Aisha, a phenomenal rapper, we were so ready and eager to blaze that Honey Jam stage! I believe that was 1997. But, there was just one little problem… my strict, protective Jamaican Mother. I told her, “Mommy, it’s an all-female showcase,” and her eyes widened like, “Weh kinda show dis?” She thought it was going be a club full of men watching her teenage daughter sing and dance! It was a hard NO … unless an adult came with me. Thankfully, Aisha’s older sister stepped in.
But the real magic happened when we showed my Mom what Honey Jam was truly about. We pulled up videos, flyers, whatever we could find and showed her the powerhouse behind it all, Ebonnie Rowe. She thought Ebonnie was a “pretty and nice likkle girl .. mi like har vibe”. She came out to support my performance – Crowd roaring. Lights flashing. Vibes electric. Then came the 1999 MuchMusic appearance. She looked at me with a proud grin and said, “But wait… how yuh talk so fast and hard patois an’ yuh don’t even born a Jamaica?” I just laughed and said, “Because of YOU, Mommy!”
She proudly told everyone at work, “That’s my daughter on TV!”. We even had VHS recordings of my 1999 MuchMusic appearance playing anytime guests came by the house. That clip, featuring Ebonnie Rowe; Michie Mee, Natasha Waterman, and other amazing Honey Jam performers; hosted by Master T, was definitely the highlight. That full circle moment from cautious Mom to proud cheerleader is one I’ll treasure forever.
What I like best about Honey Jam:
I wasn’t allowed to go out much as a teen, so Honey Jam became the one space my Mother finally approved of — and for good reason. It’s a safe, empowering space for women in music, where the focus isn’t just on talent, but on professionalism, education, and sisterhood. I always feel at home no matter how many years have gone by. It set the bar for me, the highest I know when it comes to women in the music industry. As someone who’s naturally introverted, Honey Jam was the first platform where I truly expressed myself to a larger audience. I’m so grateful to Ebonnie Rowe for making this an integral part of my journey. I even remember once thinking someone had stolen my artist name and Ebonnie didn’t miss a beat; she jumped into action, gave me industry advice, and told me exactly how to protect myself. That kind of mentorship is priceless. Whenever I see talent in my family, Honey Jam is always the first place that comes to mind if they ever choose to get out there. Honey Jam didn’t just give me a mic, it gave me a mission: to use my voice with purpose, my presence with pride, and to always make space for the next generation of Queens ready to rise.
On 2025 song choice, “Bam Bam”:
I chose “Bam Bam” by Sister Nancy because every Jamaican’s blood flows deep when this track plays, including mine! What better way to honour this milestone than by representing one of Jamaica’s most iconic female voices. Dancehall is in my blood. It’s part of my culture, my roots, my rhythm. Sister Nancy paved the way for much of Jamaica’s female artists, as the first female dancehall DJ in the late 70s, and “Bam Bam” is an anthem that still hits hard to this day. The 2024 documentary Bam Bam: The Sister Nancy Story, co-directed by Alison Duke and Reshma B, reminded the world of her impact. “Bam Bam” speaks to me, the classic Stalag riddim that backs it makes my body and spirit move, and I can’t help but bring my fast tongue, energy, and joy to the performance. It would be an absolute honour. It’s not just a tribute. It’s a celebration, and I’m going to have pure fun with it.
Annabel Oreste is a beacon of resilience, forged in the vibrant tapestry of her Haitian heritage. From captivating audiences as Princess Annabel on Star Académie 2021 to her soul-stirring original music, her journey of self-discovery includes a commitment to empowering others.
Her voice blends gospel with contemporary pop/R&B sensibilities, honoring her Christian roots, with lyrical themes of self-love and courage. Her cover of the 1930s classic “Body and Soul” garnered over 300,000 views on YouTube, while her original single, “Brotherman” received radio play across Canada and France. Beyond music, she is an ambassador for youth foundation Jeune en Tête, using her platform to help break the stigma surrounding mental wellness. Her 2023 debut single, “Trop Jeune,” became an anthem for this cause.
Annabel’s new single “Hero” is an anthem of resilience and empowerment. “It marks the beginning of a new chapter for me,” she says. “I’ll be releasing more singles this year, all leading up to my debut EP, LOVINGLY, inspired by the meaning behind my own name, Annabel, and this journey of becoming “Lovingly Me” — embracing who I am with softness, strength, and honesty.”
