Le Vivier : Squid in Chains / Adrianne Munden-Dixon & Raphaël Foisy à l’église Sainte-Hilda
by Rédaction PAN M 360
Squid in Chains est un trio de Vancouver mêlant improvisation, électronique et instruments acoustiques. Il réunit François Houle (clarinette et électronique), Douglas Schmidt (bandonéon et saxophone) et John Oliver (synthétiseurs, échantillonneurs et traitement sonore). En première partie: Adrianne Munden-Dixon et Raphaël Foisy, explorent en duo ou avec des invité-es (Karen NG, Ben Bennett, James Goddard, Andrew Furlong, Yves Charuest, Joni Void, Geneviève Gauthier, Mark Molnar, Susanna Hood…) une musique pour violon et guitare où les instruments se confondent mimétiquement et s’interrompent dans un territoire de textures, de timbres, de dynamiques, de contrastes, de bruits, de réflexes et d’accidents.
Squid in Chains is a Vancouver-based trio blending improvisation, electronics, and acoustic instruments. It brings together François Houle (clarinet and electronics), Douglas Schmidt (bandoneon and saxophone), and John Oliver (synthesizers, samplers, and sound processing). Opening the evening: Adrianne Munden-Dixon and Raphaël Foisy explore, as a duo or with guests (Karen NG, Ben Bennett, James Goddard, Andrew Furlong, Yves Charuest, Joni Void, Geneviève Gauthier, Mark Molnar, Susanna Hood…), a music for violin and guitar in which the instruments merge mimetically and interrupt one another within a territory of textures, timbres, dynamics, contrasts, noises, reflexes, and accidents.
Grande finale du Concours OSM – Édition 2026 – Piano
by Rédaction PAN M 360
Depuis 1940, le Concours OSM a révélé des talents exceptionnels qui ont marqué durablement la scène musicale. Parmi ses lauréats figurent des pianistes aujourd’hui reconnus sur la scène internationale, tels que Bruce Liu, Jan Lisiecki et Angela Hewitt, dont les carrières illustrent le rôle déterminant du concours comme tremplin artistique. Pour cette 87e édition, le piano est à l’honneur, avec un programme riche et contrasté où les finalistes, accompagnés par l’Orchestre symphonique de Montréal sous la direction d’Antony Hermus, proposeront une interprétation à la fois virtuose et d’une grande intensité expressive.
Since 1940, the OSM Competition has brought to light exceptional talents who have left a lasting mark on the musical landscape. Among its laureates are pianists now acclaimed on the international stage, such as Bruce Liu, Jan Lisiecki, and Angela Hewitt, whose careers exemplify the competition’s pivotal role as an artistic springboard. For its 87th edition, the spotlight is on the piano, with a rich and contrasting program in which the finalists—performing with the Montreal Symphony Orchestra under the direction of Antony Hermus—will offer interpretations that are both virtuosic and deeply expressive.
Les finalistes et leur programme seront dévoilés à l’issue des épreuves de demi-finale du Concours OSM 2026, le 11 novembre 2026.
The finalists and their programme will be announced following the semifinal rounds of the 2026 OSM Competition, on November 11, 2026.
Arion Orchestre Baroque : Les quatre saisons à la salle Bourgie
by Rédaction PAN M 360
Si Les quatre saisons de Vivaldi, œuvres oubliées pendant plus de deux siècles, sont aujourd’hui parmi les pages les plus appréciées du répertoire baroque, c’est parce qu’elles sont bien plus que des concertos pour violon. Illustrant en musique la morsure du froid, la chaleur accablante du soleil d’été ou encore le pépiement des oiseaux au printemps, ces œuvres sont depuis plus de 300 ans les bandes sonores de nos vies ! Sous l’archet de la brillante violoniste suisse Leila Schayegh que l’on retrouvera à la direction d’Arion, et assortie d’œuvres vocales de Vivaldi et de Bembo livrées par l’admirable soprano québécoise Sophie Naubert, cette présentation promet tout un carrousel d’émotions et de contrastes.
