Alternative Rock / Blues / Blues Rock / Indie Folk / Indie Rock / Rock

Osheaga 2025 I Kaleo, Nordic Power

by Jacob Langlois-Pelletier

In terms of aura, charisma, and presence, Jökull Júlíusson, the central figure of Kaleo, is in a class of his own. Early Saturday evening, the Icelandic folk-rock band transported the Montreal audience to the heart of the Nordic landscapes, somewhere between land and sea.

With his shirt open, cowboy hat, and sunglasses firmly in place, the singer embodies style, clearly inspired by the country wave currently sweeping the music industry. As soon as he takes the stage, the band strikes up the opening notes of “Break My Baby,” a blues-rock track with modern accents from Surface Sounds. The audience immediately understands that they are about to experience something special.

The vocal power of the 35-year-old tenor is difficult to convey in writing: Júlíusson masterfully combines roughness and fragility. The Icelander can just as easily lull the crowd with a ballad like “All the Pretty Girls” — a real highlight of the evening — as he can rock them with “No Good.”

Surrounded by his four musicians and sidekicks, Júlíusson delivers a vibrant performance that stays true to the studio arrangements. Þorleifur Gaukur Davíðsson shines with his harmonica solos scattered here and there, adding a welcome touch of nostalgia. Add to that the singer’s deep soul, and the whole thing forms a perfectly balanced musical marriage.

Ten years after its release, “Way Down We Go” remains the band’s signature song. There was no better choice to conclude the show than this track, which was enthusiastically received by the fans gathered in front of the stage.

Kaleo’s performance, lasting just over 50 minutes, flew by in a flash. The band offered a moment of suspended time, poetic and soothing—a gentle balm between the high-energy performances of rappers Tommy Richman and Smino on the neighbouring stage.

Crédit photo: Tim Snow

No Wave / Post-Punk / Rock / Synth-Punk / synth-rock

Osheaga 2025 I PyPy is Weapons-Grade Synth Punk

by Lyle Hendriks

It’s always a pleasure to catch a show from PyPy, Montreal’s most eclectic and fearless freakout foursome. I’ve seen them play tiny bars in deep, rural Quebec and big venues in Montreal’s Plateau, and I can confidently say that nothing will deter this synth-punk-rock-etcetera group from absolutely losing it at the earliest opportunity. So as I pull up to watch PyPy enact their violent conquest of the Osheaga stage, it’s no surprise that their first move is to pull all the stops.

PyPy’s frenetic frontwoman, Annie-Claude Deschênes, is a magnate of vocalist energy and performance. No matter the venue, you can count on Deschênes to find a bar to stand on, a drink to appropriate, and, in this case, a bachelor party zebra-print cowboy hat to borrow. By midway through the first track, she’s hopped down off the stage and folded in half in the midst of a small but growing crowd. She singles out members of the audience and commands them to dance, compelling us with wide eyes and jerky movements, transforming into an edgy animal that might bolt or bite at any moment.

Meanwhile, she’s supported by her outstanding band. Simon Besré is like a god of thunder on the drums, explosive tom fills and snare hits and threatening to liquefy us while the driving, anxious bass of Philippe Clement tosses us from port to starboard with every bar. Roy Vucino, meanwhile, is like a man possessed on guitar, often joining Deschênes in the crowd, kneeling over his instrument as he shreds with the strength and energy of four lesser players.

Once again, PyPy has proven their claim as Montreal’s most righteous rock band, and this latest incursion into the sanitized scene of Osheaga shows that their holy war is well underway.

Photos courtesy of Oshega / Julio Alejandro

Hip Hop

Osheaga 2025 I Doechii: Queen of the Swamp

by Lyle Hendriks

As a white, cis-male, hetero-enough man, I get the immediate sense that Tampa-born rap sensation Doechii isn’t really ‘for’ me, a point that’s immediately proven by the ear-shattering eruption of cheers when she screams “Where my lesbians at?” into the mic. But after seeing this bombastic, lethally articulate rapper perform for the first time, I can also say that, target audience or not, anyone can get behind the raw power that Doechii has to offer.