My favourite Honey Jam memory:
The energy backstage. Being surrounded by so many incredible women, all rooting for each other, was something I’ll never forget. There was this unspoken bond between us: helping each other with makeup, calming nerves, hyping each other up. It was more than just a show; it was a space where we were all allowed to shine, together. That kind of sisterhood is rare, and it left a lasting impact on me.
What I like best about Honey Jam:
Honey Jam reminded me that there’s space for all of us, space to grow, to be vulnerable, to take up room. As someone who’s doing this all on my own and wearing so many hats in my career, being part of Honey Jam and working with Ebonnie made me feel a real sense of belonging. It gave me the confidence to step into my artistry more fully and to trust that my story matters. Being part of a community that uplifts women in music, especially women of colour, made me feel empowered in a way I hadn’t before. It wasn’t just a performance; it was a turning point and my debut in the Toronto scene.
On 2025 song choice, “Hero”:
It’s the song I needed when I felt most lost. It’s about reclaiming your power after feeling broken. It’s about choosing to love yourself, forgive yourself, and fight for yourself. I wrote it from a deeply broken place, but I believe its message is universal. I hope that when people hear it, they see themselves as the hero in their own story too. It’s the first single from my upcoming EP, and I couldn’t think of a better introduction.
Christina Smith is a classical vocalist, versatile performer and the recipient of several international awards. Born in Scarborough, Ontario and raised partly in Kingston, Jamaica, she is best known for her crisp, clear soprano voice and an impressive range, extending into the whistle register.
Applauded by international audiences, politicians and media, Christina has a natural gift for opera. At the age of 11, she came 1st place in the Classical Soloist category at the 2009 Jamaica Cultural Development Commission Competition. Since then, she has received many prestigious awards, including the Inspirational Youth Award presented by the Black Diamond Ball Toronto; and the City of Toronto Advancement Award, presented by the Black Business Professional Association.
In response to the misconceptions of classical music, Christina believes in embodying the ‘total performance,’ one that encapsulates both voice and movement. “There’s this notion that classical music is rigid and unfeeling, but, really, every emotion ever represented in a pop song is just an adaptation of what was felt, written and sung centuries ago.” Her wide-ranging inspirations include Janet Jackson, FKA Twigs, Mariah Carey, Kathleen Battle, Jessye Norman and Ludovico Einaudi.
She is currently in Regina working on the Canadian premiere of Bring It On: The Musical which opened May 21.
My favourite Honey Jam memory:
When we took an artist development trip to New York. It was during the aftermath of COVID lockdowns, when so many of us were longing to travel and to be inspired by new people and surroundings. Taking on NYC with women I’ve grown professionally with — and in such a pivotal moment in history — was a reminder for me that I was walking in my purpose as an artist.
What I like best about Honey Jam:
Honey Jam has been such an incredible network of support and encouragement. Being part of Honey Jam has given me a network of women I can lean on professionally and personally. I’ve met some of my best friends and ride-or-dies through the program.
On 2025 song choice, “A Woman’s Worth”:
“A Woman’s Worth” is inspired by women all over the world who wear several roles, and are unappreciated for them, if not villainized. Through the use of Gesamtkunstwerk (total work of art), the piece honours the mothers, childless women, refugees, and the survivors of domestic violence and sexual assault, who teach us resilience, courage and compassion. While the piece includes the works of FKA Twigs, Halle Bailey and Kate Bush, the real inspiration for this piece comes from the lived and often untold experiences of ordinary women.
Montreal-born folk-pop singer-songwriter Cinzia & The Eclipse (chin-zee-uh) draws inspiration from the sad-girl pop of Julia Michaels and the anthemic vocal presence of Florence + The Machine. Her 2024 EP Springland showcases her precision as a songwriter as she balances energising and emotional, finding inspiration from heartbreak, nostalgia, and the human condition.
With her vulnerable melodies and catchy choruses, Cinzia’s songs have received radio play on The Beat 92.5 and CBC Music, and editorial playlisting (Folk & Friends, Chill Covers) resulting in over 10 million streams. Her Montreal hometown is her muse, dating back to her 2020 debut EP, Little Italy. “I just wrapped up a set at the FestiVoix de Trois-Rivières and Festival sur le Canal last month,” she says, adding, “I’ll be releasing a new single off an upcoming EP.”
My favourite Honey Jam memory:
Being at Polaris Music Prize with Honey Jam alum in 2023.