If Vivaldi’s Four Seasons—works forgotten for over two centuries—are today among the most beloved pieces in the Baroque repertoire, it is because they are far more than just violin concertos. Depicting the biting cold, the oppressive heat of the summer sun, or the chirping of birds in spring, these works have become the soundtracks of our lives after over 300 years! Brought to life by the brilliant Swiss violinist Leila Schayegh, who returns to conduct Arion, and paired with vocal works by Vivaldi and Bembo performed by the remarkable Quebec soprano Sophie Naubert, this presentation promises a whirlwind of emotions and contrasts.
Programme
Antonio Vivaldi (1678 –1741) Les quatre saisons, RV 269, RV 315, RV 293, RV 297 Concerto pour cordes en si bémol majeur, RV 163 « Conca » In Furore iustissimae irae, RV 626 « Vedrò con mio diletto » (Il Giustino, RV 717) « Agitata da due venti » (Griselda, RV 718) Antonia Bembo (1640-1720) Cantate “Per il natale”
Program
Antonio Vivaldi (1678 –1741) The Four Seasons, RV 269, RV 315, RV 293, RV 297 Concerto for strings in B-flat Major, RV 163 “Conca” In Furore iustissimae irae, RV 626 “Vedrò con mio diletto” (Il Giustino, RV 717) “Agitata da due venti” (Griselda, RV 718) Antonia Bembo (1640-1720) Cantate “Per il natale”
Arion Orchestre Baroque : Les quatre saisons à l’église Saint-Viateur d’Outremont
by Rédaction PAN M 360
Si Les quatre saisons de Vivaldi, œuvres oubliées pendant plus de deux siècles, sont aujourd’hui parmi les pages les plus appréciées du répertoire baroque, c’est parce qu’elles sont bien plus que des concertos pour violon. Illustrant en musique la morsure du froid, la chaleur accablante du soleil d’été ou encore le pépiement des oiseaux au printemps, ces œuvres sont depuis plus de 300 ans les bandes sonores de nos vies ! Sous l’archet de la brillante violoniste suisse Leila Schayegh que l’on retrouvera à la direction d’Arion, et assortie d’œuvres vocales de Vivaldi et de Bembo livrées par l’admirable soprano québécoise Sophie Naubert, cette présentation promet tout un carrousel d’émotions et de contrastes.
If Vivaldi’s Four Seasons—works forgotten for over two centuries—are today among the most beloved pieces in the Baroque repertoire, it is because they are far more than just violin concertos. Depicting the biting cold, the oppressive heat of the summer sun, or the chirping of birds in spring, these works have become the soundtracks of our lives after over 300 years! Brought to life by the brilliant Swiss violinist Leila Schayegh, who returns to conduct Arion, and paired with vocal works by Vivaldi and Bembo performed by the remarkable Quebec soprano Sophie Naubert, this presentation promises a whirlwind of emotions and contrasts.
Programme
Antonio Vivaldi (1678 –1741) Les quatre saisons, RV 269, RV 315, RV 293, RV 297 Concerto pour cordes en si bémol majeur, RV 163 « Conca » In Furore iustissimae irae, RV 626 « Vedrò con mio diletto » (Il Giustino, RV 717) « Agitata da due venti » (Griselda, RV 718) Antonia Bembo (1640-1720) Cantate “Per il natale”
Program
Antonio Vivaldi (1678 –1741) The Four Seasons, RV 269, RV 315, RV 293, RV 297 Concerto for strings in B-flat Major, RV 163 “Conca” In Furore iustissimae irae, RV 626 “Vedrò con mio diletto” (Il Giustino, RV 717) “Agitata da due venti” (Griselda, RV 718) Antonia Bembo (1640-1720) Cantate “Per il natale”
OSM : Les mille et une notes de Shéhérazade – Express
by Rédaction PAN M 360
Dans ce programme condensé, la force des individualités de l’Orchestre se déploie comme rarement. Les Danses polovtsiennes de Borodine ouvrent la soirée dans une effervescence charnelle : chaque pupitre y brille, sollicité avec une virtuosité tantôt sauvage, tantôt caressante, comme si l’orchestre tout entier se muait en un ensemble de solistes. Puis surgit Shéhérazade, où la voix du violon – celle d’Andrew Wan – trace en filigrane le destin de l’héroïne des Mille et une nuits. Ses lignes souples et envoûtantes esquissent les stratégies, les doutes, la douceur et l’audace de cette femme qui apprivoise peu à peu le sultan et transforme sa propre histoire en salut. Deux œuvres qui magnifient la richesse expressive d’un orchestre en pleine incarnation.
