In addition to his role as Artistic Director of the Festival international de Landaudière, Canada’s most important classical music festival, Renaud Loranger is Vice-President of Artists and Repertoire for the European label Pentatone, where he oversees the recruitment and recording development of the world’s leading classical musicians, including maestros Vladimir Jurowski, René Jacobs and Esa-Pekka Salonen, singers Piotr Beczala, Lisette Oropesa, Javier Camarena and Magdalena Kožená, pianists Pierre-Laurent Aimard and Francesco Piemontesi, to name but a few. Since November 2018, Renaud Loranger has been Artistic Director of Lanaudière, in Joliette, his hometown where he has spent every summer since. A musicologist and art historian, he’s among the most experienced and refined professionals to carry out such missions. Listen in as he expresses his passion for his new Lanaudière programming and shares some of his top picks! Alain Brunet conducted this interview for PAN M 360.
Interviews
Still in his early twenties, super drummer Kojo Melché Roney already has a wealth of experience. A professional musician since childhood, he grew up in a very supportive family environment, being the son of saxophonist Antoine Roney and the nephew of the late trumpeter Wallace Roney and the late pianist Geri Allen. Now a bandleader, Kojo performed Friday on the Pub Molson stage in a trio with his father and bassist Jeremiah Kal’ab. We could witness power duets (father-son) and power trios, all based on high energy from an acoustic trio inspired by electric jazz and also free forms from the 60’s and 70’s. And this is the PAN M 360 video interview!
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Peter Evans, 43, is among the elite of trumpet players of this era without a doubt. His phenomenal skills, achievements and technical innovations are acknowledged by musicians, musicologists, connaisseurs…. but not by a large jazz audience that must know him now ! Invited to perform at the MTL Jazz Fest on June 26, he offered a tremendous free double set at Molson Pub stage with his bandmates – Joel Ross on vibes, Nick Jozwiak on bass and the great Calvin Weston on drums as a special guest. PAN M 360 could meet him after the soundcheck.
His bio profile tells us that he graduated from The Oberlin Conservatory of Music, he also studied at the New England Conservatory of Music’s School of Preparatory Education. He has led the Peter Evans Quintet with Ron Stabinsky, Sam Pluta, Tom Blancarte, and Jim Black, the Zebulon trio with John Hebert and Kassa Overall, and was a member of the band Mostly Other People Do the Killing. He has worked with Peter Brötzmann, Mary Halvorson, Okkyung Lee, Evan Parker, Matana Roberts, Tyshawn Sorey, Dave Taylor, Weasel Walter, and John Zorn.
PAN M 360: Peter Evans, it’s great to meet you in Montreal!
Peter Evans: Pleasure !
PAN M 360: Your exceptional trumpet playing is not only from a classical approach, there’s things that have been achieved while and after your musical training. You definitely found your way, through virtuosity and innovation. Many aficionados are also applauding your so called extended techniques.
Peter Evans: Yeah… So I think it’s a bit of a misunderstanding, but I think the idea that you study an instrument and then you achieve some kind of level of finished mastery or you kind of get it and then you go beyond that, that’s not exactly how it works. So I guess for me the initial pull towards… I also don’t really use the phrase extended techniques, which doesn’t offend me. It’s just more like it’s a way of describing a normal way of playing an instrument.
PAN M 360: It can be a cliché, yeah.
Peter Evans: Well, that too, but I think it also conveys a certain attitude towards an instrument, that there’s a quote-unquote normal way to play it and then there’s extended ways to play it. Yeah, some people are only playing extended techniques and not necessarily mastering their instrument.
I looked at the exploration of different sounds as literally an extension of the kind of sonic palette of the instrument. So it includes everything and I’m adding to it. And then it’s maybe more of an electronic music way of thinking about combining sounds.
So for me all the different ways of approaching the instrument are actually fundamentally connected. I don’t really look at it as like… Everything grows out of the basic technique on the trumpet. And what got me into doing some of this stuff really initially was two different kinds of streams.
PAN M 360: What are those streams ?
Peter Evans: One was contemporary classical music from Europe, from Ligeti to Xenakis to Lachenmann. So I was playing chamber music by all these composers and I got kind of used to the idea of that. Not so much for the trumpet, not so much because of the trumpet parts, but just being in that environment, you know?
