Interviews – Page 27

Drew Hemment is a festival creator and academic with decades of experience in the cultural sector. He founded the renowned FutureEverything Festival in the UK in 1995, which became a global reference for innovation in arts and technology. Currently, he serves as the Director of Festival Futures at the Edinburgh Future Institute, where he continues to push the boundaries of what festivals can achieve. Additionally, he leads the New Real project and holds a professorship in Data Arts and Society, while also collaborating with the Alan Turing Institute. PAN M 360 met Hemment right after his opening conference of Future Festivals Summit, officially launching MUTEK Forum 2024.

PAN M 360: Can you explain what Festival Futures and the Edinburgh Future Institute are about?

Drew Hemment: Yeah, sure. I’m mainly interested in looking at festivals in two different ways. First, I’m interested in future festivals—those that are about the future and also of the future. I think about the changes that festivals are going through, how we can support their resilience, and how we can champion festivals as the amazing creative spaces that we all know they can be. I also look at festivals as a way of thinking about and making futures. Just as some people create films to explore speculative futures, I see festivals as a space to explore, test, and experiment with ideas that can help us address challenges today and steer trajectories towards the kinds of futures we’d like to see.

PAN M 360: It might seem like a simple question, but how do you define a festival? What is a festival to you?

Drew Hemment: That’s a really good question. For me, a festival is not just about the mechanics like ticketing systems. It’s not the metrics that funders might count, like the number of hotel rooms booked by people visiting the festival. Those things don’t define a festival’s importance. To me, a festival is an idea, a community of people, a movement. It’s something so important that we have to do it. That’s what a festival is to me.

When I talk about festivals, I’m primarily referring to those that are interdisciplinary and committed to social change — not the large corporate festivals focused on big bands and massive stages. We’re currently witnessing a polarization where the big commercial giants dominate, leaving smaller, more innovative festivals struggling to survive. I passionately believe that festivals are the future, but we must fight for that future.

PAN M 360: In an international network like Future Festivals, we imagine many participants face similar challenges. However, are there any issues that are particularly local or specific to certain regions?

Drew Hemment: Absolutely. Unfortunately, it’s a common experience globally that things are becoming more challenging, especially with the current political climates, such as the rise of right-wing populism, neoliberalism, and the corrosive state of capitalism. These factors make it difficult to create nurturing and caring organizations and events, and sustainability becomes a major challenge. While many challenges are shared, there are also unique, localized issues. For example, in some regions, there’s an urgent need for conversations around indigenous knowledge. Different parts of the world face distinct social and political contexts, and festival makers respond to these in various ways. Their involvement in issues — whether related to artistic movements, technology, democracy, or other areas — also varies. So, while there are common themes, each festival and its makers are unique, with their own local challenges and interests.

PAN M 360: How important are the types of art practices that are showcased in a festival?

Drew Hemment: I love working across and between boundaries. My background is in music, but I’ve always been interested in social change and social activism. I’ve always been involved in technology and digital culture, both as a tool and as a topic—something that can be troubling or inspiring. My career has been about moving between electronic music, new media art, and digital art. I’m most excited by festivals that embrace the unexpected and are open to many different artistic expressions.

PAN M 360: You’ve been organizing festivals for a long time. How does your experience as a festival maker align with the methodology you’ve developed to study festivals?

Drew Hemment: It’s not just about studying festivals, it’s also about making them. In a way, I approach festivals as art projects. I’ve worked in design, and I believe in the power of sharing what you do and how you do it. Design is really good at finding ways to document, reflect on, evaluate, and improve the methods and tools you use. I developed “Festival as Lab” as a design methodology for developing festivals, particularly those engaged in social change and technology development. It’s about how we, as festival makers, can broker between different people, disciplines, and sectors. This methodology has been adopted by an international festivals network, including MUTEK, and has had an international influence. I believe in its power to enhance what we do and enable us to grow and share our work better.

