Mest au Club Soda

by Rédaction PAN M 360

Mest est un groupe de rock américain connu pour son mélange entraînant de pop-punk et de punk rock. Formé en 1995 à Blue Island, dans l’Illinois, le groupe a été fondé par le chanteur et guitariste Tony Lovato, aux côtés du bassiste Matt Lovato, du batteur Nick Gigler et du guitariste Jeremiah Rangel. Au fil des années, Mest est devenu un incontournable de la scène punk du début des années 2000, partageant la scène avec des groupes comme Blink-182, Good Charlotte et Sum 41, et séduisant un public fidèle grâce à ses performances énergiques et ses hymnes accrocheurs.
Après plus de dix ans de carrière, Mest s’est séparé en 2006. Toutefois, en 2008, ils se sont réunis pour une tournée d’adieu en Californie, ravivant l’enthousiasme de leurs fans. En 2013, Tony Lovato a sorti en indépendant l’album Not What You Expected, perpétuant ainsi l’esprit du groupe.
En 2018, la formation classique du groupe—Tony Lovato, Matt Lovato, Nick Gigler et Jeremiah Rangel—s’est reformée pour enregistrer Masquerade, marquant un retour aux sources. Mest a continué d’évoluer et, en 2024, ils ont dévoilé un nouveau single, “When We Were Young”, en collaboration avec Jaret Reddick de Bowling for Soup. Parallèlement, le groupe a annoncé la sortie de son prochain album, “Youth”, prévu pour le 31 mai 2024.

Mest is an American rock band known for their infectious blend of pop-punk and punk rock, originally formed in 1995 in Blue Island, Illinois. The band was founded by lead vocalist and guitarist Tony Lovato, along with bassist Matt Lovato, drummer Nick Gigler, and guitarist Jeremiah Rangel. Over the years, Mest became a staple in the early 2000s punk scene, touring with acts like Blink-182, Good Charlotte, and Sum 41, and earning a devoted fanbase with their energetic performances and catchy anthems.
After over a decade of making music together, Mest disbanded in 2006. However, in 2008, they reunited for a special “final tour” in California, reigniting excitement among their fans. In 2013, Tony Lovato independently released Not What You Expected, keeping the spirit of Mest alive.
In 2018, the band’s classic lineup—Tony Lovato, Matt Lovato, Nick Gigler, and Jeremiah Rangel—came back together to record Masquerade, marking a full-fledged return to their roots. Mest has continued to evolve, and in 2024, they released a new single, “When We Were Young,” featuring Jaret Reddick of Bowling for Soup. Alongside this release, the band announced their upcoming album, “Youth,” set for release on May 31, 2024.

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Ce contenu provient du Club Soda et est adapté par PAN M 360

Jazz

FIJM 2025 | King Makaya triumphs again

by Frédéric Cardin

A total, irrepressible intensity, a strength of character that imposes its vision, leaving the acolytes to support (brilliantly, of course), never to deflect, the king in his musical velléités. This is a concert by drummer Makaya McCraven, a modern icon of jazz drumming. The propulsive power of this American is quite simply remarkable, and his genius for form, rhythmic metamorphosis and overall discourse is awe-inspiring. But that’s nothing new. Our colleague Alain Brunet, who was also present at the event, remarked that it resembled last year’s show. It’s been three years since McCraven released an album. To quote Alain: “Makaya, it’s really great, but we’re due for a new album.” Which will apparently be the case in September. By the way, in the last ten minutes or so, wasn’t that new material we were hearing? Anyway, it doesn’t matter, because I’d missed last year’s perfomance, which kept my listening a little “fresher.” And anyway, such an expressive personality can sustain repetition, so visceral and superior is it.

A rhythmic sax, sometimes atmospheric, never lyrical, a colorful vibraphone, a voluble but respectful bass. It’s what surrounds the master without taking up space. That’s the way it is, and we like it.

