The tenth edition of the Virée classique, the classical music festival presented by the Orchestre symphonique de Montréal, kicked off on Wednesday evening with a concert on the Esplanade du Parc olympique. With remarkable precision, Rafael Payare and the orchestra transported the audience through famous opera arias and more. The evening was hosted by Magalie Lépine-Blondeau, spokesperson for the Virée classique. Together, they offered a remarkable, accessible and highly enjoyable concert.

Bomsori, violin. Photo credit: Antoine Saito

The audience travels to charming Seville, with excerpts from Rossini’s Barber of Seville, followed by George Bizet’s famous Carmen. Franz Waxman’s Carmen Fantaisie for violin and orchestra, performed with brilliance and virtuosity by solo violinist Bomsori, presents a number of technical challenges which she overcomes with ease. The piece is inserted between the two opera excerpts, echoing the arias sung by guest mezzo-soprano Isabel Leonard. The latter charms the crowd with her warm timbre and theatricality. The remarkable clarity of the lyrics, in both Italian and French, is to be commended, while her acting effectively conveys the emotional complexity of the characters she portrays.

Isabel Leonard, mezzo-soprano. Photo credit: Antoine Saito

Modest Mussorgsky’s Pictures at an Exhibition is decidedly different in tone. It moves away from opera and into a more figurative, even descriptive style, evoking the passage through the halls of a museum or salon. It emanates a nobility and majesty that is evident from the very first, well-known theme that structures the work. The brass section’s performance is to be acclaimed for its precision and clarity. The orchestra reserved a final surprise for the audience, with an encore of Wagner’s celebrated Ride of the Valkyries. Its exemplary interpretation made it the highlight of the show.

The technique and execution behind the concert were impressive. We applaud the accuracy of the timbres through the amplification, as well as the fascinating work of the cameras in the orchestra, offering a different perspective of the musicians. On the downside, the sensitivity of some of the microphones on stage meant that we could distinctly hear pages turning, chairs creaking and bows falling. However, it’s this same subtlety in the recording that allows you to hear the orchestra’s softest nuances, even from several meters away. The disadvantages are quickly forgotten after all that!

Despite this minor detail, the concert was both exhilarating and entertaining. The tunes were familiar and the themes already familiar, but the interpretation was so exceptional and precise that it was as if we were rediscovering these classics. This is where the Orchestra really shone. It communicated all the love that it and its conductor have for music.

The Virée classique promises to be exceptionally vibrant!

Elena Mandolini and Alexis Ruel

There might have been over 92 different acts at this year’s Osheaga, but our writers jumped between many of the shows to give a concise and creative review of our experience. So without further ado, here is what we saw and heard on the final day of Osheaga…

As an added bonus, we suggest 3 perceptions of the Kendrick Lamar show by our three writers from thee generations.

Kendrick Lamar: authoritative and dominant

Photo by Tim Snow

Is it possible to have better event than one of the hip-hop scene’s most popular artisans of the last decade to close the 2023 edition of Osheaga? I firmly believe not. Right after Fred Again.., the long-awaited moment arrived and Kendrick Lamar made his entrance on the main stage on the first notes of “N95,” one of the excellent titles of his most recent album, Mr. Morale & The Big Steppers. After his first track, the Californian rapper stood in silence like a king under the imposing “Olé!, Olé!, Olé!” crowd. Behind him, a curtain art canvas is revealed, which will be replaced three times during its performance. During his concert, he was only accompanied by dancers who are added as the concert progresses. On stage, Kendrick Lamar isn’t the most energetic, but his skill and poise make him a captivating artist.

During his roughly hour-and-a-quarter stint, the Compton MC delivered a selection of several pieces from his latest project as well as his greatest hits from his discography, even going back to 2011 for “A.D.H.D” and 2012 for certain titles of Good Kid, M.A.A.D City. One of the best moments of the evening was when the 36-year-old artist asked the festival-goers to turn on their phone flashlights for “LOVE.” For almost every track, the crowd responded present and accompanied the rapper. At my side, we find people of all ages, proof that K.Dot is unanimous across the different generations.

“You could have chosen to be anywhere tonight, but you decided to be here, thank you,” supported the rap veteran at the end of his concert. The people present at the festival had been entitled to a moment of anthology and a near-perfect offer from Mr. Duckworth to conclude the festival. – Jacob Langlois-Pelletier

Photo by Tim Snow

Like many in the crowd, this was to be my first time witnessing the Cali rap god, Kendrick Lamar, so it’s safe to say that right after Fred Again.. ended his set next door, the anticipation was real. The instrumental piano and funk guitar took the stage until Kendrick busted out of the darkness, diving into “N95” and then “ELEMENT.” He was sporting shades, pink track pants, and a black hoodie, behind a painted canvas backdrop that shifted between his set. We also got a few old numbers like “A.D.H.D,” and a crowd favourite, “King Kunta,” off the excellent To Pimp A Butterfly.

Kendrick’s flow was unmatchable, but the crowd near me attempted to rap every line during a song like “Swimming Pool (Drank).” Another stand out was when he freestyles for a few minutes before faking out the crowd and jumping into “Money Trees,” followed by “Bitch, Don’t Kill My Vibe.” Kendrick has general charisma on stage, but he did seem a little less energetic than I was expecting. Still, his backup dancers, which had a menacing presence to them, did add to the narrative story of the show. Kendrick also decided to end his set 15 minutes early, with “Savior,” but I mean, he’s Kendrick goddamn Lamar, so he can do what he wants. – Stephan Boissonneault

Photo by Tim Snow

In his critical and self-critical reflection, in his poetic form, in the context of his brilliant and subtle message, at the antipodes of Manichaeism, Kendrick Lamar wanted to elevate on stage his recent proposal, embodied by the recent album Mr. Morale & the Big Stepper. Literally denser and magnified by his exemplary flow, Kendrick Lamar took this state of creation a step further, opting for scenic minimalism to present an all-too-brief closing show, concluding almost 15 minutes before curfew. While the end of the Osheaga program may have artistic merit, it is hardly appropriate for a mass event where over-conceptual proposals reach their limits. 

Some will see it as a stroke of genius, a brilliant counter-proposal for the final headliner of a festival of this size. Sunday evening at Parc Jean-Drapeau, in front of a huge crowd. The visionary rapper from Compton, the most influential of the last decade, didn’t win unanimous approval this time, even if he may have delighted the majority. Let’s see:  Each of the pieces on the program was interspersed with (too) long pauses, as if presenting tableaux from a total opera, staged in the Romantic era, before modernity. A few huge frescoes painted on fabric occupied the back of the stage, evoking the themes raised in this performance – flashbacks to the artist’s trajectory, reflections on his milieu of origin, his family, his violent neighborhood, the state of his identity, the future of this identity, his existential anxieties despite the fame he had acquired.

