“This is the best concert I’ve ever done in my life!” shouted Kevin Abstract, a few seconds after launching himself into the crowd. The American rapper maintained this state of joy and ecstasy from beginning to end, offering a colorful performance to the many lovers of his music crowded near the Scène Verte on Sunday.
Formed in 2014, the defunct BROCKHAMPTON collective, of which Abstract was the founder, left its mark on a generation with their alternative hip-hop that continued to reinvent itself with each release.
For many Montrealers, including the author of these lines, the boy band ceased its activities before having the chance to see them on stage. Thus, the arrival of the Texas native represented the perfect opportunity to taste what remains of the group, but not only that. Clifford Ian Simpson’s solo career is not at all to be neglected; his album ARIZONA BABY is an inspired pop-rap offering and what can we say about Blanket released a little over a year ago, a project in which he explores rock like never before.
Back to the point. Kevin Abstract gave it his all during a set; he jumped and danced and then got down on numerous occasions to get closer to his audience. The American artist offered both solo tracks and verses from his former band’s various projects, ranging from Madonna from Blanket to RZA from The Family. No matter the song, one thing was certain: the bass was going to be on full blast.
With such an outspoken offering to Osheaga, Kevin Abstract seems to have finally freed himself from the label of former member of BROCKHAMPTON. It remains to be seen what the next step in his solo adventure will be.
Osheaga, Day 3 | Amy Taylor, Direct Descendant of Wendy O. Williams
by Alain Brunet
When you see and hear Amy Taylor, the figurehead of Amyl & The Sniffers, it’s impossible not to think of Wendy O. Williams (1949-1998), an 80s punk icon with very similar characteristics: wild, provocative, warrior, super sexy. Four decades later, an Australian singer is doing it again, with vintage clothes and hair.
Amyl & the Sniffers are said to have started out as a local Australian (Melbourne) garage punk bar band that has since become one of the most powerful machines on the punk planet. At the beginning of PAN M 360, our esteemed colleague Patrick Baillargeon had already sensed the potential of this band with “a lot of youthful fury, a lot of sweat and sex appeal in mass”. ( https://panm360.com/records/amyl-the-sniffers/ ) Well sent!
Indeed, we feel very strongly this taste for guitars hewn with an axe, this taste for heavy 4/4, this taste for distortion galore, this taste for partying, this taste for irreverence. Nothing else.
The punk party could have ended in a fizzle when a threat of an electrical storm forced a break of about fifteen minutes. Fortunately, the expected storm did not occur and the Australian band was able to resume hostilities and continue stripping to the great pleasure of the rock fans who came to Osheaga on Sunday. With only 2 studio albums to support it, the second of which, Comfort to Me , was released in 2021, Amyl & The Sniffers attracts the crowds again with the recent release of the songs U Should Not Be Doing That and Facts, served at Osheaga. Great rock performance!
It’s been seven years since the R&B/hip-hop artist first came to the Corona Theatre in August 2017, which has since been renamed Beanfield, due to sponsorship. SZA has since reached the pinnacle of pop culture this past winter, with eight Grammy statuettes to back it up. It’s easy to see why the singer-songwriter was the star of Osheaga 2024, with two studio albums under her belt – two studio albums, Ctrl and SOS .
With such considerable commercial success comes the financing of a mega-production as we were able to observe on Sunday at Parc Jean-Drapeau: a series of ambitious tableaux with 3D sets and projections, from the gloomy underground gallery to a world of cuddly bears, including the flight of gigantic virtual insects or the deployment of Afrofuturist environments.
SZA has clearly worked very hard to become the athletic performer and accomplished dancer she has become—and clearly wasn’t at the time of her discovery. This is evidenced by the splits performed at the end of the song ” Open Arms” or the martial sparing with a machete, concluded by the throat-slitting of an android in the rendition of ” Snooze . “
Her musicians, including an excellent guitarist who was sometimes in the spotlight, were nestled in the sets and choreographies with six dancers enhanced the interpretation of several of the 27 songs in a tightly packed 85-minute program, including a few covers and quotes: Kiss by Prince, Rich Baby Daddy by Drake, Kiss me More (Doja Kat) and All The Stars , which she created with Kendrick Lamar in 2018 for the film Black Panther .