And then while I was getting into that stuff, kind of completely separately, I found out about the world of free jazz and improvised music. And so people all going back to post-Coltrane saxophone players like Albert Ayler and Pharoah Sanders. And then I got way into people like Evan Parker and John Butcher and the whole British improv scene and the whole European, Willem Breuker, all these people. So this is when I was like 19, 20. I got really excited about that.
That kind of gave me the license or the freedom to start exploring on my own and developing a personal… At that time, for me, the whole point of what I was perceiving from these other older artists was that people were developing their own unique vocabulary. So it was a little bit almost like scientific research. You don’t want your research overlapping with somebody else’s.
So even in the early 2000s, there were quite a few really interesting trumpet players that I didn’t really know until I moved to New York. And even people in Berlin, like Axel Dörner or Franz Hautzinger in Austria, Nate Woolley, etc. We’re not all the same age or generation, sometimes 15 years separate.
Axel was doing stuff for a long time, but I think what I noticed is that everybody was doing their own thing. None of us were doing the same stuff. And even when I think about players that I met later, like Ambrose Akinmusire, he doesn’t extended techniques, but it’s more of the attitude towards the instrument. And so I think what’s interesting about the trumpet is that unlike a lot of other instruments, the interface is so personal that it’s very difficult to copy people, even if you wanted to.
So that these different people that are kind of moving the instrument into a more individualized space.
And so I think getting into this approach of exploring different techniques was more of a window into a more general attitude towards sound and towards the instrument as having an orchestral or electronic kind of capability to be malleable and to be adaptable to different situations, which is how I look at it now. Like, you know, in this band, I don’t think about the extended technique stuff really that much at all. It’s more I’m blending.
I’m using what I have to blend and contrast with the other instruments. There’s no plan about that. It happens.
PAN M 360: Yeah. Yeah. Also, when we look about the evolution of an acoustic instrument now in 2025, you know, the textural approach has some limits with the traditional instruments. And now if we think electronically, the textural approach is endless. But… Even acoustic instruments have been explored a lot and there’s still something to find that is not found. So what are your tools to enlarge your textural and sonic possibilities ? Electronic ?
Peter Evans: Well, I don’t even really use electronics that much. Pedals? Not really. I mean, a lot of the sound, I guess the explorations of timbre, for me, that just came out of working with the instrument and working with the microphone. Yeah, so it’s just more of an attitude and more of a way of looking at the sound. And I definitely use the microphone and the PA system and that’s always a conversation with the sound guys because they don’t necessarily understand that what I’m doing. People don’t necessarily understand that approach, this approach that you’re talking about to an acoustic instrument. But, yeah, with me, a lot of it has come through working with a microphone and PA system, subwoofers, just that much.
PAN M 360: Yeah, the relationship between the mic and the PA system is a sort of point of achievement, of advancement for the textual approach. So, the mic is an instrument for you and also the mixing table too.
Peter Evans: yeah, exactly.
PAN M 360: Can you just pinpoint some stages of your own evolution when it happened?
Peter Evans: When I first started performing solo concerts, part of it was to challenge myself to see if I could sustain a musical line with the things that I was… While I was beginning to do that, that was at the same time that I was really actively trying to explore these different techniques, different sounds. And when I moved to New York in 2003, that was a… That first, you know, maybe five years that I was there, that’s where I learned, you know, I played in a lot of different situations. I played in basement clubs. I played in rock spaces and a lot of DIY spaces and stuff. So, I really was forced to learn how to perform with a microphone and how to adapt what I was working on to a more practical context of, like, a show.
So, I think for me, that was a period of real growth. And actually, by forcing myself to play so much… I mean, I remember, actually, I did a tour in Canada. There’s a Calgary drummer named Chris Dadge who has a record label. We connected over MySpace in 2007 and he organized a tour where I shared the bill with him.
And I remember before that period, I wasn’t playing one continuous piece solo. I would do several pieces. So, that tour, I forced myself by the end to play one 30-minute, one 40-minute piece not without any pause, but without any break in the compositional flow.
So, those experiences really helped me grow. And then, I’d gone through periods of growth and atrophy and growth and atrophy. And right now, particularly the solo playing, I’m kind of in a period of growth again where I’m working on developing techniques of variation.
