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From the fans of Weaves – Canadian indie pop band.

Weaves is a band from Toronto. Their style is indie pop and they released just 2 full albums so far. Vocalist Jasmyn Burke, guitarist Morgan Waters, drummer Spencer Cole and bassist Zach Bines are our heroes.

The latest single has been released in the end of 2019 – Internet Fears. Listen to it right now:

Weaves band is pretty eccentric (one of their tracks is named “Shithole”) and we love it that way! The only sad fact is that after the release of Internet Fears group has been very quiet without any public appearances. Tour dates are also unknown at the present time…

But we will keep you updated with any news coming – put us in your bookmarks, recommend to friends and listen to Weaves!

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Had never heard of them until seeing them at Dream Serenade 2018.

Put in a weird spot in the lineup, in the middle of the mellower, often sombre sounds of the rest of the lineup for the night, Weaves were a punch to the face of awesome; they set an expectation of energy that the remaining acts didn't even come close. In truth, most acts would have a hard time matching the energy and the tight-yet-gritty grooves that Weaves has.

I've since listened to their recordings, and, while great, they truly exceed in live performances and their recordings can't match their onstage sound and presence.

Go see them live.

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I feel bad for the band, a Tuesday night, half of the small crowd that was there seemed to be family/friends of the local opening bands, but o my fucking hell did they bring it anyway! Where many bands can't decently reproduce the feeling of their albums, Weaves live show could never be properly recorded. Probably a divisive sound for some, but if you like them,, you'll fucking love them live! Hope they come back to Vancouver soon.

Weaves at the Boileroom in Guildford....great little venue and amazing performance. I've been listening to tracks from the album on repeat but hearing them live was incredible. As a band they are incredibly tight and Jasmin Burke's vocals were awesome. Although the audience was small the performance created a great atmosphere....only downside was it felt too short. Definitely a band to catch

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Meet Weaves, Your New Favorite Band

Their thoughts on hair, sound, and shitty tattoos

1For the past two years, Weaves has been working non-stop, shooting videos, recording new music, and touring across the world. The Toronto-based band consists of Jasmyn Burke (vocals), Morgan Waters (guitar), Zach Bines (bass), and Spencer Cole (drums). Together, they have somehow managed to create a sound they can distinctly call their own while still maintaining a pop foundation at their core. In basic terms, the band's sound is a mixture of pop, rock, and dynamic guitar riffs. 

Two summers ago, Weaves released their debut self-titled EP. This past March, the band shot a music video for "One More" in the City of Rocks State Park in New Mexico. The track will be featured on the band’s self-titled album, which recently dropped on June 17 via  Kanine (US), Buzz (CA), and Memphis Industries (RoW).

A few weeks ago, we had the chance to talk to these guys on a big comfy couch in Brooklyn. Unfortunately Spencer couldn't make it, but he was there in spirit. Check out the interview below to learn more about Weaves and their eccentric sound.

So how did you all meet?

Jasmyn Burke:

I was out of a band and didn’t know what I was doing. So I started playing solo shows, and Morgan came to the second one.

Morgan Waters:

We had sort of met years before because she acted in this comedy video that I was working on, and she did this thing where she was in my bed shaking a weird tambourine. It was a really bizarre piece. I didn’t know her musically, and then I saw her show three years later. I was fresh out of a band too, so I asked, "Do you want to collaborate and make music?" She didn’t know me, so we had awkward first music dates.

We tried figuring out if we got along or if our music would work. Then, we started recording some stuff and started working on the EP pretty quickly.

It was the two of us, and then we brought in Spencer, who’s on drums. Spencer knew Zach because they played together in a band. No one was friends before this band. Now we’re like some dysfunctional family.

Have you always been interested in music? What projects were you involved in before the band came about? 

: I played guitar secretly from 15 to 19 in my room. I didn’t let anybody hear. Then, my friends and I started an all-girl band. None of us really knew what we were doing, but we started playing in the city pretty much every week. Leading into this, I had my main band, which was called Rat Tails, another hair band.

