Osheaga 2025 : Joey Valence & Brae bring the Zoomer rap

by Stephan Boissonneault

Joey Valence & Brae’s live show is a high-octane blast of throwback chaos, blending early-2000s Beastie Boys energy with Gen Z absurdity. From the moment they hit the stage, the duo detonates into movement, flinging themselves across the stage like hyperactive cartoon characters armed with MPCs and mosh calls. They’re self-aware without being ironic, ridiculous without being gimmicky.

Their chemistry is electric—Joey’s machine-gun delivery paired with Brae’s off-kilter charm turns each track into a rapid-fire volley of punchlines, Nintendo-core samples, and breakbeats. As mentioned earlier, they share the same angst-ridden cadence as Ad-Rock and Mike D of the Beastie Boys, but modernize it with beats from Run The Jewels and Charli XCX’s “365.” The set feels like a DIY LAN party fused with a backyard rap battle, wrapped in a Hot Topic hoodie. Somehow, it works. Joey Valence & Brae may be nostalgic, but they’re not stuck in the past—they’re flipping it, glitching it, and stage-diving straight into the future. For a duo that has just started getting more known, especially over Instagram, this rap duo delivered the goods for old and new fans of hip hop.

Photos courtesy of Osheaga / Benoit Rousseau

période romantique

Festival de Lanaudière | Marc-André Hamelin and Dover Quartet : Music That Resonates

by Frédéric Cardin

After heroically saving the Orchestre Métropolitain concert last July 27th (READ MY REVIEW HERE), pianist Marc-André Hamelin last night offered the program for which he had been initially called. It was taking place at the Mascouche Church (north east of Montreal), which was very well attended for the occasion. We are delighted because the evening was beautiful.

Hamelin launched the program with a sonata by Nikolai Medtner, the one in A minor, Op. 38 No. 1, “Reminiscenza.” It’s a single-movement piece, about 15 minutes long, that skillfully blends, as is the case with Medtner, Rachmaninoff-esque romantic impulses with German contrapuntal density. This sonata is unusual in that it is part of a larger cycle of eight “forgotten melodies” (reminiscenza), hence the numerical cataloging. Op. 38 No. 1 is the most extensive of the eight, a true sonata in its own right that was strangely inserted into a thematic suite. It begins with a gentle melody with nostalgic echoes before developing into something increasingly dense and agitated, and then returning to the spirit of initial simplicity. Hamelin played it with force, although the church’s rather reverberant acoustics somewhat blurred the contours of the piece.

Next was the American Dover Quartet, formed at the Curtis Institute. The group is solid and has numerous acclaimed and award-winning recordings to their credit. The usual violist, Julianne Lee, was unable to attend, so she was replaced by Pierre Lapointe. No, of course not the one heard the day before with OM on Mount Royal, who is a popular singer in Quebec. Rather a Canadian violist born in Hull and based in Texas, who is unfortunately little known here. The poor man is almost impossible to find on the francophone web. Type in Pierre Lapointe, add “alto” or even “violin,” and the entire results page will still be taken up by the Quebec pop artist. Too bad, because he showed very good skills with the rest of the group. Technically solid, expressive, although a bit muted in terms of projection, with some exceptions.

Thus formed, the Dover Quartet launched Tchaikovsky’s captivating String Quartet No. 1 in D major, Op. 11, with a somewhat thin, almost acidic sound. For comparison, listen to the St. Lawrence playing the same entrance, this theme so powerfully linked to the Russian soul, and feel the roundness of the sound, with its wonderful dark and deep color like an abyss. I admit, I prefer this way. That said, the Dover Quartet quickly regained their composure and delivered a very lyrical performance, particularly in the superb (and extremely famous) Andante cantabile, and in the Finale, which was also imbued with convincing vital energy. The last two chords could have been a bit better held, less rushed, but the audience went for a bathroom break happily humming the unforgettable theme.

The main piece was César Franck’s Piano Quintet in F minor, FWV 7, which brought together Hamelin and the quartet. The quintet is a powerful construction, with passages that give you chills. I’m thinking especially of the second movement, with its sublime chords imbued with poignant spirituality, even transcendent mysticism. Not all string quartets manage to recreate that moment in its emotional intensity. Not all pianists join in with the necessary delicacy. That was the case yesterday, and therefore a very beautiful moment of music. The final movement was performed with effective feverishness, driven by precise articulations, although, once again, somewhat blurred by the resonant vastness of the space. It makes me want to recommend a comparison (if you were present and can make it) : go listen to the same Marc-André Hamelin, with a four-star quartet (Joshua Bell, Pamela Franck, Nobuko Imai, and Steven Isserlis) in a recording captured live at Verbier: the clarity of the voices is remarkable, as is the dramatic intent of the writing, in a sound recording that is much clearer than the in-situ projection at the Mascouche church. A noticeable difference.