PAN M 360: What role do you see Artificial Intelligence (AI) playing in the future of festivals?

Drew Hemment: AI is fascinating as both a technology and a science domain, but it also raises many ethical challenges. With the rise of large language models and algorithms, the world we live in and the world in which we make festivals are changing massively. Festivals must navigate this environment, finding new ways to engage with artists and audiences while also providing alternatives. Festivals are powerful because they bring people together face-to-face, breaking out of filter bubbles and fostering real, sometimes challenging, conversations that can lead to radical change and inspire powerful art.

PAN M 360: Finally, what’s your take on the idea that some festivals aren’t meant to last forever?

Drew Hemment: I’m a case study in this. I started a festival in 1995 and ran it for 25 years, but I reached a point where I felt the festival had come to a natural close. I transitioned the organization away from a festival format and handed it over to a new creative director. The organization now has a year-round program. My decision wasn’t because I don’t believe in festivals anymore, it’s because my passion led me to explore how the ways of working I developed in festivals could be applied in other areas. So, it wasn’t that the festival ended, but that new doors opened, and I couldn’t resist running through them.

The idea of a festival having a natural shelf life is appealing. I think it’s kind of beautiful if a festival arises and brings a community together for a period of time and then people let that go. This can be a different kind of gift, creating space for others to come in and create their gatherings and festivals. However, there’s also the challenge of sustaining festivals, especially in the current climate. I’m not sure how it is in Montreal, but in the UK and many parts of the world, smaller venues and festivals are under significant pressure. It’s essential that we support each other to ensure these spaces continue to thrive while caring for our well-being and the community.

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Where do I begin? Jordan GCZ is a name that has resonated in the electronic music scene for decades. Since his debut in 1999 with Optisimo (Fact Records) Jordan’s career has been marked by his effortlessly capacity to glide between house, deep house, ambient, jazz-infused soundscapes as well by an impressive string of achievements. His deep love for Detroit techno has been a guiding force, leading to collaborations with pioneers like Terrence Dixon and remixes by Robert Hood. The Ohio’s native is also known for his collaborative projects, including Juju & Jordash with Gal Aner and Magic Mountain High, adding Move D in the mix. You may have caught them at MUTEK respectively in 2013 and 2014.
Jazz has always been a significant influence on Jordan’s work, deeply influencing his creative and performance processes, which are almost entirely rooted in improvisation. After spending the last 20 years building his career in Amsterdam, the producer has recently relocated to Toronto. Which brings us to MUTEK Montreal, where he will be playing live on Tuesday 20th August, at l’Esplanade Tranquille, after Duchesse and before Mathew Jonson. You don’t want to miss it.

PAN M 360: What kind of music did you grew up listening to?

Jordan GCZ: I was following the British pop charts religiously. I was very much into pop, electro pop, what was very common like Duran Duran, Pet Shop Boys. I really was obsessed. I was one of those kids with a Walkman on my ear all day. I was lucky to grow up in the 80’s, I’m sure that on in on some level, hearing so many synthesizers early on made me want to get into synthesizer music and electronic music.

PAN M 360 : What was the first music scene you remember being engaged in by going to concerts, buying cassettes or records?

Jordan GCZ: In my early teens, I was more into punk and industrial. I was really into Bauhaus and then a little I got into more American stuff. I was into Sonic Youth, even Skinny Puppy, The Cure… I was one of these depressed gothy teenagers. I would go out to hear that kind of music, but always loved synthesizers and I played keyboards in a band.

PAN M 360: How did you transition from playing in a band to becoming a producer and starting your own journey?

Jordan GCZ: Technology played a big part in that. I got my first synthesizer when I was 13, and soon after, I got a four-track cassette recorder. I never really loved being in a band, I always wanted to do my own thing. Once I had the recorder, I could start making my own music. By the time I was 16 or 17, I had a couple of synthesizers and started gathering more equipment. I also started using a computer to record music, which opened up even more possibilities. I was really into jazz as well, which is a bit different, but it all came together for me.