In this condensed program, the orchestra’s individuality shines as rarely before. Borodin’s Polovtsian Dances open the evening in a sensual whirlwind: every section dazzles, summoned to a virtuosity that is at times wild, at times tender, as if the entire orchestra were transformed into a constellation of soloists. Then comes Sheherazade, where the violin—Andrew Wan’s voice—traces the destiny of the heroine from One Thousand and One Nights. Its supple, mesmerizing lines sketch her strategies, doubts, gentleness, and audacity as she gradually tames the sultan and turns her story into salvation. Two works that magnify the expressive richness of an orchestra in full incarnation.
Programme/program
Alexandre Borodine, Prince Igor : Danses Polovtsiennes/Polovtsian Dances (14 min) Nikolaï Rimski-Korsakov, Shéhérazade, op. 35 (42 min)
Azrieli Prize: Next stop 2028, with Linda Bouchard, Luis Arias, and Matthew Rosenblum!
by Frédéric Cardin
The Azrieli Foundation announced today the three composers who will receive commissions for works in anticipation of the Azrieli Music Prizes. The award-winning compositions will be presented at a gala concert in the fall of 2028, and performed by the Nouvel Ensemble Moderne (NEM) under the direction of Jean-Michaël Lavoie, the partner for this edition.
Linda Bouchard – Azrieli Canadian Music Commission 2028:Le Saguenay, Saki-nip
The composer will present Le Saguenay, Saki-nip, a majestic portrait of the Saguenay fjord, also inspired by the relationships between the French settlers and the Innu in the 17th century. Bouchard says she draws inspiration from the impressions left by the book Le peuple rieur by Simon Bouchard and Marie-Christine Lévesque, which precisely recounts this friendly and peaceful relationship. In an interview during the unveiling of the winners, Ms. Bouchard said she wanted to create metallic, coppery textures to reflect the radiant grandeur of Saguenay.
Mathew Rosenblum – Azrieli Commission for Jewish Music 2028:Tamim(Simplicity)
The American Rosenblum will present Tamim (Simplicity), a memory work that will include recordings of his grandmother singing or speaking about her life in Ukrainian and Yiddish. Through, also, sound artefacts related to his grandmother’s homeland (Ukraine), and a mezzo-soprano voice, it is the themes of migration, loss, and identity that Rosenblum will explore, also making the mezzo-soprano score a relay of his own identity as a composer and human being from a family that experienced exile.
Luis Arias – Azrieli Commission for International Music 2028:Optimised for Loneliness
Arias will compose Optimised for Loneliness, a reflection on how contemporary digital mediation transforms the perception and memory of traditional Semana Santa (Holy Week) processions in Andalusia. Arias remembers that, as a young boy, he enjoyed listening to the brass bands that played during these processions. He wanted to imitate them and do as the marching musicians did. Today, he questions the fact that the new generations observe these events as inherently unifying and collective, in their individual bubbles, connected via Instagram or other social networks.
The fourth prize usually awarded, the Azrieli Prize for Jewish Music, which is not a commission but rather the interpretation of an existing work, will change its format. The obligation to choose a work created in the last 75 years by a living composer is over. The focus will instead shift to rewarding a work of Jewish music from the past, regardless of the year, emphasising neglected composers or works forgotten or obscured by History. The focus will be on discovery and historical research. The winning piece has not yet been chosen. Another change: the selected work will have its own concert, to further emphasise its importance.
Those who are familiar with European classical music will understand the significance of the capital letter in the term Romantic from the title. For others, allow me to explain: the term Romantic with a capital letter refers to the period of Romantic music, which encompasses almost the entire 19th century and continues until the early 20th century, even to the present day as this aesthetic continues to be practiced (in great film music, for example). The word does not refer to romantic sensuality (although it is very possible), but rather to personal and individual affirmation, intense expressiveness, and other specific characteristics that make the Romantic Period one of the most emblematic of Western music. Think of Tchaikovsky, think of Brahms, think of the operas of Puccini, Verdi, think of Mahler, think of Rachmaninoff, etc., etc. There you go.