The opening act, Theon Cross (Sons of Kemet), brought the Club Soda to its feet with a plump, remarkably swift tuba groove. This guy is an amazing virtuoso. The depth of sound of this instrument doesn’t usually make it easy to understand what’s going on, but Cross apparently achieves the impossible, and does so by twirling more notes than would be humanly possible. A new album is due in July, very soon indeed. You won’t want to miss it.

afro-soul / Jazz-Funk

Festival International de Jazz de Montréal : The Brooks au Club Soda

by Rédaction PAN M 360

De leurs premières prestations dans l’ambiance feutrée du Dièse Onze aux grandes scènes de prestigieux festivals, d’un côté comme de l’autre de l’Atlantique, The Brooks s’est taillé une réputation de redoutable machine à groove. Au cœur du projet musical de ce supergroupe formé au début des années 2010 résident le plaisir de jouer, une véritable liberté artistique et un sens poussé de la collégialité. Électrisante sur disque comme sur scène, la musique de The Brooks est portée par des rythmiques bondissantes, des cuivres flamboyants, des claviers inventifs et d’envoûtantes lignes de guitare. Naviguant entre funk, soul, r’n’b, afrobeat et jazz, The Brooks réunit le bassiste Alexandre Lapointe, le vétéran chanteur et tromboniste Alan Prater, le guitariste Philippe Look et le percussionniste Philippe Beaudin, des virtuoses aux feuilles de route convaincantes. La formation a fait paraître cinq albums dont le plus récent, Soon As I Can (2024), qui propulse leurs grooves vers de nouveaux sommets. The Brooks est beaucoup plus que la somme de ses parties : c’est une célébration de plus de 50 ans d’évolution de la musique afro-américaine à la fois respectueuse de ses racines et bien ancrée dans le présent.

From their early performances in the intimate setting of Dièse Onze to major stages at prestigious festivals on both sides of the Atlantic, The Brooks have earned a reputation as a formidable groove machine. At the core of this supergroup, formed in the early 2010s, lies the pure joy of playing, true artistic freedom, and a deep sense of camaraderie. Electrifying both on record and on stage, The Brooks’ music is driven by infectious rhythms, blazing horns, inventive keyboards, and hypnotic guitar lines. Blending funk, soul, R&B, afrobeat, and jazz, the band features bassist Alexandre Lapointe, veteran singer and trombonist Alan Prater, guitarist Philippe Look, and percussionist Philippe Beaudin—seasoned musicians with impressive résumés. The band has released five albums, including their latest, Soon As I Can (2024), which pushes their grooves to new heights. More than just the sum of its parts, The Brooks is a celebration of over 50 years of Afro-American musical evolution, staying true to its roots while remaining firmly grounded in the present.

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Ce contenu provient du Club Soda et est adapté par PAN M 360

Hip Hop / rap / Rap français

Francos | Back in Time With Saïan Supa Celebration

by Sandra Gasana

Although the Fête de la Musique is not officially celebrated on June 21 in Montreal, as it is in France, the timing for Saïan Supa Celebration was just on point. Although they weren’t complete, two of the collective’s members having left the group, they still managed to recreate the festive atmosphere to which they had accustomed us 20 years ago.

A drummer and a keyboard was all they needed in terms of musicians, since the rest was done through singing, rapping and beat boxing. Recordings of vocals could be heard at times, as at the very start of the concert, but that’s all it took for the crowd to start screaming. They opened with Raz de marée, one of their biggest hits from their debut album KLR, released in 1999, a classic of French rap.

Their on-stage energy was unchanged, with some of them looking a little older, while others remained in top shape. In fact, they wanted to see if their fans were just as fit by making them dance, but above all by asking them to get up and down on one of their songs. The average age in the room was around 45-50, but I was surprised to see so many young people in their twenties and thirties.

Short choreographies, breakdancing, jerky dance steps, and total mastery of the stage. With four members, it’s not always easy to find your place and occupy it without it looking too chaotic. Sometimes, one of them was alone on stage, then in a duo, then in a trio, then back to the full band. In short, we were treated to every possible scenario, but each time, the complicity between the artists was palpable, especially in Soldat, when one sings, the other continues with rap.

They challenged the crowd to “see if we have a voice in Montreal”, a challenge they took on proudly. They had fun on stage, teasing each other, interacting with humor, but it was clearly Sly Johnson who stole the show that night. With his chilling soul voice, he performed a short cover of Marvin Gaye’s Sexual Healing, which left no one indifferent. He also masters the art of beatboxing and uses humor on stage.

