Two PAN M 360 writers are back from the 21st edition of Rouyn-Noranda’s Festival Musique Emergente (FME), a musical takeover of the city to see some of the best and brightest emerging bands from Quebec, Ontario and the international scene indulge in alternative rock, shoegaze, new wave, dream pop, synthpop, art rock, psychedelia and more. Without further ado, here are some of the bands we wanted to highlight on the last day of the FME.
A Swing Night with Saints-Martyrs
I learned a lot at my first EMF. And one of the most important lessons (which I learned early on) is that you never know what to expect from the next artist. This was the case when we packed into the Petit Théâtre one last time for the last concert of the festival: Saints Martyrs, a noisy art-rock band from Quebec.
The set began with what was shaping up to be ten minutes of gritty preamble, with tufted, rhythm-less drums, gritty, meandering guitar, and a few hoarse, atmospheric cries from the singer, Frère Foutre – who was dressed like a Rasputin-vampire, with a long black coat and excessively high platform boots. Suddenly, a cheap ceiling lamp lit up above Foutre, the red light bathing his smoky face as he uttered his lyrics with all his might. Guitarist Souffrance (wearing a gas mask) jumped off the stage more than once to try to stir up the shit on the floor, at one point almost tackling a woman standing near us.
While I enjoyed Saints Martyrs overall, I have to admit to scratching my head at the end, when Foutre picked up half the drum kit, dramatically collapsed on the floor below, then began laboriously sliding on his belly for some twenty meters to the edge of the room. I had to step over him to make my way to the exit – I’m still not sure if that was rude or really what he was hoping for.
– Lyle Hendriks
Knitting and existential vibration
Born from the ashes of Montreal’s pandemic, Knitting is a bedroom pop meets indie rock band that played a relaxed concert to relieve our daily hangovers on a Sunday afternoon. With energetic, plucked guitars, poppy-emo vocals, and a rhythm section in perfect sync, Knitting exudes the chemistry of a band that’s ten years old, yet not that old – for a band. A bit like Blur and The Postal Service, Knitting’s rock was existential with a dose of the melancholic, a state felt (and hard to avoid) as we left the room.
– Stephan Boissonneault
SAMWOY, post-punk ramble
I only attended the end of SAMWOY’s concert at Cabaret de la Dernière Chance, but I vividly remember witnessing a punk rock rendition of the track “Sbwriel”, as SAMWOY wielded a feedback mic and cranked guitar. With music as theatrical as SAMWOY’s Awkward Party album, I was expecting a little more pomp in the set, but was satisfied by more straightforward, but somewhat experimental, punk. SAMWOY’s little stories about the context of the songs were also a nice touch, sometimes drifting into what sounded like post-punk ramblings, but always entertaining.
– Stephan Boissonneault
Comment Debord – The Funk Shall Be Within You
Funky, fresh and enjoying every moment on stage, Montreal rock band Comment Debord were the perfect start to our last day at the FME in Rouyn-Noranda. The band’s relaxed, laid-back approach makes their groovy rock, so carefully honed, seem almost effortless. This is particularly evident when you observe the masterful synergy between bassist Étienne Dextraze-Monast and drummer Olivier Cousineau, the two forming an electric duo that propelled the entire set without a single misstep being apparent.
We were also treated to some excellent vocal performances from the band, with beautifully constructed harmonies from each member. They hit the nail on the head at just the right moment, building up to an essential crescendo before melting back into a smooth, meaty groove. All the while, the five members present were beaming, totally absorbed in every little move on the program. There’s a sense of playfulness and joy in Comment Debord’s work, and these guys made sure we had a great time throughout the concert.
– Lyle Hendriks
LUMIÈRE brings Glam at FME
Combining the hair rock of the ’80s, the classic rock of the ’70s and the sexy, androgynous aesthetic that will undoubtedly dominate the tastes of our near future, LUMIÈRE put on a weird and wonderful show on the picturesque shores of Rouyn Noranda’s Lac Osisko on Sunday evening. Led by singer Étienne Côté (Canailles and Bon Enfant), the band passionately drew us into a tight, explosive setlist of glittering glam rock that was hard to resist. Côté, in particular, brings an irresistible charm to the show, making the stage her own, screaming and bawling to her heart’s content.
At one point, Côté ran across the stage and left, while his phenomenal backup singers took over, singing, banging their heads and whipping the crowd into a frenzy. Meanwhile, Côté slipped into a more comfortable outfit, a tight leotard with panties and an open chest. With so much theatricality and confidence, it was difficult if not impossible to look away from LUMIÈRE.
– Lyle Hendriks
Karma Glider soaks up the sun in the park
After seeing Mothland’s JP shine as stand-in bassist for La Sécurité, I suspected we’d be seeing another of his projects at the EMF. That’s what happened with Karma Glider, the shoegaze pop rock quartet led by Susil Sharma (Heat), on a beautiful Sunday evening. The backdrop was a sunset over Lake Osisko, as we all sat in an overgrown amphitheatre listening to this deep, personal, alternative rock.
It really was the perfect place to listen in real time to tracks like” In Deep Ocean” , “Burning Up” and the Lou Reed-esque “Cherry” , from Karma Glider’s debut album, Future Fiction. The EMF should make more use of this amphitheatre, as we were all expecting another band to emerge after Karma Glider to take more advantage of nature.
– Stephan Boissonneault
Hippie Hourrah Paints an Individual Expo at FME
These guys know how to make groovy psychedelic rock that—while it does drone on—bounces between genre, never overstaying its welcome. The fantastic musicianship from Hippie Hourrah at the La Guinguette chez Edmund venue on the water was a welcomed addition right after Karma Glider. The crowd was loving it, especially the woman who crowd-surfed three times.
I only learned later on that she had a circus troupe following her and had rehearsed the crowd surfing a few times, which kind of took away the novelty of it all. Still, Hippie Hourrah is clearly inspiring, especially for the youth of Rouyn-Noranda who were playing air guitar by the flowers. Who knows, perhaps they will one day play FME and be able to thank Hippie Hourrah.
– Stephan Boissonneault
Tukan Goes 3 for 3
Brussels-based analog techno/jazz/post-rock band Tukan was THE show to see at FME—and that’s good news, because you had three chances to do it. First performing on Friday in front of the hideously industrial (but undeniably cool-looking) Fonderie Horne, then on Saturday in the sweaty basement of Petit Theatre, and once more on Sunday at the outdoor L’Espace Lounge, Tukan was a force of nature at FME 2023, and it was all by popular demand.
Having seen all three shows in three days, I’ve quickly transformed from totally Tukan-uninitiated to devout follower—favourite songs and all. And what struck me the most about watching these four young artists perform night after night was the sheer excitement they have for their music and the way it compelled us to move. This is especially clear when watching synth player, Samuel Marie, who was constantly teetering on the brink of total euphoria, beaming at the crowd and his bandmates as he drove each song through their ebbing, flowing stages. There’s a passion, a love, a downright need to create this exact type of art between the four members of Tukan, and it comes with an electric urgency that fires through the air like lightning as we look on in awe.
– Lyle Hendriks