The hype begins well before her set as we watch a team of 20 set up a massive, lush nature scene onstage. And when she finally arrives on the elevated, grassy platform at centrestage, it’s like the queen of the swamp herself has appeared to cast her judgement on us. The first song is almost impossible to hear over the shrieking thousands around us, but her energy is undeniable. She moves with weight and authority, commanding respect and taking no prisoners as she fires off breakneck lyrics and booming hooks.

In spite of her fearsome bravado, Doechii doesn’t come off as disconnected. In fact, she took a break from being a bad bitch to get real with us, explaining that it was her first time in Canada and that she truly didn’t know there was so much love for her in the Great White North—a statement that received another deafening roar from the crowd. With her moment of genuine gratitude out of the way, it was back on the mic, her vocals coming in at about a thousand times the energy and power of her recordings, like she has a point to prove with every single line.

Doechii was also supported by DJ Miss Milan, who wound up punching way above her station when it came to bringing the energy, hype, and even lyrics to much of the set. Between this incredibly synchronized duo, the otherworldly set dressing, and the unapologetic allure of Doechii herself, it’s a mystery how this sensational act didn’t wind up on the mainstage.

Photos courtesy of Osheaga/ Benoit Rousseau

Art Folk / Baroque Pop / Indie Folk / Indie Rock / Pop

Osheaga 2025 I An Invitation from Lucy Dacus

by Lyle Hendriks

Looking around the hyper-corporate, sugarcoated Osheaga festival, where vibrant Coors Light merch, sheer bellbottoms, and wasted office-workers run amok, it’s difficult to imagine finding a place for an earnest, solemn artist like Lucy Dacus. Nevertheless, here she is at 6 in the evening, pinching off pieces of her soul before our eyes.

Lucy Dacus and the greater Boygenius cinematic universe fill an important niche in the world of music. We all need songs to throw on after a breakup, something to accompany your next dissociative stare through a rain-streaked bus window, and Dacus delivers. There’s something dissonant about seeing it played on a pleasant summer’s eve, peering over the shoulders of a vibrating crowd, but Dacus manages to hold us in place anyway. With grace, poise, and a bit of endearing self-consciousness, she weaves through tracks off her new album, Forever Is a Feeling (2025, Geffen Records), bringing melancholy Americana and folksy ballads to the pop-addled masses of the mainstage.

In some ways, it’s like stepping into a cool cellar after a day in the garden. Where there was sunshine and butterflies before, now lies damp cobblestones and ancient cobwebs, illuminated by the tender, fragile candlelight of Dacus’ immaculate songwriting and deathly serious demeanour. While her Baroque folk might not be exactly to my tastes, it was a welcome and well-received relief from a day otherwise dominated by quippy pop and nostalgia bait. An honest, vulnerable display of quiet strength, Lucy Dacus asks us to lean in, inviting our attention instead of demanding it.

Folk Pop / indie / Indie Pop / Rock

Osheaga 2025 I The Alex Warren phenomenon arrives in town

by Jacob Langlois-Pelletier

Like Chappell Roan last year, Alex Warren is one of those artists who exploded between being added to the Osheaga lineup and taking the stage. As a result, Jean-Drapeau Park was already packed by 3 p.m. to welcome the Californian phenomenon—one of the largest afternoon crowds in recent years.

Topping the Billboard charts for eight weeks, “Ordinary” has changed the trajectory of the 24-year-old singer-songwriter. Although Warren has been releasing songs sporadically since 2021, it was with the release of this track in February that he truly established himself as one of the new sensations of American pop.

From the very first notes, his powerful voice hits you like a ton of bricks. Warren skillfully conveys the emotions of a journey marked by hardship, including the loss of both his parents and the ups and downs of his love life.

