That’s it, I’ve had my first experience at Piknic Électronik. I’ve been hearing about it for ages, and I’m delighted to have finally been able to unravel the mystery and attend a set by the great DJ Karaba, who has made a name for herself on the Montreal and international scene. She arrives dressed in a black top and jeans, wearing sunglasses and a scarf covering part of her braids.

Right from the start, she throws in a remixed version of Water by South African sensation Tyla, to blow our minds from the very first minutes. She seems to know the words to every song she revisits, dancing and interacting with her audience, with a smile on her face. She continues with sounds of Amapiano, a musical style that has just celebrated its 10th anniversary. With her subtle transitions between tracks, it’s not always clear when she’s moving from one to the next. With catchy choruses, she varies the intensity within the track to give it depth, and all the while living her music to the full. She does several dance steps throughout her set, sometimes even samba steps, reminiscent of her past as a dancer for American stars. She mixes old sounds such as Michael Jackson’s Thriller and Crystal Waters’ Gypsy Woman (She’s Homeless), with more recent ones like Rihanna’s Please don’t stop de music. It’s always very gradual: we detect a melody that reminds us of the classic, and slowly the song reveals itself to us with DJ Karaba’s signature touch. In this case, she gets the crowd dancing as soon as she adds the famous big bass that forces us to move.

“The last time I was here was during COVID. We were all separated, but it’s good to see you all together today,” she adds between songs.

A step back in time came when she remixed an old 80s classic, Yeke Yeke by Mory Kanté. In fact, she gave the song a new life without distorting it. During certain tracks, she would take long pauses, making it seem as if the song was over, only to resume again, doubling in intensity. These suspenseful moments were appreciated by the audience, who had a great time as the evening progressed. Another pleasant moment was the Portuguese songs she integrated into her repertoire, from Brazil but also from other Portuguese-speaking countries, with the Kuduro touch she managed to bring out. As night falls, we come to the end of the show. She puts her glasses back on, she got rid of the scarf and it’s as if we’re in an open-air disco, with lights all around her. The atmosphere was at its height, and she took advantage of the opportunity to remix a Nelly Furtado track, Say It Right, which the crowd knew by heart. The only hitch was that the microphone she used to interact with the audience at times didn’t work very well.

Before her set, DJ Karaba shared the National Bank stage with Mr Touré and DJ, musician and producer Poirier, who each played for around two hours. While the former mixed a number of African rhythms to danceable instrumentals, the latter took us on a world tour through his set. We went to Colombia with Agua Oro, a collaboration with Ramon Chicharon, to Brazil with Flavia Coelho’s Café com leche, and to Haiti with Teke Fren by Waahli, from the legendary group Nomadic Massive. We were also transported to Nigeria with remixes of Burna Boy, to Jamaica with some good dancehall and to the Ivory Coast, with the hit Coup de marteau. There was something for everyone.