Toronto’s It’s Ok* Studios brings back its free community festival, It’s Ok* World, to Trillium Park this Saturday, August 8, with a lineup that includes Gena (Liv.e + Karriem Riggins), keiyaA, Clairmont The Second, Kwncy, Dvyn, and DJ Shylosofly.
The independent, Black-led multipurpose arts space in the Queen West neighbourhood has operated from a building slated for demolition since its inception. Founder and talent buyer Said Yassin says the temporary status has not hindered its mission.
“I knew that when I signed on to take the building,” Yassin said. “I thought it would be closer to 10 years before we ever had to think about moving, but it’s been 4 years now and we’ve had a lot of lease extensions.”
He added that the studio is in talks with the city to secure a permanent home. “It’s Ok* started before we had a physical space and will continue on in some shape or form with or without one.”
A Space Without a Box
Yassin describes It’s Ok* Studios not as a venue or gallery, but simply as a space that can host rehearsals, exhibitions, performances, and more. “I came up as a DIY organizer and I’ve always brought people into spaces that weren’t meant for art and community,” he said. “I want people to look at what we’ve done and hopefully change their perspective on what a space can be.”
The studio operates without fixed rental rates, instead working with artists and organizers to find a financial arrangement that fits each project. “If you have a little grant money we will work with it, if you need to wait till the Eventbrite funds hit your account after the event we will work with it, if you have no money and just need space, we will figure it out,” Yassin said.
Community-Led Programming
Yassin has previously stated,
“no shade to Embrace or Live Nation, but it’s more interesting when things are put on by the community.”
He draws a distinction between community-rooted events and those produced by large corporate promoters. “There’s just a different level of care and attention when you go to something that’s put together by people who genuinely believe in what they’re doing,” he said. “The events I enjoy going to are led by people who are part of the community. They aren’t built because someone identified a gap in the market or is trying to capitalize on a viral moment.”
He acknowledged that major concert promoters have a role in bringing large-scale tours to the city, but argued that the first shows breaking an artist into a market should be handled by local promoters. “It gives artists a real opportunity to connect with a city’s music scene instead of just flying in, playing a show, and flying out,” he said. “Those early shows are where artists meet other musicians, discover local spaces, build relationships with audiences, and become part of a community.”
Yassin noted that without that local grounding, artists often end up playing venues that don’t suit them, with openers who don’t fit, and in front of the wrong audiences because “the marketing department doesn’t know where this artist’s community is or could be.”
