There might have been over 92 different acts at this year’s Osheaga, but our writers jumped between many of the shows to give a concise and creative review of our experience. So without further ado, here is what we saw and heard on the final day of Osheaga…
As an added bonus, we suggest 3 perceptions of the Kendrick Lamar show by our three writers from thee generations.
Kendrick Lamar: authoritative and dominant
Photo by Tim Snow
Is it possible to have better event than one of the hip-hop scene’s most popular artisans of the last decade to close the 2023 edition of Osheaga? I firmly believe not. Right after Fred Again.., the long-awaited moment arrived and Kendrick Lamar made his entrance on the main stage on the first notes of “N95,” one of the excellent titles of his most recent album, Mr. Morale & The Big Steppers. After his first track, the Californian rapper stood in silence like a king under the imposing “Olé!, Olé!, Olé!” crowd. Behind him, a curtain art canvas is revealed, which will be replaced three times during its performance. During his concert, he was only accompanied by dancers who are added as the concert progresses. On stage, Kendrick Lamar isn’t the most energetic, but his skill and poise make him a captivating artist.
During his roughly hour-and-a-quarter stint, the Compton MC delivered a selection of several pieces from his latest project as well as his greatest hits from his discography, even going back to 2011 for “A.D.H.D” and 2012 for certain titles of Good Kid, M.A.A.D City. One of the best moments of the evening was when the 36-year-old artist asked the festival-goers to turn on their phone flashlights for “LOVE.” For almost every track, the crowd responded present and accompanied the rapper. At my side, we find people of all ages, proof that K.Dot is unanimous across the different generations.
“You could have chosen to be anywhere tonight, but you decided to be here, thank you,” supported the rap veteran at the end of his concert. The people present at the festival had been entitled to a moment of anthology and a near-perfect offer from Mr. Duckworth to conclude the festival. – Jacob Langlois-Pelletier
Photo by Tim Snow
Like many in the crowd, this was to be my first time witnessing the Cali rap god, Kendrick Lamar, so it’s safe to say that right after Fred Again.. ended his set next door, the anticipation was real. The instrumental piano and funk guitar took the stage until Kendrick busted out of the darkness, diving into “N95” and then “ELEMENT.” He was sporting shades, pink track pants, and a black hoodie, behind a painted canvas backdrop that shifted between his set. We also got a few old numbers like “A.D.H.D,” and a crowd favourite, “King Kunta,” off the excellent To Pimp A Butterfly.
Kendrick’s flow was unmatchable, but the crowd near me attempted to rap every line during a song like “Swimming Pool (Drank).” Another stand out was when he freestyles for a few minutes before faking out the crowd and jumping into “Money Trees,” followed by “Bitch, Don’t Kill My Vibe.” Kendrick has general charisma on stage, but he did seem a little less energetic than I was expecting. Still, his backup dancers, which had a menacing presence to them, did add to the narrative story of the show. Kendrick also decided to end his set 15 minutes early, with “Savior,” but I mean, he’s Kendrick goddamn Lamar, so he can do what he wants. – Stephan Boissonneault
Photo by Tim Snow
In his critical and self-critical reflection, in his poetic form, in the context of his brilliant and subtle message, at the antipodes of Manichaeism, Kendrick Lamar wanted to elevate on stage his recent proposal, embodied by the recent album Mr. Morale & the Big Stepper. Literally denser and magnified by his exemplary flow, Kendrick Lamar took this state of creation a step further, opting for scenic minimalism to present an all-too-brief closing show, concluding almost 15 minutes before curfew. While the end of the Osheaga program may have artistic merit, it is hardly appropriate for a mass event where over-conceptual proposals reach their limits.
