FME 2025: APACALDA Cracks the Door for Us

by Lyle Hendriks

Bringing together dark tones, bedroom boudoir, and electrifying pop sensibilities, APACALDA was one of the steadiest acts at FME on Saturday. Cassandra Angheluta brought incredible intimacy to the once-sterile environment of L’ordre Loyal des Moose, drawing us in with dark, heavy, yet incredibly restrained and refined tracks. Her band, made up of Raphy Bedard de Vilca (bass) and Caleb LeBel (drums), is right in the pocket alongside her, pulling us through pitch-black waters like ferrymen as we’re treated to maze-like song structures and captivating vocals. Bedard de Vilca plays with poise and a seemingly endless supply of restrained energy, while LeBel’s intricate, subtle drum work provides the perfect energy.

The word for Apacalda is restraint. Like a tight bandage on an old wound, Angheluta can shift effortlessly from breathy, secretive passages to incredible climaxes, dancing on a tightrope in a world of her own while she does.

There’s a deep reservoir of vulnerability and pain behind the initially catchy offerings of Apacalda, something that feels almost too private to look at directly. But still, Angheluta pulls us back every time, inviting us, then demanding us to look at the bloodied parts of her that produce such a visceral, compelling sound. Apacalda is at once instantly approachable and deeply challenging, caught in the middle of two extremes to deliver a beautiful tension unlike anything else we saw this weekend.

Photos by Jacob Zweig

crowd shot: Julia Mela

Neo-Psychedelia / Psych-Funk / Psych-Rock / Rock

FME 2025: La Flemme, a blender for everyone

by Stephan Boissonneault

There have been many hair-brained garage psych rock bands at FME, bands that can definitely list a group like Oh Sees as a main influence, but La Flemme might be among the most genuine. This Franco four-piece from Marseille, France, brings an uncontained intensity for the party, most likely the kind of people you can confide in during a rowdy 4 am rager or start of an unruly business adventure. The visuals from Anthony Piazza were legendary as always, and my favourite had to be the blender cycloning some icing that was actually planet Earth.

Alt Folk / art-folk / Folk

FME 2025: Bells Larsen tames the wild night

by Stephan Boissonneault

Speaking strictly from experience, it is pleasing and good for one’s health to check out some of the lighter folk fair at FME. But Bell’s Larsen brought one of those most vulnerable and calming sets to the Agora Des Arts I’ve seen in years. Under the gorgeous, seated venue, the singer-songwriter (now based in Montreal) weaved through songs from his fantastic Blurring Time album. This record got quite a bit of national attention after he was forced to cancel his US tour due to a new anti-transgender visa law.

Audience members were stunned and stupefied. I even spotted one woman tearing up near the end of the set. It was an intimate set from Bells, who has always worn his heart on his sleeve. The band was also on point, giving Bells the spotlight, but jumping in for a glowing moment or two. The lighting was dark, but with the standard red shapes blasting off the walls, it was a strange and almost esoteric vibe. I was only able to witness four or so songs (that’s how festivals like this go), but those four will be lodged in my brain stem for some time. A wonderful and tame set for an otherwise wild and loose night.

Photos by Jacob Zweig

Hard Rock / Hardcore / punk hardcore / Rock

FME 2025: Puffer is hardcore healing for the soul

by Stephan Boissonneault

Puffer was the last show of an eventful FME Day 2. This working man’s hardcore punk group from Montreal doesn’t play its hometown much, so their 1:30 am basement show was somewhat of a marvel. As they jumped into a track from the Street Hassle LP, the mosh began and never really ceased until the set was over. This band never slows down. I never saw them break speed or rest for a sip of water; just a pure onslaught of heavy punk. Heavy riffs, crashing drums, and a frontman leading the charge, pure maximum rock n roll. We’re all sweaty, bruised and a little tired, but Puffer is giving it their all and we do the same.

It’s always nice to see other bands watching hometown heroes, but in the front row of Puffer’s set was Lieselot Elzinga of Amsterdam’s Baby Berserk (who held a wild midnight secret show in the parking lot of Morasse Poutine). Many claim they know the best way to end a raucous night at FME, but no doubt about it, Puffer is hardcore healing for the soul.

Hip Hop / Hip Hop / hip-hop abstrait / hip-hop alternatif

FME 2025: Super Duty Tough Work Makes It Look Easy

by Lyle Hendriks

There’s a sincere quality to Brendan Grey, frontman and emcee for the Manitoba-borne Super Duty Tough Work. He has an artful, rambling way of spitting his lyrics, seemingly blurring the lines between freestyle and written performance as he canters through his literary style. Supported by a truly outstanding live band to bring the classic jazz-hop foundation into focus. Grey commands his players deftly as he goes, hushing the drums here, redirecting the piano there, all while effortlessly spitting thousands of syllables as though he was simply taking a breath.