PAN M 360: It’s fascinating how the rise of home studios allowed so many people to create music. How did that impact your approach to making music?

Jordan GCZ: The ability to make music at home was a game-changer. When I was around 18, I discovered American techno from Detroit and house music from Chicago. I fell in love with the jazzy elements of Detroit techno—it had the raw, rhythmic elements of industrial music that I already loved, combined with the musicality of jazz. It was the perfect genre for me at the time. I started making more dance music that incorporated those influences. I was just lucky that the timing was right, and it fit perfectly with what I was into.

PAN M 360: You lived in Amsterdam for quite a long time. How did that experience shape your music career?

Jordan GCZ: I spent about 19 years in Amsterdam, and during that time, my most successful project was Juju & Jordash with my partner Gal. We were both living in Amsterdam, and most of my gigs were with him during those years. We were fully dedicated to making music, recording albums, and touring almost every weekend. We developed our own thing, and improvisation was a big part of that. It’s something that I continue to focus on in my solo work as well.

PAN M 360: Improvisation is a central part of your work. How do you approach it when you’re working alone versus with someone else?

Jordan GCZ: Improvising alone is definitely different from improvising with someone else. When you’re with another person, you exchange ideas and react to each other, which makes it easier in some ways. But when you’re alone, you have to react to yourself, which can be more challenging. My process in the studio is similar to what I do on stage. It’s all about starting from nothing and seeing where the music takes me. The main difference is that in the studio, I can stay on one idea for a long time until it develops into something coherent. On stage, I need to keep things moving more quickly to keep the audience engaged.

PAN M 360: It sounds like you spend a lot of time preparing for your improvisations. What’s your approach to that preparation?

Jordan GCZ: It’s important for me to know my instruments inside and out. My setup has evolved over the years, but it’s been more or less the same since I started. I use very old technology – synthesizers and drum machines from the 80s. There’s no computer or laptop involved, I use sequencers that are part of the instruments, a monophonic synthesizer with a little monophonic sequencer, another one is a polyphonic synthesizer with a little polyphonic sequencer. I need to feel confident with it so I can focus on the music. I don’t want to spend time troubleshooting technical issues while I’m playing. My creative energy needs to go towards the music, not fixing gear.

PAN M 360: How do you handle situations where your gear doesn’t work or you have to use unfamiliar equipment?

Jordan GCZ: Those situations can be stressful, but they also lead to some interesting results. I’ve had gigs where everything went wrong with the gear, but somehow, we managed to pull through. One of my favorite albums that I put out came from a gig where all the gear stopped working, and we had to ask people on the internet to bring us synthesizers. It was nerve-wracking, but it worked out in the end. When I’m performing alone, I really need my setup to be reliable. Last year, I had a gig where I was supposed to play with a Terrence Dixon, but he got sick, so I had to perform alone with minimal gear. It ended up being a great experience because I knew my setup well enough to make it work.

PAN M 360: You recently moved to Canada. What motivated that decision, and how are you finding the music scene here?

Jordan GCZ: My partner and I were living in Amsterdam for my career, but during the pandemic, we realized that we didn’t want to be tied to that lifestyle anymore. My partner is from New Jersey, and I found out that since my mother is Canadian, I’m also Canadian. That opened up the possibility for us to move here. We visited Toronto and loved it. It was nice to finally live in the same city as some family after 20 years. As for the music scene, I haven’t been too involved yet. I’ve DJed a few times, but I haven’t played live here. We’ll see how it goes after my performance at Mutek.

PAN M 360: How do you feel about the future of your music career?

Jordan GCZ: I’m still passionate about music, but I’m going through a bit of a midlife crisis, trying to figure out what I want to do next. Music is still my main interest, along with my dog, but I need to decide how I want to make a living from it. I’ve started producing other artists, which I enjoy, but I might end up doing a bit of everything—performing, producing, teaching. We’ll see where it takes me.

