The music at the Winter Olympics was terrible. It was painfully obvious that the majority of televised performances were lip-synched, and that god-awful theme song “I Believe” was so sappy I could’ve poured it on my pancakes. But without a doubt the most disappointing and flat-out embarassing moment of these Olympics for fans of Canadian music was the closing ceremonies.

Let me jog your memory, given that the ceremony was over a week ago: Neil Young started off with the heartfelt “Long May You Run.” It was great, and seemed to be indicative of things to come. Then came Nickelback. Then Avril Lavigne. Uh oh. I thought Alanis Morissette would steer things back on course only to gaze dumbfoundedly at the TV as Simple Plan and Hedley took the stage. The whole thing ended with the “only-known-in-Quebec” Marie-Mai and k-os, but I was too busy trying to pick my jaw up off the floor to pay attention. Canada may have owned the gold on the podium, but this line-up shouldn’t have made it past the qualifiers.

Was that really the best Canada had to offer? Nickelback? Congratulations, one of the most laughed-at bands is now a beacon of Canadian music. Avril? Is she even relevent anymore? All of Eastern Europe probably thinks we condone the glorified attempt at pop stars that are Hedley. For a country with a wealth of musical talent, these choices were disappointing, and that’s putting it nicely.

Now, before everyone immediately attacks me for riding my “indie” high-horse, don’t think I don’t understand why these acts were chosen. Hate on them all you will, but Nickelback is one of the biggest bands in the world and Avril Lavigne has sold plenty of records. Simple Plan and Hedley are pretty big too, at least by Canadian standards. These acts don’t sell millions of records for no reason; people like them, and in an event that’s intended for a worldwide audience it’s understandable that decisions were made based on popularity. After all, Nickelback hasn’t sold all 30 million of its records in Canada alone.

But just like student government, choosing popularity isn’t always the best call. Yes, the acts chosen have sold a lot of records, but how many over-30 fans of Simple Plan or Hedley are there? Under-25 Alanis fans? No question there are some, but in picking acts that only appeal to certain groups, you neglect a significant portion of the audience. While the entertainment strived for mass appeal, it should’ve instead focused on broad appeal. Yes, people will say that there was something for everyone: Avril for the kids, Alanis for the older crowd, and k-os for the hip-hop fans. But why did everything have to be so polarizing? There are plenty of Canadian musicians out there that transcend both generations and borders. Neil Young had the broadest appeal of the bunch and he opened the show (which is another issue entirely). Where was Rush? Great Big Sea? Broken Social Scene? Arcade Fire? Not only do these bands have far-reaching appeal, but they’re also actually respected by almost everyone. I can think of no better reason to be proud.

At the end of the day, you can’t please everyone, but oh Canada, we could’ve done so much better.

Born out of a junior high talent show, Down With Webster has grown into a seven-man hip-hop/pop/rock group that’s been signed to a major label (Universal Motown), headlined its own tour, and just last week was nominated for a JUNO Award for Best New Group.

“We all have really high goals … We want to tour the whole world and do all sorts of other stuff we haven’t done yet,” says bass and keyboard player Tyler Armes. “We haven’t made it yet, but we’re on the right path right now.”

Down With Webster got their start through word of mouth in Toronto, where they played small venues – including the gym of their former middle school – as if they were big venues: banners, red plastic cups, and even a gong bearing their DWW logo have been a part of their show since the early days. Now they sell out 1,000-person venues in Toronto. Having just completed the western portion of their first headlining tour, the band has been branching out to cities they’ve never played before. Though they’ve grown accustomed to big stages – opening for the likes of The Roots, Snoop Dogg, and, most recently, Timbaland – they don’t have any qualms about playing smaller venues again.

“It was so cool to go back to venues where there’s 150, 300, 450 kids and have it be a tiny little room with a small stage again,” says Armes.

Maybe the biggest difference is that they’re playing to their own audience, instead of the headlining act’s fans.

“When you’re opening for someone else you have to kind of accept the fact that those people aren’t there to see you,” says Armes. “When we’re headlining we’re used to kids running up on stage and going crazy and we have their attention from the second we get out there.”

So what does Webster sound like? They’ve got horns like a marching band, guitar solos like the late eighties, and party-heavy rap lyrics between catchy pop choruses. Unlike the majority of hip-hop, you won’t hear a drum machine (unless you count an often-shirtless, afro-sporting maniac behind the kit named Andrew “Marty” Martino). While some songs lean towards the energetic – “Time To Win” and “Parade Music” – others have a more laid back pop feel – “Rich Girl$” and “Whoa Is Me.” Their latest album, Time To Win Vol. 1, maintains a good balance, and a malleable one at that; the band has played for very different crowds, including the Vans Warped Tour last year.

“One of the coolest things that we’ve found since we started touring four or five years ago is that because our music is such a mash-up of different styles, it’s really cool and easy for us to cross over and play for different kinds of music fans,” says Armes. “I think generally speaking people can take away some element of what we’re doing and enjoy it.”

The band has recently returned from filming a special in Cancun for Much Music. Like the 30-second promo video in which the band members are supposedly waking up from their respective blackouts on the beach, Armes only hinted at what went on while they were in Mexico.

“We did the kind of stuff it might take you years to do and did it all in a week,” says Armes.

The Cancun special will air on March 18, in conjunction with the debut of the music video for their new single “Your Man,” a nod to sixties and seventies dating game shows. However, Webster tend to stay in touch with their fans online as well. They’re known for their YouTube videos, including a series of videos of rapper Cam Hunter freestyling (notably at an underwhelmed Waffle House in Atlanta), or Martino tearing through hotels, parks, and city streets banging on whatever he can with drumsticks. The latter perhaps as an homage to drumming legend Buddy Rich, who pulled the same stunt on The Muppet Show in the eighties and remarked “When I play a theatre, I play the theatre!” For Armes, making this kind of effort to connect with fans is crucial.

“You want to let your fans more or less into your life and let them see who you are as people,” says Armes. “It’s not just about seeing your concerts and listening to your CD in your car.”

Known for surprises, like bringing a full drum line on stage for their album release show, what does Webster have in store for Montreal?

“We’re checking out the regulations to see if we can skydive and land in the area right now. [If not] we’ll have to go with the B plan,” jokes Armes. If the B plan is business as usual for a Down With Webster show, you won’t be disappointed at the lack of daredevilry.

Down With Webster plays at the Just for Laughs Theatre on Friday, March 12.