Of course, they didn’t just play their biggest hits, but also some lesser-known tracks, as well as the previously unreleased Étranger, which they wanted to test on the Montreal audience. We were even treated to a dialogue between beat box and drums, while on À demi-nue, from the album x raisons, they received a very warm welcome from the audience.

We had to wait until the encore to hear THE song I’d been waiting for all evening: Angela, which made this band legendary. Why was Crew replaced by Celebration? It’s a question we’d have liked to ask the band, but the interview request didn’t go through. Perhaps next time? In the meantime, we’ll be content to take a musical trip back in time to our youth.

Photo: Frédérique Ménard-Aubin

Publicité panam

afro-soul / Caribbean / rap

Francos de Montréal : Saïan Supa Célébration au Club Soda

by Rédaction PAN M 360

Se réunir pour magnifier et transmettre un patrimoine : c’est tout le sens du Saïan Supa Célébration.
Alors que KLR, premier disque du Saïan et classique du rap français, fête ses 25 ans en 2024, Sir Samuel, Sly Johnson, Specta et Vicelow compte célébrer la philosophie du SSC à travers un show unique.
En portant sur scène leur leg musical marqué par diverses influences (rap, soul, reggae et afro-caribéennes), ils interpréteront leurs plus grands classiques en groupe et en solo.

Coming together to honor and share a legacy—that’s the essence of the Saïan Supa Célébration.
As KLR, the debut album from Saïan Supa Crew and a classic of French rap, celebrates its 25th anniversary in 2024, Sir Samuel, Sly
Johnson, Specta, and Vicelow are set to pay tribute to the philosophy of SSC with a one-of-a-kind show.
Bringing their musical heritage to the stage—shaped by diverse influences including rap, soul, reggae, and Afro-Caribbean sounds—they will perform their greatest classics both as a group and in solo sets.

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Ce contenu provient du Club Soda et est adapté par PAN M 360

chanson keb franco / Folk Pop

Francos de Montréal : Marie-Annick Lépine au Club Soda

by Rédaction PAN M 360

Marie-Annick Lépine, multi-instrumentiste des Cowboys Fringants, reprend la route avec son nouvel album qui nous transporte dans son cheminement rempli de franchise, d’humanité et d’autodérision. Le cœur est un rêveur est une ode au retour à la vie. « Malgré la peur et malgré tout » Marie-Annick continue d’avancer.
Et c’est magnifiquement accompagnée de ses complices musicien.ne.s que l’autrice-compositrice-interprète donnera rendez-vous au public. Elle nous fera sourire, chanter, crier, réfléchir avec des textes riches et intimes, livrés sur ses musiques accrocheuses, dans un esprit de bienveillance où un brin de lumière est toujours présent.

Marie-Annick Lépine, multi-instrumentalist of Les Cowboys Fringants, hits the road again with her new album, taking us on a journey filled with honesty, humanity, and self-mockery. Le cœur est un rêveur is an ode to reclaiming life. “Despite fear and despite everything,” Marie-Annick keeps moving forward.
Beautifully accompanied by her fellow musicians, the singer-songwriter invites audiences to join her for a show that will make them smile, sing, shout, and reflect. With rich, intimate lyrics set to catchy melodies, she creates a warm, uplifting atmosphere where a spark of light is always present.

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Ce contenu provient du Club Soda et est adapté par PAN M 360

chanson keb franco / New Wave / Pop-Rock

Francos de Montréal : Ariane Roy au Club Soda

by Rédaction PAN M 360

Tous s’entendent pour dire qu’Ariane Roy, figure de proue de la désormais célèbre scène de Québec, récipiendaire du prix Révélation de l’année au Gala de l’ADISQ 2022, Révélation Radio-Canada 2021-2022, nommée à deux reprises aux prix JUNO, récipiendaire du Prix Félix-Leclerc en 2022, Prix Espoir FEQ et on en passe, est manifestement destinée à briller parmi nos plus grandes étoiles.
Suite à la parution d’un premier album, medium plaisir (2022), Ariane s’est fait un nom en brûlant les planches des quatre coins du Québec avec un spectacle bouillant, mettant en évidence les fulgurances qui la portent depuis ses tous débuts.
L’autrice-compositrice-interprète nous revient désormais avec Dogue, un deuxième album qui tranche avec ce qu’elle nous avait habitué. Coréalisé avec Félix Petit (Hubert Lenoir, Les Louanges, Bonnie Banane), Dogue montre les dents, oui pour sourire, mais aux dépends de qui ?
Peu nous importe puisque l’on ne peut résister à se coucher devant les crocs, espérant se joindre à la meute.