I played guitar in fiddle groups, which is crazy. It’s just kind of weird. Later, I was in a band called Sweet Thing, which was a straight-up pop band. I was playing bass in that. I usually was a bass player, but in this band, I get to play guitar and really go nuts.

Zach Bines:

I started playing bass in a really weird way. I got a gig on a cruise ship six years ago, and they needed a bass player, so I lied and said I played bass. I bought a bass; the bass that I use today. I ended up falling in love with it. I’ve been playing bass ever since.

What inspired the name of your band?

Hair is interesting and it grows. You can cut it. You can shave it off, and you can dye it. I always liked having that association with something that’s malleable. It was a natural progression from Rat Tails. Morgan and I debated for a while. He wasn’t a big fan of the name, but then he came around. Now it’s here.

Here to stay. Hair to stay!

You don't fit into one genre, so how would you describe your sound?

I think with the name we did like the idea of weaving in and out of genres and being open to different styles. There was no particular sound that we wanted to have.

It’s pop music with soul in the vocals and some punk elements, but at its core, it’s structured like pop music.

If somebody asks me, the short answer is noisy pop music.

I think everybody likes a variation of music. It wasn’t like, “Hey! We’re a bunch of punks trying to make punk music.” There was never really a specific idea. There never has been. I think it helps us to make whatever song feels good. In the future, we just want to be able to release anything that we feel proud of. Sometimes having labels puts you in a box.

It's more personal because it's centered around Jasmyn's voice and the crazy rhythm section. Everyone has their own room to be expressive and when you put all those different voices together, it kind of makes Weaves.

Has growing up near Toronto influenced your sound at all?

I don’t think it’s impacted the particular sound. I think by way of living there, you’re in a place that’s very vibrant with music. For me, I turned 16, and there was already a place that I could go and listen to music and feel part of a community. So, maybe that’s a particular thing to our city that I’ve always enjoyed, but I don’t think our sound necessarily stems from the scene. None of us were even in the same scene. Spencer and Morgan grew up on the West Coast.

It’s a different energy. We’ve got that Earth Mother energy.

We’ve got that real metropolitan vibe.

How does your upcoming album differ from the EP?

The album is definitely a different sound than the EP. It sounds more like a band, which makes sense because we’ve gotten so much more comfortable playing with each other. In that way, it’s certainly changed. It’s more honed in.

Everything is just a little clearer.

I think touring has really helped us. We love to challenge each other on stage, and there's a lot of improv that happens. When we were recording, we realized the EP didn't sound like what was happening on stage. So we decided to record live off the floor and improvise more in the studio. One of the songs "Two Oceans" is completely improvised.

She just made up all the words on the spot about drinking wine. It's a wine anthem.

Do you have any traditions or rituals when you go on tour?

We get tattoos every time we go on tour.

Zach got an almond.

Isn't this the shittiest almond you've ever seen? You can say it. It's not even negative for me anymore. It's just like, "Ok, well, there's that shitty almond."

It's the shittiest almond. The tattoo artist was very negative, and he didn't like our tattoo ideas. He didn't like us when we walked in.

Yeah, I think we were an imposition on his lunch break. 

Catch Weaves on tour at the following gigs: 

August 22 - Chicago, IL @ Schubas

August 24 - New York, NY @ Mercury Lounge

August 25 - Brooklyn, NY @ Baby’s All Right

August 26 - Philadelphia, PA @  PhilaMOCA

August 27 - Toronto, ON @  Horseshoe Tavern

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Wide Open (LP)

Help (The Beatles cover)

Weaves (LP)

Drag Me Down (One Direction cover)

Weaves (EP)

Take A Dip (Single)

Motorcycle (Single)

Hulahoop (Single)

Weaves Toronto, Ontario

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The Wonderful World of Weaves: How One Band Is Keeping Art Rock Weird

The Toronto foursome throw themselves into their music — and win everyone over in the process

Photo by Brendan George Ko

Word of mouth goes a long way, but it hasn’t quite been able to articulate everything the brilliant  Weaves  bring to the table. Maybe that’s the price to pay for a band that’s off on its own planet, crafting its own brand of weird art rock.