At one point, Grey took an interlude to discuss what keeps the band going. The love from the audiences, their love for the music. But above all else—it’s the merch. He earns a laugh from us and jumps quickly into more esoteric tracks, most notably an original, semi-MF DOOM-inspired cut entitled “Fuck the Police,” which won the crowd over with ease as Grey strutted across the stage with grace, poise, and sheer willpower.

When you listen to Super Duty Tough Work, it’s easy to feel the love and gratitude that each member exudes. Criminally tight and completely enmeshed in their music and their message, this group deserves your attention, your money, and your time.

Photos by Julia Mela

Alternative Rock / Art Punk / Art Rock / Indie Rock / Shoegaze

FME 2O25: Bibi Club live is like smiling after a long cry

by Jake Friesen

Bibi Club, an unassuming duo consisting of Adèle Trottier-Rivard and Nicolas Basque, take no time creating an intimate and detailed world of sound. These consummate professionals instantly elevated the atmosphere of the room without uttering a single word. Bibi Club combines 2000s’ indie nostalgia with elaborate, bedroom-inspired sonic threads to create a dreamy release from a frantic first day at FME.

I am immediately taken by the ease with which Trottier-Rivard multitasks, moving from keyboard and microphone to precussion section. The connection between Trottier-Rivard and Basque is palpable, the sharp precision with which they play is a testament to the trust present on stage. Trottier-Rivard’s hazy vocals illimunate and reflect against Basque’s intricate guitar. They breathe together in harmonic unison.

The performance builds in intensity without being demanding about it, instead leaning into their natural allure as artists extremely well-versed in their craft. As the intensity builds, Basque shreds in a never-ending flow of energy. He appears to be moving at double the speed, but the music remains effortlessly smooth. Being witness to a Bibi Club show feels like smiling for the first time after a long cry; they embody a release followed by a swift and eloquent reminder of the beauty in the human experience.

Performer shots: Jacob Zweig

Crowd Shots: Julia Mela

Electro-Pop / Electronic / hyperpop

FME 2025: UTO leaves much to be desired

by Jake Friesen

UTO emerges from the darkness of Cabaret de la Dernière Chance under UV lights, decked out in all white, their faces obscured by the contrast of the glow. The unrelenting experimental sonic profile of UTO precedes them, blending heavy synths, eclectic percussion, and distorted vocals with a Björk-like delivery. Their recordings are a tapestry of auricular exploration. Intrigue befalls the crowd as we take in the mysterious bodies weaving their way from the audience to the stage. Breaking out into semi-choreographed dance at times, standing and delivering at others.

The irregular dance breaks disrupted the natural flow of the performance as the audience themselves struggled to find their place in witnessing the spectacle. Attempts were made to create a performance as dynamic and interesting as their recordings. The ultimate effect, however, was not unlike tripping on Benadryl during a game of laser tag. The underdeveloped nature of the performance leaves much to be desired, but none more so than the desire to see these weirdos totally lose their shit on stage. Had the performance built to a sweaty, maximalist, lights-on crescendo, all would have been forgiven. The trouble with being a magnetically cool experimental music duo is the potential for emotional inaccessibility as displayed in this performance. This recital of intrepid musical exploration aches to be cut with thrashing vulnerability. As UTO continues to push musical boundaries as they have for over half a decade, I hope they work to find their emotional edge.

Performer shots: Jacob Zweig

Crowd shots: Julia Mela

Pop

FME 2025: Billie du Page Kicks off FME 2025

by Jake Friesen

Billie du Page kicks off the festivities at the FME stage with modern Fran-English pop.

Despite the sub-10-degree temperatures and an audience primarily clad in puffer jackets and gloves, Billie’s bouncy beats and echoey guitars, mixed with her silky smooth voice, take the audience on a summery pop getaway. Moving about the stage with efforvecence and ease, she is a Quebecoise pop princess for the whole family. As she introduced her song “Malentendu,” she asked the audience if they had been ghosted before, and an elderly gentleman behind the crowd pipes up with an enthusiastic “OUAIS!”

Billie du Page delivers songs about heartbreak, empowerment and love with Top 40 pop sensibilities. Her vocals do not falter, and her band doesn’t miss a beat. From Milky Chance, Billie Eilish, Dua Lipa, and Lana Del Rey, the influences in the music are undeniable. Each song sounds directly pulled from the alternative pop playbook of the last ten years. Inventing your own sound isn’t for everyone, but the talent du Page and her band displays leaves me with the impression that, given some more time to mature, they will step into pop stardom driven by their own sound.

Photos By Jacob Zweig

Photos by Julia Mela

Dark Pop / dark wave / Post-Punk / Synth-Glam / Synth-Pop / Synthwave

FME 2025: Baby Berserk wins the fashion show at FME night one

by Stephan Boissonneault

If there were a fashion contest at this year’s FME in Rouyn-Noranda, Baby Berserk, a trio with origins in Amsterdam, would definitely take home the winning prize. Dressed in some outfits that scream sleazy Paris runway: a pink, loose gauzy half-cut blouse & blonde beehive haircut (bass + vocals), a houndstooth jump suit (synth), and a black suit and tie beret combo (synth and guitar), this group laid down some dancey post punk pop music. Think Blondie meets the Human League and a bit of Björk, although they finished their set with a wild cover of “I Hate You,” by Monks—or The Fall depending on your preferred version. That was the last song and singer, Lieselot Elzinga, ran through the crowd, trying to get more energy out of the pretty lifeless crowd.