Nevertheless, the expressive fire and quality of playing of the five musicians on stage gave the audience present an excellent concert of high-quality music. A heartfelt ovation was given, and rightly so.

Chanson francophone / chanson keb franco / Classical

Orchestre métropolitain on Mount Royal: a big collective hug

by Frédéric Cardin

When we go to the annual OM concert at the foot of Mount Royal, we don’t go there to play the knowledgeable music lovers, who seek the sonic sublime and the magic of colors in its maximum fullness. For that, you have to go to the Maison symphonique. Or, if you want to do it outdoors, at the Lanaudière Amphitheatre, a model of its kind. Here, what we are looking for is more of a sense of collective communion. In this sense, the mandate is still well fulfilled and the objective achieved by the Montreal orchestra. A large crowd, reflective of the city, united in all colors, styles, ages, social classes, gender identities, politics, etc., gathered on the slopes of the mountain at sunset and as night fell, offering a dreamy panorama of the city’s skyscrapers behind the scene, and the splendid nature of the Mount, on the side.

In this kind of meeting, the sound quality is what it can be, that is to say, pushed by generous amplification so that we can hear the notes played by the orchestra as loudly as possible and over a vast distance, but without generating unpleasant distortion. A difficult equilibrium. Comments gleaned here and there after the evening indicate that some connoisseurs deplored the fact that what we had heard did not exactly correspond to what we heard at the Maison symphonique. That’s obvious, and as I just said, that’s not the goal.

From the start (and after a pre-concert appetizer in the form of a tribute to Pierre Péladeau, the patron who allowed this orchestra to exist at the beginning, despite the presence of the more glorious OSM), the colors were announced with a greeting about Yannick as the “most beautiful human being put on earth by God” (nothing less), about Montreal as the most beautiful city in the Universe and the OM as the best orchestra in the world. We know that the host Mariana Mazza (replacing Kim Thuy, which necessarily disappointed many people, the two personalities being at opposite ends, Kim Thuy all elegance and delicacy, Mazza a go-getter, even vulgar) was laying it on thick and fully assumed the chauvinistic swelling of the announcements. But we smiled, and we especially appreciated it in the sense that, indeed, Montreal has something special, an energy, a personality, even a soul that instills in many of its inhabitants, and many non-natives, a rather strong devotion. We gave each other a big collective hug, a bit exaggerated, but benevolent.

As for the music, the program was very relevant in its eclecticism: the Italian Symphony by Mendelssohn that offers a very appropriate summer sparkle and memorable melodies, easily appreciated by anyone, even those who never listen to complete symphonies in normal times. A pretty piece by Augusta Holmès, L’amour et la nuit, in a romantic, almost cinematic style, was followed by a Quebec work by Hector Gratton (1900-1970), inspired by folk melodies, Dansons le carcaillou (which no one dared to do, fortunately). The classical portion concluded with the magnificent Firebird by Stravinsky, yet another score whose melodic features and colorful, grandiose style had all the makings of a film score for unfamiliar ears. A seductive factor, then, and fully appreciated by the crowd.

The Orchestra played well, to the extent that, once again, we are outdoors and the nuances and details tend to get lost. The specialist and regular concert-goer in me wants to salute the beautiful listening offered by this very large audience (50, 60 thousand?).

The finishing touch, the “cherry on the cupcake,” was provided by the immense Pierre Lapointe, probably the most refined and easily “classicizable” of Quebec singer-songwriters of the last 20 years. He sang three songs from his album Dix chansons démodées pour ceux qui ont le cœur abîmé. Three magnificent pieces with finely woven lyrics, melancholic tunes and rich and flavorful orchestrations (provided by the excellent Antoine Gratton). We were here in the great French song, at this level of musical excellence where words and notes fuse together.

The now well-established tradition of playing Beethoven’s 5th (the theme of the 1st movement) in disco style ensured a festive departure for the audience, who thus had the opportunity to sway and especially stretch their legs before returning home and saying to themselves (that was the goal) that, a classical concert, is fun.