This June, the Toronto four-piece turns three years old. Listen to any of their songs and it’s hard to believe they could have written such varied music in such a short span of time. It’s music so original that others fumble to relay its genius, which is why it’s best understood live. Weaves exude a fevered, spastic energy that must be seen to be believed. Luckily, it will only take a matter of months for their debut full-length, Weaves , to expand their tour schedule so most everyone can find out for themselves.

With only a six-song EP , a few singles , and a One Direction cover to their name, Weaves took the underground hubbub of this year’s  SXSW  by storm. Frontwoman Jasmyn Burke, guitarist Morgan Waters, drummer Spencer Cole, and bassist Zach Bines performed two wildly different sets, both of which highlighted their talents. Indoors at Hole in the Wall, they ricocheted off one another on a cramped stage until Burke eventually walked through the crowd and out onto the street, microphone still in hand. The next day, in a modest outdoor space behind a bar, they let their sound get rougher, each member throwing themselves into the music. Burke once again left the microphone stand and wandered as she pleased, this time climbing a pile of tires and wood next to the stage and standing atop it, a rebellious princess in her tower of no fucks given.

Perhaps no image better captures who Weaves really are: a band defiant and yet in complete control. All four members jerk about with unbridled enthusiasm, wearing paisley button-downs and blue lipstick in a presentation that looks as if they’re calmly lighting themselves on fire. Weaves are the absurdity of art rock with the stiff upper lip of punk, the grandeur of PJ Harvey with the emotional openness of Patti Smith, the energy of a toddler in the body of an abstract sculptor. See them live once, and it won’t be enough.

We’re sitting on a grassy hill in Austin, TX, after the band has wrapped up their final SXSW show. They crack jokes about which person on Friends they would be. There’s an obvious level of comfort, both onstage and off, that other bands spend years trying to achieve. Weaves, though they didn’t grow up together or meet in college, formed that bond right from the start. “A big element playing live is trust, and I feel like they will follow whatever thing we’re on because they’re all talented players,” says Burke. “I love playing with people that understand things can get zany, things might go out of time, but we can meet each other. It’s lucky if you meet people who can do that with you.”

Despite the ferocity of tracks like “Closer” and “One More” , their sets remain relatively non-aggressive. There’s no stress, no restrictions. It allows for each member to let loose and create that explosive, colorful sound without fostering any feelings of anger. And it leaves room for improvisation. “In ‘Motorcycle’, it ramps up and becomes something big, but last night we got quiet and then did a big drum fill,” says Bines.

“And there I was like, ‘I don’t know what’s going to happen, but I’m going to do these exaggerated dance moves,’” says Burke. “Sometimes I honestly don’t even know what they’re going to do. It’s fun.”

“Well, you’re the real wild card here,” laughs Bines.

“Yeah, if you didn’t have that flair, we couldn’t do what we do,” says Waters. “We’d just be onstage looking like assholes.”

Photo by Nina Corcoran

They’re referring, of course, to Burke’s notoriously wild antics. Each song finds her staring audience members down, moving her limbs in slow motion, stretching each action into an over-the-top childlike move. She pushes the audience to open up, tapping into an excitement bubbling just beneath the surface.

“If the show’s going wild and things get weird and you see a little smirk from the crowd, then that’s a green light to get weirder and go there ,” she says. “I’m not good at eye contact in real life, but onstage I’m all for it. When I was younger, I used to feel like I’d puke before shows and I couldn’t tune my guitar so my bandmate had to, but then I realized I loved when band members looked at me from the stage. It was like they were speaking to me. People don’t expect that. When you look at them in the eyes, they get taken aback. It’s scary for both of us, but I’m taking the plunge on behalf of them.” She pauses. “There’s something about performing that isn’t to do with you.”

