Additional Information
The ONJM continues its season with a remarkable collaboration: singer and composer Malika Tirolien presents HIGHER, her 2021 album reimagined for a large ensemble under the direction of conductor and arranger Jean-Nicolas Trottier. Inspired by the element of air, HIGHER is marked by its ethereal textures and vibrant energy. Now, with the depth and richness of an orchestra, the music takes on new dimensions. Ahead of the concert, PAN M 360 spoke with Malika Tirolien about the process of adapting her work, the challenges of orchestration, and the experience of hearing her music evolve in this new setting.
PAN M 360: Malika, this sounds like such an exciting project! HIGHER has been out for a few years now—what’s it like revisiting it in this new orchestral setting?
Malika Tirolien: Oh, absolutely. It’s been a while since we last performed HIGHER, especially since other projects have come out in the meantime. But bringing it back in this grand orchestral format really gives it another life. It’s incredible to hear it with bigger arrangements, and it just makes everything feel even more expansive. I’ve always loved orchestras, and anytime I get the chance to perform with one, it’s a high point for me.
PAN M 360: You mentioned the word “grandiose,” which is interesting because I already found HIGHER to be so lush and cinematic in its production. With an orchestra on top of that, how do you find space for all these layers?
Malika Tirolien: First of all, thank you! My colleague and I co-produced HIGHER, and from the start, we wanted it to feel airy and expansive. Since the album represents the element of air, we really focused on creating an open, floating atmosphere. But for the orchestral version, we had to rethink some of the synth textures and let go of certain elements to make room for the strings and brass. It was about shifting things around while still preserving the essence of the original sound. At the same time, we added more depth in the vocals, which helped maintain balance.
PAN M 360: That must have been quite the process. How was it working with Jean-Nicolas Trottier on the arrangements?
Malika Tirolien: Oh, it was amazing. Jean-Nicolas is such a brilliant arranger, and it’s been great to see how excited he is about this project. The first time I heard his orchestrations, I was blown away! He really found a way to elevate the music without losing its core identity. I can’t wait to bring everything together with the full band and orchestra in rehearsal—it’s going to be a magical moment.
PAN M 360: Speaking of rehearsals, it seems like they happen really close to the performance date. Is that how it usually works with such a large ensemble?
Malika Tirolien: Exactly. Since there are so many musicians involved, we had to rehearse separately—first the band, then the orchestra. Only towards the end do we bring everyone together. It’s definitely a logistical challenge, but it’s worth it to hear everything come together in the final stages.
PAN M 360: Hearing your songs in this orchestral form, does it change how you feel about them or how you perform them?
Malika Tirolien: Oh, absolutely! There are so many new layers and instrumental lines that weren’t there before. Vocally, I have to adjust—sometimes doing less because the orchestra is filling in spaces I used to occupy. I have to be aware of that and make sure my performance translates seamlessly into this new setting.
PAN M 360: Is there one arrangement you’re particularly excited about?
Malika Tirolien: Yes for sure. Prière is a special one for me. It’s based on a poem my grandfather wrote, and I think it’s probably my favorite song on the album. Jean-Nicolas’s orchestration for this piece is absolutely stunning.
PAN M 360: If I recall, Prière has a rhythmic, almost hip-hop-infused spoken-word quality to it. How does that translate into this orchestral arrangement?
Malika Tirolien: Well it’s very much a spoken-word piece, but with a strong melodic core. My guitarist, Philippe Lalli, composed the music, and his chord choices really highlight the power of the lyrics. At first, the music takes a backseat to let the words breathe, but then it builds—becoming more expansive with a huge crescendo, especially with the drums. Seeing how the orchestra will enhance that transition is really exciting.
PAN M 360: It sounds like there will be plenty of goosebump-inducing moments!
Malika Tirolien: Oh, for sure! I’m just trying not to cry during rehearsals—that would be embarrassing! (laughs) But yeah, that first full run-through will be a huge moment for me.
PAN M 360: Beyond this project, do you have other music or collaborations in the works?
Malika Tirolien: Yes! In November, I released a new project called Gen Y Lens with my duo Gemini Crab. It’s a collaboration with Anash, a fantastic musician, producer, and friend who will also be performing with me at this show. It’s been such a joy creating with him. The album is playful and experimental, and we’ll actually be performing a few of those songs with the orchestra as well, just to give the audience a taste of what we’ve been up to.
PAN M 360: That sounds like such an exciting year ahead for you! Before we wrap up, I have to ask—your vocal performances are always so powerful. How do you get in the right mindset before a show?
Malika Tirolien: Thank you! Honestly, my main focus is staying grounded. With a busy schedule, I try to sing whenever I can, but what’s most important for me is keeping stress in check. I remind myself that it’s not about me—it’s about the music, about love for the craft. That mindset really centers me. Leading up to a performance, I do a lot of breathing exercises to stay calm and connected to the music.
PAN M 360: That’s a beautiful approach. We wish you an amazing performance, Malika. Thank you so much for taking the time to chat!
