City Fidelia on the City of Ottawa’s new community centre for creatives, athletes and the release of his new album ‘Painkillers’

City Fidelia appeared in the Star’s virtual interview with a bright sign on his bedroom wall. The sign, a gift from a fan, bore hearts, flowers and his name at the centre. Should anyone question Fidelia’s moniker as “mayor of Ottawa,” the sign still in his possession and on display is one of many reasons he has the title.

Luigi Fidelia, a.k.a. City Fidelia, is a 32-year-old rapper born in Montreal to Haitian parents. When he was three they moved to Ottawa and he has since performed at music festivals like E.L.E. Fest and Bluesfest and opened for artists like A$AP Rocky. His first album, “A Pisces World,” came out in 2015, followed in 2016 by his EP “Free Dumb.” Released Friday, “Painkillers” is all about introspection and is entirely written and produced by Ottawa creatives. This hyperlocal collaboration is part of his undying dedication to his city.

“You don’t have to be a mega star like Jay Z to give back,” Fidelia said.

Giving back seems to be what Fidelia is called to do. He has worked with charities and organizations such as the DAPO Foundation and Christie Lake Kids, he is the program director for CHUO, he works with APL Solutions to invest in Black entrepreneurs and creatives and crafted the non-profit collective named Ensemble (where he is the executive director) — which runs a six month program named FRMULA to earn musicians free studio time, teach them how to create a business model and get them in front of industry executives.

What’s next is likely his biggest project to date: A brand new community centre for creatives and athletes.

“What I want to see from the centre is youth come in, we give them access and opportunity and by the time they hit the age of 13 or 14 they already have their names and work in publications. I want to even the playing field when it comes to access and opportunity for the Black community,” Fidelia said.

The City of Ottawa’s Creative Industries development officer confirmed this partnership with Ensemble and Prezdential Hoops — an Ottawa non-profit focused on sports and arts mentorship for marginalized youth. After years of doubt placed on the athletic and creative achievements of Ottawans (a city critiqued for lack of events and opportunity in these industries), this investment in the future of both is a step in the right direction. The centre will be open to people of all ages Fidelia explained. His experience with mental health, growing up in a low-income community and the recent loss of his brother, Daniel Fidelia, all tie into what drives the need, he feels, for such a centre in Ottawa.

The time for preventive approaches to recidivism is now, Fidelia said, noting most accessible programs cut off at the age 16 but that is the age many need structure and support the most.

“I think the reason we see a lot of crime in certain neighbourhoods is the lack of resources. People go to school knowing they don’t have a lot of money at home, sometimes they don’t excel in school too — school is not their thing — so they feel like they have to find another way to feed their ego and with systematic barriers at work it causes them to do certain things,” Fidelia said.

The centre is about investing in the longevity of healthy personal developments and providing access and equity to a city in need of both. This theme of development is heard in “Painkillers,” an album dedicated to Daniel who died in October 2021, following a fentanyl overdose. He was 35 years old.

Fidelia described his childhood as one wedged between the effects of systemic oppression and the humanity of those affected by it. He grew up in Ottawa’s Chinatown, what his community called CTown. He would attend shows with his father, who was a bassist, inspiring his love of music. In CTown, the neighbourhood would often meet on Rochester street for basketball games and breakdancing.

“That’s where I learned a lot about music, through the breakdancing and having freestyle battles,” Fidelia said.

The street would be the meeting spot for these community events, but also a meeting spot for some bad things too.

“It was the first place I heard of marijuana and like drug deals and things of that nature,” Fidelia began. “Growing up in that environment allowed me to be musically inclined but also taught me not to judge people. I didn’t view them as criminals or whatnot and, if anything, they were the ones telling me ‘don’t do this, don’t do that, stay away from drugs’ and playing the big brother role.”

His home was a lively community meeting ground; his father always had music playing and his mother loved hosting. When the partnership between his parents concluded, things became difficult for Fidelia and Daniel. Around age nine, Fidelia recalled struggling at school to share what was going on at home — between his brother’s beginning involvement in crime and his parents relationship dissolving, things got tough.

Fidelia explained his wish for better treatment and programs for those struggling. He recalled the pandemic was when things grew worse for Daniel — who was finally out of jail for the longest period of time to that date but found difficulty in finding a purpose. He cited limitations in access to care, starting first with even knowing who to contact. Prior to his death, Daniel had confided in Fidelia about wanting to go back to school and he had begun helping him move in that direction.

Daniel is survived by his daughter Demya, Fidelia and their three siblings (including 31-year-old Jeff Sanon who is featured on the album and is also a producer). Fidelia, in dedicating his latest album to Daniel, said he hopes all those who need to, find solace in its lyrics and melodies.

“Painkillers,” Fidelia said jokingly, is the album of the year. The project weaves between recollections of gun violence like on “Close Call,” the trauma of systemic injustices, drug and alcohol abuse like on “Liquid Courage,” sex and intimacy and the loss of family and friends to these effects, over rap, trap and R&B melodic beats.

The intro titled “Red Pill,” endorses numbing pain whereas the album’s conclusion, “Blue Pill,” encourages reflection.

“The difference between me now and back then is now I kind of see music as a key to helping my community and myself. My purpose has shifted from wanting clout or becoming a billionaire. It’s more like, how do I provide for the generations after?” Fidelia said.

Fidelia excitedly awaits the development of the community centre while eyeing a 2023 JUNO Award nomination.

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