A troupe of male dancers with beards and smoked glasses to match their employer, dressed in overalls and stylized workshop aprons (Louis Vuitton, sors de ce corps), choreographed the poetic states of the master Kendrick, himself dressed in Nike shoes, baggy pink 3/4 pants, a black fabric jacket, an LA Dodgers cap and a scarf encircling all but his face. The giant screens on the side reflected only the activity filmed on stage, i.e. the rapper himself and the movement of his dancers circulating around scenic objects.  

The performance of classics from his previous albums to the latest certainly pleased everyone, the new tracks certainly didn’t disappoint, and the covers were relevant (“Nosetalgia” by Pusha T, “Sidewalks” by The Weeknd, “Never Catch Me” by Flying Lotus). In all, 21 tracks, most of them inspired and… Musically, we preferred once again to activate pre-recorded sequences and modulate everything in real-time.  A defensible choice, it must be said, in the manner of the world’s most eminent electronic producers. But… a real-time instrumental performance can also be part of the experience in 2023, so the choice to withdraw it must be compensated for by a significant immersion. This was perhaps not the case at Osheaga.

This artistic choice may well be totally seductive in an appropriate venue for this type of immersion, and we can imagine very different perceptions from the full version of this Big Steppers Tour but… outside, in front of a sea of fans? That’s a different matter. Without 3D special effects, new-style lighting, or multimedia projections, such aesthetic frugality in such a festival context, however brilliant, may disappoint the expectations of many. Which was the case. After 60 minutes, we saw quite a few people move on to other stages in action on the Osheaga site. The majority of fans stayed put, many of them leaving in a daze, even though they all warmly celebrated the great hip-hop vintages of Kendrick Lamar, in full possession of his powers, imperial despite our concerns. – Alain Brunet

The electro prodigy Fred Again.. is a real eye-catcher

Photo by Tim Snow

Over the past few years, the name of Fred Again… has been on the lips of all electro music fans. Before his concert in Osheaga on Sunday evening, I considered myself indifferent to his art, sometimes struggling to understand the huge enthusiasm surrounding him. So, I headed close to the stage with a curious ear, and I have to admit that I left frankly amazed by the genius of the producer, DJ, and singer-songwriter from London.

Throughout, Frederick John Philip Gibson alternates between his keyboard and his MPC. The basis of his music is short sound samples from songs or dialogues of completely unknown artists or people with which he creates loops. Moreover, the videos of the excerpts used are shown on giant screens during the concert. Then, the Briton adds his own voice as well as many layers and textures using his various instruments. Thus, the majority of the titles they play in concert are generated in real-time and the public attends their creation. The avenues of Fred Again… are multiple and his music explores house, garage, pop, and even R&B.

On stage, the 30-year-old artist gives everything and finds himself completely sweaty. From start to finish, the crowd was extremely boisterous and captivated by the star’s actions. The festival-goers were delighted by the best compositions of the artist like Delilah (“pull me out of this”) and Angie (“I’ve Been Lost”). At Osheaga on Sunday, Fred Again.. transformed Parc Jean-Drapeau into a veritable dance floor and managed to create an unforgettable moment. – Jacob Langlois-Pelletier

Central Cee, A British star in the making

Photo by Tim Snow

Around 6:20 p.m., it was the turn of the young British star Central Cee to take over the Mountain Scene. Over the past year, the rapper has enjoyed an unprecedented rise and is now one of the stars of UK drill’s rise to international popularity. Judging by the impressive mass of festival-goers gathered for his performance, his arrival was eagerly awaited.

Before its rise, a DJ took care of warming it up with many hip-hop hits. Fifteen minutes later and after the presentation of a presentation video, the Londoner made his entrance to the shouts and applause of the crowd. Dressed in a burgundy coat and a diamond chain around his neck, the 25-year-old artist debuted with Loading. On stage, Central Cee deploys a destabilizing assurance, skilfully cutting up each of his words and stringing together long verses with a frantic pace. No need for a vocal track to support him, the Briton puts on the different pieces and it seems so easy. Down the stretch, the young star offered her best tracks such as Sprinter and Doja, not forgetting her version of LET HER GO by Passenger.

The people present knew the artist’s titles by heart and shouted over his various titles. No doubt, it was probably one of the best crowds at the festival. – Jacob Langlois-Pelletier

The Cult of Beabadoobee

Photo by Tim Snow

Beabadoobee, a young alternative indie pop superstar, finally got her chance to play Osheaga’s main stage, as she cancelled her date at the last minute for Osheaga 2022. This year, the fans were craving old and new, and we’re mostly greeted by songs from her 2022 album, Beatopia. Bebadoobee’s music is pretty poppy, but there are a few trickles of grunge and shoegaze in her music, and her voice is as soothing as honey on a hot summer’s day.

The heat was a little unbearable as I and many fans were trying to take shelter, and Beabadoobee herself even mentioned the sweltering sun once or twice. Every couple in the crowd hugged each other for dear life during the song “the perfect pair,” and sang in unison with Beabadoobee, real name Beatrice Kristi Ilejay Laus. Two fans proposed to Bea on their phones, as the camera swang between them, but Beabadoobee brushed it off, laughing saying “That’s totally cool, but nah” – Stephan Boissonneault

FOALS, not so typical after all

From Oxford, England, where the radio heads are bred, FOALS is a rock and electro band typical of its generation. Frontman Yannis Philippakis is a fine singer, and this quartet offers inspired melodic hooks, imaginative arrangements and multi-referential passages that testify to a certain taste. FOALS’ recent studio experiments integrate synthetic bass and other stylistic elements of dub and house, without distorting the original proposition, which is closer to indie pop/rock. Nothing memorable on the Vallée stage, but a fine band nonetheless. – Alain Brunet

Japanese Breakfast: The Woman That Loves You

Photo by Frédérique Ménard-Aubin

I’ll admit that 2017’s Soft Sounds From Another Planet, was the last album of Japanese Breakfast’s that I listened to in its entirety, but after witnessing half of her set at Osheaga, I now know I have to check out the latest one, Jubilee. Frontwoman Michelle Zauner came out in a Barbie-themed hot pink skirt and top before banging the stage gong to signal the beginning of the psychedelic indie pop show. This wasn’t the only time she banged the gong, in fact, she hit it multiple times between songs for more atmosphere.

There is something quite mesmerizing about Zauner’s stage presence. She almost goes into a sort of trance, hypnotizing the audience, but breaks character for a bit of levity every now and then. The most energy came at the start of the set when she played two old hits, “The Woman That Loves You,” and “In Heaven,” from her debut album, Psychopomp, which put her on the indie map. – Stephan Boissonneault

Preston Pablo, a breath of fresh air on the Canadian pop and R&B scene

Photo by Benoit Rousseau

Have you ever wondered who was the voice behind the hit “Flowers Need Rain”? If so, you are certainly not alone, because the title of Preston Pablo reached in 2022 the first rank of the most searched songs in Canada on the Shazam platform. On the rise in the pop and R&B scene, the Canadian had the task of kicking off the last day of concerts on the Green Stage.

Supported vocally by his own tracks, the singer-songwriter was bursting with energy and delivered sunshine to the festival-goers present. Preston Pablo’s romantic and warm leads were very well received by the crowd. The 21-year-old artist offered his best tracks such as “For Keeps,” as well as a cover of Justin Bieber’s “Sorry.” “Montreal, I love you!” he said several times, smiling.