“I’m going to get some water and my guitar, then play a song I wrote for my wife,” he says before performing the touching “Catch My Breath.” It is precisely this sincerity and humility that charm his audience and explain the extent of his success. Throughout his performance, the artist repeatedly thanked the audience and engaged in warm exchanges with them.

Despite a still limited repertoire, he delivered a generous show, culminating in “Ordinary,” sung at the top of his lungs by a captivated crowd. Special mention goes to “Bloodline,” undoubtedly one of the most intense and successful moments of his performance.

Alex Warren may not be revolutionizing the genre, but he offers polished, unifying, and, above all, effective folk-pop. And judging by the enthusiasm he generates, his rise is only just beginning.

Crédit photo: Tim Snow

Alternative Rock / Indie Pop / Indie Rock

Osheaga 2025 I Good Neighbours, these ideal neighbours

by Jacob Langlois-Pelletier

You know those neighbours who are always smiling, tireless party animals with contagious energy? That’s exactly what the English duo Good Neighbors represents, as they brilliantly demonstrated to Osheaga festivalgoers on Saturday.

The name Good Neighbours may not ring a bell, but we’re willing to bet you know their song “Home”—a huge hit released last year that propelled them to the top of the British charts. Thanks to this track, Oli Fox and Scott Verrill are now touring the globe, even before releasing a full album. Their debut album, Blue Sky Mentality, will be released in September.

Accompanied by their band and armed with guitars, the two musicians let loose on stage. Wearing an orange shirt, blond hair, and a hunting cap, Oli Fox, the band’s singer, shines with his casual style. Inspired by the indie sound of the 2000s and heavily influenced by bands like Bleachers and Empire Of The Sun, Good Neighbours’ fiery music has everything it takes to awaken the crazy teenager in you.

Taking advantage of the imminent arrival of the phenomenon that is Alex Warren, the duo had a blast in front of an impressive crowd for an early afternoon show. They also took the opportunity to test out some new tracks, interspersed with their excellent “Ripple,” “Daisies,” and “Starry Eyed.” The crowd was fully engaged, applauding them nonstop, which bodes well for the release of their first offering.

There’s no doubt about it: Good Neighbours can return to London with their heads held high, feeling that they have more than conquered the Montreal audience. This was undoubtedly one of the most accomplished performances of the second day of festivities.

Crédit photo: Tim Snow

Bedroom Pop / Folk Pop / Indie Pop

Osheaga 2025 I The Magic of Gracie Abrams

by Sophie Mediavilla-Rivard

Gracie Abrams shone on the second night of Osheaga in front of an audience that was already won over, despite the concert being cut short by the weather. “This is unreal,” she said on stage, visibly moved by the warm reception from festival-goers.

She made her entrance with her guitar in hand, dressed in a long white dress that made her look like an angel. The 25-year-old artist immediately created a magical atmosphere by opening her set with the song “Risk,” from her latest album, The Secret of Us, released in June 2024.

It was this album that propelled her to the popular success she enjoys today and brought together an enthusiastic crowd on Saturday evening at Jean-Drapeau Park. Gracie Abrams first made a name for herself with “21,” a track from the album Minor, released in 2020. She performed it in front of sparkling fireworks projected behind the stage.

Unfortunately, a storm forced the show to stop about ten minutes before the end, preventing Gracie Abrams from playing her two most popular songs, “Close To You” and “That’s So True,” much to the disappointment of her loyal audience.

However, we will remember the artist fondly, as she gave one of the strongest performances of the second day of the festival. She proved that she is as skilled on the guitar and piano (on which she played “Cool” and “I miss you, I’m sorry”) as she is with her voice. Always authentically herself, the singer performed with equal parts gentleness and passion.