Techniques not really about sound. Now, we’re talking more about rhythms and notes and about techniques of ornamentation where they call it diminution, like in Renaissance music, like the idea that you’re taking something simple and actually slicing it into smaller little units to create a more like a fine texture.
So, that’s kind of where I’m at right now.
American guitar prodigy and innovator Yasmin Williams performs at the Festival International de Jazz de Montréal (FIJM) for the first time, on the Rogers stage, this Friday June 27. Michel Labrecque sat down with Yasmin Williams to discuss her vision of music and the political situation in her country.
Yasmin Williams plays guitar like few others. She sometimes puts her guitar horizontally on her thighs and strikes the strings percussively; she rubs a bow on her strings; she connects an African percussion instrument, the kalimba, to her guitar. She plays percussion with her feet. The young African-American from the Washington DC area has turned the world of guitar upside down by mixing genres and ways of playing.
“It all started with the Guitar Hero game,” she laughs. “My dad had bought it for my brothers, but I got hold of it and kept it in my room and ended up beating the game.”
Yasmin was twelve years old and had never played guitar. She begged her parents to get her one. Soon after, she owned an electric guitar and began playing it percussively. Today, Yasmin Williams is best known for her innovative fingerstyle acoustic guitar playing.
“One day, I heard Blackbird by the Beatles and it changed my life,” she recounts. She then put her electric six-string away in its case for a while. In the meantime, she studied music composition at New York University. Her range of knowledge expanded, and she began to dream of a career in music.
“I play folk guitar, but with a lot of other influences; you could call it ‘folk plus’,” she says.
In 2018, Unwind, her first instrumental guitar album, was released. “I was very much a purist, I rejected the idea of doubling up sound tracks, I wanted an album without artifice, strictly acoustic,” says Yasmin. This first offering introduces us to a guitarist in the tradition of the virtuoso guitarists of the 70s, such as Stephen Grossman, John Renbourn and Leo Kottke. But Yasmin also introduces us to her new facets of guitar playing, reinventing the way strings are touched.
“I don’t know anyone who plays percussively like I do, apart from a Quebec guitarist called Erik Mongrain, whom I discovered years later,” says Yasmin. Check it out, it’s true. Erik Mongrain played a few times with a horizontal guitar.
In 2021, Urban Driftwood arrived, an album on which she took the liberty of dubbing and accompanying musicians. I gave myself more freedom,“ she says, ”with a drummer, a cellist and the kora. Although instrumental, the album reflects a very troubled 2020 in her country, with the pandemic, the death of George Floyd and the Black Lives Matter movement, as Yasmin Williams points out on the cover.
“Yes, I’m politicized, in the times we live in it’s not really a choice. I try to design projects to promote certain causes. I don’t like what’s going on at the moment at all.
She is scheduled to perform next September at Washington’s Kennedy Arts Center, which Donald Trump recently took control of. “A lot of artists, boycott, I chose to give my concert, in solidarity with the people who work there; but I’m going to say things on stage, that won’t please everyone.”
In 2025, Yasmin becomes more ambitious with Acadia, an album where she multiplies collaborations and sounds. We hear multiple guitar sounds, both electric and acoustic. It’s an album where jazz influences shine through more than folk. “I worked really, really hard on this music, and it reflects more of my personality as a songwriter. Among other things, she plays a double-necked electric guitar, from which she draws innovative sounds.
At 7pm tonight on the Rogers Stage, we’ll be treated to a mix of these three albums. “It’ll be just me, my guitar and you, the audience, hoping for good weather. I never make a set list in advance, so we’ll see.
Yasmin’s main influences? “Jimi Hendrix, for sure, but above all Elizabeth Cotten, an African-American folk singer born at the end of the 19th century, very inventive in her own way.”
The virtuoso guitarist has also written music for documentaries, including one on piano. She also has a project for a progressive rock band. She’s also a fan of Gogo music, a funk style invented in the Washington area where she lives. And hip-hop.
We’ll probably be hearing about it for a long time to come. And not necessarily just with guitars.
Let’s hope for good weather tonight. That’s not necessarily guaranteed.
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For its forty-seventh season, the Festival international du Domaine Forget invites Quebec music lovers to discover new horizons. The summer event, which runs for almost two months from June 28 to August 23, features a wide range of artistic expression, from dance and classical music to jazz. From Monteverdi to Farrenc, from Vivaldi to Oscar Peterson, the 2025 program offers a rich array of styles, eras and formats, highlighting renowned artists as well as trainees from the Domaine Forget Academy.