After a little over thirty minutes on stage, Preston Pablo wanted to end his performance in style with his most popular song to date, “Flowers Need Rain.” Due to a problem with the sound system, the young man first asked the public to sing with him before offering an acoustic version of the song. When the technical problem was solved, he was able to redo his title properly. Thus, the people present were treated to three different versions of his greatest hit, and no one seemed to complain about it! – Jacob Langlois-Pelletier

Tom Odell: a pure reincarnation of pure romanticism

The hypersensitive piano singer, the gifted melodist classically trained, the vulnerable and passionate interpreter… here’s a profile that’s been around for at least half a century: Nina Simone, Barbara, Elton John, Billie Joel, Carole King, Tori Amos, Fiona Apple, Patrick Watson… There are so many, and here’s another one on the Rivière stage, relatively unknown in North America, though… at the end of PM Sunday, there were several hundred who knew by heart the songs of Englishman Tom Odell, a pure reincarnation of extreme romanticism but with updated signs of pop culture. The 32-year-old counter-tenor singer-songwriter is known for his magnetism and expressiveness. His use of all the compositional clichés of the piano and pop band song is soon forgotten, clichés that he coats with a creative sheen that clearly sets him apart. Less predictable than it sounds! – Alain Brunet

Julia Jacklin Doesn’t Ignore the Tenderness

Photo by Frédérique Ménard-Aubin

Right after an electric set by the brotherly rap duo, Armani White, the Green Stage welcomed the presence of Australia’s Julia Jacklin, a show I anticipated to be full up, but was graciously surprised with the empty space on the grassy floors. Perhaps this is because much of the Armani White crowd was looking for something more danceable (something the programmers could have anticipated) and wasn’t prepared for Jacklin’s melancholic indie rock. Still, the ones of us who did stay and arrived slowly were in for a beautiful, but forlorn treat.

Most of Julia’s songs are about lost love or existential dread, something very different than what you expect to get at a festival where most people are on uppers. It was hard not to feel broken when her powerful voice crooned during the song “Pool Party” or even “Lydia Wears a Cross.” I was, unfortunately, alone and felt like I needed a hug from a faraway friend. It’s good, but rare, to feel something real at a show and Julia Jacklin’s set, though short, was all about the real feelings that make us human. – Stephan Boissonneault

Milk & Bone mastering their craft at Osheaga

Photo by Benoit Rousseau

After Canadian rapper TOBi left the nearby stage as the crowd chanted his name, the bar was high for Milk & Bone. Let’s just say that the electro-pop duo rose to the challenge brilliantly!

The two singer-songwriters arrive on stage for their third career appearance at Osheaga (already!). Laurence Lafond-Beaulne is completely dressed in white while Camille Poliquin is in black. At several points during the concert, they come face to face and look at each other while performing their songs. While one sang, the other added different sounds and textures using a drum machine. The chemistry between the two women is real and splendid on stage.

On Sunday, the crowd was able to dance to many excerpts from Chrysalism, the duo’s latest opus released last year. Milk & Bone also pleased their fans with their greatest hits. It was during Daydream that the crowd got the loudest. The duo gave an excellent performance and the festival-goers seemed to get everything they expected from them. Jacob Langlois-Pelletier

Saint Levant: evident appeal from the first few bars

Photo by: Frédérique Ménard-Aubin

Marwan Abdelhamid aka Saint Levant is the son of a French-Algerian woman and a Serbian-Palestinian man. A native of Jerusalem, he lives in the US, having completed a bachelor’s degree in international relations at the University of California, Santa Barbara. The singer and rapper is fluent in Arabic, English and French, and his appeal is evident from the very first bars. His offering includes oriental violin (with quarter tones), darbouka, saxophone and his Arabic-inspired songs also incorporate Western flavors of soul-pop, hip-hop and EDM.

At once engaging, entertaining and sensual, Saint Levant has quickly established itself on social media, to the point of securing a major bill at international festivals, in this case the Green Stage at Osheaga. Thousands of newly-conquered fans, mostly from the Arab-Maghrebi community, were on hand to cheer him on, and also to applaud guest Zeina, who grew up in Montreal and whose career is also taking off. – Alain Brunet

There might be over 92 different acts at this year’s Osheaga, but our writers have been jumping between many of the shows to give a concise and creative review of our experience. So without further ado, here is what we saw and heard on the first day of Osheaga…

Altın Gün

Photo by Benoit Rousseau

One of the first shows of the day came from the trippy stylings of Turkish psychedelia band, Altın Gün, who was playing much of their new album, Aşk, which turned out to be a lot more synthy than the crowd was expecting. Still, there was enough wah, phase, and tabla drumming to make your head spin, and the vocals by Merve Daşdemi and Erdinç Ecevit Yıldız were droney and pleasing.

The bağlama, or plucked Turkish guitar, rang true throughout the winds and got the crowd swaying and rhythmically moving. Though we were in a park on the corner of Montreal, for much of Altın Gün‘s set it felt like stepping into a Turkish bazaar. I think Altın Gün would have faired better opening for someone like The Flaming Lips, but their set was still thoroughly enjoyable.

– Stephan Boissonneault

BBNO$

Photo by Frederique Menard Aubin

From the moment BBNO$ took the stage at Osheaga, his charisma, uniqueness, nerve, and talent could not have been more apparent. (Initially) dressed in a sheer white set that effectively left him delivering his quirky west-coast bars in boxer briefs and a toque, BBNO$’s set was equal parts comedy show and lighthearted, youthful rap concert. At one point, he pulled out a cookbook and announced that he would give it away to whoever was “going the hardest in the crowd”—though not before reading a recipe for zucchini parmesan salad aloud—right before diving into hit, after hit, after hit. 

After an AV interlude depicting Justin Trudeau spilling the beans about an unreleased track, BBNO$ triumphantly returned to the stage to deliver it, now wearing a frilly white bonnet and diaper, complete with an oversized safety pin. Despite (or maybe because of) the get-up, he strutted around the stage with the confidence and ease that has become such a hallmark of this young performer. Another highlight was when he pulled up a young audience member named Zachary, who was peaking on something and had already lost his voice. Regardless, he absolutely committed to performing not one, but two songs alongside BBNO$, utterly exhausting himself in the process. In the end, BBNO$ tossed the cookbook to his first real estate agent—I guess it pays to know people.

– Lyle Hendriks

Soccer Mommy

Photo by Tim Snow

Nashville-based indie rock outfit Soccer Mommy is nothing if not consistent. The heart-wrenching vocals and delivery of Sophia Allison are the most immediately captivating part of this group, and she didn’t disappoint in a live setting. Whether it was the gut-wrenching anthem “Shotgun,” off the new album Sometimes, Forever, old classics like “Your Dog,” or even their latest, a cover of Sheryl Crow’s iconic summer number “Soak Up The Sun,” there’s a unique pathos to Soccer Mommy that leaves you with chills as you watch it unfold before you.

