advertisement
FYI

Prism Prize Videos: Carolyn Fe - Jerusalem’s Thorns

On May 13 in Toronto, the biggest prize for Canadian music videos will be handed out. We are profiling some of the potential contenders prior to that, including this clip by an acclaimed blues singer and actor from Montreal.

Prism Prize Videos: Carolyn Fe - Jerusalem’s Thorns

By External Source

On February 21, the Prism Prize will announce the Top 20 Canadian music videos competing for the annual honour, to be handed out May 13 at TIFF Bell Lightbox in Toronto.


Leading up to the Prize, we are profiling some of the noteworthy clips likely to be in contention. More information on the Prize here

Carolyn Fe - "Jerusalem’s Thorns"

Montreal-based artist Carolyn Fe and director Simon Gionet’s video for "Jerusalem’s Thorns" is equal parts haunting and inspirational. Set in a small cabin surrounded by sprawling fields and dense woods, the first few beats of the video are silent aside from the ambient noise of the forest and the wind. The video is a character study of three women living together in the cabin: in addition to Carolyn, we meet an older woman, and a younger girl (naturally encouraging the viewer to draw parallels between them and the archetype of the girl, the mother, and the crone).

advertisement

The momentum builds throughout the video as the three women gradually shift from passivity and stillness (sitting in a chair and staring out the window) towards activity and forward motion (assembling to burn the wooden chairs they’ve gathered in a large pyre in the field outside). The lyrics and title of the song pay blatant homage to the Biblical imagery of Jesus’ Crown of Thorns, and that religious influence is just as palpable in the music video. While the first half of the video is heavily influenced by the themes of darkness, dust, and decay, the second half focuses on clarity, renewal, and purification. The video uses fire as a means of burning away the things that hold us back while simultaneously banishing the darkness.


Director: Simon Gionet
Producer: Littoral Films  Facebook
DOP & Colorist: François Herquel
Editor: Aziz Zoromba

advertisement

advertisement
Shhenseea, MOLIY, Skillibeng and Silent Addy
ACEPXL

Shhenseea, MOLIY, Skillibeng and Silent Addy

Awards

Here’s Why ‘Shake It to the Max’ Was Deemed Ineligible at the 2026 Grammys — And Why Its Label Calls the Decision ‘Devoid of Any Common Sense’

Representatives from the Recording Academy and gamma. CEO Larry Jackson comment on one of this year's most shocking Grammy snubs.

Few phrases define the year in music and culture like Moliy’s scintillating directive to “shake it to the max.” The Ghanaian singer’s sultry voice reverberated across the globe, blending her own Afropop inclinations with Jamaican dancehall-informed production, courtesy of Miami-based duo Silent Addy and Disco Neil. Originally released in December 2024, Moliy’s breakthrough global crossover hit ascended to world domination, peaking at No. 6 on the Global 200, thanks to a remix featuring dancehall superstars Shenseea and Skillibeng. Simply put, “Max” soundtracked a seismic moment in African and Caribbean music in 2025.

Given its blockbuster success, “Shake It to the Max” was widely expected to be a frontrunner in several categories at the 2026 Grammys. In fact, had the song earned a nomination for either best African music performance or best global music performance, many forecasters anticipated a victory. So, when “Shake It to the Max” failed to appear on the final list of 2026 Grammy nominees in any category earlier this month (Nov. 7), listeners across the world were left scratching their heads — none more than gamma. CEO Larry Jackson.

keep readingShow less
advertisement