Everyone agrees that Ariane Roy, a leading figure in Québec’s now-famous music scene—winner of the Révélation de l’année award at the 2022 ADISQ Gala, Radio-Canada’s 2021-2022 Révélation, twice nominated for the JUNO Awards, recipient of the 2022 Prix Félix-Leclerc, Prix Espoir FEQ, and more—is undoubtedly destined to shine among our brightest stars.
Following the release of her debut album, medium plaisir (2022), Ariane made a name for herself by setting stages ablaze across Québec with a fiery live show, showcasing the flashes of brilliance that have propelled her from the very start.
Now, the singer-songwriter returns with Dogue, a second album that breaks away from what she had us used to. Co-produced with Félix Petit (Hubert Lenoir, Les Louanges, Bonnie Banane), Dogue bares its teeth—yes, in a smile, but at whose expense?
No matter, as we can’t help but bow before the fangs, hoping to join the pack.

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Ce contenu provient du Club Soda et est adapté par PAN M 360

chanson keb franco / Métal

Francos | Mononc’ Serge & Anonymus, The Gallery-Hunting Outlet

by Florence Cantin

Club Soda was sold out on Saturday night, packed with nostalgic bon vivants ready to die for Canada.

Mononc’ Serge kicked off the Canadian evening with the thrash metal of La ligue du vieux pouèl, dragging his solute behind him. Alongside Anonymus, he’s been around long enough that he’s no longer a member of the young metalheads’ club – even though he insists that aging as a metal veteran is fundamentally tacky. Even before he begins his usual affectionate mockery of the audience, Mononc’ sets the tone: self-mockery reigns supreme here.

The audience, a little shy at first, as if in an observation phase, was soon shaken by Anonymus. An invitation to a circle pit from bassist Oscar Souto broke the ice. The call did not go unheard. A wave of support quickly spread through the room. The circle formed, and the crowd, still static, was suddenly animated by a galvanizing federal energy.

Some of the spectators unwillingly embodied the parody held up to them as a mirror – it was as if the Club Soda kegs had all been siphoned off before the encore. The beer age wouldn’t be nearly as enjoyable without the traditional “moron fishing”, where Mononc’ points to a fan who’s as thirsty as he is overheated – often already tipsy, sometimes downright unstable. The youngster was then brought on stage for some wobbly choreography, before wedging in his beer to the cheers of the crowd.

Hommage aux hommages was one of the highlights of the evening. With its double-bottomed text, the play mocks the very contemporary mania for multiplying tributes, salutes, tributes and posthumous celebrations to excess. The theme is deliciously ironic, carried by the memorable line: “On a mis a quelqu’un au monde / On devrait peut-être lui rendre hommage. More than twenty years after L’Académie du massacre, initially seen as improbable, this marriage between Mononc’ Serge and Anonymus remains impressively solid on stage. A symbiosis that never runs out of steam.

Indigenous peoples / Maghrebi

A Solar Evening at Club Soda

by Michel Labrecque

For 2025, multidisciplinary artist Soleil Launière chose to bring forward the solstice ceremony to June 11, and celebrate it in the company of musicians she loves. Let’s just say that the evening was a success.

It began with traditional native drums, then gave way to keyboards and electric guitars. Soleil Launière took to the stage with the kind of traditional panache that has become her trademark. And it all kicked off with tracks from her 2023 album Taueu, an increasingly refined blend of tradition and the musical present.

Then began the well-crafted parade of female songwriters from different backgrounds: Berber Moroccan Nukad, Klo Pelgag, Cree Arachnid, Wendat Eadsé, Jorane and her cello, Dominique Fils-Aimée and the duo VioleTT Pi, the only male presence in this very feminine-feminist show. And that’s just as well.