“Osheaga, I’m so sad we had to cut the last set short because of the weather, but you were incredible tonight. It was crazy and wonderful to be back after three years,” wrote the singer, who first came to Osheaga in 2022, on Instagram, clearly sharing her fans’ disappointment but also their joy.

Crédit photo: Osheaga

Osheaga 2025 I Shaboozey, the Festival’s Cowboy

by Sophie Mediavilla-Rivard

From the very first notes, Shaboozey set the tone for the show he was about to deliver at Osheaga on Saturday afternoon. Accompanied by banjo music and performing in front of a backdrop reminiscent of a rather clichéd Wild West setting, the new country phenomenon kicked off his song “I’m the Last of My Kind” with the crowd.

Despite a certain monotony, the singer thrilled the diverse audience that had gathered to see him. He lived up to expectations with his catchy choruses and deep voice reminiscent of Zach Bryan or even Dylan Gossett. The moment seemed straight out of a movie credits sequence, as his popular tunes floated in front of the sublime sunset overlooking the stage and the Ferris wheel.

Shaboozey released his first album in 2018, but his music career really took off in 2024 with his song “A Bar Song (Tipsy),” which was and continues to be a huge hit. The song broke the record for the most weeks spent at the top of the Billboard Canadian Hot 100, and was nominated for Song of the Year, Best Country Song, and Best Country Solo Performance at the Grammy Awards.

With a few extra minutes at the end of his show, the man nicknamed The Boot Cut Kid took the opportunity to perform this famous song twice in a row. Didn’t he have anything else to offer? We don’t hold it against him too much, since the crowd obviously danced and sang along to the lyrics again with great enthusiasm.

“Thank you all for changing my life. Every day of my life is a blessing,” he shared before the song “Good News.” Quebecers seem to adore him—and they haven’t seen the last of him performing. After appearing at the Quebec City Summer Festival last month, he will also be back at Lasso on August 15.

Crédit photo: Tim Snow

Osheaga 2025 I Smino, Rapper of the Hour

by Sophie Mediavilla-Rivard

Critically acclaimed artist Smino delivered a compelling performance on Saturday night at Osheaga, switching seamlessly between styles with his trademark boundless energy.

The 33-year-old rapper, who has a string of musical projects under his belt, took to the stage with intensity, setting the tone for the show to come. He opened with the track “KLINK” from his second album Noir, released in 2018, and followed it up with “90 Proof.” The latter was produced in collaboration with J. Cole, a detail that Smino did not forget to mention, emphasizing how much this song had changed his life due to its popularity.

He quickly charmed the audience—which included both longtime fans and new faces—by interacting with them frequently. For nearly an hour, Smino shared the mic with his DJ and sidekick NOS: the duo’s energy, particularly during “I Deserve,” was striking. The musicians’ involvement, with a strong presence of electric guitar and drums, also added dimension to the rapper’s set.

Born Christopher Smith Jr., the American artist is known for the R&B influences in his music. His performance of the song “Wild Irish Rose,” among others, demonstrates his impeccable mastery of his voice, which transitions flawlessly from low to high notes and remains highly controlled during rap verses.

Special mention goes to his performance of “Pro Freaks,” a track produced with Fatman Scoop and Doechii—the big star of the festival’s first day—which had the crowd screaming and jumping until the end of the show. One thing is certain: he set the stage perfectly for hip-hop fans waiting for headliner Tyler, the Creator at the end of the evening.

Crédit photo: Tim Snow

dance / Electronic / future house / House / jazz-house

Osheaga 2025 I Barry Can’t Swim Dives Head First

by Stephan Boissonneault

I’m a huge fan of early to mid-2000s era electronica dance music (Blockhead, Bonobo, Com Truise), a sound that is recreated on stage rather than just DJ’d live, and this is what the Scottish producer Joshua Spence Mainnie, known as Barry Can’t Swim, brought before Doechii’s set next door. Before last week, I had no idea who this 30-something producer was, having been sent his new album, Loner, press release countless times. But after his set, it’s safe to say I’ll be playing Loner on the headphones to relive the live set experience.

