While recently browsing an archival Instagram page (lastcallmtl), which documents Montreal’s music scene between 2005 and 2015, a sense of continuity emerges between these fragments of the past and the current forms of the club. We can see the seeds of a post-club aesthetic that is still alive today, where artistic trajectories have crossed, shifted, and transformed without ever disappearing. Under the SAT’s dome, the B2B set featuring Martyn Bootyspoon and Jacques Greene fits squarely into this lineage. Both hailing from this ever-evolving Montreal ecosystem, they embody two variations of the same legacy.
Bootyspoon channels a post-club energy built on collision and controlled excess: saturated sub-bass, fragmented rhythms, absurd vocal edits. The approach is fast-paced, unstable, laced with humor and disruption, as if the dance floor were becoming a space of joyful chaos. Jacques Greene, conversely, explores a more restrained form of emotional density, where texture takes precedence over disruption. His music constructs immersive spaces, poised between melody, substance, and emotional resonance, where the club becomes a place for listening as much as for movement. These two approaches converge without canceling each other out.
The spatialization of the dome acts as a unifying fabric; transitions become flows, and contrasts become extensions. Sound moves through a space that no longer separates aesthetics but connects them. This B2B performance thus serves as a reflection on the scene from which they emerged. An active memory of the Montreal club scene, where the forms of yesterday continue to reconfigure themselves in the present through the body in motion.
Photo Credit: Nina Gibelin Souchon