PAN M 360: You’re talking about the diversification of revenue streams, and I found out that you started a Patreon page during the pandemic. How has that experience been for you?

Jordan GCZ: I started a Patreon page during the pandemic to teach producers and offer studio jams to subscribers. It was a good way to stay connected with people and help them develop their talent. But this past year, I’ve been less active on it, and I’m considering shutting it down. Teaching is great, but now that I can do it in person, I’m not sure if I’ll continue with Patreon.

PAN M 360: I’m asking because I’m also a Ph.D candidate in digital studies and sociomusicoly and I’m studying the effects of platforms like Patreon on the relationship between artists and fans. How do you see it?

Jordan GCZ: Patreon offers a more personal connection with fans, which is nice. It’s an extension of social media but more focused because it’s only for subscribers. People feel invested, and I feel more connected to them than I do with regular social media. It’s definitely interesting, but like everything, it has its pros and cons.

PAN M 360: What are your thoughts on the current state of the dance music scene?

Jordan GCZ: To be honest, the dance music scene has always had its flaws, but I feel like it’s gotten worse in the last five years. There’s not much room for artistry in dance music these days. Most festivals and clubs prioritize commercial success over creativity. It feels like it’s more about being successful and mainstream than being authentic. There are still places like Mutek that encourage creativity, but they’re rare.

PAN M 360: Don’t you think the rise of clubs implementing a no-phone policy on the dancefloor is a step in the right direction?

Jordan GCZ: I think it’s a step in the right direction, but I’m a bit cynical about it. A lot of clubs use the no-phone policy as a marketing tool rather than genuinely trying to improve the experience. They don’t surprise you at the club and say “Listen we have no phone policy”. It’s more like they go on Instagram and say “We’re now not allowing phones in come give us your money”. Maybe they do it now because it’s fashionable but in a year they’ll be like, “OK, look, we can bring our phones back”.

PAN M 360: You were talking about MUTEK being one of the rare place where creativity in encouraged: what can we expect from your performance?

Jordan GCZ: I am so excited to play this music. Over the past year, since moving to Canada, and especially after the pandemic, I’ve been questioning whether I still want to perform in nightclubs. I’m getting older, and the pandemic changed a lot of things for me. MUTEK felt like the perfect opportunity to explore how I feel about performing again—whether I want to return to that life, and if so, what kind of music I want to create. This gig gives me the chance to experiment and see where it takes me.

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From France, the Fakir Trio combines traditional Moroccan melodies with instrumental music updated by jazz and other Western influences. In the second half of the program, Rachid Zeroual and his group, virtuosos of the ney, a wind instrument typical of North Africa, join the host trio to give this encounter the inspiration of gnawa rhythms, hmadcha music and more. Leading the event, violinist and composer Marwan Fakir explains to Alain Brunet and PAN M 360 users how North Africa meets the West.

FAKIR TRIO AND RACHID ZEROUAL’S CONCERT IS TAKING PLACE THIS SATURDAY, AUGUST 17, 3PM AT CINQUIEME SALLE DE L A PLACE DES ARTS

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Made up of musicians Amélie Lamontagne and Ana Drobac (violins), Nayiri Piloyan (viola) and Sophie Coderre (cello), the Quatuor Rhapsodie is an ensemble characterized by the versatility and accessibility of its repertoire, and by the dynamism of its interpretation. Ranging from folk to classical and popular music, these four friends showcase their musical favourites as well as music from their cultural heritage.

As part of Virée classique 2024, the quartet will be giving two free afternoon concerts, on Saturday August 17 and Sunday August 18, at Espace George-Émile Lapalme, featuring Armenian music in all its forms and influences. On the eve of their performances, Alexandre Villemaire spoke with Nayiri Piloyan to discuss their program and their participation in La Virée.