Some will see it as a stroke of genius, a brilliant counter-proposal for the final headliner of a festival of this size. Sunday evening at Parc Jean-Drapeau, in front of a huge crowd. The visionary rapper from Compton, the most influential of the last decade, didn’t win unanimous approval this time, even if he may have delighted the majority. Let’s see: Each of the pieces on the program was interspersed with (too) long pauses, as if presenting tableaux from a total opera, staged in the Romantic era, before modernity. A few huge frescoes painted on fabric occupied the back of the stage, evoking the themes raised in this performance – flashbacks to the artist’s trajectory, reflections on his milieu of origin, his family, his violent neighborhood, the state of his identity, the future of this identity, his existential anxieties despite the fame he had acquired.
A troupe of male dancers with beards and smoked glasses to match their employer, dressed in overalls and stylized workshop aprons (Louis Vuitton, sors de ce corps), choreographed the poetic states of the master Kendrick, himself dressed in Nike shoes, baggy pink 3/4 pants, a black fabric jacket, an LA Dodgers cap and a scarf encircling all but his face. The giant screens on the side reflected only the activity filmed on stage, i.e. the rapper himself and the movement of his dancers circulating around scenic objects.
The performance of classics from his previous albums to the latest certainly pleased everyone, the new tracks certainly didn’t disappoint, and the covers were relevant (“Nosetalgia” by Pusha T, “Sidewalks” by The Weeknd, “Never Catch Me” by Flying Lotus). In all, 21 tracks, most of them inspired and… Musically, we preferred once again to activate pre-recorded sequences and modulate everything in real-time. A defensible choice, it must be said, in the manner of the world’s most eminent electronic producers. But… a real-time instrumental performance can also be part of the experience in 2023, so the choice to withdraw it must be compensated for by a significant immersion. This was perhaps not the case at Osheaga.
This artistic choice may well be totally seductive in an appropriate venue for this type of immersion, and we can imagine very different perceptions from the full version of this Big Steppers Tour but… outside, in front of a sea of fans? That’s a different matter. Without 3D special effects, new-style lighting, or multimedia projections, such aesthetic frugality in such a festival context, however brilliant, may disappoint the expectations of many. Which was the case. After 60 minutes, we saw quite a few people move on to other stages in action on the Osheaga site. The majority of fans stayed put, many of them leaving in a daze, even though they all warmly celebrated the great hip-hop vintages of Kendrick Lamar, in full possession of his powers, imperial despite our concerns. – Alain Brunet
The electro prodigy Fred Again.. is a real eye-catcher
Photo by Tim Snow
Over the past few years, the name of Fred Again… has been on the lips of all electro music fans. Before his concert in Osheaga on Sunday evening, I considered myself indifferent to his art, sometimes struggling to understand the huge enthusiasm surrounding him. So, I headed close to the stage with a curious ear, and I have to admit that I left frankly amazed by the genius of the producer, DJ, and singer-songwriter from London.
Throughout, Frederick John Philip Gibson alternates between his keyboard and his MPC. The basis of his music is short sound samples from songs or dialogues of completely unknown artists or people with which he creates loops. Moreover, the videos of the excerpts used are shown on giant screens during the concert. Then, the Briton adds his own voice as well as many layers and textures using his various instruments. Thus, the majority of the titles they play in concert are generated in real-time and the public attends their creation. The avenues of Fred Again… are multiple and his music explores house, garage, pop, and even R&B.
On stage, the 30-year-old artist gives everything and finds himself completely sweaty. From start to finish, the crowd was extremely boisterous and captivated by the star’s actions. The festival-goers were delighted by the best compositions of the artist like Delilah (“pull me out of this”) and Angie (“I’ve Been Lost”). At Osheaga on Sunday, Fred Again.. transformed Parc Jean-Drapeau into a veritable dance floor and managed to create an unforgettable moment. – Jacob Langlois-Pelletier
Central Cee, A British star in the making
Photo by Tim Snow
Around 6:20 p.m., it was the turn of the young British star Central Cee to take over the Mountain Scene. Over the past year, the rapper has enjoyed an unprecedented rise and is now one of the stars of UK drill’s rise to international popularity. Judging by the impressive mass of festival-goers gathered for his performance, his arrival was eagerly awaited.