The nitpickers will surely grumble by criticizing the largely amplified sound recording, Yannick Nézet-Séguin’s frequent changes of attire (a bit too much), Mariana Mazza’s animation (somewhat out of sync with a typical classical concert, but still, and often, funny), or even the program itself, but none of them will probably have succeeded in democratizing the symphonic concert and classical music, even the most accessible, with such effectiveness. That is why we must recognize that the OM knows how to do it and is still succeeding in its gamble to unite an entire city and its inhabitants around its product.

The OM and Yannick Nézet-Séguin have placed classical music at the heart of Montreal’s life and spirit, eliminating multiple disparities and offering a unifying narrative, acquired and appreciated by everyone, and “anyone in between.”

Orchestre métropolitain au pied du Mont-Royal-Yannick Nézet-Séguin; crédit : Tam Photography

Electronic / Techno

Late-Night Warehouse Ambiance for Juan Atkins All-Nighter at the SAT

by Julius Cesaratto

Techno’s godfather, Juan Atkins—one half of the pioneering duo Cybotron—took to the Société des Arts Technologiques to deliver an unmissable performance for techno purists. Celebrated as a founding force behind the sound born out of 1980s Detroit, Atkins gracefully delivered a classic techno set full of his signature melodies, distorted robotic vocals, and unmistakable use of the Roland TR-909—the drum machine that laid the foundation for techno itself.

He began the night slowly, layering mechanical sounds that gradually built in intensity—playing with frequencies as the dance floor warmed up. The SAT’s raw concrete pillars rose above the crowd like the skeletal remnants of a disused factory, a fitting backdrop for the industrial pulse of Atkins’ sound—at times harsh, yet always melodic.

Just blink, and you might find yourself suddenly transported to a pulsating Motor City warehouse in the early morning hours.

As the saturation of sound gave way and the lights flickered in deep shades of green, minimalist drum kicks gave way to the groovy, synth-laced melodies that have defined Atkins’ illustrious career as a producer and DJ. The multi-generational crowd of ravers in attendance was taken on a true sonic voyage—Atkins weaving his techno-futurist sound together with synths and bouncing funk basslines, a nod to his early influences.

Leaning on more than 40 years as a selector, he turned up the BPM, blending a rich array of styles—from early synth music to Italo-disco—without ever losing the core of his sound. The apex of the night came when he dropped Giorgio Moroder’s “Chase”, drawing cheers from the crowd. A brief flash of nostalgia, it lent itself perfectly to the groove of the night, echoing the roots of techno without ever feeling retro.

As a parting gift to the dancefloor, Atkins closed his two-hour set with a tasteful sprinkle of jungle—a fast-paced closer that left the crowd wanting more.

The sounds were industrial yet melodic; the layering of drums, bass, and synths was funky, seamless, and impeccably timed. A true artist behind the decks.

Publicité panam

période romantique

Lanaudière Festival | Metropolitan Orchestra/Yannick Nézet-Séguin/Marc-André Hamelin: When Nature Drives the Concert

by Frédéric Cardin

Nature, and human nature in general, had the last word this Sunday at the Lanaudière Amphitheatre for the concert by the Orchestre Métropolitain (OM) conducted by Yannick Nézet-Séguin, with the imperial Marc-André Hamelin on piano. Let’s remember that it was the young sensation Yuja Wang who was supposed to be there, but sick for a few days, she had to withdraw. In Lanaudière, miracles do exist, according to the artistic director Renaud Loranger. He may not be wrong, because replacing an artist as intense as Wang at the last minute with an absolute master of his art such as Hamelin is indeed a blessing.

With the OM and Yannick, the two Ravel piano concertos were on the menu, the one for the left hand and the one in G, of course. From the outset, we knew that we had not lost anything in the exchange, because the Quebec pianist seized the Concerto for the Left Hand in D Major, without ever letting up the pressure for a moment, so explosive in its contrasts, so nervous and urgent in its motifs and melodies, so fragmented in its references, moving from jazz to military music, modernism and lyricism. Hamelin controlled the entire discourse and pacing of the work, with unwavering confidence, to which Yannick and the OM submitted with grace, infusing their musical part with very beautiful colors, feverishly drawn by the conductor. This kind of music is second nature to the Quebec pianist, as if he never needs to think about it, just let his instinct and essential Self take over.