What I like best about Honey Jam:
The community! The Honey Jam community is everything and is one that keeps their belief in their artists. In this industry, Honey Jam is a heaven-sent pearl!
On 2025 song choice, “Rhiannon”:
I think it’s beautiful, one of my favourites and I haven’t had the chance to ever sing or perform it before.
Signed to Cymba Music Publishing, Nova Scotia’s Haliey Smith has opened for Grammy award-winner Lisa Fischer, Anderson Paak at the Halifax Jazz Festival and Deadmau5. This summer, she is releasing a single called “Dizzy.” “Very excited for this particular song and release,” she says.
Haliey started singing at age 4 at Saint Thomas Baptist Church and four years later made her musical theatre debut in Neptune Theatre’s production of A Christmas Carol. Since then, she has role in various musicals, including the lead in Cole Harbour High’s 2016 production of Annie. As a solo artist, she has performed at various festivals and showcases, including Honey Jam (Toronto), Manifesto Festival (Toronto), Montreal Jazz Festival, East Coast Music Awards, Nova Scotia Music Week, JUNOfest (Edmonton), JUNOfest (Halifax), Riverfront Jubilee and the PEI Jazz and Blues Festival, as well as performances with Symphony Nova Scotia.
My favourite Honey Jam memory:
The finale of my Honey Jam year. Everyone shared the stage together and created the beautiful moment together as one united voice.
What I like best about Honey Jam:
I love the sisterhood that it represents and the diversity of genres and cultures.
On 2025 song choice, “His Eye Is On The Sparrow”:
Growing up in church, “His Eye On The Sparrow” was one of those anchor songs. And for a singer, it speaks to our why. The song says, ‘I sing because I’m happy; I sing because I’m free,’ and those simple words are so absolutely true. When it comes to being an artist, our art is our safe, our peace and sometimes our freedom. And even more when you’re a believer, it resonates because you realize your talent doesn’t come from you but because your creator saw fit to give you your gift, and what a way to use it to give it back to him. That’s the most important part.
Rising from the grit of Toronto’s underground, Feura’s music is a fierce collision of grunge, punk, and hard-hitting alt-rock, fueled by a fierce need to break free from expectations and speak the truth. With a growing community of 171K+ followers, she’s become a voice for those who’ve been overlooked, misunderstood, or straight-up rejected.
Shredding Canadian stages, Feura has played over 40 shows in the last year ranging from Canada’s largest pride festival, Pride Toronto, to opening for Juno winning punk-rock band NOBRO at The Horseshoe Tavern.
“This year I am releasing music for the first time,” she says. “My first single, ‘SMASH,’ June 24; another single in July and an EP for August. “This is all part of a broader album project set for release in spring 2026.” This August, she is supporting the EP with shows throughout Ontario, as well as in Montreal.
My favourite Honey Jam memory:
My favourite Honey Jam moment so far was getting to work with an incredible live band for my 2022 Honey Jam showcase performance. I absolutely fell in love with working with live musicians and I decided to form my own band afterwards. Since then, I’ve been growing my regional roots through touring and plan to further expand nationally in 2026.
What I like best about Honey Jam:
Honey Jam has been hugely impactful on my career. It’s thanks to Honey Jam that I met the writing/production team Illegal Audio, who I am creating my album with. I met them at one of the networking events I had access to through my affiliation with Honey Jam. As well, I’ve learned so much about how to grow my career as an artist, through the keynote presentations they organize. Honey Jam is a powerhouse organization helping to drive women and gender diverse peoples to the forefront of the music industry, and I am proud to be part of such an amazing a legacy.
On 2025 song choice, “I Hate Myself for Loving You”:
As a female working in rock, Joan Jett is a huge inspiration for me. Throughout her career, she has pierced through the noise of male domination within rock and shown that gender isn’t a limiting force when it comes to being a rock star. ‘I Hate Myself For Loving You’ is a timeless classic, and I hope to bring the same life to it in 2025 as she did in the 80s.
Jaclyn Kenyon is a fierce voice in southern rock, an unapologetic singer-songwriter whose raw songwriting and electrifying stage presence are making her one of the genre’s most compelling rising stars.