This ambitious show, to say the least, was supervised by 20 Something at the end of this scorching performance.
LIST of songs on the program
PSA Love Galore Play Video Go Gina Broken Clocks All the Stars (par Kendrick Lamar & SZA) Prom Garden (Say It Like Dat) Drew Barrymore F2F Forgiveless Ghost in the Machine Blind Shirt Kiss Me More (par Doja Cat ) Kiss (par Prince) I Hate U Snooze Kill BillLow Supermodel / Special Play Video Nobody Gets Me Normal Girl Saturn Rich Baby Daddy (par Drake) The Weekend Good Days 20 Something
“Saucegod, Saucegod, Saucegod!” shouted the many festival-goers as Hamza arrived on stage. For several years, the Belgian rapper has had a wonderful relationship with Montrealers; another chapter in this beautiful story was written Sunday night at Osheaga.
Last year, Hamza earned a special place in our top 100 albums with Sincérement , a superb offering combining trap and R&B. It was with a string of tracks from this project that the Belgian began his set, starting with the excellent Codéine 19 . Although he started with his most recent material, he didn’t hesitate to dip into his classics such as Gasolina and FADE UP . There’s nothing wrong with the selection of tracks, a good mix highlighting the diversity of his discography.
Where the shoe pinches is in what is offered on stage. What is played is mostly pre-recorded soundtracks to which Hamza adds his grain of salt, autotune of course at the rendezvous. Don’t get me wrong, the eternal lover still offers a good show, but without artifice.
Regardless, the style of performance offered by the rapper did nothing to dampen the crowd, who were jumping from start to finish. The 30-year-old artist’s honeyed flow and catchy choruses are in a class of their own, here is another demonstration.
Shortly after rapper Hamza’s last words on the adjacent stage, numerous beams of light gave festival-goers an orange hue, the color of Volcano, Jungle’s most recent project. On the notes of Busy Earnin’, a 2014 hit, the British soul-funk band made their entrance in remarkable fashion.
From the very first moments, the band’s different impulses had the crowd dancing. The music of Tom McFarland, Josh Lloyd-Watson and, most recently, Lydia Kitto, is one of the liveliest and most festive around. It’s no surprise that inflatables and balloons roamed among the fans throughout the performance; the mood was festive, to say the least. Jungle has a way of making us enjoy the moment.
The balance between recording and live creation couldn’t have been better. The three protagonists get involved vocally and contribute with various instruments such as guitar and synthesizer. The arrangements are danceable, and the vocals as bewitching as on record. Two percussionists and a bassist rounded things off brilliantly.
On two occasions, artists appeared on the big screen for the duration of a song. This was the case for Erick the Architect during the disco hit Candle Flame, a song on which the crowd burned a lot of calories, rest assured.
Several times, the band addressed the fans in both English and French. The Brits seemed delighted by the welcome they received from Montrealers, who responded by singing along to their various choruses and clapping their hands. There’s no doubt that Jungle’s appearance was one of the highlights of the weekend’s festivities.
Crédit photo: Benoit Rousseau
Osheaga Day 1: Beating the Heat with The Japanese House
by Lyle Hendriks
As the (truly oppressive) heat of the day set in, we were treated to an utterly phenomenal set from The Japanese House, a British dream pop group led by the magnetic Amber Mary Bain. Supported by an exceptional band for this show, Bain took us gently by the hand and pulled us into her world.
Never afraid to get a little slow and sentimental, The Japanese House put on a show for swaying. The band mainly played tracks off their latest album, In the End It Always Does (Dirty Hit, 2023), which heavily features acoustic guitars, laid-back rhythms, stunning four-part harmonies, and of course, the captivating, perfectly imperfect vocals of Bain herself.
Vulnerable and stripped bare, there’s a careless gentleness to The Japanese House that comes across so plainly in a live setting. Each member of the band stays strictly in their lane, and yet the music comes flowing in like a friendly tidal wave—soft, sweet, and all-encompassing.
Bain radiates kindness in between tracks, truly seeming like she was happy to be there and share her songs. She even halted the show mid-song at one point when someone collapsed from heat exhaustion in the crowd, not restarting the show until she saw a medic reach the scene. Skill aside, these moments of compassion and gratitude only added to the measured beauty of the performance as a whole.