The Concerto in G major, more substantial in content though not much longer in duration, is an absolute marvel, which is part of our collective music-loving psyches. Here, if we could feel a slowness to “get into” the game from Hamelin, but quickly resolved. The two external movements demonstrated a beautiful mastery of the textural play in the orchestra, by Yannick, and of the pointillist discourse by Hamelin. A few rare flights seemed less clear in their execution than those of the concerto for the left hand, no more. It was in the central movement, which is one of the most beautiful musical passages in history, that the pianist showed inspiring poetry and benevolent gentleness. Not better than the best, but not worse either. In short, a high-quality reading, of the kind we expect from the best artists in the world. If the OM did well in this movement, it missed the step towards an absolute standard, particularly in the woodwind solos that precede the great and wonderful English horn soliloquy. Some aesthetic clumsiness was noticeable in a wrongly placed flute breath and a slightly vulgar clarinet attack. The English horn solo itself, although very beautifully sung by the excellent Mélanie Harel, could have been projected with more force and stately presence in front of the orchestra. In short, it is in these infinitesimal details that the difference between the OM and the OSM is noticeable. A notch, a very small notch, but one that makes the difference for those who listen carefully.

Hamelin was almost heroically greeted by the audience, to whom he offered magnificent Jeux d’eau by the same Ravel. Another Lanaudois miracle: it was exactly at the climax of the piece that thunder and rain began to fall, in a spontaneous symbiosis as wonderful as it was funny. We would have wanted to program it, but we could probably never make it happen.

As an opening piece, Yannick had chosen a very pretty impressionistic score by Lili Boulanger, D’un matin de printemps, which set the table nicely for what was to come, namely a festival of orchestral colors.

As if the musical density had not yet been maximized enough, the concert ended with the substantial Symphony No. 2 in D major, Op. 43 by Sibelius. This time, nature did not collaborate kindly with the musicians. After a few minutes of settling into the first movement, the audience and artists had to take a break from the musical communion because the downpour, not only noisy, even made its way onto the stage due to the strong winds, risking damage to the performers’ instruments, especially the strings.

We were destabilized by the resumption, which did not take place at the beginning of the work, as announced, but roughly where we had left off. With stability restored in our minds, we paid attention to the unfolding of these sublime pages from the symphonic repertoire. Yannick succeeded where, I find, he did not entirely satisfy in his Atma label recording. In the latter, he draw an almost mineral, chthonic vision, whereas I believe that this symphony requires an airy approach, without neglecting the grounding in the soil. It’s a bit of what we got as the sky finally lit up. The Finale was adequately held and sustained in its celestial and luminous ascent so emblematic, so mystically powerful. Satisfaction, despite the initial disagreements of Mother Nature.

REVIEW OF THE ALBUM SIBELIUS, SYMPHONIES 2 AND 5

Classical

Festival de Lanaudière | Sol Gabetta : Queen of the cello meets les Violons du Roy

by Frédéric Cardin

Friday evening, the Lanaudière Festival welcomed the Argentine cellist Sol Gabetta, for the first time in Canada, said the press release. In the introduction to the concert, the artistic director Renaud Loranger rather mentioned a “first time in Quebec.” I tried some research, but I can’t say if it’s “Canada” or “Quebec.” If you know, let me know.

In the end, all of this is of little importance in light of the spectacular performance that the Swiss-based artist offered to the fairly large audience. Spectacular, certainly, but not in the sense of a show-off who wants to accelerate the allegros systematically into Mad Max-esque furiosos. Rather in the sense of a technique so precise that it forces admiration and provides excitement by itself, and that is also supported by a warm singing of the phrases that lets all the notes flow with undeniable naturalness. I am thinking particularly of Haydn’s Cello Concerto No. 1 in C major, Hob. VIIb/1, of which I have rarely heard such a clear and touching reading. In this sense, Gabetta (and the Violons du Roy, of course) expressed with excellence the spirit of Empfindsamkeit, or the “sensitive style” of the late 18th century, a precursor of Romanticism in that it favored a freer expressiveness, while remaining framed by still very precise and coded forms. No urgency or disheveled propulsion of rhythms, then, nor aggressive attacks that seek to force “energy.” Only a calm narration, but one that exudes a communicative sparkle, all within a technical execution that reaches stylistic perfection. It was a very great moment of music.

