Concert review

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

Dark Pop / Shoegaze

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

Subscribe to our newsletter

Inscription
Infolettre

"*" indicates required fields

Type of Suscribers