Photos by Benoit Rousseau
Osheaga, Day 1: Fcukers Does It with the Lights On
by Lyle Hendriks
For most musical acts getting their start, receiving a call from Osheaga one day before opening would be a dream come true. But for NYC house three-piece Fcukers—who have apparently managed to catch the attention of Beck, Clairo, Yves Tumor, and Julian Casablancas, as well as toured four continents within their first ten shows—I imagine securing a slot in Canada’s biggest festival to sub in for Sleater-Kinney’s cancellation at the eleventh hour felt like business as usual.
This confidence radiated from each member as they bounced around the stage, with breathless breakbeats and sexy basslines getting things started on a rather sultry tone for an afternoon performance. This is hot people music, best enjoyed reverberating off the walls of a dirty club bathroom while you do something illicit in a stall.
Lead vocalist Shanny Wise looked to be having the time of her life as the crowd began to amass in front of her, putting on her best valley girl-esque accent as she announced their name (it’s just pronounced “Fuckers,” by the way) between songs. The drums provided by Ben Scharf were truly immaculate, a graceful, measured hybrid between booming 808s and live percussion that brought these club tracks into an irresistible live mix. Meanwhile, we had an exceptional combination of analog bass and synthesizer from DJ/producer Jackson Walker Lewis, who was like a Gen Z Terminator in his wraparound shades and cold-as-ice performance.
Overall, Fcukers came to party. And while they no doubt deserved a late-night show to truly get their freak on, they look good with the lights on too.
Osheaga, Day 2 | The Smashing Pumpkins, Denzel Curry, Olivia Dean & New West
by Jacob Langlois-Pelletier
Nostalgia, when you hold us
The Smashing Pumpkins’ performance at Osheaga on Saturday couldn’t have come at a better time; just over 48 hours ago, the prolific American group released Aghori Mhori Mei , their 13th album. Contrary to what one might expect, Billy Corgan and his band ignored this release and opted for a selection of their greatest classics, much to the delight of the fans crowded in front of the two biggest stages of the festival.
Dressed in a black cassock, Corgan enveloped Parc Jean-Drapeau with his melancholic rock and his nasal voice that we know so well. Alongside him are his long-time colleagues James Iha on guitar and Jimmy Chamberlin on drums as well as Kiki Wong, a guitarist recruited a few months ago.
On stage, the Smashing Pumpkins exude the same determination and desire as they did 30 years ago. Too bad this state of mind does not translate into their recent releases.
With just a few minutes to go, dusk begins and the first notes of the famous “1979,” taken from the excellent Mellon Collie and the Infinite Sadness, are heard. This is when the crowd got loudest and the result was sublime. The euphoria provoked is yet another proof of the power of nostalgia. The Chicago band’s greatest hits will definitely never die, and neither will their influence on alternative rock.
Photo credit: Tim Snow
Denzel Curry, flawless, but not brilliant
If there’s one rapper who never stops reinventing himself with each release, it’s definitely American Denzel Curry. In mid-July, the Floridian released King Of The Mischievous South Vol. 2 , a mixtape overflowing with collaborations following a first volume released a dozen years ago. In this opus, he explores the dirty south, a subgenre from the Southern United States.
At 29 years old and with several high-quality projects under his belt, it is now fair to say that Denzel is one of the most important pawns in current rap. Brimming with energy on stage, the MC raps each of the rhymes of his songs with precision and finesse. The festival-goers received exactly what they get on his albums.
Throughout his performance, Curry multiplied the interactions with the crowd and displayed a fascinating ease.
The curtain-dropping set of his most popular tracks Ultimate and CLOUT COBAIN | CLOUT CO13A1N was met with a very loud reception from the crowd, which had been quite discreet since the beginning. It must be said that placing the rapper after the punk group Rancid and before the Smashing Pumpkins and Green Day was perhaps not the best idea…
Regardless, the proposal from the member of the famous Freshman class of 2016 was honest and well-balanced. However, his offering lacked that little something to not fall into oblivion.
Crédit photo: Tim Snow
Olivia Dean, a breath of fresh air in the middle of a heat wave
While exploring the lineup for the 2024 edition, Olivia Dean’s name really piqued my curiosity. As I looked through her slim, young discography, I discovered a soul singer inspired by the great ladies of this musical genre. The British singer cites Carole King, Amy Winehouse, The Supremes and Lauryn Hill as inspirations for her music.
