“I’ve travelled through many lives to get here.” Istanbul, London, Buenos Aires, Montreal… Irem Bekter has a long migration behind her and, obviously, she hasn’t said her last word. Living in Quebec since 2003, she pursues a multidisciplinary approach and puts forward here her musical talents, which are juxtaposed with drama and contemporary dance. This experienced artist has the desire to adapt to each stopover of her migration, without denying the previous ones. Thus, in this album aptly named Je suis ici, this seasoned singer can very well paste a French text by David McNeil on a classic by Astor Piazzolla, the unavoidable “Oblivion”. French lyrics by J-F Lamothe, Raymond Lévesque, and Sylvain-Claude Filion, not to mention her own (sometimes bilingual, sometimes English), are the backdrop to this intimate album, at the confluence of chanson, modern jazz, gypsy swing, tango nuevo and Eastern Mediterranean music. Here she calls upon pianist David Ryshpan, guitarist Michael Cotnoir, oud player Nazih Borish, accordionist Luzio Altobelli, double bassist Mathieu Deschenaux, and percussionist Bertil Schulrabe, a significant concentration of Montreal’s interculturalism. The songs are beautifully interpreted in this mixed context, whose acoustic instrumentation and production are reminiscent of the chansonnier approaches typical of the ’60s and ’70s.
Latest 360 Content
Album review Electronic/expérimental / contemporain/Rock 2026
Xiu Xiu – Eraserhead
By Stephan Boissonneault
Concert review Brazilian/Indigenous peoples
Nuits d’Afrique 2026 | Suraras dos Tapajós: Connecting Us to the Amazon Forest Through Music
By Juliana Cortes
Album review expérimental / contemporain/musique de film 2026
Réka Csiszér & Radwan Ghazi Moumneh – Le Révélateur
By Frédéric Cardin
Album review Experimental / Contemporary/expérimental / contemporain 2026
Chanel Beads – Your Day Will Come
By Stephan Boissonneault
Concert review classique/Classical
Lanaudière 2026 | Explosion of colours and emotions thanks to Payare, Weilerstein, Ortiz, and Shostakovich
By Frédéric Cardin
Concert review Caribbean/Jazz/Reggae
Nuits d’Afrique 2026 | Chris Combette: the groovy elegance of the Guyanese troubadour
By Frédéric Cardin
Concert review Africa/Jazz/cirque
Nuits d’Afrique 2026 I African Circus Courtesy of Kalabanté Hits Different
By Stephan Boissonneault
Interview latino/Western European/Jazz
Nuits d’Afrique 2026 | Azara, the voice of flamenco takes root in Montreal
By Frédéric Cardin
Concert review Africa/Americana/Indian Ocean
Nuits d’Afrique 2026 | The Two Enriches its Creole blues
By Sandra Gasana
Concert review
PRIMAVERA SOUND – PORTO 2026 : The Big Little Festival on a Human Scale
By Patrick Baillargeon
Interview Africa/Mandingo Blues
Nuits d’Afrique 2026 | The virtuoso balafon of Seydou Diabaté, at the heart of the Kanazoé Orkestra
By Frédéric Cardin
Concert review Africa/Mandingo Blues
Nuits d’Afrique 2026 | MTELUS Falls to Grand Lamine Touré
By Sandra Gasana
Interview Amérique latine
Nuits d’Afrique 2026 | Somos Más, A Feminine and Plural Harmonies
By Juliana Cortes
Concert review Africa/DJ set
Nuits d’Afrique 2026 | Soul of Zoo confirms his “connections” on stage
By Sandra Gasana
Interview Africa
Nuits d’Afrique 2026 | The people of Guinea, Represented by their State, Pay Tribute to the “Baobab of the Night”
By Alain Brunet
Interview Electronic