MaqaMorphose offered an atypical chamber quintet reinterpretation (piano, cello, qanun, ney, and percussion) of the iconic music of Mohammed Abdelwahab on Sunday evening, a composer who wrote numerous hits of the great classical Arab song, and who also wrote others for famous divas like Fairouz, Warda, and Oum Kalthoum.
Informed reinterpretations driven by the desire of the two initiators of the project, the qanun player Chaima Gaddour and the cellist Samih Souissi, to create a dialogue between Arab music and Western music, in an aesthetic close to transcultural scholarly classicism. Abdelwahab was well-suited to this initiative because he himself had sometimes drawn from Beethoven and others, out of respect and openness.
We are first struck by the sound system, powerful. Personally, I find it too much. I would like to hear these instruments in their authentic personality, and their intertwined relationships without constraints. In this forced amplification, we lose the natural grain of the cello. Of the ney too. I enquired: due to the use of a synthetic piano, inevitably amplified, it was necessary to amplify the others. Fine. That said, when you have an acoustic piano, let me know, I would be very pleased to savour the true essence of this lovely chamber music. Samih Souissi also tells me that it’s a work-in-progress. Adjustments still need to be made.
Finally putting this detail aside, I focus on the music itself, of course. The first part focuses on the songs that Abdelwahab himself performed, as well as on his film music and some pieces he called “instrumental symphonies.” Beautiful compositions that sometimes overlay quarter-tone inflections, typical of Arabic music, and Eastern music in general, with the equal temperament imposed by the presence of the piano. Friction that will initially seem strange, sometimes giving the impression that one is playing out of tune, but which requires patience until their resolution.
It is in the second part of the concert that the music truly lifts the Ausang Plaza. MaqaMorphose then offers a series of medleys in tribute to the songs that Abdelwahab created for the most popular female singers of the golden age of Arabic music. Fairouz, Warda, Oum Kalthoum, three names that have crossed into the West, but still resonate as idols in the Arab world. A bit like Billie Holiday, Sarah Vaughan and Ella Fitzgerald in jazz, a Trinity of collective memory. The arrangements are lively, pleasantly polyphonic, and the melodies evoked are often sung in unison by the knowledgeable audience that fills the intimate space of the Ausgang Plaza.
Between the pieces, beautiful texts recited by the various musicians, which set the stage for an enhanced appreciation of what we are about to hear. At the beginning, these pieces were almost all sung. The lyrics, in Arabic music, are central to the artistic approach. Poetry, in general, remains a royal discipline, unlike in the West where it has become marginal. In the end, even if MaqaMorphose wishes to emancipate this music from its subordinate link to the text, the artists cannot completely disregard its omnipresent spirit behind these compositions.
You can feel that the material is coming through. Not only for the nostalgic, but, for my part, for the curious music lover inspired as much by European classical music as by non-European traditions. Abdelwahab here dons the garb of a Romantic imbued with a unique creative personality and filled with beautiful riches.
Beyond this tribute to a well-known composer of the Arab tradition, it is a universe of encounters and transcultural and scholarly dialogues (in a very positive sense, anything but pedantic) that the approach of the group, largely based in Montreal (except for the cellist, based in Paris), reveals.
In the meantime, find a good Yamaha of a high-end classical range (no need to chase after Steinways), and bring us this music in a purely acoustic setting, in a room designed for it, so that we can fully enjoy this stimulating offering.
Jazz@Vue | Impressive Léno duo and the elegance of Gentiane MG
by Frédéric Cardin
A Halloween Saturday night in Outremont. Bernard Street was buzzing with friendly monsters, both big and small. Without probably realising it, inside the Théâtre Outremont, the third “double bill” of the new Jazz@vue festival was taking place, organised by the Théâtre Outremont in collaboration with the Effendi label, Yves Léveillé Productions, and Félix Stüssi Productions. Third evening where two groups share the stage in turn. On this evening of the dead, it was the rather vital and tonic music of the Parisian duo Léno (for pianist LÉonardo Montana and drummer ArNAUD Dolmen) that covered the first half of the lineup.