While Allison may not always have much to say between songs, you never feel left out of her mind once the next track starts. Though the grinding melodies would sometimes clash, each and every moment felt refined and rehearsed to perfection, something of a rare occurrence in the gritty, DIY style that Soccer Mommy is so firmly cemented within. With soaring rhythm guitar that perfectly straddles the line between grunge and glamour, cinematic, shoegaze-y lead lines that accentuate every track on a thematic level, and bonafide vulnerability on each song, Soccer Mommy gave us everything we could want and more.

– Lyle Hendriks

Rina Sawayama

Photo by Tim Snow

I had no idea who Rina Sawayama was, but I can say I am now a fan after witnessing her set on the Mountain main stage. It was alternative pop mixed with contemporary RnB, sometimes sounding like Destiny’s Child or even someone like Lady Gaga. Rina’s a very powerful vocalist, but the true highlight of the show was the choreography and general set up of the show. Rina had three costume changes (one that involved a red corset and bullwhip during the song “This Hell”) and was jokingly ruthless with the crowd, constantly saying she would not come out for an encore cause the crowd’s energy was lackluster. She of course did and brought back the dancers after poking more fun at the crowd.

Her backup dancers (only two of them) were sweaty profusely from being pushed down, thrown, chained to a wall, and caressed by Rina. The dancing story felt like an abusive relationship between a throuple and was just as captivating as the music. Her guitar player is also a virtuoso, who only took the limelight a few times with a face-melting solo. This was a show fit for the main stage.

– Stephan Boissonneault

The Flaming Lips

Photo by Tim Snow

The Flaming Lips have over 15 albums, but nostalgia was in the air when they played their 2002 hit album, Yoshimi Battles the Pink Robots in its entirety for their Osheaga set. From the opening song “Fight Test,”—which kind of sounds like a Cat Steven’s song, because he’s actually featured on it—four giant, inflatable pink robots took the center of the stage as the band played the songs. It was a fantastic and loud set, as the frazzled, long-haired lead singer, Wayne Coyne, sang in his bubble, looking like a jet pilot fried on LSD.

Whether he was on psychedelics or not during his set remains to be seen, but he did go on many tangents about a few of the songs, the clouds, summer, and the general story of Yoshimi. This could just be an again rockstar coming to grips with his mortality and running out of live-show banter. It was cool for the first five songs, but he did tend to repeat himself a bunch as the crowd was hungry for the hit “Do You Realize.” Still, The Flaming Lips once again proved why they are one of the contemporaries of hair-brained psychedelia.

– Stephan Boissonneault

JPEGMAFIA

Photo by Frederique Menard Aubin

JPEGMAFIA is one of if not the most, intriguing, exciting, and downright weird acts in Hip-Hop today. You didn’t need to look far to sense the crowd’s excitement leading up to Peggy’s set. Whether it was the people behind me chain-vaping DMT or the throng of concertgoers cheering for JPEG in between songs from Bicep, who played next door, it was clear that this was about to get crazy. And what a show it quickly became. 

When the man himself emerged, he was draped in shadow and a durag, dramatically backlit against his retro PlayStation-inspired logo. Moshpits, moshpits, moshpits. Open the pit. Then open it somewhere else. Combine the two—wait for the drop, and charge. Thrashing about in the centre of the chaos was akin to being a spinach leaf in the blender—only none of us minded being macerated in the process. In the next hour, Peggy covered virtually every era of his catalogue, whether it was his first released track (an acapella cover of Carley Rae Jepsen’s “Call Me Maybe,”) the unbelievably aggressive “1539 N. Calvert” off Veteran, or new bangers off his latest project, Scaring the Hoes with Danny Brown. Despite his violently aggressive delivery, tirelessly chasing demons with every song, Peggy actually came off as rather sweet and genuine in between songs, thanking everyone for being a fan and indulging himself in little jokes that give us a look at one of the genre’s more enigmatic figures.

Joey Bada$$

Photo by Frederique Menard Aubin

It was hard to follow up on the intensity of JPEGMAFIA, which the group I was with, was still recovering from the vicious moshpits, right as Joey Bada$$ took the next door stage. “Do you have some fuckin’ Joey Bada$$ fans here tonight or what?” Jo-Vaughn Virginie Scott screamed into the mic before jumping into “Temptation” off the album ALL-AMERIKKKAN BADA$$. We mostly watched from the bleachers to the right of the stage, exhausted, and I wasn’t feeling too much of the auto-tune, but the straightforward rap tracks from Joey Bada$$ were electric as all hell. Judging by the crowd, Joey Bada$$ played everything they wanted and more.

– Stephan Boissonneault

Opening photo by Tim Snow

Two hours before the start of the concert, the best seats were already taken, in front of the stage set up at the foot of the Mont-Royal. The atmosphere was festive and family-friendly: small groups gathered around a picnic on this wonderful early-August evening. A group of percussionists, made up of high-school students and their teacher, provided pre-concert entertainment, moving through the crowd to provide lively Brazilian rhythms.

Comedian and host Katherine Levac was the evening’s presenter. She took on the role of the unaccustomed concertgoer, announcing that she didn’t really know what was going to happen. She appeared after each piece performed by the orchestra, which somewhat broke the concert’s rhythm, but her interventions were funny and rhythmic, keeping the audience attentive. It has to be said that this concert at the foot of Mont-Royal aims to break the traditional mould of the classical concert. Yannick Nézet-Séguin even invited the crowd to get out their cell phones to film and share the 3rd movement of Dvorak’s 7th Symphony (an obvious nod to his public dissatisfaction last May, when a ringing phone interrupted the Philadelphia Symphony Orchestra concert he was conducting).

Nézet-Séguin took to the stage with Bernstein’s “Mambo” (from West Side Story). The repertoire chosen for the evening was far from clichéd, revolving around the theme of dance and nature. Jean Coulthard’s Kalamalka musically illustrated the beauty of Canadian lakes and wide-open spaces. With this choice, the OM continued its tradition of including a piece composed by a woman on the program of every concert. Next, the last two movements of Dvorak’s 7th Symphony were danceable and still somewhat imbued with nostalgia. André Mathieu’s beautiful Rhapsodie romantique was then performed with Alain Lefèvre at the piano. Lefèvre is a specialist in Mathieu’s work and interpreted this piece with strength, power and, at times, theatricality. Finally, the OM invited the crowd to dance to the tunes of Marquez’s Danzon no. 2. The audience was ultimately spoiled by the surprise arrival on stage of Ariane Moffatt, who performed La vie en rose as an encore.

The OM offered a concert in which both classical music regulars and newcomers could find something to their liking. The evening unfolded in good spirits, with smiles on everyone’s faces.

The air outside is humid and wet, and the sun is just coming into view after a 20-minute rainstorm an hour before. It’s uncomfortable and a little off-putting as we crush a few park beers, two joints, and for a few, a handful of mushrooms—perfect for the King Krule show. We all packed into the doors of Théâtre Corona, sorry the now Théâtre Beanfield, which seems to have changed in name alone as the decor is the same and the bright “Corona” sign is still hanging from the building’s outdoor walls. 