Born in Ontario, Jaclyn has been turning heads in the music industry since the age of 12, when she was selected as the youngest performer for 2009’s Honey Jam, Canada’s premier all-female artist showcase. So many accomplishments have followed, most recently, in 2022, she opened for ZZ Top legend Billy Gibbons at his induction into the Musicians Hall of Fame, then in 2023 won the reality TV musician search Banded, hosted by Brandon Jenner, with her band Starland and was mentored by Wendy Starland (who discovered Lady Gaga). In 2024, she was one of the openers for Nickelback on the main stage at Ottawa Bluesfest.
“I am currently writing new music and working on an EP,” she says. “I have three singles ready for release.”
My favourite Honey Jam memory:
When I was 12, I was the youngest performer at Honey Jam and it was my first real show with a live band. I knew I wanted to do music for the rest of my life after Honey Jam!
What I like best about Honey Jam:
Honey Jam was what started my career in music. I love the community in Honey Jam; once you are a part of the family, you are family for life. Ebonnie has been one of my biggest champions since I was 12 years old. I will always make myself available for any Honey Jam even; it shaped me for life!
On 2025 song choice, “Man I Feel Like A Woman”:
I love Shania Twain. I’ve always been able to relate to her and her music and I wanted to choose a song that would get the crowd excited and high energy.
Discover one of Toronto’s musical gems through the passionate singer-songwriter Charmie. In addition to her live performances, she has also made a name for herself as a collaborator with other artists, most notably as a co-writer on Nelly Furtado’s latest album, 7, which even earned her a mention in Vogue magazine.
Born in Haiti, Charmie began exploring her musical talents at the young age of nine. As a self-taught musician, she excels at playing guitar, piano, bass, drums and even beatboxing. Her contemporary style of music is a unique fusion of rhythm & blues and pop-soul. Known for fostering a deep connection with her audiences, her words go straight from her heart to yours. She says, there is “So much to come. new music bi-weekly.”
My favourite Honey Jam memory:
Meeting so many dope artists, who some I now call family.
What I like best about Honey Jam:
Honey Jam is a blessing. I like that it never ends. You’ll always be a part of this supportive community of passionate people, like Ebonnie Rowe who has made it her life’s mission to uplift women and give them a stage to shine on.
On 2025 song choice, “Fast Car”:
This song is very close to my heart.
Award-winning folk singer-songwriter Leah Holtom blends folk and country with a unique take on traditional instrumentation and a fresh expression of storytelling. The Toronto-based musician’s tender yet soaring voice, paired with acoustic guitars and pedal steel, captivate audiences.
In 2024, she was awarded the Colleen Peterson Songwriting Award from the Ontario Arts Council for her debut single, “Face The Day.” “Since releasing my debut EP, Patchwork, last year and following it up with a live, acoustic video project earlier in 2025, I’m excited to take this music on the road,” she says. “I’m currently planning a tour for this fall, and I can’t wait to connect with listeners in person.”
My favourite Honey Jam memory:
Attending the 2024 Canadian Songwriters Hall of Fame Induction Ceremony at [Toronto’s] Massey Hall with fellow artists. It was a truly powerful experience—standing in a space filled with such rich musical history and watching the legacies of Canadian icons being celebrated. It allowed us to dream bigger, imagining ourselves on a similar path, and left us inspired by the dedication, passion, and artistry of those who came before us.
What I like best about Honey Jam:
Honey Jam has been a truly invaluable part of my journey. It’s more than a platform—it’s a community that has supported and challenged me as I grow. Through Honey Jam, I was introduced to the business side of the industry for the first time and connected with a wider network of artists, mentors, and opportunities. I’m so grateful for the guidance, resources, and ongoing support the program offers, and I’m proud to be part of a collective that uplifts women in music. It’s a one-of-a-kind experience, and I feel incredibly honoured to have been part of it.
On 2025 song choice, “River”:
This song has always held a special place in my heart. I chose “River’ by Joni Mitchell because it’s a timeless song that continues to resonate with people today, including me. Joni’s ability to capture emotion and connect so deeply through her music inspires me to do the same with my own art. Performing this song is my way of honouring that legacy and sharing something meaningful.
Rachelle Show is a dynamic Afro-pop artist from Toronto, proudly representing her Congolese and Filipina heritage. Her vibrant sound fuses African rhythms with R&B and Amapiano influences, breaking industry barriers and creating space for Black women in Canada’s music scene.
Show has graced international stages, including Toronto’s AFROFEST, the Netherland’s New Skool Rules, and Atlanta’s Milk & Cookies, collaborating with Grammy-winning producers along the way. Closing out 2024, she opened for Inayah on her North American Wait There’s More Tour and is getting ready to release her debut EP, SHOW, at the top of 2026. “This project is deeply personal—my most honest work yet,” she says. “It reflects my growth, my heritage, and the journey that’s brought me here.”
