Canadian Musician - January / February - Page 18

AS HEARD ON... APA CANADA’S RALPH JAMES For the full interview, listen to the Nov. 29, 2017 episode CM: How do you assess the health of the emerging and mid-level live music indus- try, given that a lot has been made out of venues closing over the last year or two in Toronto? RJ: Toronto is unbelievable. There must be 50 live venues with bands tonight. There have been a few that closed and maybe they weren’t well run. It’s like the Darwinian theory of natural selection. Some of them didn’t cut it. The competition is fierce, but the mathematics are very simple: how many people come to see you and at what price? If 500 people will come and pay $10 to see you, that’s a $5,000 gross. It’s real simple math. The bands that are really great live, even without conventional airplay or what- ever, can build a career and sustain themselves, but it’s not pretty. If you don’t love it and don’t want to compete with everybody else, just keep it as a hobby. I mean, it is tough and the market here is terrific. Last week there were two nights of Guns ‘n’ Roses, two nights of Katy Perry, Janet Jackson, and two nights of Arcade Fire [at the Air Canada Centre] because the Leafs and Raptors were on the road. That’s who you’re competing with. But well-run clubs are busy too. GORD BAMFORD For the full interview, listen to the Nov. 1, 2017 episode CM: You’ve moved back to Alberta after living in Nashville for a few years. Was it a creative or business decision to move there originally? RIA MAE For the full interview, listen to the Nov. 8, 2017 episode CM: Your self-titled 2016 album, which was your major label debut, put you in front of larger audiences with the success of the single “Clothes Off.” Did that change your approach to songwriting on the new EP, My Love? Ria Mae: Funny you mention that because when I was writing the last album, I had a weird feeling it was going to be played for bigger audiences and I kind of wrote that way. So in that way there wasn’t a difference. I definitely do this thing where I don’t think of an audience necessarily in those first moments where I’m writing, but as soon as I have that moment of, ‘Oh my god, this is catchy, there’s something here,’ then I immediately think of, can I imagine singing it on stage in front of a group of people? I sort of had that same process from the last album to this album, but I think the big difference is, for me creatively, I like to not know what I’m doing. With the last album, I Y&]ۛܚ]H\ ZX\[HY&]ۛ[]KBX]H^HYX\[KHݙY][[ZHH\[ܙX]]HX][]] \[YK[XYو[] HܛH]\][ۈX[XH۸&]^H][8$[B[X[[ۙHۈHY][^H^H]\[YH8$[H\\][›^H[\ۈۈܙ[ܚ][]^HX]\HH[Yۛ]H\[[^K8& x&[H^Z[[HZ[܈]YX[H[[Y\] &HZKH\[Yۛ˂ܙ[YܙH]و H[[x&\B[^\Z[XZ[Y\[X\][؝[\Hx&]H[YYܙX]X\[[YB[]\[XH[H][]\K[H\[]H]H[Yۈ[H][\[[ˈ]]8&\X[KH۸&]ۛx&[HH]HYY\HX\]ۂ\HHۙ\][K]8&\H]H]][\H]X[ [HۛY[x&\H[[Y\X[]8&\YXZ[[]8&\H]BY܈[وH[YH]H^\Y[Y]\و] ܈\KX]\HH]HXHܙX][\H\H[[YH[X[HܙX]\\]\\HHۈHY[ۈ\H[[ܝ[][H]8&\\\[[˂\[]\\\و[YX[]\XX[Y[]\HY\^H]˘[YX[]\XX[Y[˘K\\\\H\]Y]H]H[[HX\Y][H[YH܈ۛYY\[U[\\ N8(HHHHHHHHH