The opener is Jerkcurb, a one-man melancholic loop indie machine led by South London’s, Jacob Read. He approaches the stage in a retro-paneled bowling shirt and leads the crowd through a rather slow, droney guitar, but atmospheric soundtrack about the weirdness of life. It’s a bit Americana at times but in a dreary underwater haze. His vocals could be louder, but Read has many different singing voices that can ensnare you and transport you to his little universe; a seedy strip mall where loners escape existence, or following a bonafide rockstar, depressed as all hell. 

Jerkcurb started the melancholic vibe at the King Krule show

Jerkcurb could do well with a live drummer, but he definitely gives me the courage to find his album, Air Con Eden, which is suited better alone, over headphones on a rainy night. It seems like Jerkcurb and King Krule were schoolmates and neighbours in a past life and Read deeply inspired King Krule, real name, Archy Marshall, who says “We wouldn’t be here if it wasn’t for Jerkcurb,” during his set. 

As King Krule, and his five-piece band, who requested no photographers in the middle of the pit because “King Krule [didn’t] want to see cameras,”—a security guard has no problem telling us—take the stage, saxophonist/vocalist, Ignacio Salvadores, lights some incense and revels in a drag of a clove cigarette. The lights are dark for most of the opener “Perfecto Miserable,” anyways, and there are only brief moments when we see flashes of Archy’s face. Next is another track from 2020’s Man Alive!, “Alone. Omen 3,” a jazzy, dark, sometimes discordant song about losing one’s identity. 

After a song from The Ooz, the lights finally light the stage and we all see its backdrop. The nightmarish trees and cube land, the abstract cover of King Krule’s latest, Space Heavy. He bursts into the album opener “Flimsier,” a song full of existential dread and doubt, and enough watery chords to give you whiplash. 

King Krule swoons

But Archy makes it all look so easy, giving a slight one tooth grilled-smile to the crowd before mumbling something droll into the microphone with his deep voice, and then repeatedly smacking his head like an unkempt caveman, to rile up the crowd. He’s unbelievably cool, without falling into the general definitions of the word.

The first half of the King Krule set is more of a gloomy lullaby, but right as the thick, punk-tinged bass kicked in for “Stoned Again,” the floor loses their collective shit—shuffling from side to side like manic crustaceans and moshing for the song’s outro, which sees Archy violently swing his guitar in a haze and drop it on the stage floor, grappling and screaming into the mic. 

People may call King Krule’s vocal style low, scratchy, and baritone, but songs like “Stoned Again,” convey just how much control he has over it, flipping from a post-punk ramble to a hushed growl. He could easily lead a punk band in the vein of someone like Fontaines D.C.. Yet he creates new gritty songs like “Hamburgerphobia,” a devastating song about eating a hamburger in the park and dissociating, which on the Space Heavy sounds like a dark hallucination, and live is pure unharnessed punk rock madness. 

The pit opens up again during the build of “Easy Easy,” as the floor waits for the exact moment to crash into each other like thick bone-headed dinosaurs looking for mayhem. It’s a sweaty affair and continues with another jazzy deep-cut banger like “Rock Bottom,” which in the official music video, Archy dedicates to a “Mr. Read.” It sounds like Jacob Read, i.e. opener Jerkcurb, had a profound effect on King Krule’s upbringing and really pulled him out of the dirt as a young man. We don’t really get the true meanings of songs from mysterious songwriters often, but on this Montreal night, the dots are connected. 

Post-punk bliss during “Easy Easy”

King Krule’s set is 20 or so songs long, full of a few deeper cuts and of course the hits; the perfect setlist for any diehard or new fan of his Krulian jazz-rock, post-punk psychosis. The encore is “Out Getting Ribs,” a song that contributed to his newfound fame in 2013, when he was just a fresh-faced 17-year-old boy, with praise from the likes of Beyonce… 

King Krule is no longer a secret phenomenon like 10 years ago. He’s now a household name, who could easily headline the big festivals, but still chooses to grind out on the city circuit, perhaps due to anxiety, disbelief, or even care. Either way, we’re lucky to have him during this weird era of human life.

Photos by Stephan Boissonneault

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

Opening Up To Others With Kandy Guira

Kandy Guira was greeted by an enthusiastic crowd as she took to the stage, and the energy quickly reached a fever pitch. The singer was accompanied by a guitarist and a musician on a turntable. It was a concert with an uncluttered, even sober aesthetic. In fact, with her performances, Kandy Guira aims to open up a space in which there are no barriers, and where differences do not exist. With her magnificent, powerful voice and varied musical colours, the singer conveys her message of openness to others, all against a bewitching musical backdrop. Kandy Guira’s music draws you in: percussive bass, driving rhythms and fascinating guitar solos. Not forgetting, of course, the singer’s voice, which seems to float over the instrumental melodies.

At the heart of this musical moment, Kandy Guira shares a strong social message, making it her personal mission to open up spaces for education and dialogue between all people. She urges us to reach out to others, whatever their differences, and get to know them.

Elena Mandolini

Andy Rubal Sings His Love for Montréal

Andy Rubal and his band had the energy to spare last night on the TD – Radio-Canada stage. Andy Rubal opened the show with a keyboard introduction. What looked like a medley of Chopin’s piano works gradually turned into a syncopated piece. Then the band took their turn, and the crowd went wild. With his powerful voice and unrivalled stage presence, Andy Rubal seduced the crowd and kept them dancing all evening. Audiences could be heard singing the lyrics along with the musicians. The drummer also sang one of the songs on the setlist, while continuing to play. It was a beautiful moment of the evening.

Andy Rubal has a strong connection to Montreal. He sang us some of his compositions that had been written in this city, as well as expressing several times how happy he was to be at Nuits d’Afrique. He ended his performance with the first song he ever wrote in French, much to the delight of the crowd.

Elena Mandolini

Meiway Closes the 37th Edition of the Festival international Nuits d’Afrique

The 37th edition of Festival international Nuits d’Afrique reached a thunderous and ceremonious climax with Ivorian Zoblazo and Afropop legend, Meiway, taking to the TD-Radio Canada stage. The culmination of the festival drew music enthusiasts from all over to witness this veteran pop sensation at work, some definitely with the memory of his last performance here nearly six years ago, creating an atmosphere brimming with expectation.

Only moments after Meiway arrived on stage with his band and dance troupe, who were as numerous as the accompanying band, the zoblazo rhythms ignited a euphoric energy that spread like wildfire throughout the crowd. Performing hit after hit, Meiway had an absolutely huge crowd in the palm of his hand, with a devoted legion of fans armed with handkerchiefs harmonizing every one of his songs.

In our interview with Meiway, we asked him what keeps him going after thirty years and he replied that it was simply the love of his craft. That love was easy to feel and Meiway performed the set with a childlike wonder in his eyes, completely absorbed by his craft. At sixty years of age, the performer shows no sign of slowing down, singing and dancing for nearly two hours. Near the end of the show, a huge number of dancers, all dressed in white, filled the stage doing the zoblazo, a fitting tribute to the artist, and a fitting finale to a festival all about what the best of music has to offer – love, joy, harmony.