My favourite Honey Jam memory:
Hands down, it has to be our trip to New York. That experience was truly life changing. We saw so much, met incredible people, and bonded in ways I’ll never forget. The time spent with the girls was absolutely priceless—one of those rare opportunities that felt like a dream come true.
What I like best about Honey Jam:
Above all, it’s the community. The sisterhood Honey Jam creates is something you can’t put a price on. At every event, I look for my girls—it’s always love, always laughter, never a dull moment. We show up for each other through everything. What started as Honey Jam sisters has turned into real-life sisterhood; they’re the ones I call every day. [Founder] Ebonnie [Rowe] has such a gift for bringing together the right women—every Honey Jam girl I’ve met has been on the same wave, no matter where she comes from.
On 2025 song choice, “When I See You”:
This song takes me back to Saturday mornings when life felt simpler—me at home, dancing in front of the TV to my favourite songs on BET. Fantasia has always been someone I look up to, and this track is timeless. It brings out something real in me every time I sing it.
Toronto’s Fridaee’s is a pop-fusion powerhouse, whose electrifying performances have taken her across Canada, the US, England, Barbados and Ghana., but she is also a recording artist. “I’m currently releasing a new single every two weeks throughout the year,” she says.
The past decade Fridaee has been on a trajectory. In 2015, she opened for Donell Jones and SWV at Sound Academy, and the following year played Canadian Music Week. Her success continued to build with her selection to showcase at the 2016 Honey Jam and the opportunity to perform at Honey Jam Barbados. In 2019, Fridaee toured Ghana and released her debut project, *Pages*, expanding her infectious, feel-good sound.
This June, September and November, Fridaee continues to support other artists with her event series Wanderlust, showcasing DJs and artists from the BIPOC community who specialize in dance and house music.
My favourite Honey Jam memory:
I won the trip to perform in Barbados. It was a privilege to get to perform somewhere new and share my music and talents with a new audience. I also was able to foster relationships with some of the ladies performing that season that I keep in touch with from time to time. Examples: Faith Callender, Isabella and Mahalia. During the workshops, I got to sit with some of the ladies as well and show them some performance techniques to enhance their performances and hype them up. I also was able to connect with Angela Hunte through that experience and foster a lifelong friendship with Marley Unknxn.
What I Like best About Honey Jam:
I love that Honey Jam has built a strong community of talented women and continues to create opportunities for alumni to stay connected and involved as part of the Honey Jam family.
On 2025 song choice, “You’ve Got to Show Me Love”:
I love dance music and the song is upbeat and automatically makes you feel good and want to dance, and hits the soul with its powerful, soulful vocals . It’s a good representation of the music I create, as I take elements of house, EDM, R&B, soul and pop to create my sound.
Vancouver-based singer/songwriter Rebecca Sichon (Sea – Shon) delivers a rich blend of R&B, soul and jazz, drawing inspiration from Yebba’s vocal acrobatics and Amy Winehouse’s grit.
“I have a run of singles coming out, beginning this June with a sassy tune called ‘Ego,’” Sichon says.
Sichon has performed over 250 shows across North America, including the Winnipeg Folk Festival, Salmon Arm Roots & Blues, and Nest Fest, where she opened for Ruby Waters. A Sofar Sounds alum with 32 performances, she has also showcased at Canadian Music Week and had her Honey Jam performance at TD Music Hall broadcast live on CBC Music.
Featured in EARMILK and with over 175,000 streams to her name, Sichon’s growing reputation and natural stage presence have earned her recognition, including a Fraser Valley Music Award for R&B Artist of the Year (2022). She is currently working on her debut album.
My favourite Honey Jam memory:
Performing at the showcase in 2024! It was such a special evening and the support from both the audience and fellow performers was amazing. I created so many new connections that I still keep in touch with and felt as though this showcase was a big step in my career.
What I like best about Honey Jam:
Such a supportive community! I feel as though I’ve found an awesome group of women who all share similar goals. I now have lifelong contacts for collaborations, co-writing and even just hangouts. It’s such a special program that has brought me closer to so many people. Thank you Honey Jam!
On 2025 song choice, “I Put A Spell On You”:
I have always loved this song, Nina Simone’s version being my favourite. There’s something so powerful, elegant and sensual about this song that makes it a perfect choice for me to perform. I’m looking forward to making it my own and performing on such a grand stage!