In conversation with PAN M 360 contributor Alexandre Villemaire, Domaine Forget artistic director Mathieu Lussier outlines the program and the must-sees.
To consult the program, go HERE
Queenie is her name. It was given to her by her mother, who already saw in her a “little queen”. After an adventure on Star Académie, the Quebec-born artist from Haiti, who has lived in Florida, presents us with her eponymous album, on which she sings in French, English and Creole. It features pop, RnB and even a little reggae. She has joined forces with the women’s label Disques Juliette, who are accompanying her on this wonderful adventure. Our journalist Sandra Gasana spoke to her, as she prepares for a new adventure in a TV series in which she sings.
Modibo Keita grew up in Montreal, is a trombonist by training and plays as much as he can when he’s not programming at the Festival International de Jazz de Montréal. Since the introduction of the event’s new artistic direction, jazz has once again become a priority in outdoor programming, in order to revive interest and eventually bring the most unifying artists to the concert halls. To this end, the programming team has recruited a true jazz musician, and a connoisseur of both tradition and the contributions of new generations, in the person of Modibo Keita. Here, he helps us uncover the musts of the program, both indoors and out, far beyond the obvious ones also mentioned in his nomenclature. Alain Brunet interviewed him for PAN M 360.
Here’s the second part of Alain Brunet’s PAN M 360 interview with programmer (and trombonist) Modibo Keita, the top jazz head on the Festival International de Jazz de Montréal (FIJM) 2025 programming team. He continues his nomenclature of the festival’s best catches from among the more or less 300 programs presented this summer, from June 26 to July 5. Very instructive!
Master class on July 2 with vocal coach Claude Webster. Audition on July 13, Opera Gala on July 24. Mozart’s Magic Flute on July 27. The Canadian Institute for Vocal Arts (CIVA) has been offering its summer programs for the past 21 years, and this is another opportunity to delve into its 4 July programs. Marc-Antoine d’Aragon, Director of the ICAV and the driving force behind this program, provides all the explanations we need to prepare for the Festival d’art vocal de Montréal.
With roots in Beirut and a career split between Montreal and New York, Nadim Maghzal is one of the driving forces behind Laylit, a collective and event series highlighting music from the SWANA region and beyond. Also known as one half of the duo Wake Island, Nadim is a producer, DJ, and former molecular biologist who now channels his energy into music full-time. We sat down with him ahead of his performance at Piknic Électronik, where he’ll be playing alongside Casa Kobrae, Manalou, and MNSA, to talk about his journey, the origins of Laylit, and the cultural movement behind it.
PAN M 360: First of all, how would you introduce yourself?
Nadim Maghzal: I’m an artist originally from Lebanon, a musician, producer and DJ. I’m now based in Montreal
PAN M 360: Have you always been an artist and a musician?
Nadim Maghzal: My journey is a little complex. I’ve always made music since I was young, but when I got to Montreal in the early 2000s, I was studying biology at McGill University. I went far with it, I basically got a PhD in molecular biology and graduated in 2013, but I kept pursuing research and teaching. So I’m also a scientist, but music has always been my biggest passion. Before Laylit, I was involved in many bands in Montreal, like rock bands, punk bands, live music. Very DIY. All of it was with my Laylit partner, Phil. We started Wake Island in Montreal and toured the world with this project that has evolved over the years from rock music to electronic music and more recently to ambient experimental stuff. So yeah, music has always been the center of my world. But I’ve done other stuff in life and I’ve been very, very fortunate to be able to explore different things and just to have the privilege to be able to focus on music these days and work in that medium. That’s a blessing, honestly.
PAN M 360: Completing your PhD must have taken a big chunk of your life. How did you manage to still make music?
Nadim Maghzal: Yeah, it took me about six and a half years to finish it. The best part of it was pursuing music in parallel. It was especially amazing because I drew so many parallels between art and science. A PhD can be really frustrating, especially in science, when you’re doing research in your lab the whole time. So being on the road, touring, being creative, being in the studio, it was always kind of a great escape and a beautiful way to get inspired. One thing inspires the other. And even though they seem like completely different things, weirdly for me at the time they went hand in hand. Another fun fact, since we’re talking about this, the third co-founder of Laylit, Saphe, who’s in New York, is also about to finish his PhD at Columbia University studying anthropology. I don’t know if that’s relevant, but just a fun fact.