The other concerto played by Ms. Gabetta (there were two, since she was with us…) was that of Carl Philipp Emmanuel Bach, the very pretty Wq 172 in A major, one of my favorites in the repertoire, although still relatively unknown to the general public. The cellist admitted in the interview granted to my colleague Alexandre Villemaire that she had not touched this piece since 2014. We noticed, as a result, that the lady did not have this score as instinctively “in her fingers” as the Haydn, even though in the end she still gave a solid lesson in musicality to anyone who would like to try it.

I don’t know if Bernard Labadie’s Violons hadn’t been in contact with this concerto for several years either, but the fabulous clarity demonstrated in the first part of the concert (in addition to the Haydn, Mozart’s Symphony 29, which I’ll tell you about below) wasn’t quite as crystalline in this CPE Bach. Oh, for any other ensemble, it would have been an accomplishment in itself, but after what we had heard previously, the bar had just dropped by an infinitesimal micron, nevertheless perceptible.

READ THE INTERVIEW WITH SOL GABETTA (in French)

From the very beginning of the concert, and as mentioned just now, Bernard Labadie gave a Symphony No. 29 in A major, K. 201 perfectly balanced with steady rhythms and finely drawn phrases. All this in a relaxed and elegant style. Already, we had an idea of the aesthetic choice proposed for this concert. In the end, it was at the end of the program that the Quebec conductor showed a little more vigor with Haydn’s Symphony No. 45 in F-sharp minor, “The Farewell,” to which he breathed a dynamic that we had not felt before. A convincing conclusion that did not deviate from the spirit of the evening’s general. A great success.

We only hope that these are not “goodbyes” that Sol Gabetta is leaving us with, but only a “see you later,” because this fabulous performer absolutely must come back to us quickly. We dream of hearing her at the Maison symphonique or at the Bourgie hall!

Brazilian / Samba

The “rodas de samba” That Never End

by Sandra Gasana

Montreal’s best-kept secrets are the “rodas de samba,” or samba circles, a gathering of improvisational song and dance. These legendary evenings have traditionally been held for several years at Sans-Taverne, a brasserie in the heart of Building 7 in Pointe-Saint-Charles, but this time it was at Brasseurs Avant-Garde in Hochelaga.

The concept is simple: several musicians and singers sit around a table, and together they create magic around samba and other Brazilian rhythms, while the audience sings along and dances around the table. This concept is an initiative of Roda de Samba Sem Fim, a Brazilian collective masterfully led by Yussef Kahwage, himself a musician and singer. He is supported by the great singer and guitarist Lissiene Neiva and Bianca Huguenin, both part of the hard core of the roda, alongside Daniela Bertolucci, Bruno Lima, Gabriel Vacc, Márcio Rocha and Luís Santo.

It was often Yussef who started with his instrument, before the other musicians joined in, with different kinds of percussion and other traditional Brazilian instruments such as cavaquinhos. Otherwise, it was Tobias and his seven-string guitar who started, to get the music going.

As soon as I arrived, I noticed the presence of the great Brazilian singer Bïa dancing around the musicians, who sang a few samba songs before being sung “Happy Birthday” by the whole room. Another person who had come to celebrate her birthday that evening was Daiana Santos, from Bouchées Brésil.

A few minutes later, Thaynara Perí arrives, a bit rushed, before going to sit around the table, one of the singers that evening. This artist is a ball of energy, she is slowly becoming a must-see in Montreal, with all her involvements as a solo artist, but also in the collective Tamboréal Samba Bloco, or even as a guest artist during the samba rodas. As soon as she gets behind the microphone, the atmosphere rises a notch in the room, singing several old and more recent classics such as Banho de Folhas by Luedji Luna, or Figa de Guiné by Alcione.

Meanwhile, beers and cachaça flow freely, keeping this roda festive and interactive, and all around the table, the circle formed by the public becomes larger and larger.

These events are often sold out and this was the case this evening, with several people being turned away when they had not purchased their tickets in advance.

Among the classics mentioned were, among others, Mal Acostumado, Não Deixa o Samba Morrer and Serà que é amor, by Arlindo Cruz, which I particularly like. As the evening progressed, the audience sang louder and louder, letting themselves go completely.

A Jamaican DJ who was discovering rodas for the first time told me that he felt a strong sense of the spiritual side of this circle. He found it interesting that everything didn’t revolve around a single artist, but that everyone created together.