Accompanied by a small orchestra, the 25-year-old artist is dressed in a very colorful dress and takes her place at the front of the stage. “If this is the first time you’ve seen me perform, I have one rule. You have to have a good time!” she says between her first two songs. It was largely material from Messy, her only album of her career, that the London native introduced to the crowd. She also took the opportunity to perform her most recent release entitled Time , a song in which she explores more rock avenues than usual, which suits her like a glove.
Olivia Dean exudes an aura that is not of our time. Jazz, R&B, soul, pop; everything is mobilized. Visibly captivated, the festival-goers scrutinized her actions and then responded vocally. The 45 minutes of performance passed in the blink of an eye and we would have liked it to never end.
Photo credit: Benoit Rousseau
New West, Toronto’s New Sensation
With the huge success of their title Those Eyes , the Canadian collective New West no longer needs an introduction. This year, the Torontonians had the task of opening the ball at 2 p.m.
Taking advantage of an impressive crowd for an early afternoon due to the imminent arrival of the star Chappell Roan, the band formed by Kala Wita, Noel West, Lee Vella and Ben Key will offer an inspired and colorful performance.
Winner of a Juno for “New Group of the Year” in 2024, New West offers a diverse sound that includes jazz, R&B and indie, among other things. On the festival’s main stage, Kala Wita gave it their all, moving from left to right, singing lying on the floor and offering moments on the piano. This performance allowed us to discover more about the personalities of the different members of the group.
Vocally, Wita is right and envelops us with tracks like “Stevie Nicks” or “Guessing Game.” The sample is thin, but the future seems promising for New West.
Photo credit: Tim Snow
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OSHEAGA 2024: Mannequin Pussy Chews Us Up and Spits Us Out
by Stephan Boissonneault
God, do I love seeing a band that is unafraid or unapologetic while taking a crowd through their political and deeply personal beliefs. Enter Philadelphia thrash punks, Mannequin Pussy, a rowdy four-piece that combines ’90s punk and speedy/sludgy thrash guitar music under a whirlwind of drums, fuzzy bass, and the lead vocals of Marisa “Missy” Dabice.
This is a band with a message; one of loving yourself and saying a tremendous Fuck You to anyone who disagrees with the sentiment. Normally I dislike a band who really drives their message throughout a set, but for Mannequin Pussy’s Osheaga set, it was needed and part of the spectacle. Instrumentally, there are many bands that sound reminiscent of Mannequin Pussy—Amyl and The Sniffers (who are funny enough, playing on Sunday), Gouge Away, the ’90s Live Through This era of Hole, and even Montreal locals Whoredrobe—but no one can really match the tenacity and stage presence of Dabice.
The woman has a way with words and her lead-up to songs on the newest album, I Got Heaven, were masterful and playful. She uses a healthy combination of sex appeal, unbridled rage, and a prom dress to draw you in; sometimes with a sexy call girl whisper or an angry femme punk gravitas with screams that sound utterly painful. She wants to turn you on, make you think you have all the power, and then quickly snatch it away for herself. The woman could easily be a cult leader, so let’s be happy that she is spreading a positive, anti-capitalist, anti-war and fuck the patriarchy message. Mannequin Pussy has a platform right now and they are aware of it. Dabice’s rhetoric about the church’s hypocrisy was also palpable before diving into “Split Me Open,” and her vicious takedown of rich white males was literal music to the ears. More on her vocal style, she sounds like she is reading you a tantalizing bedtime story and then ushers a mournful scream. It’s like ASMR pushed through a sputtering woodchipper. There’s no way of saying it differently at this juncture.
The other members of Mannequin Pussy also deserve some praise. Bass player Colins Regisford is tight as sin and had his own vocal moment that felt very Bad Brains-y. Guitarist Maxine Steen has that hyper grunge, thrash metal style that feels a bit Anthrax, but then bursts out into discordant drones. I could honestly watch her play guitar for hours. The bed of sonic chaos is held together by drummer Kaleen Reading, allowing Dabice to really freak out at times.
I’m curious to see what the new album sounds like on recording and I sincerely doubt it will come close to witnessing the church of Mannequin Pussy live.