Don’t worry; Burke won’t make you do anything you’re uncomfortable with. Instead, her actions force audience members to ditch the notion that they’re standing behind an invisible wall and watching a flat artwork rather than engaging in a living interaction. Making intense eye contact elevates Weaves’ energy. It lets viewers know that their music, though sporadic, is intentional. “I really admire that about Jasmyn,” says Bines. “I even tried to do it myself once. I told myself at this show that I’d look two people in the eye, and even that was hard.”

Burke works the spotlight to perfection, but the rest of the crew delivers just as much to the band’s sound. Cole’s mad drumming sounds like he’s constantly on the edge of breaking his kit. Bines runs his fingers along the fretboard like it’s a joke, the speed of his walking lines recalling elements of funk and jazz. Even Waters’ subtlest touches on guitar, like the casual use of a slide on “Birds & Bees”, force new themes into standard pop structures. Together, the band members push the comforts of music to their breaking point so that their songs almost become exercises in uncomfortableness. If you can withstand the awkwardness onstage, then you can face the harder stuff later on. You become invincible.

“I can’t play in cover bands because I don’t like to learn other people’s parts,” says Cole. Watching him onstage makes that clear. He’s in his own world. “I’ve been constrained by a lamp and a conductor and a click track before in ensembles. This doesn’t have that.”

A heap of Weaves’ weirdness comes from embracing their own errors. If one person makes a mistake, another makes their own mistake to add to the mess. “We see it as: Oh, you fucked that up? We’re going to fuck it up even harder to make that weakness a strength,” Waters explains. The four are comfortable enough with themselves as players to not let wrong notes or faulty tuning spoil a show. If anything, it challenges them. “You reclaim it for yourself. In that, this band is an exercise in letting go,” says Waters. Burke adds that it takes “a lot of sass” to pull off.

“It’s boring to watch a band that’s perfect live,” says Bines. “You’re like, okay, 100%! You totally nailed it! As an onlooker, that can be boring. It’s about the singer, not the song.”

The band’s methods may be unconventional, but they work. One of my friends from middle school, Jessica, attended that final SXSW set with me. She’s open-minded and kind but really couldn’t care less about music — we’re talking about a woman who last purchased an album in high school. The moment Weaves wrap up our interview, I look at my phone and see a text from Jessica. “I can’t stop listening to Weaves,” it reads. “I just bought their EP. Is there anything else? Help. I want more!” Now, at last, there finally is.

Five recording sessions over the course of a year have resulted in an impressive debut album. Weaves blends newer recordings like “Two Oceans” and “One More” with older tracks like “Candy” . More importantly, it makes the band’s sound even harder to peg. There are gritty tones in “Tick” and “Shithole”, but there are also soft ballads like “Stress”. The elastic bass and twinkling guitar line on “Coo Coo” and “Sentence” even recall Vampire Weekend.

“We wanted to get it right,” Burke explains when asked why it took so long for an LP to surface. “I think if it came out earlier, then we wouldn’t have been happy with it. People should be okay with waiting for bands to make a record. Everyone wants you to have a record out within a year, but maybe you’re not ready.”

It’s important to keep that in mind. The bizarre creativity that pours from Weaves is still hot to the touch. Burke was ready to quit music back in 2009 and booked two solo shows as a farewell to her music career. “I was done with bands and thought I’d get a real job,” she explains, “but I was getting the itch to play.” Waters attended the final show and introduced himself to her after. The duo later roped in Cole, and Cole then enlisted Bines from their days playing in a punk band. “Zach thought he had tendinitis,” Waters laughs. “It’s kinda funny; we formed at a point in time when each person was on the brink of giving up.”

Each member learned music early on, but they push themselves in Weaves to create something outside the lines of pretty much every genre. Their roads meet in the sense that they all ditched traditional paths long ago. Calling it luck seems to minimize the wealth of talent they each bring to the table, but it sure feels like fate that they found one another when they did.