After a few minutes of break during which the famous DJ Tati Garrafa set the spacious venue on fire, the roda continued with even more intensity during the second part of the evening. Thaynara returned with more songs, as did Yussef and other singers around the table. The atmosphere was so good that I challenged myself to sing at my first roda de samba. Challenge accepted!

When I left the party around midnight, the dance floor was still packed. The event lived up to its name: the samba roda that never ends, or at least ends very, very late.

Ambient / Experimental Techno / House / Techno

Friday night at the Dômesicle – All night long with Jump Source

by Rédaction PAN M 360

Vibrant and tireless—Jump Source, Montréal-based duo composed by Priori and Patrick Holland, don’t fail to keep the night on the beat and the dome with jumping feet—a five-hour uplifting set from techno, house to experimental and ambient, with a scent of ethereal and nostalgia at times.

Seemingly mechanical, the blend with organic states and grooves oozes this satisfaction and fluidity on the dance floor, morphing ambiance into atmosphere, sensorial into emotion. As captivating as it is, the duo certainly knows the art of keeping it going—grow, suspend, tension, release—like waves forming and breaking, one after another. A Jump Source set feels like going on a ride into multiple directions, through multiple landscapes, without ever losing the north nor the reason why we went for it in the first place—they can effortlessly carry us through the night in a consistent beat, not too fast, not too slow; the turns are smooth and tasty, we resurface to catch some breath and go back down to the pacing bass lines. It’s all about sculpting momentum on the dance floor, all night long.

Apart from their prolific solo projects, Francis Latreille and Patrick Holland have been collaborating as a duo for almost a decade, both in the studio as producers and in the club behind the decks, having recently released their sixth EP in April this year.

The collective Mostly Noise and Jonahvision guided our journey in the sweaty-sauna-like dome in immersive trippy visuals and virtual spaces, resonating the groovy aesthetics proposed by Priori and Holland on the decks.

Deep House / Electronic / House / Tech-House

Off Piknic with Gorgon City, Dennis Ferrer, Riordan, and Linska

by Marc-Antoine Bernier

Last Saturday, Jean-Drapeau Park pulsated to the beat of British club sounds during a themed evening organized by Realm Records. If you’re not yet familiar with this record label, it was founded in 2018 by English duo Gorgon City, who headlined this OFF-Piknic event, accompanied by Linska, Riordan, and Dennis Ferrer. Although Ferrer is not affiliated with Realm, but rather with Defected Records, his presence added a touch of legend to this already exciting evening.

To kick off the event, Linska delivered a set rooted in dark and driving tech house/techno. Her thick, rumbling textures evoked the golden age of British house in the 1990s, while drawing on the electro-house of the 2010s, a formative period of her adolescence. Sample choices such as Gorillaz’s Dare transported us to a decidedly British universe—a sound imprint that would mark the entire evening. Linska’s infectious energy behind the turntables, under the bright July sun, contrasted nicely with the nocturnal tones of her music. The sustained rhythm of her set drew festival-goers to the modular wooden dance floor set up in front of the stage. In the final minutes of her set, Bad Boy, her best-known track with melodic techno sounds, clearly announced that this promising artist of the new generation is only just getting started.

The baton was passed to Riordan, a DJ from Sussex, England. The first half of his set explored a more traditional vein of house music, carried by melodic build-ups and a more airy structure. Quickly, the energy level rose a notch: a high-energy vibe took hold, characterized by a catchy groove and softer hi-hats, less compressed than those typical of techno. The opening of the set, marked by MC-style energy samples, reaffirmed the British identity of the clubs, which was omnipresent that evening. Linska’s deep, timbred basslines are transformed here into more melodic and rhythmic textures under Riordan’s hand. As new festival-goers arrived on site, they seemed to be quickly drawn in by the DJ’s infectious groove. Halfway through, Riordan brought the energy to a peak, leading the audience to a moment of intense collective tension, released in a euphoric drop that literally lifted the crowd off their feet. The second half of his set navigated between darker tracks, reminiscent of Linska’s vibe, and more energetic, uptempo passages, keeping the momentum at its peak.