Before its rise, a DJ took care of warming it up with many hip-hop hits. Fifteen minutes later and after the presentation of a presentation video, the Londoner made his entrance to the shouts and applause of the crowd. Dressed in a burgundy coat and a diamond chain around his neck, the 25-year-old artist debuted with Loading. On stage, Central Cee deploys a destabilizing assurance, skilfully cutting up each of his words and stringing together long verses with a frantic pace. No need for a vocal track to support him, the Briton puts on the different pieces and it seems so easy. Down the stretch, the young star offered her best tracks such as Sprinter and Doja, not forgetting her version of LET HER GO by Passenger.
The people present knew the artist’s titles by heart and shouted over his various titles. No doubt, it was probably one of the best crowds at the festival. – Jacob Langlois-Pelletier
The Cult of Beabadoobee
Photo by Tim Snow
Beabadoobee, a young alternative indie pop superstar, finally got her chance to play Osheaga’s main stage, as she cancelled her date at the last minute for Osheaga 2022. This year, the fans were craving old and new, and we’re mostly greeted by songs from her 2022 album, Beatopia. Bebadoobee’s music is pretty poppy, but there are a few trickles of grunge and shoegaze in her music, and her voice is as soothing as honey on a hot summer’s day.
The heat was a little unbearable as I and many fans were trying to take shelter, and Beabadoobee herself even mentioned the sweltering sun once or twice. Every couple in the crowd hugged each other for dear life during the song “the perfect pair,” and sang in unison with Beabadoobee, real name Beatrice Kristi Ilejay Laus. Two fans proposed to Bea on their phones, as the camera swang between them, but Beabadoobee brushed it off, laughing saying “That’s totally cool, but nah” – Stephan Boissonneault
FOALS, not so typical after all
From Oxford, England, where the radio heads are bred, FOALS is a rock and electro band typical of its generation. Frontman Yannis Philippakis is a fine singer, and this quartet offers inspired melodic hooks, imaginative arrangements and multi-referential passages that testify to a certain taste. FOALS’ recent studio experiments integrate synthetic bass and other stylistic elements of dub and house, without distorting the original proposition, which is closer to indie pop/rock. Nothing memorable on the Vallée stage, but a fine band nonetheless. – Alain Brunet
Japanese Breakfast: The Woman That Loves You
Photo by Frédérique Ménard-Aubin
I’ll admit that 2017’s Soft Sounds From Another Planet, was the last album of Japanese Breakfast’s that I listened to in its entirety, but after witnessing half of her set at Osheaga, I now know I have to check out the latest one, Jubilee. Frontwoman Michelle Zauner came out in a Barbie-themed hot pink skirt and top before banging the stage gong to signal the beginning of the psychedelic indie pop show. This wasn’t the only time she banged the gong, in fact, she hit it multiple times between songs for more atmosphere.
There is something quite mesmerizing about Zauner’s stage presence. She almost goes into a sort of trance, hypnotizing the audience, but breaks character for a bit of levity every now and then. The most energy came at the start of the set when she played two old hits, “The Woman That Loves You,” and “In Heaven,” from her debut album, Psychopomp, which put her on the indie map. – Stephan Boissonneault
Preston Pablo, a breath of fresh air on the Canadian pop and R&B scene
Photo by Benoit Rousseau
Have you ever wondered who was the voice behind the hit “Flowers Need Rain”? If so, you are certainly not alone, because the title of Preston Pablo reached in 2022 the first rank of the most searched songs in Canada on the Shazam platform. On the rise in the pop and R&B scene, the Canadian had the task of kicking off the last day of concerts on the Green Stage.
Supported vocally by his own tracks, the singer-songwriter was bursting with energy and delivered sunshine to the festival-goers present. Preston Pablo’s romantic and warm leads were very well received by the crowd. The 21-year-old artist offered his best tracks such as “For Keeps,” as well as a cover of Justin Bieber’s “Sorry.” “Montreal, I love you!” he said several times, smiling.