“In your first year, you don’t even know what you want your band to be,” explains Burke. “A fun thing in the future is that I know what Weaves is. I’m proud of our dynamic, that we can go berserk onstage but then crack jokes in the car on our tours and still be friends. That’s hard, but not for us, you know? Keeping it healthy, fresh, and fun.”

“If only that was our motto,” Bines laughs.

“Healthy, fresh, and fun: Whole Foods,” says Waters, “and also Weaves.”

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First Listen

Review: weaves, 'wide open'.

Marissa Lorusso

Note: NPR's First Listen audio comes down after the album is released. However, you can still listen with the Spotify or Apple Music playlist at the bottom of the page.

When Jasmyn Burke is on tour with her band Weaves, she meets a lot of young women and women of color who tell her they've never seen someone who looks like them represented in a rock band before. That type of iconic status — while flattering — can complicate an artist's intentions. It might cause someone to focus entirely on personal perspective — to channel an artistic vision distinct from the goals of representation — or to sacrifice individual flair by solely working to push back against expectations and norms.

But Weaves' sophomore album, Wide Open , does neither. Instead, it channels that pressure into something inclusive and celebratory that borrows from rock tropes but explodes them with wide-eyed optimism and ingenuity. From its opening moments, Wide Open rings out like an anthemic Springsteen fantasy: "I was a fighter hoping for freedom / I was a fellow walking the streets / I am a woman who feels the plight of these walls," Burke sings over enormous rock guitars on "#53."

The similarities to The Boss were purposeful. "In a way I was thinking about [songwriting] like Bruce Springsteen," Burke says in a press release about the album, "but in a lot of ways my experience of the world couldn't be less like Bruce Springsteen's." And this contrast is, in effect, what makes Wide Open feel fresh and magnetic. Burke's point of view, and her singularly charming, expressive voice wring a unique perspective from the band's dependable — if slightly off-kilter — songs. Guitarist Morgan Waters fits stadium-sized guitars into riffs that sparkle at odd angles like bite-sized diamonds; bassist Zach Bines and drummer Spencer Cole form a backbone that grooves endlessly.

And Burke's lyrics are full of the kinds of introspective appraisals and outward-looking commandments that feel like they were written with the young women who approach her at shows in mind. "The world is wide open," she sings on the album's title track. On "Scream," a terrifyingly cathartic collaboration with Tanya Tagaq, Burke exhorts listeners to "get up on the table and scream your name." Elsewhere, Burke shares smaller, though no less acute, pains of daily life — blown up, as Burke would say, from regular life to anthems. On "Gasoline," she sings about working a dead-end job over a driving beat; on "Slicked," she sneers "I ain't looking at you" over explosive, jagged guitars.

The band has described Wide Open as its Americana record, though the songs only bear a passing resemblance to the genre. There's pedal steel on the title track and a touch of twang on "Grass," but the songs, in general, flirt across genre lines: bombastic rock, jangly art-pop, freaked-out fuzz. Whereas the songs on the band's self-titled debut retrofitted pop structures over janky, vertiginous melodies and syncopated rhythms, Wide Open works the other way around: It feels hell-bent on injecting art-rock weirdness into a pop-music mold. Wide Open finds Weaves tightly coiled and finely tuned, anthemic in its own freakishly fun way.

Weaves announce UK tour and share new single

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Buy digital album   £7 gbp  or more, send as gift  , limited edition neon pink vinyl record/vinyl + digital album.