PAN M 360: Just so the readers know, when there’s a Laylit event, everyone is safe because there are two doctors. Was there a moment where the music kind of took over?
Nadim Maghzal: Basically when I was in New York, from 2015 through 2020, I still had a foot in the science world. I was teaching a lot to make ends meet because just doing music can be extremely difficult, especially when you’re independent and trying to do interesting projects. Our first Laylit party was in 2018 in Brooklyn in a tiny little bar, and very quickly in 2019 we started seeing how much potential this project had. It was part of a movement in New York that really exploded because of the need for spaces like Laylit to exist in the cultural landscape. I realized that Laylit was going to be very time-consuming. It kind of naturally happened, I stopped teaching science and focused all of my time on Laylit and the other projects we had, like touring with Wake Island and music production.
Then there was the pandemic, that was kind of a very confusing time, of course, because parties and live events and touring are all physical. So there was some questioning around what I should do with my time and whether or not music was dead. Like, should I maybe go back to science? Maybe music is dead as we know it, like it doesn’t exist anymore. But in 2021, when things opened up in New York again, we were reassured and kind of pleasantly surprised because events were crazy. People needed to party, and since then, music has become everything I do.
PAN M 360: What would you attribute to the success of these events? You mentioned a movement happening in New York around 2018. Can you tell us more about this?
Nadim Maghzal: When I was living in New York and participating in the nightlife as an audience member, it became evident that there was a lot of space for our people (SWANA), our culture and our music, to simply exist. Music from all around the globe was being played in clubs and diversity was really cherished. Seeing this as an artist from Lebanon who was in this indie rock bubble in Montreal, it was inspiring. It felt like a long time coming to reconnect with my own roots, and dance music was the perfect medium to revisit and dive into the core of what made me who I am, the rhythms, the culture, the language.
The first party was very informal. We were like, “Hey, let’s just throw a small party on a Wednesday night and invite our friends to come hang out”
We did this thing in a bar called Mood Ring and we were shocked, it was packed. People wanted more of it. It felt, at the time, that there was a need for this. Our community never really had spaces. To be clear, there have always been music events, but most of the time it stays within the community, weddings, parties in the Suburbs, but I never really felt like Arabic music was celebrated in the heart of New York City or Montreal’s music culture. We realized, “We have a chance at this. We should work it.” So we did, and it’s been amazing.
Post-9/11, Arabic culture took a big hit. It took a lot of time for the community to get over the stigma in society, and we’re not quite over it, and to share the beauty and diversity of this culture. We do this in dance music and we’re happy to have a tiny contribution.
PAN M 360: Around Lebanon and the Middle East, there are musical movements that extend between many different countries. The diversity and complexity of genres in SWANA culture can be hard to wrap one’s head around. When curating a lineup, how do you approach this?
Nadim Maghzal: When we first dove into this, it was a bit overwhelming, particularly because of the diversity you’ve described. Growing up in Lebanon and even just listening to Arabic pop, there are so many influences. We learned a lot from this project. It was a challenge to dig into the repertoire, to start listening to things we didn’t know. Trying to understand the social aspects and where cultural movements stem from has been very enriching, not only from a curatorial standpoint, but I believe for audience members as well, by opening the space to DJs from across the SWANA region.
As an example, at the Piknic show we have Manalou and Casa Kobrae, from Algeria and Morocco respectively, who’ll be spinning with us. They bring music and rhythms native from those regions, sounds that I didn’t grow up with but it’s still very close to the music I do know, there’s always this novelty aspect which is really cool.
It’s so rich. We try to bring that diversity of sounds to the audience. It’s not always simple because some audiences have a preconceived idea of what an Arabic music party is, they expect to hear top 40 hits. But sometimes we’ll book a DJ who digs into a more folkloric repertoire, stuff that hasn’t been heard before. As long as we’re learning something new, the project stays interesting and stays alive. We’re here for that, not just to throw events or be party promoters.
PAN M 360: Since Laylit covers artists from across the region without reducing Arabic music to a stereotype, do you think there’s a common thread across the SWANA region?