Energising music, yes, absolutely. A pulsing, percussive piano that generously blossoms in dramatic intensity and expressive strength as the pieces progress. A melodic discourse, fragmented but constantly groovy. A friend pointed out to me that this guy (Leonardo Montana, just like Dolmen the drummer, I’ll come back to that) must have a hidden third arm to add notes.
Arnaud Dolmen, another skilled hand, impresses with his highly assured technique. This stick artist maintains the pulse but plays with it like a cat with a ball, making it soar, roll, and bounce in surprising, always exciting paths.
The two boys blend the sounds and influences of modern jazz, heavily informed by bop and post-bop, but also with many Caribbean resonances (Dolmen is from Guadeloupe) and modern Brazilian (several echoes of Milton Nascimento, at least to my ears). This beautiful ecumenism serves as an expressive framework for impressive reinterpretations of Mongo Santamaria (Afro Blue), Wayne Shorter (Joy Rider), Pedro Aznar, and some personal compositions (Spirale) from their self-titled album released in 2024.
The kind of show that makes me happy, because it’s definitely one of the best jazz musical performances of my year 2026! They will have to be invited again. The kind of show that, unfortunately, saddens me, because the Théâtre Outremont seemed far too large for the audience present. A little embarrassing. How can this high level of artistic quality remain so confidential in the media (except at PanM)?
The second part was provided by the music of the Gentiane MG trio, all elegance and contemporary finesse, yet accessible. Good excerpts from the album Can You Hear the Birds? released last March, for which I offered you a positive review.
I was saying this about the music from the album: … invites us instinctively to breathe, to relax, and to let the impulse of the moment nestle in and stimulate our imagination. An airing of the play and the phrases, a gentleness in the interactions between the three artists…
Obviously, on stage, spontaneity expands, freedom stirs a bit more, but in general, the spirit is fully respected, and it helps conclude a very beautiful evening, united by the juxtaposition of two different yet complementary visions of contemporary jazz.
Depuis ses débuts avec « Mean It » en octobre 2019, Gracie Abrams s’est imposée comme l’une des auteures-compositrices les plus fascinantes de sa génération, suscitant l’admiration d’artistes partageant les mêmes valeurs, tels que Lorde, Billie Eilish et Olivia Rodrigo. Auteure-compositrice accomplie qui cite Joni Mitchell comme sa principale influence, elle a écrit sa première chanson à l’âge de huit ans, puis s’est constitué un public fidèle grâce à ses paroles intimistes et à son sens de la création DIY. Au fur et à mesure que sa notoriété grandissait, Abrams a été désignée comme une artiste à suivre par des médias influents tels que Pigeons & Planes, Fader et -iD, en plus d’être couronnée comme l’une des sept musiciennes émergentes par Vogue UK. Avec la sortie de son premier album, minor, à l’été 2020, elle a reçu des critiques élogieuses de la part de magazines tels que NME, qui a salué ses « récits douloureusement honnêtes de chagrin d’amour, enveloppés de mélodies délicates qui suscitent bien plus d’intérêt que celles des auteurs-compositeurs-interprètes habituels ». Produit par Blake Slatkin – et réalisé en collaboration avec des producteurs de renom tels que Joel Little et benny blanco –, cet album de sept titres comprend ses singles très appréciés « 21 », « I miss you, I’m sorry » et « Long Sleeves ». En mars, Abrams a sorti « Unlearn », une collaboration avec le hitmaker benny blanco (qui a également produit le titre éponyme de son premier album acclamé, minor). En mai, Abrams a partagé son dernier single poignant, « Mess It Up », accompagné d’un clip réalisé par Matty Peacock.
