FME 2025: Frannie Holder debuts her artsy solo project

by Stephan Boissonneault

There is some old FME lore behind the name Frannie Holder. I only know the name because one of her band’s, Random Recipe, played FME’s first secret show inside the famed late-night Morasse Poutine shop some 20 years ago. Now at this year’s FME, Frannie debuted her solo project in the seated Agora Des Spectacles. The bits that I saw were a combination of experimental pop, trip-hop and French art house vibes.

As Frannie sang in operatic tone in French, a bass player and drummer created a hazy wall of sound, allowing Frannie to hop on the synthesizer. It was a bit Regina Spektor meets Björk, with a dash of Montreal’s N NAO— a calming way to start the day at 4 pm. I noticed that it was in fact the drummer leading many of the more complex changes, calling out “un, deux, trois, quatre,” before ending a song or signalling the next jam. It will be interesting to see what shape these songs take on record, but only time will tell.

Hard Rock / Metal

FME 2025: A tribute to Aut’Chose with young rock n’ roll blood

by Stephan Boissonneault

Being from Alberta, I had no idea who Aut’Chose was before this tribute show on the last day of FME, but I did recall the name from a conversation with rock and metal historian Felix Desfosses some years ago. He also references them a few times in his 2014 book, L’évolution du métal: No Speed Limit 1964-1989.

Singer/poet Lucien Francoeur (who passed last year at age 76) guitarist, Jacques Racine (who also passed in 2024) and Aut’Chose were a legendary force in the hard rock Quebecois music scene, releasing three albums in the mid ’70s. This FME Les Freaks de Montreal tribute show had new and younger artists: Rose Cormier of Mulch, Alix Fernz, N Nao, Pierre-Luc Gratton of Population II, and others, taking over the vocal duties and eulogizing Francoeur in between songs. The band was somewhat of a supergroup; on drums was Michel “Away” Langevin (Voïvod), guitars and synths were members of GrimSkunk, Groovy Aardvark, and Tricky Woo.

Again, I had never heard Aut’Chose songs before this show, but to me it felt like the best parts of RUSH, ZZ Top, Black Sabbath, and a bit of Lou Reed vocal delivery. There were moments of straight hard rock and moments of strange, fuzzy prog. It was fun and interesting to hear and see each vocalist in a different light: N Nao screaming, Alix Fernz without many vocal effects, sounding as clear as he ever has, and Pierre-Luc Gratton standing while singing, as he usually mans the throne and sings in Population II. Another standout has to be the double bass guitar action as Population II took the stage a second time.

période romantique

Fête de la Musique 2025 | Andrew Wan and Charles Richard-Hamelin: Brahms, Franck, and sunshine

by Frédéric Cardin

The duo consisting of pianist Charles Richard-Hamelin and violinist Andrew Wan (also concertmaster of the OSM) needs no introduction. A decade of artistic complicity has brought these two individual and natural talents together in a chamber music diptych of the highest order. The recordings of Beethoven and Schumann sonatas they have made are demonstrations of very high-level musicality. Wan, and perfectly supported by Richard-Hamelin, shows a very focused concentration on the discourse and narration of the works. The young man tells a story while playing, which is already good, but in addition he has something interesting to say. On the big Québécor stage in Tremblant, the Fête de la Musique gave us the first of Brahms’ sonatas, which the two musicians have been working on for some time now and which will be part of the duo’s next album, dedicated to the German composer. We have already heard the two friends in this repertoire, at the Classica Festival earlier this year. The impression had been good, and it was again this Sunday afternoon. The Sonata, in the smiling key of G major despite its very intimate character, was deployed without exaggerated effects, Wan focusing on the interiority of the discourse and on the poised pace of expressiveness. We could have taken a little more in terms of emotions, without the risk of making a fuss, but we were nevertheless very pleased in terms of instrumental beauty and esthetic satisfaction. As a concert supplement, not another Brahms, but rather the great Sonata in A major by César Franck. We too often tend to darken this work, because it is Franck, because despite the fact that he was Belgian, we associate him with Germanism and a lush and dense Romanticism. Yet, the major key implies light and open feeling, even a certain blossoming. Wan and Richard-Hamelin understood this necessity well, despite a restraint that took a bit long to dissipate in the first movement. But the audience was rewarded with a final Allegretto poco mosso full of candor and naturalness, a perfect accompaniment to a generously sunny early afternoon at the foot of Tremblant Mountain.