Varun Swarup

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

Guynard the Entertainer

Brilliantly bringing a landscape of liberating Congolese rumba that stretches beyond the horizon, Guynard and his band easily charmed the audience in front of the Loto-Québec stage yesterday.

When there are eight people on stage, including one whose sole role is to dance up front, the festive atmosphere is quickly achieved. It would seem that Guynard & New Formule’s music runs on Celsius degrees and drops of sweat, and in this case, their tank was full.

The long instrumental introduction set the tone perfectly: we’d be treated to songs as warm and expansive as a desert where it’s easy to get lost. But here, there’s no need to wait for a mirage: Guynard’s soaring voice skillfully and tirelessly guides us through the tracks, to everyone’s delight. He leads us safely to the end of bewitching rhythms and clear tones that last eight, ten, twelve minutes… who knows how much time passes, and who cares? To ask the question is to answer it.

What’s more, the concert is well known to all involved. The grooves are tightly wound, precisely so that the audience can loosen up. Isn’t that clever?

In short, Guynard may be trying to take us to Congo, but above all, he’s taking us left, right, forward, backward… and on it goes!

Théo Reinhardt

Valérie Ékoumè Gives A Musical Tour of Cameroon

Cameroonian singer Valérie Ékoumè ended her most recent international tour in Montreal, at Nuits d’Afrique. The musician treated the crowd to a varied repertoire of different styles, navigating through makossa, rumba, bikutsi and Afropop. She was accompanied by three excellent musicians (drums, guitar, bass) dressed in elephant masks. All you could see were their eyes and mouths. Valérie Ékoumè explained to the crowd that this is a Cameroonian tradition, where only the initiated know who is behind the masks. Even without seeing their faces, these musicians impressed the audience with their dancing rhythms and virtuoso solos, even descending into the crowd to dance.

Valérie Ékoumè’s voice is powerful and melodious. On several occasions, she asked the audience to sing and dance with her, which the crowd did with great pleasure, so contagious was the energy and so sympathetic was the singer. Indeed, the atmosphere was one of celebration, but also of complicity between musicians and festival-goers. In just a few minutes, Valérie Ékoumè managed to forge a bond with the crowd, and even with the technical crew backstage, who could be seen dancing and having fun to the rhythm of the music. The evening got off to a great start, with joy, good humour and excellent music.

Elena Mandolini

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

Chipo Nyambiya Makes the Crowd Dance

Chipo Nyambiya’s performance was part of the Femmes du monde series at the Festival international Nuits d’Afrique. The singer, originally from Zimbabwe, is also a master of the mbira, a thumb piano which has been declared a UNESCO intangible cultural heritage. We would have liked to hear more of this mesmerizing instrument, but it only made an appearance in two songs.

Despite this, Chipo Nyambiya’s performance was remarkable. Her vocal range is astonishing, and she demonstrated her great vocal mastery throughout her set. The musicians who accompanied her were also of the highest quality. A saxophonist took solos with confidence, filling the crowd’s ears with a rich, powerful sound. A percussionist sometimes joined Chipo Nyambiya at center stage to dance with her. Not only dancing but also jumping and twirling in the air, in the confined space of the Loto-Québec stage. The audience was treated to an energetic concert of high musical quality.

Elena Mandolini

AfirkA, or The Party That Never Ends

Photo credit : Marc Lachovsky

There was a feverish energy in front of the TD – Radio-Canada stage, just a few minutes before AfrikA took to the stage. The group won the Afropop prize in this year’s Syli d’or de la musique du monde competition, an initiative of Productions Nuits d’Afrique. Fans of all ages were ready to welcome the musicians, some waving Algerian flags for the occasion. The opening track was a rock version of the music from the film Pirates of the Caribbean. At the end of this introduction, the singer took to the stage, much to the delight of the crowd. He promised us an unforgettable evening, and that promise was kept.

AfirkA performed songs in Arabic, which the audience knew very well. The audience sang, danced and jumped relentlessly throughout the performance, accompanied by the singer’s warm voice. He demonstrated impeccable vocal technique, impressing us with melismas of impressive length, all in one breath. The musicians were also in top form, flashing smiles at each other and the crowd. All delivered a high-calibre performance, fully justifying the award they received this year.

Elena Mandolini

Sidi Wacho’s Rock Energy

The programming team at the Festival International Nuits d’Afrique had the right idea of getting Sidi Wacho the Friday night slot at the headlining venue. With high expectations, this unique Franco-Chilean-Algerian band brought the house down in front of an absolutely packed crowd at the TD-Radio Canada Stage.

The band played through an electric set of originals that fuse French hip-hop with traditional Latin styles like salsa and cumbia and some Maghrebian and Balkan flavours for good measure. But what is especially remarkable about this group is the stadium rock energy they bring from the early 2000s.

Lead vocalists, French-Algerian Saïdou and Chilean Juanito Ayala commanded the stage with their dynamic presence and compelling vocal delivery. They effortlessly switched between rapping and singing, maintaining a high level of energy and getting the crowd to feel it throughout the entire set.  In fact, it was the first time during my time at the festival that I witnessed something close to a mosh pit emerge! Still, it was not all a party, for Sidi Wacho’s music is just as much a means to raise awareness and speak truth to power but they show that you can have a damn good time while doing it.

Varun Swarup

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

La Tribu Salsa Band’s Recipe for Happiness

Photo credit: André Rival

La Tribu Salsa Band is the winner of the Syli d’or de la musique du monde 2023. This initiative of Productions Nuits d’Afrique was in its 16th year. The Tribu Salsa Band brilliantly defended its title and demonstrated why the group was the public’s favourite. The band members entered the stage all wearing the same black shirts with multicolored musical notes on their shoulders. The opening track set the scene for an hour of energetic, danceable music. Four singers took center stage, delighting the crowd with their intricate vocal harmonies and rhythmic dance steps. La Tribu Salsa Band’s setlist combined classic pieces from the salsa and samba repertoire, interspersed with original compositions. The melodies were held with confidence by the four brass players (two trumpets, two trombones) who alternated solos and clear, rhythmic chords.

The audience was entertained from start to finish. After the last song, as the band members were officially presented with their trophies, the crowd chanted “Otra, otra, otra!” to demand one last song, which unfortunately didn’t happen. The Tribu Salsa Band gave a performance worthy of a band just awarded a Syli d’or.

Elena Mandolini

The Purity and Elegance of Thaynara Perí

As part of the Femmes du monde series, Brazilian singer-songwriter Thaynara Perí performed at Nuit d’Afrique. Maracas in hand, she entered the stage and greeted the large crowd gathered near the Scène Loto-Québec. A native of Minas Gerais, the artist’s confidence and stage presence are remarkable. Accompanied on stage by bass, guitar, drums and flute, Thaynara Perí explores bossa nova and samba with a relaxed jazz structure.