“The last time I was here, I said I was going to come back to Montreal and speak French. But I still don’t speak it. But I ordered my supper in French!” Brazilian singer Bïa Ferreira proudly shares in English, as she begins her second concert in Montreal. And just as she did the first time, she divided her concert into two parts, one dealing with love and the other with activism.
“If you leave here different from when you arrived, then I’ll have done my job,” she adds. And it’s off to a prayer-like start, as whistling, voice and guitar mingle to deliver a beautiful sonic cocktail. Indeed, she may be alone on stage with her guitar, but at times it feels like there are five of them.
She also serves us Xote, a Brazilian musical rhythm often danced in pairs. “When I wrote this song, I was very much in love. But I was the only one in love,” she reveals. With her powerful voice and distinctive timbre, she masters her relationship with the microphone, knowing when to step away from it and when to approach it. With my friend Juliana, who’s just as much of a music lover as I am, we thought her music was a mix of blues, jazz, soul and gospel, all with a Brazilian flavour. Her signature is the whistle, which recurs in several songs and which she masters very well, as well as the many other noises she makes with her mouth, in addition to beatboxing. In fact, on one of her tracks, she adds a bit of Lionel Richie’s Easy Like a Sunday morning, which is a surprise but an instant crowd-pleaser.
“The last time I was here was in February and it was very cold. So I thought I’d come back in the summer. And here I am!” to applause from the audience.
On the track Saudade, you sometimes get the impression of hearing cajón and sometimes piano, whereas she does it all with her guitar. She then finishes with a bossa nova rhythm, which adds depth to the track. “It’s hard to translate Saudade. It’s not ‘I miss you’! It’s something else, it’s a feeling that makes you sick!”
Bïa Ferreira is also an excellent storyteller. She takes the time to explain all the songs, but even during certain tracks, she tells us stories, sometimes with a very rapid but always theatrical vocal delivery. This is notably the case on Molho Madeira, which will feature on Ellen Oléria’s forthcoming album, mixing passages where she talks and raps, waltzing between gentleness and aggression, banging on her guitar which serves as percussion.
“Every church has a choir. So to end this first part, I’ll need your help on the raggamuffin-tinged Levante a bandeira do amor (Raise the flag of love).
The second part, more committed and political, kicks off with an a capella rendition of Seu Jorge’s Zé do Caroço, a classic of Brazilian music.
After a tribute to Leci Brandão, the queen of samba, she kicks off the second half with a rhythmic reggae track, with a bit of beatboxing, which sets the tone for what’s to come. She first pays tribute to women around the world in Não precisa ser Amélia, in which she screams at times, showing off her vocal cords in full action. The high point of the evening, in my opinion, came with the song Diga não (or Say no!), in which she denounced silence in the face of the genocide raging in Palestine. “By remaining silent, you are choosing a side. Your silence helps the oppressors! The audience takes its role as choir very seriously, especially on the song A conta vai chegar (or the bill will arrive), alluding to the debts linked to colonization.
She ended on a high note with Sharamanayas, the principle of keeping what’s good for you, and getting rid of what’s bad. One thing’s for sure, Bïa Ferreira’s concert was good for the people who came to see her, even if I would have expected a fuller house, as on her first visit. Having just come out of the Festival Nuits d’Afrique, this event may well have slipped under the radar of many a fan of her music.
Photo Credit: Inaa
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Yannick Rieu launches his latest album, Symbiosis
by Vitta Morales
The evening of July 26th would see Yannick Rieu launch his latest album, Symbiosis, at Dièse Onze. Accompanied on stage and on the record by strong players younger than himself, (a tested practice seen in the careers of Art Blakey and Miles Davis), the musical interactions between players did, in fact, seem to border on a type of symbiosis elevating the music and the experience of listening to it.
Compositionally, Rieu explains in the liner notes of the album, that the songs of Symbiosis were inspired by the music of Brahms, which has always moved him. Rieu has sought, however, to invoke the spirit of Brahms without necessarily restricting himself to the harmonic and formal vocabulary one would expect from such an exercise. As a result, I must admit that I discerned only a tenuous resemblance; and I suspect this is only because I was told beforehand of the goal to channel the German romantic.