Early Music / Traditional

Fête de la Musique 2025 | Love at first song for Ménestrel duo

by Frédéric Cardin

There are some encounters whose impact you can’t guess until you’ve experienced them. I didn’t know the Ménestrel duo, made up of Kerry Bursey (vocals and lute) and Janelle Lucyk (vocals and violin), before this concert of just under an hour on the small and intimate Deslauriers stage in the village of Tremblant. The duo has been active since 2019 and has crossed Canada in its entirety (its “13 provinces and territories”) playing from its repertoire: ancient music, whether folk or baroque, Renaissance, and medieval. In Tremblant, the two artists, partly based in Montreal, launched their program with a few folk songs (À la claire fontaine, Greensleeves, la Louison, Au mois de mai, etc.) played with exquisite finesse and refinement, which allowed them to continue further with a few Baroque gems (magnificent Frescobaldi and tender Monteverdi in a duet version of Si dolce il tormento, an air of such beauty that it could make you cry with happiness). The champion of all categories of lyrical tears, John Dowland, a big musical star of the Shakespearean era, also benefited from sensitive and delicate interpretations by the two artists. Both voices are very beautiful, Bursey’s tenor is easy, but above all Lucyk’s angelic soprano, which can enchant even the most demanding music lovers. No doubt that your humble servant will be closely watching Ménestrel’s next activities, because he will not be able to forget, like all the spectators present, the impressive quality of the performance heard on this little Sunday midday at the Festival of Music.

Garage Punk / Hard Rock / Pop-Punk / Punk

FME 2025: The OBGMS are Celine Dion??

by Jake Friesen

The OBGMs return to FME for the first time since 2021, where they played to a COVID-restricted, seated audience. They take the main stage and declare themselves a Celine Dion cover band. Despite a lukewarm reception from the audience, they launch headlong into an unrelentingly energetic set. Vocalist Densil MacFarlane charismatically provokes the audience at every turn, challenging them to go harder. The OBGMs are sonically dialled, catchy melodies, impassioned vocals, furious percussion, and no shortage of shredding. They are a magnetic force to be reckoned with as they straddle the line between needle-point precision and thrashing punk sensibilities. After a hard-won battle for the audience’s full commitment, MacFarlane brings them in by asking if anyone in the audience has an ex they really hate.

Applause rings out as everyone chants “Fuck Robbie” and Macfarlane dedicates the next song to an audience member’s ex, Robbie. Even though The OBGMs stand before an audience of hundreds of people, they effortlessly cultivate the feeling of community found at an underground punk show. They stand wholeheartedly in their artistry and principles as MacFarlane gives an impassioned reminder to make space for each other in both the physical and communal sense.

After seeing their show on Saturday night, I am convinced the OBGMS are well on their way to taking over the world, and that’s just fine by me.

Photos by Julia Mela

Alternative Rock / Indie Rock

FME 2025: Inflatable Poolgirl party in the alley

by Jake Friesen

Montreal garage rock outfit Poolgirl makes their FME debut to an enthusiastic crowd huddled around the stage. With the crowd hopping around like popcorn kernels and inflatable pool paraphernalia being flung left and right, Poolgirl is in their element.

Grungy guitars, clamorous percussion and charged, throaty vocals fill the air. Unpretentious and sincere, the raw quality of their sound is endearing—Poolgirl trades seriousness in their performance for the raucous fanfare of youth. They inhabit a sonic space previously reserved for suburban teenage boys. Still, under the lights of the FME Fizz Stage, it is refreshing to bear witness to easy breezy bratty garage rock on full display from a band comprised primarily of femme-presenting musicians.