All this was generally of a fairly high calibre. But the best moments came when the artists dialogued with Soleil Launière. I’m thinking in particular of Nukad, whose Maghrebian tradition blends perfectly with that of the Aboriginals, Jorane, very inspired and tapping furiously on her cello to play First Nations percussionist. And what can we say about Dominique Fils-Aimé, who, after a vocal solo that sent shivers down Club Soda’s spine, harmonized with Soleil Launière and the voices of accompanists Chloé Lacasse and Geneviève Toupin. It was pure vocal bliss.

It’s worth noting: the work of the accompanying band cemented this eclectic concert in a wonderful way. In addition to guitarist Simon Walls, there was the group Chances: Vincent Carré on drums, Chloé Lacasse on vocals and keyboard and Geneviève Toupin, aka Willows, on vocals, keyboards and guitars. What voices these women have!

There was another anonymous star: a one-year-old baby, who clapped his hands constantly and squealed with delight at the end of the first few songs.

It was a wonderful evening! As proof, my friend Gilles, a Belgian-born political scientist now living in India, who accompanied us yesterday and didn’t know any of the artists, came away completely enchanted by the event.

What more to say….Other than: Vive le métissage and the new wave of Indigenous music!

heavy metal / Métal

Francos de Montréal : Mononc’ Serge & Anonymus au Club Soda

by Rédaction PAN M 360

La musique est violente, les paroles grafignent, les oreilles silent à la frontière de l’enfer et du Québec profond : y’a pas de doute, l’oncle vociférant et les vétérans métalleux font à nouveau équipe.
Après un long hiatus discographique de 16 ans, leur album Métal canadien-français prouve que ces vieux routiers du bruitont encore d’la mine dans l’crayon. Ils sont fin prêts à prendre d’assaut les scènes de la francophonie mondiale pour jouer leur musique décadente, tout ça en français et au mépris de toutes les rectitudes.

The music is violent, the lyrics scratch, and the ears howl at the edge of hell and deep Québec—there’s no doubt about it: the ranting uncle and the veteran metalheads are back together.
After a 16-year recording hiatus, their album Métal canadien-français proves that these old road warriors of noise still have plenty of fuel in the tank. They’re more than ready to storm francophone stages worldwide, unleashing their decadent music—all in French and with utter disregard for political correctness.

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Ce contenu provient des Grands Bois et est adapté par PAN M 360

chanson keb franco / Indigenous peoples / soul-roots

Nikamotan MTL – Niaran : Soleil Launière invite Dominique Fils-Aimé, Klô Pelgag, VioleTT Pi, Jorane, Anachnid, Eadsé & Nukad au Club Soda

by Rédaction PAN M 360

Sirius XM et Musique Nomade présentent Nikamotan MTL – Niaran : Soleil Launière invite. Avec Soleil Launière, Dominique Fils-Aimée, Klô Pelgag, VioleTT Pi, Jorane, Anachnid, Eadsé et Nukad.
Ne manquez pas cette seule et unique chance de voir réuni sur scène ces artistes, le 11 juin à 20h00 au Club Soda à Montréal et mettra en lumière la découverte d’artistes autochtones et de rencontres musicales éclectiques. Un spectacle conceptuel, avec CHANCES (Chloé Lacasse, Geneviève Toupin et Vincent Carré) à la direction musicale, qui promet en moments forts et en audace !
Soleil Launière est une artiste multidisciplinaire innue de Mashteuiatsh au Lac-Saint-Jean, Révélation Radio-Canada 2024-2025, première autochtone à remporter les Francouvertes et nominée pour le prix Artiste autochtone de l’année à l’Adisq 2024. Elle a surpris le Québec avec son premier album Taueu, un opus soul-roots percutant, explorant les thèmes du territoire, de la féminité, acclamé par la critique :
« envoûtant » – « incarné » – « intelligent » – « susceptible de parler à tous » – « un vent de fraîcheur » – « intime et habité »
Nikamotan MTL est un concept original de Musique Nomade, est le fruit d’une alliance artistique visant à créer des ponts entre les cultures et à favoriser la rencontre de publics divers. Ce spectacle promet des moments musicaux intenses et inoubliables. On remercie la participation du Club Soda, de LABE et de La Maison Fauve.