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Miloš Karadaglić is among the most coveted classical guitar soloists in the world and also a true friend of maestro Rafael Payare. With Montreal Symphony Orchestra and also in a solo context, he performs Joaquín Rodrigo’s great Concierto de Aranjuez on Saturday August 17, 8PM, Maison symphonique. For a second program entitled Souvenirs d’Espagne he is on his own on Sunday 18, 1:30 PM at the 5e Salle de la PdA, then he plays solo pieces by Isaac Albéniz, Francisco Tárrega, Heitor Villa-Lobos and Mathias Duplessy. Alain Brunet met him between rehearsals.

INFOS & TICKETS HERE

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Founded by choral conductor and clarinetist Xavier Brossard-Ménard, vocal ensemble Les Rugissants has been a fixture on the Montreal musical scene for seven years, offering audiences performances rich in content and musical discovery. With a program ranging from classical to folk and popular music, the ensemble also stands out for its committed, multidisciplinary approach.

As part of Virée classique, Les Rugissants present their Voces de España concert at Esplanade Tranquille, featuring Spanish music, with Mario Castelnuovo-Tedesco’s Romancero Gitano and Einojuhani Rautavaara’s Suite Lorca as the main works, joined by pieces by Manuel Oltra, accompanied on guitar by Marc-Étienne Leclerc and flamenco dancer Marie-Andrée Cloutier.

Alexandre Villemaire spoke to Xavier Brossard-Ménard about the program and its conception.

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Born in Egypt, raised in Australia and living in UK, Joseph Tawadros is an oud virtuoso who’s not going unnoticed in Montreal this week. As part of the OSM’s Virée classique 2024’s first major evening at the Olympic Park on August 14, he played two of his works with the orchestra and Rafael Payare, and will do the same on Saturday August 17, 4h30 PM with Ensemble Obiora. This very special musicien has absolutely no limits, he plays with classical musicians as well as jazz players or even punk rockers. Alain Brunet interviewed him between rehearsals.Oud 360 at PAN M 360 !

crédit photo : Antoine Saito

INFOS & TICKETS HERE

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The works of composer and oud player Joseph Tawadros draw on the sources of traditional/classical Arab and Egyptian music, as well as great Western music. With the Obiora ensemble, Tawadros’ virtuoso playing and compositions are highlighted in the context of these Paysages méditerranéens, which draws inspiration from this vast cultural zone and more. A piece for guitar reconverted for string ensemble, by composer Isaac Albéniz, will be served up as an introduction to the program, which includes works by Tawadros, as well as Persian-born Karim Al-Zand. Tchaikovsky’s spirited Souvenir de Florence is also on the program for this late afternoon at the Maison symphonique. As in the two previous years of Virée Classique, the Ensemble Obiora will be conducted by Rafael Payare in this context of openness and discovery. Solo double bassist, co-founder and artistic director of the Ensemble, Brandyn Lewis helps us to better understand this very special program.

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From Tuesday, August 20 to Sunday, August 25, the 25th MUTEK festival rolls out across Montreal. The Experience and Nocturne Series are spread over 6 consecutive evenings. Two weekend evenings of partying are scheduled at MTelus, audio-visual creativity is programmed in the two-part A/Visions series at Théâtre Maisonneuve, not to mention Piknic Electronik à la sauce MUTEK and a “performative” documentary devoted to Brian Eno. In all, 85 performances will be presented at MUTEK Montréal in 2024. Two-thirds of the programming team (Marie-Laure Saidani is nonetheless a pillar of this artistic direction) appeared in front of the PAN M 360 screen to tell us about the program and its musts. MUTEK founder and artistic director Vincent Lemieux and Alain Mongeau talk to Alain Brunet in a two-part interview. Here’s the first!