Throughout the concert, the audience danced along, carried away by her powerful yet elegant voice. During her performance, Thaynara Perí gave way to her musicians at various points, bringing excellent guitar solos to life. On several occasions, the Brazilian singer addressed the audience in French, saying how delighted she was to be able to sing for them. The atmosphere was as warm as it was festive, and it was hard to ask for a better way to start the evening!

Jacob Langlois-Pelletier

Bejuco: Diverse Inspirations and Colombian Essence

Around 8 pm, Colombian band Bejuco took to the Radio-Canada stage. The arrival of this ten-member orchestra was eagerly awaited, judging by the mass of festival-goers present at their performance. Active since 2015, the band is heavily influenced by Afrobeat and offers Afro-Colombian rhythm tinged with ancestral chants, while also incorporating pop, hip-hop and reggae elements into their art. Each member of the group adds a musical layer until the result is reminiscent of the strength and tenacity of the ocean sea.

On stage, the band’s instruments include guitar, percussion and the marimba, the Latin American xylophone. The latter is at the heart of Bejuco’s melodies. Repetition is an integral part of the band’s soundtrack, giving the impression that the ten members never stop performing. During their show, Bejuco played various tracks from Batea, their debut album released in 2021. Bejuco’s energy is contagious, and they completely charmed the NAFI crowd!

Jacob Langlois-Pelletier

Paulo Ramos and Friends at the Fairmount Theatre: Charm and Elegance Still at Work

An already convinced audience gathered at the Fairmount Theatre last night to appreciate the charm and elegance of a top-class musician: Paulo Ramos, guitarist, singer, songwriter, performer and beloved Quebecer of Brazilian origin. Joining him on stage were friends Monica Freire (back in Quebec during the pandemic after several years in Brazil – we’re glad to see her again!), Bia, Daniel Bellegarde on percussion, Rodrigo Simoes on guitar and mandolin, Diogo Ramos, vocals and guitar, Dan Gigon on bass, Sasha Daoud on drums and ex-Chic Gamine Annick Brémault, who reveals a fine affinity for the sensuality of the Portuguese language. Paulo’s voice still has that misty quality that characterizes him, even if a few frailties appear here and there. Yes, the years go by. But who cares? Paulo’s humanist warmth transcends the physicality of the sound itself, soaking up the space and time allotted to him when invited on stage. Everyone was in tune with the evening’s chill vibe, but Bia stole the show late in the second set with an energetic version of Carnaval, a welcome tempo boost. The audience, most of whom were in their fifties and over, were attentive and constantly nodding their heads. A younger section danced along. The balance was symbiotic with the energy of the music. A lovely moment, full of warmth and nostalgia.

Frédéric Cardin

Rebecca Jean: ‘Haïbécoise’

Photo credit: André Rival

Seeing Rebecca Jean perform at Club Balattou felt like getting to know a friend, even if the evening began somewhat mysteriously. After Rebecca was invited onto the stage, her band set up, yet she was nowhere to be seen. After some awkward silence, the guitarist began to strum an open chord and out of the crowd emerged a voice, and Rebecca began to make her way through the seated audience singing and playing her didgeridoo. We appreciated the theatrics, and as soon she took to the stage she became less of an enigma and a warm performer with a lot of music and stories to share. 

As a ‘Haïbécoise’, her music is clearly a way of exploring her dual identity, singing in Creole and French, yet she did not give the air of someone unsure of themselves, but someone self-assured as her powerful voice resounded through the salon. Mostly performing songs from her album ‘Antidote’, the evening was an intimate affair with her trio band, and Rebecca occasionally on the piano. At times her songs were anthemic, at times soft and lyrical.  Her band was of course in fine form, the percussionist took some exhilarating solos across his set, and the guitarist had his fun too as her songs opened up for live performance. 

Varun Swarup

Sona Jobarteh Captivates Her Audience

Photo credit: André Rival

The crowd was eager to see Sona Jobarteh perform for the first time in Montreal. The performance, which took place on the large TD – Radio-Canada stage, was finely staged. To begin with, the stage was filled with opaque smoke. Through this mysterious atmosphere, an invisible musician began a percussion solo, gradually building in intensity. Then, one by one, the instruments (drums, guitar, bass) joined the percussion. Anticipation was running high, and it was at this point that Sona Jobarteh took to the stage, much to the delight of the audience. Giant screens on either side of the stage showed occasional close-ups of the musician’s hands, allowing us to appreciate the refined technique and virtuosity required to play the kora.

Sona Jobarteh’s clear, beautiful voice accompanied the audience throughout the evening. The musician’s playing style pays homage to the centuries-old musical tradition of West Africa, but her pieces also bring a modern element. Rousing solos on kora, then guitar (another instrument Sona Jobarteh masters) had the crowd dancing and clapping their hands in appreciation. The encore was a mainly instrumental piece, ending in a rock concert apotheosis. A breathtaking performance!

Elena Mandolini

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

Senaya’s Contagious Energy

Crédit photo : Peter Graham

Before Senaya took to the stage, the evening’s presenter compared the Guadeloupean singer’s voice to that of Billie Holiday or Nina Simone. Nothing less. The bar was set high, and Senaya more than lived up to expectations. Throughout her performance, the audience was treated to a selection of music that showed the full extent of Senaya’s musical mastery. Jazz, blues and soul rubbed shoulders with typical Guadeloupean rhythms such as zouk and gwoka.

Throughout her performance, Senaya danced to the rhythm of the music, even as she picked up her beautifully decorated guitar. The musicians accompanying her were also part of the party. They too were able to demonstrate their virtuosity by taking solos at various points in the evening. Senaya’s energy was contagious and quickly spread through the crowd. The singer frequently addressed the audience, saying she was touched to see people having so much fun. Unfortunately, time passed too quickly, and it was already time to make way for other artists. Senaya seemed to want to keep on singing all evening, and the audience would certainly have been delighted to follow her on this journey through styles and continents.

Elena Mandolini

Sophie Lukacs : Beauty and Sweetness at Balattou

Crédit photo : Jeszika Paulusz

The first half of Sophie Lukacs’ concert may have been plagued by problems with the microphone and wires not working last night at Balattou, but the beauty of her music was not affected for a moment. We saw the young musician demonstrate resilience and patience while the sound technician tried his best to sort out the persistent problems. Add to this the fact that the young musician was not playing on her usual kora, which had been badly damaged during transport by plane… In short, the korafola (kora player) felt a little disappointed by this false start, but the pleasure returned as the concert progressed, especially in the second half. Lukacs’ music, most of which is taken from her album Bamako, is full of delicate tones, even in the more energetic passages. A gentle melancholy emanates from it, soaking music lovers in a bath of often contemplative impressions. It’s an evening that goes against the grain of what we usually hear at Balattou, and it’s one that does us a world of good! Sophie was accompanied by some superbly talented musicians: Noel Mpiaza on calabash, Laszlo Koos on cello and Elijah Mansevani on guitar. Which brings me to a kind suggestion: with such improvisational performers at your side, you absolutely must give them more space and time to take flight!

