Aswell is carving out a distinct space in the Quebec music scene, blending the grit of urban rap with the intimacy of folk songwriting. The artist, who recently celebrated his 27th birthday on February 26, has transitioned from the intimate stages of Club Soda to the expansive energy of MTelus, where he is set to perform his latest work before a crowd of over 2,000 fans.
His novel project, «Berger»: Aswell, un gars du peuple, represents a sonic evolution for the singer-songwriter and entrepreneur. Although his debut album, Banlieue, introduced him to the public two years ago, Berger delves deeper into a specific kind of Quebecois “spleen”—a melancholic longing that bridges the gap between the raw street narratives of Souldia and the emotional vulnerability of Roxane Bruneau.
Born on the Rive-Sud and later settling in the Hochelaga neighborhood after completing marketing studies in Sherbrooke, Aswell’s trajectory is one of calculated risks and organic growth. He has managed to capture a wide audience by refusing to adhere to the rigid boundaries of genre, instead drawing inspiration from a diverse pantheon that includes both the legendary Nas and the influential Dédé Fortin.
The success of his early work speaks to this broad appeal. His track “Next” has garnered over four million streams on Spotify, while the pop-folk melody “Où je m’en vais” has reached 3.6 million listens. These figures mark him as a significant force in the current hip-hop landscape, even as he drifts toward the acoustic traditions of the chanson à texte.
The Architecture of a ‘Guitar Rapper’
Aswell describes himself as a “rappeur à guitare,” a term that might have invited ridicule in the mid-2000s when groups like L’Assemblée released Les gars du peuple in 2005. At that time, hip-hop purists often dismissed the fusion of acoustic guitars and rap beats. Today, though, that same hybridity feels natural and organic to Aswell, who cites Bob Dylan and Paul Simon—specifically the 1972 track “Run that Body Down”—as foundational influences.
This sonic identity is most evident on the opening track of his new album, “Bateau,” where he samples a tragic, classic ballad by Gerry Boulet. By weaving these cultural touchstones into his music, Aswell anchors his modern sound in the historical soil of Quebec’s musical heritage.
The secret to his connection with the audience, according to Aswell, lies in his lyrical approach. He consciously writes “au premier degré” (at face value), a style he associates with Dédé Fortin. He notes that while artists like Jean Leloup rely heavily on metaphor, he prefers a directness that risks being “cringe” but ultimately resonates more deeply with the listener’s lived experience.
From Autoproduction to Artistic Risks
Aswell’s journey began in high school, where he started forming collectives and teaching himself to compose beats on a computer. This DIY ethos of autoproduction allowed him to maintain creative control as his popularity grew. For Berger, he collaborated with Charles Couture-Madore, known as Worry, to push the production further.
Rather than playing it safe by creating a sequel to Banlieue, Aswell opted for a more “nichée” (niche) and detailed production. This willingness to experiment is highlighted by his work on “Zendaya,” a ballad featuring a drill beat produced by Lost. By blending the aggressive rhythms of drill with a melodic ballad, Aswell continues to challenge the expectations of his listeners.
The album’s structure mirrors this duality. The first half leans heavily into the codes of rap, while the latter half drifts toward folk. This generic fluidity has left the artist questioning how he will be categorized by ADISQ, the association that governs the music industry in Quebec.
Cultural Influences and Future Collaborations
Aswell’s artistic identity is inextricably linked to the media and music he consumed during his formative years. He cites the 2009 biographical film Dédé, à travers les brumes, directed by Jean-Philippe Duval, as a favorite that he revisits annually. His admiration for the local scene extends to artists like Koriass, Rymz, and Loud Lary Ajust—the latter of whom appears on the track “Backstage” on the new album.
The influence of these artists is not just musical but aesthetic. Aswell recalls purchasing a turtleneck simply because Rymz wore one, illustrating the deep kinship he feels with the architects of the Quebec rap scene. However, his aspirations now extend beyond the hip-hop community.
When asked about his dream collaborations, Aswell points toward the contemporary singer-songwriter circuit. He specifically identifies Vincent Vallières as an artist with whom a collaboration would make the most sense, signaling a desire to further solidify his place among the province’s premier lyricists.
| Project/Track | Key Achievement/Metric | Genre Influence |
|---|---|---|
| Banlieue (Album) | Debut release; led to Club Soda performance | Rap / Urban |
| “Next” (Single) | 4M+ Spotify streams | Melodic Rap |
| “Où je m’en vais” (Single) | 3.6M Spotify streams | Pop Folk |
| Berger (Album) | MTelus performance (2,000+ fans) | Rap-Folk Hybrid |
As Aswell continues to navigate the tension between being a “guy of the people” and a rising star, his focus remains on authenticity. He believes that a degree of disillusionment is necessary for anyone striving to achieve something meaningful in life—a sentiment that permeates the lyrics of Berger.
The next major checkpoint for the artist will be the reception of Berger within the industry awards circuit and the potential for new collaborations that bridge the gap between the urban and folk worlds of Quebec.
Do you think the fusion of folk and rap is the next big trend in Quebec music? Share your thoughts in the comments below.