After a little over thirty minutes on stage, Preston Pablo wanted to end his performance in style with his most popular song to date, “Flowers Need Rain.” Due to a problem with the sound system, the young man first asked the public to sing with him before offering an acoustic version of the song. When the technical problem was solved, he was able to redo his title properly. Thus, the people present were treated to three different versions of his greatest hit, and no one seemed to complain about it! – Jacob Langlois-Pelletier
Tom Odell: a pure reincarnation of pure romanticism
The hypersensitive piano singer, the gifted melodist classically trained, the vulnerable and passionate interpreter… here’s a profile that’s been around for at least half a century: Nina Simone, Barbara, Elton John, Billie Joel, Carole King, Tori Amos, Fiona Apple, Patrick Watson… There are so many, and here’s another one on the Rivière stage, relatively unknown in North America, though… at the end of PM Sunday, there were several hundred who knew by heart the songs of Englishman Tom Odell, a pure reincarnation of extreme romanticism but with updated signs of pop culture. The 32-year-old counter-tenor singer-songwriter is known for his magnetism and expressiveness. His use of all the compositional clichés of the piano and pop band song is soon forgotten, clichés that he coats with a creative sheen that clearly sets him apart. Less predictable than it sounds! – Alain Brunet
Julia Jacklin Doesn’t Ignore the Tenderness
Photo by Frédérique Ménard-Aubin
Right after an electric set by the brotherly rap duo, Armani White, the Green Stage welcomed the presence of Australia’s Julia Jacklin, a show I anticipated to be full up, but was graciously surprised with the empty space on the grassy floors. Perhaps this is because much of the Armani White crowd was looking for something more danceable (something the programmers could have anticipated) and wasn’t prepared for Jacklin’s melancholic indie rock. Still, the ones of us who did stay and arrived slowly were in for a beautiful, but forlorn treat.
Most of Julia’s songs are about lost love or existential dread, something very different than what you expect to get at a festival where most people are on uppers. It was hard not to feel broken when her powerful voice crooned during the song “Pool Party” or even “Lydia Wears a Cross.” I was, unfortunately, alone and felt like I needed a hug from a faraway friend. It’s good, but rare, to feel something real at a show and Julia Jacklin’s set, though short, was all about the real feelings that make us human. – Stephan Boissonneault
Milk & Bone mastering their craft at Osheaga
Photo by Benoit Rousseau
After Canadian rapper TOBi left the nearby stage as the crowd chanted his name, the bar was high for Milk & Bone. Let’s just say that the electro-pop duo rose to the challenge brilliantly!
The two singer-songwriters arrive on stage for their third career appearance at Osheaga (already!). Laurence Lafond-Beaulne is completely dressed in white while Camille Poliquin is in black. At several points during the concert, they come face to face and look at each other while performing their songs. While one sang, the other added different sounds and textures using a drum machine. The chemistry between the two women is real and splendid on stage.
On Sunday, the crowd was able to dance to many excerpts from Chrysalism, the duo’s latest opus released last year. Milk & Bone also pleased their fans with their greatest hits. It was during Daydream that the crowd got the loudest. The duo gave an excellent performance and the festival-goers seemed to get everything they expected from them. Jacob Langlois-Pelletier
Saint Levant: evident appeal from the first few bars
Photo by: Frédérique Ménard-Aubin
Marwan Abdelhamid aka Saint Levant is the son of a French-Algerian woman and a Serbian-Palestinian man. A native of Jerusalem, he lives in the US, having completed a bachelor’s degree in international relations at the University of California, Santa Barbara. The singer and rapper is fluent in Arabic, English and French, and his appeal is evident from the very first bars. His offering includes oriental violin (with quarter tones), darbouka, saxophone and his Arabic-inspired songs also incorporate Western flavors of soul-pop, hip-hop and EDM.
At once engaging, entertaining and sensual, Saint Levant has quickly established itself on social media, to the point of securing a major bill at international festivals, in this case the Green Stage at Osheaga. Thousands of newly-conquered fans, mostly from the Arab-Maghrebi community, were on hand to cheer him on, and also to applaud guest Zeina, who grew up in Montreal and whose career is also taking off. – Alain Brunet