Frédéric Cardin

Team Salsa Sextet Goes Back to the Origins of Salsa

Team Salsa Sextet takes the crowd at the foot of the TD – Radio-Canada stage on a journey to the very source of salsa. This musical style, originally from New York, owes its rise to immigrants, mainly Cuban and Puerto Rican. The musicians were clearly eager to play, encouraged by the cries of the crowd asking for more music. You come for the salsa, you stay for the musicians. The band’s lively rhythms kept even the most distant fans dancing.

Indeed, you can’t get enough of the singer’s powerful voice, the tasty harmonies of the other members of the sextet, and you stay hooked, fascinated, hypnotized, by the keyboard solos. The singer has a formidable stage presence, often addressing the crowd in Spanish to ask if everyone’s having a good time. The party was in full swing!

Elena Mandolini

Yemi Alade Delights Fans and Newcomers Alike

Crédit photo : Luna Choquette Loranger

On this beautiful July evening, the Festival International Nuits d’Afrique played host to one of Africa’s brightest stars, Yemi Alade. The headlining venue, the TD – Radio-Canada Stage, was buzzing with anticipation as a veritable legion of fans gathered from all walks of life to witness the Nigerian singer and songwriter’s performance under the open sky.

Adorned in a stunning silver full-bodied leotard, Yemi’s presence was suitably magnetic, and her grace and command of the stage as a performer were evident throughout the night. She effortlessly engaged the audience between and even during her songs, establishing a connection that transcended any language barriers. Alongside her two backup dancers and a very capable backing band, Alade performed a set that would please fans and newcomers alike, with hits like “Oh My Gosh” and “Come and See My Moda” getting the crowd to sing along in no time. 

A particularly nice moment happened during one of her slower numbers, when the crowd fell silent watching Alade display her vocal acrobatics in acapella, before a sea of swaying cellphones shining like candles in the night. The two dancers had their time in the spotlight with some truly electric dance routines throughout the set. It was near the end of her set that Alade performed one of her biggest hits, “Johnny” and needless to say she left the stage to thunderous applause and for me, this evening cemented her status as a global superstar.

Varun Swarup

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

The Festive Spirit of Abondance

Yesterday, the Loto-Québec stage was the setting for a marvellous marriage of Guadeloupean and Martiniquean musical cultures. Comprising two female singers, two percussionists (one on drums and one on drums), a keyboardist, a saxophonist-flute player and a bassist, Abondance wasted no time in proving the aptness of their name. 

The musicians, all equally talented, circulated through solos to the fast rhythms of the percussionists. The singers were alternating center stage, often taking time to interact with the audience. And the audience was very much part of the concert! We were asked to sing a few call-and-response-like melodies, and even to vocally recreate the rhythm of the ka drum, a traditional Guadeloupean instrument, to enhance a very special song.

Abondance is definitely an irresistible dose of fun. Synchronized vocal passages, harmonies, restless bass lines, complex but driving rhythms, a hint of jazz, all with a little group choreography… the spirit of playful release mingled with the persuasive display of talent. All that remained was to dance. An easy enough task under the circumstances. Especially as, at the end of the show, Abondance invited another group of people on stage for a carnival-style number. At that point, it’s not abundance anymore, it’s simply the pinnacle.

Théo Reinhardt

Living in the Moment with Kobo Town

Under the direction of singer and bandleader Drew Gonsalves, the audience at the Esplanade Tranquile was treated with a swift trip to Kobo Town and back – the historic district of Port-of-Spain, Trinidad, where calypso was born. Playing to the five o’clock audience, the weather was suitably tropical as well, but fortunately, the band played a breezy set of numbers that took our minds off the heat. 

But of course, the band got cooking eventually, and with their signature blend of calypso, reggae, and soca, the seven-piece created a vibrant and dynamic atmosphere. Though they might have benefited from a better time slot, eventually a sizable crowd had formed and the Montreal audience, themselves a melange of various cultures and backgrounds, responded enthusiastically to Kobo Town’s performance. Bodies swayed, hips moved, and smiles adorned the faces of the crowd all around. 

What was evident throughout the set is how much this band means to frontman Drew Gonsalves, a way of coming to terms with his identity it was clear that music for Drew is a means to an end, a vehicle for change for the world we want to live in. And for a moment, we were all there.

Varun Swarup

Waahli’s Multilingual Poetry

Waahli treated the crowd gathered in front of the Scène TD – Radio-Canada to a very personal program. The Montreal artist paid tribute to his family and musical origins with a succession of his best-known songs. It didn’t take long before the audience was dancing to the rhythm of Waahli’s trilingual hip-hop (French, English, Haitian Creole). Waahli’s energy was contagious. On several occasions, he encouraged the crowd to sing along and to move closer to the stage to enjoy the party.

The success of the evening was also due to the solid trio of musicians accompanying the founding member of Nomadic Massive. A multi-sounding keyboard, fiery drums and a sustained bass groove perfectly underlined Waahli’s fine poetry. At times, Waahli swapped the microphone for his guitar. The crowd was certainly ready to spend the whole evening in Waahli’s company.

Elena Mandolini

Only the Righteous: The Uplifting Retro Vibe of Montreal Funk

Photo credit: André Rival

Montreal Funk/Soul band Only the Righteous took to the Balattou stage yesterday as part of ICI Musique’s Les incontournables series. Their first set was a feel-good retro-chill Philly Sound 1970-style set featuring covers of Marvin (Gaye), Curtis (Mayfield) and even Michael (Jackson). A good cover band, where the leader, Clerel, handles the falsetto with as much ease as his illustrious predecessors. It was in the second set of the evening that the group formed in 2017 raised the stakes. An invitee took to the stage, Shem G, a skilled emcee whose rhymes and linguistic tones were hard-hitting and formidably effective. His extravagant style really got the evening somewhere else. A Rap Battle was fought out with another emcee, Markus Dillon, who was more conventional in his approach. Then it was on to a fast-paced, incisive Funk, mixed with Soul and (too) occasionally traditional African stylistic elements. The crowd, initially fairly still, found itself on its feet, bosoms wagging and faces smiling in a finale that left us with the impression that this band will be back in the news, especially the day they release a debut album (which is sure to happen).

Frédéric Cardin

Ayrad, the Art of Making A Crowd Dance

Photo credit: André Rival

With their interesting blend of Moroccan music and rock, Ayrad set the TD-Radio-Canada stage alight, much to the delight of the many festival-goers who turned out for the first evening of free shows offered by Nuits d’Afrique. The contagious energy of the six musicians on stage quickly brought those seated comfortably on the lawn to their feet, certainly not expecting such a powerful performance. Before long, the quiet crowd had metamorphosed, and were dancing in every possible way – a few could even be seen headbanging.

The rock took over as the flautist swapped this instrument for a bass, and the singer began to play guitar while dancing in perfect sync with his musicians. The show came to a climax, however, when Brad Barr of the Barr Brothers took the stage as a surprise, offering us a fiery guitar solo while the drummer played in response to the rhythm the singer struck with his tam-tam. A great way to start the week!

Arielle Caron