Baby Berserk would probably have faired better during a later Saturday set, when the crowd was younger ands more agile, but mixed with the fantastic visuals from Quebec’s superstar VJ projectionist, Anthony Piazza, it was still a cool set. I was only able to catch three or so songs from Baby Berserk, but they were just the right amount of dance and post punk I needed for twilight hours on FME day one.

Photos by Jacob Zweig

hyperpop / nu-jazz / soul-pop / Soul/R&B

FME 2025: Virginie B’s jazzy medieval hyper pop at nightfall

by Stephan Boissonneault

I’ve only heard Virginie B on recording, specifically her romance hyperpop album Astral 2000, so at her outdoor FME set, I was expecting more of a backing track popstar kind of vibe. I was ecstatic when I saw she was playing with a full band. Decked out in an outfit that could be described as medieval chic, think a pauper in rags who just got dubbed a knight, she brought out a full band: bass, drums, saxophone, synths, melodica, and herself sometimes slaying some chords on the axe—for a set of jazzy medieval hyperpop.

The set on a corner Alley in Rouyn-Noranda was ablaze, and everybody danced in the brisk, air-filled dark. Virginie B is a delight to witness live. Her positive energy and bouncy nature are infectious, and she works the crowd, bouncing between running around the stage, her synths, and the microphone. She even played a song from the Legend of Zelda video game universe. What a delight.

Photos by Jacob Zweig

Ambient / Electronic / Techno / Experimental Techno

MUTEK | Valesuchi: Diamonds in the Rough

by Loic Minty

As the night carried on and more people arrived into the dome, the heat and pressure of bodies tumbling against each other gave form to a diamond.

Behind the decks, Valesuchi presented something unique that shone through the club atmosphere. Her set had a truly live feel. If you paid attention, you could follow the trail of thoughts in real time as she built rich hardware polyrhythms. Valesuchi brought us on a journey from elongated clave loops to dense series of claps that sounded like sped-up Brazilian Caixa grooves.

At the peak of intensity she brought the bass back into the mix and everything suddenly fell in place, we were at once in two worlds, between gyrating percussions and grounded kicks. Arms flailed in harmony, dancers filled the space like liquid. The mix was raw in the best way, as if she had a deep relationship with her instruments and didn’t care to hide their imperfections. This is what made her sound truly authentic, and unmistakably live. While the drums had everyone dancing, dirty hovering pads and wailing sirens subtly exposed a more grungy aesthetic and moodiness that echoed through the rest of the night. The depth of emotion was refreshing. From start to finish, Valesuchi skillfully managed to draw our attention through a panorama of detailed sonic landscapes. Her imaginative approach to sound brought excitement for the future of electronic music.

What will come next? We will surely find out, as Mutek continues to deliver incredibly soulful manifestations of electronic music year after year. This year’s lineup left us wanting more as artists like Valesuchi fueled the discussion on how music can be played and experienced, and on the importance of human touch.

Photo: Bruno Aïello-Destombes

Afro-Electro / Central African traditional music / Drum & Bass / Experimental / Contemporary / jungle / noise / Techno

MUTEK | Slikback: Digital Frenzy in Black Africa

by Alain Brunet

Transplanted to Poland after passing through Angola, Kenyan artist Slikback, whose real name is Freddy Mwaura Njau, generated a wave of synthetic percussion on Saturday, accompanied by visionary specters and warrior spirits. To describe this approach as frenetic, undoubtedly my favorite on the Nocturne 4 program (Saturday night to Sunday), is an understatement.

Fired off at extreme tempos, this barrage of beats had no other effect than to propel the audience, already feverish with Saturday night fever, into a sea of fire. Each as abrasive as the next, Slikback’s electroacoustic interludes connect bursts of distinct rhythmic sequences of extraordinary density.

The polyrhythms featured in the program are nothing exotic, and any facile references to Africa are excluded from the outset: violent noise, paramilitary evocations, tensions and explosions à la Ben Frost (who created documentary music at the heart of conflicts in interlacustrine Africa), sounds typical of the electronic lexicon… We can discern fragments of trap, footwork, jungle, drum & bass, techno, and more… The sequences on the program draw us into an irresistible maelstrom, jolting us as soon as we feel comfortable and pushing us into the next scene. What a punch!

Emotional radicalism and the formal search for this signature lead us to discover the African continent as it is today in its urban areas, far beyond its pop culture. The guy is where Westerners don’t expect him to be, at least not yet. We are not dealing with some predictable extrapolation of trendy Afrobeats and Amapiano (all of which are cool, mind you). And yet, here we are in digital Africa, with an authentic contribution on an international level.

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