It Depends, But We Don’t: Toronto’s Underground at a Glance
WRITTEN BY JALEN GOMES
Photo by Duchess (@duchessband__)
Independence has long been a core part of what it means to be Canadian. The country itself was founded on the idea that Canadians should have the right to govern themselves rather than have others run the show for us. Over the past 150 years, that emphasis on autonomy has become part of the country’s identity. Perhaps that same mindset has trickled into how our art and culture are produced, especially in Toronto. Across the city, artists and musicians are increasingly choosing to build their careers independently rather than rely on labels or organizations that promise a path to commercial success. Where previous generations often viewed signing to a record label as the ultimate goal, many Toronto creatives now see independence as a way to maintain control over their work. This shift is not strictly tied to just one genre either; from rappers selling out downtown venues to rock artists playing for crowds at their own respective pop-ups, it’s safe to say that Toronto’s independent scene continues to thrive.
One collective embodying this independent spirit is Ghostown Records, a hip hop collective pulling talents from every corner of the GTA. Founded in 2020 as the brainchild of Brampton native Ghostboyrj, the group has seen both exponential growth in their lineup of artists as well as their undeniable influence over Toronto’s underground rap scene. With dozens of artists and a steady stream of releases, Ghostown has built a following that extends well beyond the city. The collective describes itself as being “by artists, for artists,” and has not let down on this pledge since their inception. Ghostown regularly hosts workshops and events for newcomers to the scene, ranging from open mics to live shows which bring out crowds itching to see their favourite MC take the stage. Their most ambitious initiative to date has been their longstanding partnership with Unity Charity, a national nonprofit which utilizes hip hop to foster community among youth (fittingly, the same org that introduced Mr. RJ himself to the scene). Together, they’ve held shows at venues across Toronto, doing so without the support of traditional industry representation; no manager, agent or middleman. The collective sees their group as more of a family than a label, and operates under the idea that the art which they create should send a message rather than be manufactured for personal gain. That approach has brought the crew international success, even garnering a few co-signs from industry producers at the top of their game.
On the more abrasive side, it’s safe to say that a few select groups in the underground punk scene have banded together (pun intended) and formed an unofficial collective of their own. Local acts such as Man is Five and Duchess, and a diverse cast of other artists have carved out a sound distinct enough to catch the attention of rockers across southeastern Canada. The group is constantly on the move; you’re just as likely to find them onstage in Toronto as you would at a basement venue in Hamilton or an overpass under the Montreal skyline. What ties them together isn’t a label or joint contract of any sort, but rather their shared values as anti-establishment and pro-rock-the-bleep-on for whatever the cause may be. Fans have certainly caught onto this movement as well, following the network wherever it goes and coming out to thrash while the night is still young. Thanks to their independence, all parties involved have more freedom when it comes to the shows they can hold. Without artists and repertoire on their back about staying politically correct, the performers open the door for the shows to become a place where conversations around global politics can take centre stage. At a time when it seems many of the loudest voices are being overlooked, the independent rock scene has decided to combine their symphonies and raise awareness while they still can.
Behind every underground act is a network of venues needed to keep these sounds and artists alive. Fans of these genres know the importance that a venue can have on the shows these artists hold. Venues act as the connective tissue that even makes these performances possible, providing a space for even the smallest artists to share their work. It would be nearly impossible to name every space dedicated to supporting independent artists, but a few venues stand out within Toronto’s underground scene. The Garrison, just off Dundas West and Ossington, has been a cornerstone in Toronto’s independent music scene since its inception in 2009. Over time, it has built a reputation as a place where newcomers get their first opportunity to perform. This year alone, the venue has 114 scheduled performances, accounting for nearly a tenth of all performances throughout its operational history (per Concert Archives). The momentum led to the venue spawning its sister estate, The Baby G, in 2016. Located on the outskirts of Little Portugal, the venue came to life in response to artists calling for a more intimate space; smaller shows with an even bigger impact on fans. More experimental acts find The Baby G to be their home base, as they often feel out of place playing at venues that prioritize visual appeal over creating a conversation with the crowd through sound alone. This past week, the venue hosted a lineup of 10 R&B artists for The Elements, a show presented by former CIUT radio host DJ PV. This week, they plan to host Irish harsh noise group Yard for their first-ever show on Canadian soil, accompanied by hometown darkwave rockers Girlfriends and Boyfriends. Talk about range.
Toronto’s independent music scene is far too expansive to capture in one article, unless you’re looking to rewrite the Library of Babel in our zine. Every artist and venue highlighted is just one of thousands across the GTA looking to showcase their art in all forms and have their voice heard amidst those who already have a foothold in the industry. As emerging artists trek the paths laid before them, many hope to one day achieve the same recognition and support they see in their idols. But that’s exactly why the scene will never stop mattering; the journey itself is the point. Every major artist and headliner we know today once had their first band, first show, and first audience who came out on a blazing summer dawn or brisk winter evening just to support them. As today’s fresh faces blossom into tomorrow’s stars, they know the future of Toronto’s independent scene depends on the continued support of the community around them.
EDITED BY ELI ROSENERG