CONSULTEZ LA PROGRAMMATION COMPLÈTE DE MUTEK MONTRÉAL, EDITION DU 25È ANNIVERSAIRE

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This Wednesday, August 14, Friday, August 16, Saturday, August 17 and Sunday, August 18, the Orchestre symphonique de Montréal (OSM) transforms the presentation of its Virée classique with eight paying indoor programs this year instead of 26 last year, but also with the spectacular deployment of 74 free activities, concerts and animations of all styles associated with the classical world as we conceive it in 2024. A Mediterranean spirit should be hovering over Virée this week, for better… and for better! Between two rehearsals, the maestro explains the ins and outs.

PAN M 360 : En PAN M 360 estamos encantados de dar la bienvenida a Rafael Payare. ¡Muchas gracias por acceder a esta entrevista!

Rafael Payare : De nada, ¡y estoy encantado de volver a PAN M 360!

PAN M 360 : No me extenderé más en español, ¡lo haré más la próxima vez!

Rafael Payare : ¡Muy bien, entonces!

PAN M 360: Wednesday, August 14 kicks off the classical tour of the Esplanade du Parc Olympique, followed by three intense days of concerts and activities, on Friday, August 16, Saturday, August 17 and Sunday, August 18, at Place des Arts and the Maison symphonique. It really is a marathon of concerts, both free and ticketed, and it’s fantastic. It’s unquestionably one of the finest events presented by the Orchestre symphonique de Montréal. How do you see it, Rafael?

Rafael Payare: For me, the Virée Classique is always exciting, because we offer magnificent concerts. During the summer, it’s the most exciting thing we do, I think. It’s still a great pleasure for us to be able to play outside. Normally, a lot of people come to the Olympic Park Esplanade. So we can dive into our little music marathon. There’s a lot of work behind everything, but the joy wins out!

PAN M 360: This year, the theme of the Mediterranean generally dominates, doesn’t it?

Rafael Payare: There are concerts that aren’t specifically linked to the Mediterranean, but they evoke it in everything it touches and inspires. So, yes, there’s a Mediterranean atmosphere, even if it’s not always directly linked to the Mediterranean.

PAN M 360: And so we begin the grand opening concert at the Olympic Park Esplanade. You’ll be conducting Tchaikovsky’s Francesca da Riminide and Berlioz’s Overture to the Roman Carnival. Tell us about this evening.

Rafael Payare: We’ll be putting a lot of color into this program, starting, of course, with the Roman Carnival. But our program also includes works in different formats. These include Permission to Evaporate and Constantinople, for oud and orchestra, by Joseph Tawadros. We conclude with another short piece, Pini di Roma by Ottorino Respighi, a superb piece for orchestra that demands great technical effort. And we can listen to everything that’s going to come from the Legion, we can imagine ourselves in another era, as a legion marches on Rome. I’m really excited.

PAN M 360: If the weather cooperates, this will be the OSM’s biggest mass event of the summer. Of course, it also sets the scene for what’s to come at the Virée classique on Friday August 16. Indoors, the OSM will perform Verdi’s immense Requiem, beginning the weekend and concluding on Sunday.

Rafael Payare: We put a lot of work into preparing this performance. It would be sad for the soloists, choristers and musicians to do it only once. I think we’ve already presented the same work twice in the same Virée, and I’m thinking of Carmina Burana. It’s still a grandiose work! Because it’s hard on the body, what it’s going to sing. If we’re going to do it one day at a time, that’s why we’re going to do it once, and then afterwards to allow for the festival. But it’s still a grandiose piece. It’s a requiem and also an experience for the performers, an opportunity to reflect on death and the afterlife. In that sense, it’s a marvellous piece, and something more emerges from it.

PAN M 360: Then we get down to the heart of the weekend’s programming. Less extensive indoor programming than last year?

Rafael Payare: Yes, that’s right. There will be well-known composers on the program, as well as lesser-known ones like Mel Bonis (1858-1937). It’s a bit small, but there will be some great programs like Saint-Saëns’s L’Égypte with pianist Cédric Tiberghien, with whom I’ll be working for the first time and who will be playing the Piano Concerto No. 5, Op. 103, “Égyptien”, I’m really looking forward to it! And we’ll be playing some rarely performed works by Edward Grieg, namely the Peer Gynt Suites, Nos. 1 and 2.

