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Prism Prize Video - Clairmont The Second: The Grip

The 2019 Prism Prize for Best Canadian Music Video was awarded recently to Kevan Funk, for his clip for Belle Game’s Low. We will continue to profile recent Canadian videos, including this self-directed one from a young Juno-nominated rapper/producer from Toronto. Slaight Music is Patron Sponsor for the Prism Prize.

Prism Prize Video -  Clairmont The Second: The Grip

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The 2019 Prism Prize for Best Canadian Music Video was awarded recently to Kevan Funk, for his clip for Belle Game’s Low. We will continue to profile the nominated videos, including this self-directed one from a young Juno-nominated rapper/producer from Toronto. Slaight Music is Patron Sponsor for the Prism Prize.


Clairmont The Second - Grip

Clairmont The Second has always known who he is, where he comes from, and where he wants to go. If there is one common theme throughout his career and music, it’s a strong sense of identity. His work is often an ode to his deep-seeded roots in his community and the video for Grip is no exception. In fact, Clairmont has noted that the song is about personal self-reflection and the video was just meant to be a fun and low-key affair.

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The video, which sometimes features a vintage film aesthetic, demonstrates a rather minimalist approach with Clairmont once again taking the helm as director and his frequent video collaborator, Beee, as the cinematographer. In the video, we find the rapper roaming through a neighbourhood via bicycle, car, and foot -  leaving the focus solely on him while he spits his flow. For a song that is ultimately about him, his experiences and what he’s seen, this video acts as a supremely accurate representation of this understated but overwhelming talent.

CTS was recently profiled in the Toronto Star.

Production Credits: 

Directed by Clairmont The Second
Cinematography by Beee

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Intro

Billboard Canada 2025 Power Players List Revealed

By Richard Trapunski, Rosie Long Decter, Peony Hirwani, Stefano Rebuli and Heather Taylor-Singh

Billboard Canada Power Players is back for a second year, and it comes at a pivotal time for Canadian music. Canadian Content regulations – a principle that built the domestic industry – are up for review for the first time in a generation, with ongoing hearings taking place with the CRTC. The Online Streaming Act, meanwhile, is attempting to regulate major foreign streaming services to contribute to CanCon as the CRTC once did for radio, but companies like Spotify, Amazon and Apple Music aren't taking it without a fight.

Those issues shadow the industry, which has both struggles and successes. The country was recently named the 8th largest music market in the world by the IFPI and Toronto has emerged as a marquee live music market. That's been reflected in the successes and investments in new venues by companies like Live Nation Canada, MLSE and Oak View Group, though some festivals and promoters outside of their orbit have gone public with their own struggles.

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