A constant bounciness carries Poolgirl through their set as though they themselves are as buoyant as the beach balls ricocheting off the heads of the audience. The roiling, grimy bass propelling them ever forward into their final song, and in true garage rock fashion, they disappear into the night like teenagers fleeing the scene of an illicit houseshow.

Hip Hop / Trip Hop

FME 2025: Transcendental Alleywork with Boutique Feelings

by Stephan Boissonneault

Catching Boutique Feelings in that intimate alley setting at FME was exactly what we needed, especially my friend on a wicked dose of LSD. Karim Lakhdar’s genre-bending project delivered everything—a mesmerizing blend of psychedelic hip-hop that felt both introspective and energizing, enough to bring back the dead.

My friends and I were in a pretty spaced-out headspace and completely captivated by the distortion-mangled hooks and offbeat storytelling. The socio-political messaging had this grounding effect that brought everyone in the crowd for one moment, jsut for Lakhdar to destroy it and create it again.

Karim Lakhdar is doing something wild with this project – like if Madlib and Kim Gordon had a baby and raised it on krautrock records. All of Atsuko Chiba is now in this project. Absolutely subliminally, sublime.

Experimental / Experimental / Contemporary / Experimental Rock / Krautrock / Rock

FME 2025: Krautrock by sunset

by Stephan Boissonneault

I’m too young to have been alive for Pink Floyd’s Live at Pompeii set that was played for no one—save for the camera crew and a few strangers—but witnessing this once in a lifetime You II Avec Nolan Potter performance, at FME is the closest I’ll ever get. This six-piece titan of krautrock, the two core members of Yoo Doo Right, all three of Population II, and Austin’s multi-instrumental mastermind Nolan Potter, played a vibey, hazy and psychedelic set for the halycon age. The venue? Lake Osisko in Rouyn-Noranda, or just off of it on a concrete slab, during sunset. Despite some sound difficulties, which was most likely unavoidable with the legion of gear this sextet produced out of thin air, this show was phenomenal. Two drummers, with full kits, so locked in that their fills were part of a collective imagination. Two synth/guitarists trading off solos, giving each other space as they approached oblivion. Nolan Potter hopping on a quick tenor saxophone, flute flourish, tambourine man interlude, and most importantly, lighting smokes for himself and drummer John Talbot.

Looking back, the sound difficulties seemed rehearsed and part of the jam. You could see the palpable frustration as guitarist/synth wizard Justin Cober’s guitar failed to compute, but it was brought back to life for a secure guitar bend. This show will never be again. The best part? The never-ending finale, signalled by a quick “OUAIS!” by drummer/ vocalist Pierre-Luc Gratton.

Chanson francophone / chanson keb franco

Fête de la Musique 2025 | Coeur de pirate Offers a Few Previews in Tremblant

by Frédéric Cardin

In a basic, almost spartan format (drums, bass, vocals, and a little piano, of course) but extremely effective, Béatrice Martin, alias Coeur de Pirate, performed for the first time at the Fête de la Musique. Apparently, Angèle Dubeau had been working on getting her to come for quite some time. It finally happened for this 25th edition and, judging by the reaction of the audience, it was a huge success. Of course, there were the songs that everyone was waiting for and singing along to even before the artist arrived: C’était salement romantique, Place de la République, and Somnambule, performed in their classic form, with solo piano and vocals, right in the middle of the program. Like a gentle, melancholic pause. But there were also more upbeat hits such as Golden Baby, Prémonition, Oublie moi, and Crier tout bas.