After Riordan’s set, the arrival on stage of American veteran Dennis Ferrer marked a notable change in tone. With him, the groove took root in classic deep house, tinged with tech house elements that allowed for a seamless musical transition. From the very first minutes, some of the samples used by Ferrer plunged us into the world of European house music from the 2000s—a nostalgic nod that perfectly suited this beautiful summer day. The decision to include Dennis Ferrer in the lineup was particularly wise. With over 30 years of experience, this seasoned DJ brought a unique perspective to an evening focused primarily on the next generation. For the younger audience who came to cheer on Gorgon City, it was an opportunity to discover a pillar of the global house scene. And this experience was evident throughout his set, particularly through his references to disco, visible in his selection of tracks with funky bass lines, blending disco and electro-disco. Songs like ABBA’s Lay Your Love On Me and Diana Ross’s Upside Down resonated throughout the venue, appealing to both younger generations and older fans, who were fewer in number but just as present. At over fifty years old, Dennis Ferrer is bursting with energy. He was seen dancing from start to finish, sometimes tapping on the speakers near him, raising his arms in the air, and constantly interacting with the crowd. His charismatic stage presence added a human and festive dimension to his performance, proving that passion for electronic music knows no age.

To close this immersive evening, London duo Gorgon City took to the stage, adorned with their iconic visual featuring the Parthenon in Athens. Warmly welcomed by the audience, they began their performance gently, gradually establishing their pop-infused house sound, a more accessible and unifying signature sound. This feeling of communion was particularly evident in the recurring use of sung passages, which infused the crowd with a warm and emotional atmosphere. These vocal passages were often followed by drops with typical tech house sounds, carried by deep, roaring mid-low frequencies—that famous “rumble” that gives the track body and power. As the set progressed, the rhythm became more pronounced: the beats hit harder, the bass drove the whole thing, creating a feeling of irresistible movement, particularly palpable on tracks like 5AM at Bagley’s. Their formula was based on a masterful alternation between soft, sung tracks and more energetic, danceable sequences—a well-honed balance that kept the audience’s attention and momentum going throughout their two-hour performance.

The second half of the set took on a more contemplative energy, with several touching moments where the duo sang in unison with the crowd, creating a rare intimacy for an outdoor event. Some tracks echoed 90s house music in its most pop-oriented forms—diva house, garage house—bringing a retro and festive vibe to close the show in style. At 10 p.m. sharp, this musical journey came to an end to the enthusiastic applause of a captivated audience, who were treated to an ideal evening at Jean-Drapeau Park, filled with communion, groove, and electronic celebration.

For fans of Defected Records, one of the oldest independent record labels in the United Kingdom, take heart: Piknic Électronik programmers have planned a themed evening on October 10 featuring MVNGO, DJ Holographic, Melé, and Meduza.

Publicité panam

Breakbeat / Electro / House

Piknic Electronik | DJ Fuckoff Turns Up The Heat for Pep Rally

by Rédaction PAN M 360

As the golden hour washed over Île Sainte-Hélène, a surging crowd of partygoers gathered at Piknic Électronik’s main stage for a Pep Rally takeover — and DJ Fuckoff did not disappoint.

The New Zealand-born, Berlin-based artist (real name Zoe “Stella” Flyger) brought her signature genre-blending style, fusing ghettotech, breakbeat, Latin house and electro into an unapologetically high-energy set for this special edition of Montreal’s open-air Sunday dance ritual, hosted by Pep Rally – Toronto’s boundary pushing BIPOC & femme-centered rave collective.

Her eclectic mixing, cheeky stage presence and provocative vocals cut through the warm July air as bodies moved in sync with the bass-heavy tunes. Known for her raucous, oftentimes provocative lyrics, Fuckoff took the mic to perform her breakout track Boy U Nasty, as the crowd roared along to every line of the chorus.

As the afternoon light warmed up the crowd, she kicked it up a notch with a savant mix of Detroit-influenced techno and some recently released tracks from her 2^nd major solo project Fucktopia : Character Chronicles. Hello?, the dark electro-pop meets psytrance banger turned the festival ambiance into a no-holds barred rave moment, as the warm afternoon sun filled the sky with hues of pink.

The synergy between live vocals, pulsating 808’s and chaotic breakbeats created an atmosphere that was both playful, fast-paced & innovative, a perfect match for Piknic’s sundrenched dancefloor and energetic crowd.

By the time her set closed, as day turned into night, DJ Fuckoff had done more than warmed up the crowd, she ignited it.

