BEGIN:VCALENDAR VERSION:2.0 PRODID:-//360exp//Events//ES METHOD:PUBLISH BEGIN:VTIMEZONE TZID:America/Toronto TZURL:http://tzurl.org/zoneinfo-outlook/America/Toronto X-LIC-LOCATION:America/Toronto BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:19700308T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:19701101T020000 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD END:VTIMEZONE TIMEZONE-ID:America/Toronto X-WR-TIMEZONE:America/Toronto BEGIN:VEVENT UID:690d20fd-14ca-4bb7-b067-d7c64ad51804@360exp.net SEQUENCE:0 DTSTAMP:20260815T213903 DTSTART;TZID=America/Toronto:20261015T000000 DTEND;TZID=America/Toronto:20261015T033000 SUMMARY:Magi Merlin LOCATION:Adelaide Hall DESCRIPTION:

There's a special kind of kindred spirit that Magi Merlin m akes music for\; her fellow obsessives. Screw the soft launch. Magi (prono unced Mahd-j-eye) sings directly to the listener\, face pressed up against the other side of the screen's glass. Through her propulsive\, avant-gard e form of Pop and "broken&rdquo\; R&\;B\, she explores life's deep exis tential truths\, tearing through imagination and genre like outfits ripped off a garment rack. Whether that be a Galliano tulle skirt for a quick st udio session\, lace wrist cuffs on a first date\, or jungle-inspired splin tered kick drums giving way to futuristic synth lines.

Over the las t years\, she has written and co-composed largely alongside Funkywhat\, a collaborator with whom she has built a shared musical language\, Magi&rsqu o\;s alternative forms of Pop and R&\;B are about as high-definition as one can imagine\, without sacrificing sensuousness and emotion. Her 2022 EP Gone Girl is music that feels alive\, animated by a voice that blends u nruly maximalism and earned wisdom. It sent her on tour with Noga Erez and on an electric performance in Mexico City in support of Omar Apollo. A su rprise EP in 2025\, A Weird Little Dog\, brought a deepened emphasis to he r experimental style and gave rise to &ldquo\;Broken R&\;B&rdquo\;\, a genre she named and owns entirely\, less a marketing category than an hone st account of how she works\, her art direction and visual world as idiosy ncratic and charged as the music itself. Soon after\, she opened for Nubya Garcia across the US\, with festival appearances at Osheaga\, Festival d' é\;té\; de Qué\;bec where she opened for Ty Dolla $ign\, and most recently a European support run with Yaya Bey. Outside of music\ , she made her acting debut in 2026 with Chandler Levack's Mile End Kicks\ , alongside Barbie Ferreira\, Devon Bostick and Juliette Garié\;py\, which screened at TIFF and SXSW.

Born in Montreal to parents who\, though not working artists\, nurtured every creative instinct she brought home. Her mother gave her the freedom of expressive movement through danc e\, while her father\, who would write poems of his own in his youth\, gav e her storytelling. As she grew she gathered skills the way someone acquir es a mother tongue\, developing a curiosity towards what makes the greater whole and spending countless hours researching painters and visual artist s\, making dozens of moodboards for every idea she's ever had\, and even t urning that curiosity towards production so that when it came to translati ng her vision she already had the vocabulary for it.

It was Audre L orde&ndash\;&ndash\;self-described as Black\, lesbian\, feminist\, sociali st\, mother\, warrior\, and poet&ndash\;&ndash\;who said in a 1982 intervi ew\, "Our feelings are our most genuine paths to knowledge. They are chaot ic\, sometimes painful\, sometimes contradictory\, but they come from deep within us." POWER HOUSE\, Magi's debut album\, is exactly that\, a recogn ition that each person\, like the songs themselves\, contains multitudes. An invitation to embrace every aspect of what makes us human\, whether tha t be ego or compassion\, to trust what is most essentially ours and to bui ld outward from it. The idea that we are all so many different things and that they can all live in harmony at the same time.

"I own this pla ce\," she announces on the opening track 'Welcome Home'. The phrase unrave ls almost immediately\, a statement dissolving into a question and back ag ain. 'SpiceKick' arrives second\, announcing itself without fear\, loud an d unassailable\, examining how conceit often is a faç\;ade for fear of inadequacy\, and how that can curdle into self-loathing if left uncheck ed. The accompanying video directed by sterling team of kindred creatives\ , Fé\;licie Diaz and Noshirt\, is corporeal and choreography-forward \, as relentless and punk as the track itself. 'EAT!ME!OUT!' follows as a reckoning with something larger than the self\, cataloguing the embedded h ypocrisies of being a woman\, the misogyny stitched into culture\, work an d friendship. Magi's singing is tactile\, arranged in such a way that it c omes flying at the listener from every direction.

In burying the te nder and pacifying ode to self-kindness of "So Smart" under a blanket of s tatic instrumentation\, in applying a different vocal style to each verse of "Thank You!!!\," in refusing to condense the long struggle of finding y ourself into a catchy pop chorus\, Magi affects an irresistibly magnetic a nti-charm throughout her debut. The album's middle stretch with 'WHIP' ref rames the running thread of tension\, cataloguing her hunger for external change while acknowledging she has no jurisdiction beyond herself.

As we near the end of POWER HOUSE\, 'Workout' confronts the absurdity of b eauty standards with the same unflinching eye. Magi\, aware of the machine ry she's caught in and still subject to\, leads by example\, stomping her knee-high laced boots\, one in front of the other\, and meeting herself in the present. Closing track 'WTVR' returns to the acknowledgement that how ever expansive the album's themes might be\, growth begins small.

W riting from trust\, Magi leans into instinct rather than mapping out an ou tcome\, because to fix the gaze too firmly on one destination is to miss t he kind of potential that usually only lives in the periphery. As she grew into her own\, music became a form of relief from her own tendency toward s overanalysis\, from what she calls being the &lsquo\;queen of psychoanal ysing everything&rsquo\;\, a curiosity that functions as knowledge but can just as easily become a trap. With music she steps outside that loop\, le tting sound and thought move through her rather than wrestling it into str uctured forms.

Magi never really ends a song\, or even a thought fo r that matter\; there is always more to tell\, another twist in life's plo t\, more that could be understood\, evolved or deepened\, and every record is an act of love in that sense\, nurtured and cared for before being sha red with the world. It is not only rare but almost incomprehensible to fin d a body of music that genuinely matches the complexity of who you are\, b ut Magi's work leans on exactly that possibility\, pursuing the deep ties between expansive love and internal growth\, dwelling in both the pain and the promise of our ability to change.

Have an MRG Credit/G ift Card? Redeem for tickets \;HERE

Events at Adelaide Hall ma y include strobe and other intense lighting effects. These can affect gues ts with photosensitive epilepsy or light sensitivity.

\n\nBoletos: https://admitone.com/events/toronto/pro/concerts/adelaide-hall/magi-merli n/magi-merlin/6a298a375d6fd5dd52636a70 URL;VALUE=URI:https://360exp.net/events/690d20fd-14ca-4bb7-b067-d7c64ad518 04 END:VEVENT END:VCALENDAR