And then, through a fairly fast-paced set, performed at full speed but without giving the impression of being rushed, the Pirate with a lyrical heart offered up a few new songs that those present at the foot of Tremblant Mountain had the privilege of hearing live for the first time: the recent Cavale, which served as a perfect and exciting appetizer at the very beginning of the show, the dramatic and powerful Les enfants des temps derniers, and the ballad Château de sable, written for her daughter Romy. If what we heard in these songs is any indication of what the next album, due out in a month, will be like, it is sure to be a popular success, as it is on par with the singer’s best productions, with melodies that stick in your memory.

Publicité panam

Musiques du Monde

Fête de la Musique 2025 | The musical Esperanto of the Kuné ensemble

by Frédéric Cardin

The Toronto-based collective Kuné (which means “together” in Esperanto) brings together a fairly broad ecumenical group of influences and musical traditions in the same assemblage. West Africa, Greece, Iraq, Brazil, Turkey, Peru, Mexico, etc. are all represented by the musicians who form its beating heart. The mayonnaise is deliciously taken, obviously, because the pieces follow one another with a speed that leaves no spectator hungry. Catchy rhythms, which draw as much from the traditions of Brazil and West Asia as from Mandingo Africa, traditional Europe and the Latin world; simple but catchy melodies, seductive voices, perfectly interwoven intercultural arrangements and instrumentations, in short, Kuné is a kind of small global orchestra emblematic of contemporary Canada. One wonders why these artists have not come to Quebec before (unless I am mistaken). In any case, we should look into it, because they know how to raise the energy level on a stage.

Classical

Fête de la Musique 2025 | The feathers of Luc Beauséjour and the character of Julie Boulianne

by Frédéric Cardin

Not easy for classical artists to perform at the Tremblant Music Festival. The temperature has its moods, and it doesn’t care if it suits the performers and their instruments. It was chilly on this Saturday afternoon at the foot of the mountain, which can’t be ideal for a singer. Plus, it rained, it was sunny, and it rained again. But well, Julie knows how to do it and has performed with character the different arias on the program presented on the big Québécor stage. A lot of Mozart (The Marriage of Figaro, Don Giovanni...) and French Melodies (Hahn, Pauline Viardot…), a repertoire that she naturally inhabits and that the Quebec mezzo beautifully sketched, with a touch of facial expression, enough to follow the characters’ states of mind. Luc Beauséjour assisted with all the necessary elegance on piano. At the end of the recital, which was still attended by quite a few people despite the uncertain weather, Angèle Dubeau gave the pianist a bag full of bird feathers. He revealed to us that he uses them to make plectrums for his harpsichord (which is used to pluck the strings of the instrument), a material that was used in the past. Just to see the reaction of the audience who “discovered” a manufacturing secret hidden behind the music, the Fête de la Musique was worth organizing.

Alternative / Alternative Rock / No Wave / Post-Punk

FME 2025: Mary Shelley, a reanimated lifeform

by Lyle Hendriks

Arriving at the dark, liminal space of Bar du Curling, we’re immediately met with Brooklyn punk outfit Mary Shelley. Young, energetic, and full of that signature New York piss and vinegar, it doesn’t take long to start bouncing off the walls alongside this scrappy, genre-fucked four-piece.

Though some bands have had to work hard to earn their dancefloors this FME, this didn’t seem to be an issue at all for Mary Shelley, who commanded our attention and energy from the outset. After grabbing us by the hair, they shredded through an impressively intense set full of hard-punk, literary, IDLES-style lyrics, and jangly indie pop all rolled into one. There’s seemingly no influence or genre out of bounds for Mary Shelley, blending shoegaze, post-punk, and even bits of pieces of hip-hop to produce an altered state that I still can’t quite explain. Swapping instruments, swapping sounds, and crushing beers. Anyone worried about the death of punk is simply unwilling to recognize this reanimated lifeform as the real thing.

Like the author they’re named after, Mary Shelley is a frightening, exhilarating subversion of whatever it is you expect going in—even if you arrive with no idea who they are, both old-fashioned and totally novel.

Photos by Jacob Zweig