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FYI

2022 Prism Prize Eligible Video: Goodbye Honolulu - Over and Over

The 2021 Prism Prize for Best Canadian Music Video was recently awarded to Theo Kapodistrias, for his clip for Haviah Mighty’s Thirteen. We will continue to profile noteworthy Canadian videos that are eligible for the 2022 prize, including this one from a Toronto indie rock band.

2022 Prism Prize Eligible Video: Goodbye Honolulu - Over and Over

By External Source

The 2021 Prism Prize for Best Canadian Music Video was recently awarded to Theo Kapodistrias, for his clip for Haviah Mighty’s Thirteen. We will continue to profile noteworthy Canadian videos that are eligible for the 2022 prize, including this one from a Toronto indie rock band.


Goodbye Honolulu - Over and Over 

The members of Toronto based band Goodbye Honolulu have been navigating the music scene since they met in high school. The group is passionate about '60s garage rock, '80s new wave, punk, and electronic music, which is reflected in the stylings of their varied songs. Songwriting is a collaborative process for the group, and with no defined frontman they rely on their diversity of sound to carry them to the next level of artistry. 

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When asked about Over and Over, the group stated that the meaning behind it was pretty clear - "it's about the daily repetitiveness of a monogamous relationship and the ever-growing numbness to things that once made one jealous”

Visuals for Over and Over are directed by group member Emmett S. Webb’s father, Steve Webb, and follow the group as they roam the streets of Toronto on a late night out. With darkened alleys lit by fading neon signs we watch as the group moves from bars to staircases, grooving with the music and displaying this feeling of old-school coolness. Steve Webb was clear about his direction in the song - “The sleazy 70s disco vibe conjured up images of the 1970s.”  We can see Goodbye Honolulu’s influence of new and old with this video, a simple but classic set of visuals. 

Directed by Steve Webb 

Cinematography: Aiden Barnes, Ben Roberts & Jaek Eastcott 

Editing & Colouring: Ricky Toro 

Special Effects: Shuba Dasgupta, Farren Whitaker, Phil Maurais 

Titles: Emmett S. Webb & Isaac Roberts 

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Choreographed: Anna Collins

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Amber Still, executive director of the Polaris Music Prize
Johanna Stickland

Amber Still, executive director of the Polaris Music Prize

Awards

‘Protect the Prize’: The Polaris Music Prize Undergoes Its Biggest Period of Change

Now entering its third decade, the Canadian critic’s prize has expanded its voting pool, adjusted to financial constraints and begun awarding both albums and songs. After years defined by its refined focus, the changes mark a major expansion of the organization’s mission.

In 2025, the Polaris Music Prize celebrated its 20th anniversary. Entering its third decade, the award is undergoing what might be its biggest period of change. From funding to voting process, the organization is continuing to evolve.

The cultural not-for-profit organization has spent the better part of two decades creating a space in the industry for Canadian acts to be recognized based solely artistic merit, rather than sales, genre or support from a record label. Founded in the 2000s as Canada's answer to the Mercury Prize, the organization became a registered Canadian charity in 2017.

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