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

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.

Lavanya Narasiah: Love and Light

Photo credit: André Rival

After seeing Lavanya Narasiah perform, you perhaps wouldn’t believe that she is a career medical practitioner. Indeed, she and her eclectic band performed with the grace and finesse of a seasoned group. But they are seasoned, having been playing together for many years, since Lavanya first conceived of this unique project almost ten years ago now. Their musical chemistry and their appreciation for this repertoire were evident, with smiles all around as they played. 

From the moment Lavanya took to the stage at Club Balattou, as the band set up their instruments, she bonded with the audience, inviting them to light the ‘diyas’ at their table, wishing us love and light. It was in the warm amber glow of these candles that the music unfolded like a flower in bloom – the first set began with strums of kora as the duo of Subhir Dev on tablas and Daniel Bellegarde on percussion took us onboard a train that gently meandered along the hills of South India and West Africa. Narasiah herself was in fine form, her voice joyously gliding through the nuances of each composition, one could tell she savoured every minute on stage, and that her audience savoured every minute of being there.

Varun Swarup

Featured photo credits: Peter Graham

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.

Romain Malagnoux’s Musical Travel Log

Photo credit: André Rival

Romain Malagnoux, the folk singer-songwriter from France who now calls Quebec his home, took to the stage at Club Balattou and gave a moving performance that took listeners on a journey across the Atlantic to West Africa. The intimate setting of the club proved to be the perfect backdrop for Malagnoux to showcase his global horizons and share his musical ability.

Malagnoux’s music defied easy categorization, seamlessly blending elements of folk, ‘world music’, and Quebecois music, in his emotive songs – sometimes melancholic, sometimes joyous. His affinity for West-African music was certainly clear and one that goes deep, after all, it has led him to Mali many times. Malagnoux’s raspy tenor voice shows inflections from the desert blues of the Tuaregs to the delicate folk quality of kora music. His fingerpicking technique and percussive style of guitar playing were particularly cool to witness live. 

While he shared some compositions from his album, Nos frontières imaginaires, which he recorded after a meeting with the djeli n’goni player Moustafa Kouyaté, he made it a point to present some newer material too, and the audience was treated to a warm and personal showcase of the artist. 

Varun Swarup

Yordan Martinez and Joyful Celebrations at Club Balattou

Photo credit: André Rival

Yordan Martinez brought the tantalizing sounds of Havana streets to the salon of Club Balattou, igniting a fiery and passionate night of music and dance. The concert was a pulsating celebration of salsa and cumbia, with Martinez’s band delivering a tight and energetic performance with the addition of Colombian vocalist Stephanie Osorio. It was the two percussionists on stage who drove the evening forward with their syncopated and hypnotic claves, and Martinez’ earthy baritone complementing Osorio’s mellifluous voice with rich and lively counterpoints.

As the band played, the dance floor started filled with enthusiastic patrons eager to move their bodies to the intoxicating beats. Granted it was not the busiest Sunday evening, but the band still gave it their all, enticing most of the audience there to join in on the festivities. The band interacted with the audience, encouraging clapping and sing-alongs. Martinez’s infectious energy was contagious, and it spread throughout the venue, creating an atmosphere of celebration. A great night.

Varun Swarup