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Saharan Blues

Nuits d’Afrique 2025 | The next global star of Tuareg blues is born, and it is in Montreal

by Frédéric Cardin

As you will learn in the interview linked below, Boubé has been living in Montreal for just over a year, but has already won the heart of the city. His desert blues, that of the Tuaregs, a nomadic people from whom he comes (more specifically from Niger) is rooted in the great tradition of Moctar and Bambino, artistic sources from which he has drawn, is authentic, dynamic, catchy and exciting. On the Balattou stage, Sunday night, in front of a large audience packed tightly into the small space, which gives the Montreal club all its personality and appeal, Boubé ran through his already rich repertoire of hits and earworms that we like to hear as often as possible.

Excerpts from his first and only album to date, the aptly named Voyager, (READ MY REVIEW HERE), the tracks followed one another in a crescendo of intensity, spread over two well-crafted sets, leading to a finale overflowing with energy and sublimated by totally invested musicians: Sylvain Plante (ecstatic drums!), Carlo Birri (quiet but irrepressible force on bass), Ibrahim Seydi (with flights of percussion), Vincent Duhaime Perreault (excellent guitarist whose fiery duets with Boubé have something of the great rock shows of lore), and of course Boubé himself on guitar and vocals. We had already perceived the talent and potential at the 2024 Syli d’Or, where he received the silver award. But since then, the progress has been quite rapid, and I feel that the opening of the doors to the international market is not far off. Vincent Duhaime Perreault, the band’s guitarist and also Boubé’s manager, promises us important projects to come, without naming them yet. We are very, very excited, because, starting from Montreal, which he says he loves very much and where he has found a family and a warm home, Boubé has everything he needs to become the next international star of Desert blues.

LISTEN TO THE INTERVIEW CONDUCTED WITH BOUBÉ BY MY COLLEAGUE KEITHY ANTOINE

Africa / West African traditional music

Nuits d’Afrique | Manamba Kanté, An Undeniable Diva

by Sandra Gasana

I’ve rarely seen the Loto Québec stage so full. Usually, at the start of the 7pm concert, it’s crowded but rarely packed. Here, even before the Guinean diva appeared, festival-goers had arrived early, hoping to get a closer look at their idol. The woman dubbed the new star of Guinean soul was accompanied by the same musicians as her husband Soul Bang’s the day before, at Balattou.

With them, she opts to open with a reggae-style song, and immediately the assembly starts singing the lyrics in unison. Dressed in a red sequined outfit with canvas sleeves, the griot descendant of the legend Mory Kanté has nothing to prove: talent runs through her veins. With a new album released in June, Mousso Chapitre 1, which means woman in Bambara, she plays African maracas throughout the show, on which she brings her microphone closer when necessary.

On the more rhythmic tracks, she reveals her talent as a dancer, and on the calmer ones, her voice transcends us. “This song is for moms. But I don’t want to do it in a sad way, but I want to do it in the joy of living,” she warns us before the eponymous song Mousso. At times, her voice reminds me of Oumou Sangaré’s, especially when she goes high.

It’s not always good to compare, but in this case, the traditional touch is more present than in the register of her husband, who played the day before. She inserts some modern elements into her music, but she does so while retaining the traditional Guinean essence.

The song Bhouloundjouri was a particular hit with the audience, who knew every word and kept asking for more, even after the song was over. An expression I often hear at concerts in West Africa is: “Il faut bisser”, meaning you have to play the song again. I heard this expression in the crowd on Saturday night.

She played several tracks from his most recent album, such as Mon Roi, but also several of his singles, such as Ké Douma Suma. As mentioned during my interview with the couple, there was talk of Soul Bang’s making an appearance at his wife’s concert, as she had done the day before at Balattou. He did just that, appearing in traditional-modern garb, matching hat and sunglasses.

Barely on stage, he took control and Manamba faded into the background for a few songs, before taking her place again in an exchange with the audience as only griottes know how. It was as if she were preaching, with a few powerful melodies to accompany. “I am the heiress of Soumaoro Kanté, my ancestors were blacksmiths, griots. The balafon comes from Guinea, and it’s the Kouyatés who play it,” she teaches us.

A woman nearby seemed to nod in agreement with what the artist was saying, and then Soul Bang’s added its soulful touch.

There were only 4 minutes left, which could have been enough for one last Manamba song before closing, but Soul Bang’s preferred to play his song Djere Lele, which he had played the day before at Balattou. He was thus able to feel the emotions his wife had experienced for almost an hour that evening.

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