PAN M 360: GuitaristMilošKaradaglić is also featured at this Virée classique, as he is in two programs.

Rafael Payare: Yes, I’m very happy to be playing with MilošKaradaglić in the context of the Souvenirs d’Espagne and L’Espagne de Bizet programs. I have a professional relationship with this musician, but it’s been a while since I’ve worked with him.

PAN M 360: With the Moroccan music of the Fakir Trio and Rachid Zeroual, among others, there are also classical and non-Western forms to exhale the aroma of the Mediterranean, and also the Orient!

Rafael Payare: Yes, I’ll also be working with the Constantinople ensemble, which for me is completely different from working with a Western classical orchestra.

PAN M 360: And you’re continuing the experiment with the Ensemble Obiora, Montreal’s leading classical orchestra of diverse origins, much as you were in Venezuela. Thanks in part to you, by the way, this orchestra is progressing, enjoying greater visibility and commanding respect.

Rafael Payare: For me, it’s become an appointment that I want to keep every year. As long as I stay in Montreal, it will continue. Absolutely. There will also be new discoveries in chamber music.

PAN M 360: While indoor programming (8 programs) is reduced this year, free outdoor programming remains considerable.

Rafael Payare: Absolutely. There will be both professional and amateur musicians, as has been the case at every Virée event in the past. We’re exploring new concert venues like the quiet Esplanade. I love this weekend, because the OSM and its friends occupy the whole of Place des Arts and the surrounding areas. We’re very happy to offer a lot of music to the public.

PAN M 360: Ey so it’s also a great gesture towards the democratization of culture.

Rafael Payare: Yes, it’s important that we can offer music to everyone. It may or may not be good for those who know us less, but it’s our job to make music known and loved. To share our passion by offering music in different formats, styles, orchestrations, cultural origins and contexts. That’s important to us, I think.

PAN M 360: A sort of El Sistema for Montreal music lovers.

Rafael Payare: Haha, yes, exactly, exactly.

PAN M 360: Rafael Payare, thank you very much for this interview, we’ll have a chance to see you in action this week. Muchas gracias once again.

Rafael Payare: Encantado! Good-bye.

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It’s been almost a year since Maria Callas : une voix pour être aimée was created by Marc Hervieux, Sophie Faucher and pianist Dominic Boulianne. After an initial tour, followed by a break of several months, the production is back on the road in Quebec (check the calendar Maria Callas | Productions Martin Leclerc). She will make a stop at the Domaine Forget festival on August 17. The play, written by Sophie Faucher and Anne Bryan, is also directed by Marc Hervieux. On the eve of a return to the stage, and into the intimacy of the famous diva’s last days, if not hours, of her life, I spoke to Marc and Sophie to talk about the experience (Marc Hervieux’s first lifetime staging, and Sophie’s latest plunge into the life of Callas, after Les leçons de Maria Callas). Enjoy listening to it.

For more information: Maria Callas | Productions Martin Leclerc

Winner of the 2022 JUNO Award for Contemporary Aboriginal Artist of the Year, Dan “DJ Shub” Genera is a very special creature: a title-holding DJ/producer, a tireless worker who harmonizes tradition, transgression, innovation and commitment. As one of the founding members of the now-defunct A Tribe Called Red brotherhood, Shub is the epitome of PowWowStep, a label that encapsulates the meeting of past, present and future of Aboriginal music. War Club is his most recent contribution: “a special show filmed on the Six Nations of the Grand River Reserve, featuring Shub’s fiery scratch-a-thons, a troupe of traditional dancers for all ages and plenty of bustling bustles”. Phoenix Pagliacci, Boogát and Fawn Wood will take part in this celebration, scheduled for Friday August 9, 8.30pm. Alain Brunet talked it over with DJ Shub, reached at his home in Fort Erie, Ontario, before heading to MTL.

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