We’re excited to have as our host again Angeline Tetteh-Wayoe. She a voice that resonates and carries, signalling her arrival well before you see her. Her humorous spirit has the ability to transcend, it can be felt through sound alone. She is a perfect match for radio, a medium she has been loyal to for almost 20 years.
She graduated with honors from the Radio and Television program at the Northern Alberta Institute of Technology, beginning her career as a Producer and Host for the Edmonton Radio Group. Her next step was to join the team in Calgary, Alberta launching its first Rhythmic CHR format, Vibe 98.5. Her flexibility, edgy personality and depth of knowledge took her show straight to #1 in the market. She then jumped into the world of DJing, another creative outlet for her love of music, an element in the tapestry of her artistic expression.
Angeline relocated to Toronto in 2010 to take over as Midday host at FLOW 93.5 eventually accepting a position as host and producer at CBC MUSIC in 2016. Her talents also led to guest hosting stints with CBC Radio One programs like “As It Happens” and “q”. Angeline was also the “Allan Slaight Distinguished Broadcaster-In-Residence” at Ryerson University from 2017 to 2019. On Jan. 18th 2021 CBC MUSIC announced that Angeline would become the host of a brand new Black Music focused show called “The Block”. Angeline is generous with her ideas and intimate in her interviews. Her ambitious production projects, her unique storytelling and captivating natural delivery bring a rare and authentic voice never before heard in the Canadian Radio landscape.
With an illustrious career spanning over three decades, DJ MelBoogie — Honey Jam’s DJ for all 30 years, except for 2001 when she had her daughter — stands as a pioneering force in the Canadian music scene, who has graced stages across the globe from private events and intimate clubs to massive festivals. As one of the most revered female DJs in the country, MelBoogie has not only shattered glass ceilings but inspired generations of aspiring artists and DJs.
Throughout her illustrious career, she has shared the stage with such icons as Snoop Dogg, Maestro Fresh Wes, Wu-Tang Clan, Lauryn Hill, and Kevin Hart. She was featured on a dedication set celebrating 50 Years of Hip Hop on the 2023 broadcast of the Juno Awards.
Beyond her DJ skills, MelBoogie’s impact extends far beyond the turntables. As a trailblazing female artist in a male-dominated industry, she has championed gender equality and empowerment, inspiring countless women to pursue their passions. She was the first female Chair of the Rap Advisory Committee for the Junos and is a judge for the prestigious Polaris Music Prize. She is also the founder of the Black Music Brunch, one of the highlights of the music awards season. Also a respected radio personality, who has hosted several shows, she continues to push boundaries and break barriers, a shining example of resilience, talent, and passion.
My favourite Honey Jam memory:
Almost too many to name: seeing Jully Black in one of her first stage performances with back-up dancers and a swag that resembled a top tier Mary J Blige performance of the 90s. Nobody in Toronto was coming like that at the time and I just knew she was destined for greatness! Seeing a young Tara Chase rock the stage in her bright yellow raincoat and an equally young Kardinal Offishall cheering for her in the audience. The energy from both performances was indescribable and I was destined to become a lifelong fan. Also, there’s a moment when an artist takes to the stage and you witness the nerves, anxiety and adrenaline give way to the confidence of being on stage and doing what they were meant to do, then the exchange of energy to the audience, who give it right back. It’s a special transfer that I get to witness every year from the DJ booth on the stage.
What I like best about Honey Jam:
It was my first big show in 1995. By that time, I’d been DJing on radio for two years, but getting into clubs and just being taken seriously was a challenge. But, with my hometown heroes in the spot for the first Honey Jam, like Michie Mee and Carla Marshall, telling me how dope I was gave me chills – it was seriously hard not to fan girl! King Lou of the Dream Warriors helped me carry my record crates to my car – like, what?! This was at the height of their popularity and I was cool on the outside but totally geeked out on the inside! Back then, I definitely wasn’t part of the boys club or any sound crew that would co-sign me. I was on my own. But Honey Jam allowed me to create a safe space to DJ for other artists and get to expand their reach by playing them on radio and spotlighting them on my show. As a DJ, I know firsthand how much of a challenge it is to be taken seriously as an artist so Honey Jam made me ensure that I continued to create that platform for Canadian artists throughout the year on the airwaves, in clubs and wherever else I was on the turntables.