Nadim Maghzal: There are definitely commonalities. I’ll try to describe them in a way that avoids stereotypes. I would say language is one thing that overlaps the most, but even there, the SWANA region has a lot of diversity in languages. There’s one main language spoken in many dialects, but you also have Armenian, Persian, Kurdish, Turkish, Amazigh etc.
My perspective is that in general, in everything I’ve heard, there is always a generosity in sound. Whether it’s a sad love song or a happy festival song, the emotion is delivered with generosity. There’s less holding back. Obviously, it’s subjective and not unique to Arabic music, jazz can be generous too, but in contrast to minimal techno or other more intellectualized music, Arabic music tends to feel more open emotionally.
Rhythmically and melodically, the region shares deep structures and patterns, from Syria to Egypt to Iraq. There’s a shared musical language, but what makes it fascinating is the mix of influences, Amazigh, sub-Saharan, blues, African music… it gets messy in the best way. There are unifying elements, but also awesome regional differences. That’s what we try to highlight in our events.
PAN M 360: How does being an artist in the diaspora affect your approach to music?
Nadim Maghzal: That’s the third dimension, right? You take all this richness and then open it up in the diaspora, and all this mixing starts happening. For myself, as someone who spent half their life in Lebanon, I’ve learned a lot through this process. As you get older, it doesn’t get easier, it actually gets harder to know who you are, where you’re from. But through artistic expression, the hybridization of sounds creates unique identities for each artist as they dig into their influences.
Also, growing up in Lebanon, our music was always shaped by tradition, yes, but also by western music. The same is true in Egypt and Syria. You can hear Russian ballet influences in recordings from the 1920s. In North Africa, you can find Arabic reggae records. So it’s not just diaspora, Western culture was part of my musical identity from early on. We all try to dig into our childhoods for inspiration because that’s what resonates most.
PAN M 360: When organizing a Laylit event you have more control, but at Piknic you mostly focus on the music. How are you curating this one?
Nadim Maghzal: We adapt to whatever space we’re performing in. The focus is always first and foremost on the music and the lineup. For Piknic, we’re just proposing a lineup of DJs. There will be Manalou, who I spoke about earlier, and Casa Kobrae, a Moroccan DJ from Casablanca who’s now based in Montreal. The focus is on Montreal-based DJs from the SWANA community and shedding light on their musical expression. We hope to have an audience that is receptive and just as curious as we are.
PAN M 360: Last question, what are you looking forward to this summer? What’s motivating you?
Nadim Maghzal: When we started Laylit, it picked up so quickly that we had to put all of our attention on the events in New York and Montreal. Quickly, other cities were added, and we got so busy that I had to put other projects on the side, including, for me, a big part of what I love about music, production.
Now that we have more of a system in place, we’ve been focusing on original music as a collective, softly opening as a record label. We put out our first compilation a few weeks ago. It was such a rewarding experience.
That’s what’s driving me these days, it’s a synthesis of what Laylit has been for me. Putting those feelings into tracks, encouraging other producers to do the same. Not just DJ sets, but tracks that others can play. Saphe in our collective always says, music travels faster than us. It’s so rewarding to see people from Athens or Russia listening and playing our tracks. There’s a lot of new music coming and we’re very excited to share it.
Publicité panam
Summer 2025 in Orford promises once again to be rich in musical encounters. Marc-André Hamelin and Charles Richard-Hamelin, Alain Lefèvre, tango, picnics, lots of fascinating young artists, a quartet on the rise internationally – there’s no shortage of exciting events. I discussed all this with Wonny Song, artistic director of Orford Musique.
This interview on the Orford Musique season is part of a PAN M 360 content partnership with La Vitrine, the largest website devoted daily to cultural outings across Quebec.
For 11 years now, Montreal percussionist Ziya Tabassian has been organizing a series of concerts every summer. So far, so good, especially in Montreal. But his concerts take place in his garage! You go to 5226 Clark street, the door is open, you enter, you cross the corridor, the kitchen, the backyard and you arrive in a garage fitted out as a small stage with chairs and cushions. That’s it. Ten times a summer, you’ll meet artists from all horizons, from Persian music to medieval classical, from China to klezmer, from Mongolia to the Mandinka Empire, all free of charge (but voluntary donations are suggested). I spoke to Ziya Tabassian about the 2025 program.
DETAILS OF THE GARAGE CONCERTS 2025 SERIES HERE