Regardless, the playing, (and composing), was done at a very high level with Johnathan Cayer, Rémi-Jean Leblanc, and Louis-Vincent Hamel all contributing their skills to the music of the veteran saxophonist. Some highlights include Leblanc’s impressive dexterity on his bass; the solid comping of Cayer’s locked hands voicings; the powerful tone of Rieu; and the dynamic drumming of Hamel who, with micro movements in his wrists and fingers, was able to achieve patterns bordering on Drum & Bass at times. All this was conducive to an appreciative crowd that filled the club nearly to capacity. I would therefore say that Rieu’s latest launch of modern jazz inspired by romantic music went as well as could be expected.
Festival d’art vocal de Montréal 2024 | A gala full of promise
by Alexandre Villemaire
Singers from the Class of 2024 of the Canadian Vocal Arts Institute (CVAI) kicked off the first concert of the twentieth edition of its Vocal Arts Festival last Sunday. Gathered in the Salon Richmond, a former church converted into a sumptuous reception hall, the cohort of young artists from the new generation presented a gala concert under the banner of love and exuberance, performing several well-known pages from the operatic repertoire, whether duets, trios, quartets or large choruses. The venue’s neat, pastoral setting was matched by a good-natured energy embodied by both the performers and Étienne Dupuis, co-artistic director, and Nathalie Deschamps, the concert’s stage director and ICAV artistic coordinator, in their introductory remarks. The complicity between them – she taught Étienne Dupuis when he was a student at Cégep de Saint-Laurent – set the tone for the afternoon with humor and light-heartedness. Above all, their speech reminded us that the festival, beyond being an artistic event, this festival and the institute’s related events remain an opportunity for training and work, as well as a platform for experimentation for these young vocal performers who come to perfect their skills. They were accompanied by a small string ensemble led alternately by two young conductors-in-training, Daniel Black and Madeleine Krick, as well as experienced conductor Simon Charette and accompanying pianists also in training at the institute.
The overall vocal quality of the performers was given an introductory number as they processioned towards the stage, singing Richard Rodgers’ “Climb Ev’ry Mountain” from the musical The Sound of Music. Symbolically illustrating the road travelled and the road still to be travelled to reach one’s dreams, it was rendered with force, power and energy. This was followed by a series of varied pieces, ranging from Mozart opera to bel canto, verismo, French opera and operetta. The “Bella Figlia Dell’Amore” quartet from Rigoletto is one of the most striking numbers. The voices of Abigail Sinclair (soprano; Canada), Maddie Studt (mezzo-soprano; USA), Sébastien Comtois (tenor; Canada) and Keunwon Park (bass; South Korea) each offered fine vocal harmony.
One of the most experienced participants in the cohort, Canadian baritone Geoffrey Shellenberg hit the bull’s-eye with every performance, as much for his vocal mastery as for his interpretive skills and stage presence. His duet with mezzo-soprano Natalia Pérez Rodriguez, “Pronta io son” from Donizetti’s Don Pasquale, extremely lively, sparkling and casual, contrasted with the vindictive character of his Belcore in the aria “Venti Scudi” from L’Elisir d’Amor sung with Mexican Jair Padilla, a tenor with a clear, brassy voice. Other memorable performances included two excerpts from Menotti’s Consul, performed with roundness of tone and musicality; excerpts from Bizet’s Carmen, whose “Mêlons, mêlons!” trio introduced us to Isabella Cuminato’s deep timbre; and numbers from Mozart’s Die Zauberflöte and Cosi fan tutte, which showcased an ensemble of singers who are seasoned both vocally and in terms of stage presence. As a surprise on the program, Étienne Dupuis performed Rigoletto’s aria “Cortigiani, vil razza dannata” with intensity and exhilarating mastery. The evening ended with a performance of the chorus “Brüderlein und Schwesterlein” from Die Fledermaus, sung in French, to extend the invitation to the opera’s performance on August 10 and 11.
We came away from this concert by the ICAV’s 2024 cohort with a fine impression, despite a few minor weaknesses in projection and diction on the part of some of the performers, as well as some uneven direction from the podium. But there was nothing to throw the concert off balance. It takes a lot of determination, investment and, above all, a good dose of pleasure to bare one’s vocals. For a show that took three days to put together, each and every one of them displayed fine vocal qualities that we look forward to helping you discover in the festival program.
photo: Tam Photography
For the program of the Festival d’art vocal de Montréal, click here
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