Barry Can’t Swim live consists of a three-piece; Mainnie on a high rise, surrounded by synths and keyboards, one other keyboardist, and a live drummer (who holds down the beats so the others can really go for it). The backdrop is a mix of vibrant, psychedelic imagery; kaleidoscopic human walking, shapes melting into eyes and faces, and maybe just for Osheaga, a Pink Floyd-esque laser show. The music is always danceable, but brings a bit of noise and experimental electronic work before bouncing into a future house vibe full of bass. You wait for the drop, but sometimes it comes when you least expect—my favourite kind of electro music, non predictable and bringing the right amount of intensity and bass when you want to rage. Mainnie’s little jazzy keyboard solos really send Barry Can’t Swim’s sound into the stratosphere. This is an artist I’ll be watching for sure.

Photos courtesy of Osheaga / Benoit Rousseau

Dream Pop / Shoegaze / Synth-Pop / synth-rock / Synthwave

Osheaga 2025 I Bibi Club’s Dreamwave Fury

by Stephan Boissonneault

Bibi Club, le duo montréalais de dream pop alternative composé de Nicolas Basque et Adèle Trottier-Rivard, est un héros de la scène musicale montréalaise depuis qu’ils ont lancé leur premier album La soleil et la mer, il était donc logique qu’ils ouvrent la scène Sirius XM, où Osheaga a laissé tomber tous les groupes locaux cette année. Bien que je pense qu’ils méritent de jouer sur une plus grande scène, peut-être Valley ou Island, Bibi Club a apporté sa fureur dreamwave ; Basque a posé des pistes de guitare bruyantes, tandis que Trottier-Rivard a oscillé entre le synthé, les cymbales crash, et sa voix à la Cocteau Twins. J’ai déjà vu Bibi Club et c’est probablement ce qui se rapproche le plus d’un set de quelqu’un comme Stereolab, ce qui est un grand compliment.

Le set était enjoué, et c’était cool de voir les passants s’arrêter pour voir certains des titres de Feu de garde de Bibi Club, sélectionnés pour le Polaris, et même rester pour tout le show, au lieu d’aller voir Artemas ou la fin de Lucy Dacus. Je suppose donc que leur présence sur la plus petite scène, juste au milieu des autres, était stratégique pour attirer la foule qui n’avait aucune idée de ce qu’était ce duo de dream pop franco-synthétique. Nous, Montréalais, connaissons Bibi Club et sa présence éternelle, mais c’était agréable de les voir enfin reconnus dans un festival grand public.

Alt-Pop / Ambient Pop / Art Pop / Chamber Pop / Pop

Osheaga 2025 I FINNEAS Transforms Osheaga Into a Dreamscape

by Stephan Boissonneault

FINNEAS’s Osheaga set was a masterclass in cinematic pop minimalism, delivered with quiet intensity and emotional precision. Best known as Billie Eilish’s brother, producer, and co-writer, FINNEAS stepped confidently into his own spotlight, blending singer-songwriter vulnerability with slick electronic and piano ballad flourishes, and a few electric guitar licks—honestly I could have had more. Dressed simply, like a trucker, except for his heart pants, he let the music do the talking, his voice clear and arching above a sparse piano line that silenced even the festival chatter.

What followed was a carefully crafted set that moved between introspective ballads and pulsing alt-pop. “Little Window” brought a nostalgic surge of glitchy synths and yearning, while “Let’s Fall In Love For The Night” felt like a whispered mantra to the crowd. FINNEAS proved himself a natural performer—gracious, soft-spoken, but magnetic with a voice of immense range—drawing listeners in with every shift in tone. His music is quite generic, sounding like some of the pop from yesteryears (I’ll say ABBA or Supertramp at times), but in the best way.

Photos courtest of Osheaga / Tim Snow