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Known for honest songs that tell personal stories of freedom in Christ, Big Daddy Weave fans have long admired the band for their real-life, real-person openness. With songs like “My Story,” “The Lion and the Lamb,” “Overwhelmed,” “Redeemed,” and from their current album, “Alive,” “I Know,” and “All Things New,” Big Daddy Weave has become one of the most beloved bands in Christian music. Millions have taken their anthems of Jesus’s chain-breaking love as their own and sung along to songs about the radical act of redemption. The men of Big Daddy Weave, Mike Weaver (lead vocals, guitar), Jeremy Redmon (guitar, vocals), Joe Shirk (saxophone, keys, vocals) and Brian Beihl (drums), found themselves needing those themes of comfort and assurance at the beginning of 2022. Founding member and Mike’s brother, Jay Weaver, went to be with the Lord on January 2, 2022. In the first few days, the group wondered how they could go on. After Jay’s funeral and testimony after testimony of how Jay and the group have been used, the question became, how could we not go on? Big Daddy Weave is answering that call to minister through music and word both live and in new songs and recorded music being created now. The band’s openness to go through whatever doors God opens for them has kept them going since their early days as students at the University of Mobile. Their spirit of dedication to their calling and their craft shows up in everything they do. “We challenge each other about what we’re going do with that,” says Mike, “saying, we’re alive and we’re here. How are we going to use this time?” Big Daddy Weave’s testimony is about a deep and personal faith in Jesus, no matter the circumstances. It’s one thing to sing about trusting God in the midst of trials, but the men of Big Daddy Weave have learned what it means to truly live by faith and to trust in a God who makes all things new.

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Graham Coxon and Rose Elinor Dougall team up to form The WAEVE

The duo have announced first song 'Something Pretty' and details of an intimate London launch show

Graham Coxon and Rose Elinor Dougall have teamed up to form the new project The WAEVE – announcing details of their first track and an intimate London launch show. Check out all the details exclusively on NME first below.

On May 5, the former Blur guitarist-turned-solo star and the former Pipettes member-turned- Mark Ronson collaborator and singer-songwriter will share first taste of their material ‘Something Pretty’ via Transgressive Records.

Ahead of that, they’ll be playing a special launch show at The Lexington in London on May 4. Tickets will go on sale from 10am on Friday (April 22) and will be available here .

“We are greatly looking forward to unleashing our new sound live at the Lexington next month,” the new band said in a statement. “We’ve been locked away this year, busy translating the varied sounds of our songs into a dynamic live show, with the help of some great musician friends. We invite you to surrender to the world of The WAEVE.”

The duo came together after exchanging messages during the lockdown Christmas of 2020. They soon started writing songs before their collaboration “gave rise to an unexpected sonic universe”, a statement explains.

Inspired by “a shared love of English folk music, storytelling and the associated landscapes of this beleaguered island,” their music soon turned into something of their own, with “a cinematic breadth whilst maintaining an honest intimacy” and “guitars, saxophones AND strings lifting the songs into other stratospheres”. Their upcoming music is said to speak to “themes of oblivion and surrender, juxtaposed with suggestions of hopefulness and light”.

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More new music from The WAEVE will be revealed in the months ahead.

Last year saw Coxon release the comic book score album ‘Superstate ‘, as well as tease more activity from Blur . After bandmate  Damon Albarn claimed that Blur had been in talks and “had an idea” of how to make their return, the guitarist told NME : “I was privy to that discussion. It started as a discussion, but didn’t really end as one.”

Asked if he was too busy with various projects to pursue a Blur reunion, he told us: “Having a lot on your plate is a sort of chaos. It’s like a massive English breakfast at the moment. If someone snuck on a grilled tomato I probably wouldn’t notice. I’m up for it, if everyone digs the idea.

“I think a lot of people have decided in some sort of way that they were living life in a really strange way that wasn’t actually suiting them very well and chopped away a lot of the stuff that they don’t need. I’ve been trying to do that a little bit.”

Coxon added: “That’s always been the thing with Blur – they’ll do it when they really need to and not for any other reason. It doesn’t really seem genuine to just get back together and just do gigs for a bit of spondage. We need to have some sort of focus for how we would work.”

• Related Topics
• Graham Coxon
• Rose Elinor Dougall
• The Pipettes

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