Sirius XM and Musique Nomade present Nikamotan MTL – Niaran: Soleil Launière Invites. Featuring Soleil Launière, Dominique Fils-Aimée, Klô Pelgag, VioleTT Pi, Jorane, Anachnid, Eadsé, and Nukad.
Don’t miss this one and only chance to see these artists together on stage on June 11 at 8:00 PM at Club Soda in Montreal. This unique event will highlight the discovery of Indigenous artists and eclectic musical encounters. A conceptual show, with CHANCES (Chloé Lacasse, Geneviève Toupin, and Vincent Carré) as musical directors, it promises bold and powerful moments!
Soleil Launière is a multidisciplinary Innu artist from Mashteuiatsh, Lac-Saint-Jean. She was named Radio-Canada’s 2024-2025 Révélation, the first Indigenous artist to win Les Francouvertes, and a nominee for Indigenous Artist of the Year at the 2024 ADISQ Awards. Her debut album Taueu took Quebec by storm— a striking soul-roots work exploring themes of land and femininity, praised by critics as:
“Enchanting” – “Deeply embodied” – “Intelligent” – “Resonating with all” – “A breath of fresh air” – “Intimate and soulful”
Nikamotan MTL is an original concept by Musique Nomade, an artistic initiative fostering cultural bridges and bringing diverse audiences together. This show promises intense and unforgettable musical moments. Special thanks to Club Soda, LABE, and La Maison Fauve for their support.

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Ce contenu provient du Club Soda et est adapté par PAN M 360

chanson keb franco / Country Folk / Rock

Francos de Montréal : Fred Fortin au Club Soda

by Rédaction PAN M 360

Figure emblématique d’une certaine chanson québécoise pure et brute, Fred Fortin est révélé en 1996 avec Joseph Antoine Frédéric Fortin Perron. Après les désormais légendaires Le plancher des vaches (2000) et Planter le décor (2004), son quatrième album, Plastrer la lune (2009) est retenu sur la longue liste du prestigieux prix Polaris et remporte deux GAMIQ: «Album Chanson» et «Auteur-compositeur de l’année». Depuis 2014, Fred Fortin signe la musique originale et l’habillage sonore de l’émission humoristique Les beaux malaises. En mars 2016, Fred Fortin sort son cinquième album, Ultramarr, après sept longues années d’absence dans son incarnation solo. Le Québec tremble sous l’impact de ce retour inattendu et tant espéré: On ose parler de consécration, l’album récoltant les Félix «Auteur ou compositeur de l’année», «Album de l’année – Choix de la critique» et «Prise de son et mixage de l’année», en plus d’être en nomination dans la catégorie «Album de l’année – Rock» au gala de L’ADISQ la même année. En août 2019, Fred Fortin dévoile par surprise son sixième album en carrière, Microdose. Un disque qui s’écoute comme une fenêtre entrebâillée sur un portrait de famille, déballé presque d’un coup par l’homme-orchestre qui refuse d’arrêter ses niaiseries et qui fuit à toutes jambes devant la proposition du mythe vivant.

A defining figure of a raw and unfiltered strain of Québec music, Fred Fortin first made his mark in 1996 with Joseph Antoine Frédéric Fortin Perron. After the now-legendary Le plancher des vaches (2000) and Planter le décor (2004), his fourth album, Plastrer la lune (2009), made the long list for the prestigious Polaris Prize and won two GAMIQ awards: “Album Chanson” and “Songwriter of the Year.” Since 2014, Fred Fortin has been composing the original music and sound design for the comedy show Les beaux malaises. In March 2016, after a seven-year hiatus from his solo work, he returned with his fifth album, Ultramarr. The shockwave of this unexpected and long-awaited comeback reverberated across Québec. Some even called it a crowning achievement, as the album earned him Félix awards for “Songwriter of the Year,” “Critics’ Choice Album of the Year,” and “Recording and Mixing of the Year,” along with a nomination for “Rock Album of the Year” at the ADISQ Gala. In August 2019, Fred Fortin surprised everyone by dropping his sixth album, Microdose. A record that plays like a half-open window onto a family portrait, unpacked all at once by the one-man band who refuses to take himself too seriously and bolts at the very notion of becoming a living legend.

POUR ACHETER VOTRE BILLET, C’EST ICI! (12 JUIN)

POUR ACHETER VOTRE BILLET, C’EST ICI! (13 JUIN)

Ce contenu provient de Bravo musique et est adapté par PAN M 360