Since making her debut with “Mean It” in October 2019, Gracie Abrams has emerged as one of the most compelling songwriters of her generation, earning the admiration of such likeminded artists as Lorde, Billie Eilish, and Olivia Rodrigo. A consummate songwriter who names Joni Mitchell as her most formative influence, she penned her first song at the age of eight, then went on to amass a devoted following on the strength of her emotionally intimate lyrics and DIY sensibilities. As her profile rose, Abrams was named an artist to watch by tastemaking outlets like Pigeons & Planes, Fader, and -iD, in addition to being crowned one of seven breakout female musicians by Vogue UK. With the arrival of her debut project minor in summer 2020, she received glowing reviews from the likes of NME, who praised her “painfully honest tales of heartbreak draped in delicate melodies that carry much more intrigue than the usual run-of-the-mill singer-songwriter.” Executive-produced by Blake Slatkin – and also made with leading producers like Joel Little and benny blanco – the seven-song effort features her beloved singles “21,” “I miss you, I’m sorry,” and “Long Sleeves.” In March Abrams released “Unlearn,” a collaboration with hitmaker benny blanco (who also served as producer on the title track to her acclaimed debut project minor). Abrams shared her most recent poignant single “Mess It Up” in May with a video directed by Matty Peacock.
Un coup d’œil à la liste des titres de The Best of Nickelback Volume 1, la compilation des plus grands succès que les rockeurs post-grunge canadiens ont lancée en 2013, révèle à quel point le groupe domine les ondes depuis sa percée avec son troisième album, Silver Side Up, paru en 2001. Des succès comme « How You Remind Me », « Someday », « Photograph » et « Rockstar » ont contribué à faire vendre plus de 22 millions d’albums de Nickelback aux États-Unis, faisant du groupe l’un des plus vendeurs des années 2000. Les fans qui ont acheté des billets pour « The Hits Tour » en 2013 ont pu découvrir sur scène des interprétations percutantes de ces chansons et de bien d’autres. Le chanteur Chad Kroeger a fondé Nickelback avec deux de ses frères — le guitariste Mike et le batteur Brandon — ainsi que le guitariste et claviériste Ryan Peake, dans leur petite ville natale isolée de Hanna, en Alberta. Ils ont ensuite déménagé à Vancouver pour travailler sur leurs propres compositions et ont décroché un contrat avec Roadrunner Records après avoir lancé leur premier album, Curb, de façon indépendante en 1996 et s’être bâti un vaste public à Vancouver. Brandon Kroeger a quitté le groupe peu après ses débuts; le batteur actuel de Nickelback est Daniel Adair.
A glance at the tracklisting of The Best of Nickelback Volume 1, the greatest hits set that the Canadian post-grunge rockers released in 2013, shows how dominant the band has been on the airwaves since breaking through with their third album, 2001’s Silver Side Up. Hits like “How You Remind Me,” “Someday,” “Photograph,” and “Rockstar” have helped Nickelback to sell more than 22 million albums in the U.S., making them one of the top-selling groups of the 2000s. Fans who bought tickets for the band’s 2013 “The Hits Tour” got to see crunching renditions those songs and more in concert.Frontman Chad Kroeger formed Nickelback with two of his brothers — guitarist Mike and drummer Brandon — and guitarist-keyboardist Ryan Peake in their isolated hometown of Hanna, Alberta. They eventually moved to Vancouver to work on original music, and landed a deal with Roadrunner Records after self-releasing their debut album, Curb, in 1996 and building a large fan base in Vancouver. Brandon Kroeger left the group early in its run; Nickelback’s current drummer is Daniel Adair.
Niall Horan est un chanteur-compositeur aux multiples disques de platine qui s’est d’abord fait connaître à l’échelle mondiale en tant que membre du groupe One Direction et s’est depuis imposé comme un artiste solo incontournable. Il a vendu plus de 90 millions de disques à travers le monde et sorti plusieurs albums en tête des classements, dont Heartbreak Weather, qui a atteint la première place au Royaume-Uni et s’est classé en tête du classement « Top Album Sales » de Billboard. En 2024, son album The Show a donné lieu à une tournée mondiale à guichets fermés sur plusieurs continents, consolidant encore davantage son statut de l’un des artistes pop les plus captivants sur scène. Horan a également remporté trois fois le titre de coach dans l’émission The Voice sur NBC, et sortira son nouveau single « Dinner Party » le 20 mars, en avant-première de son quatrième album studio.
Niall Horan is a multi platinum selling singer/songwriter who first rose to global fame as a member of One Direction and has since established himself as a powerhouse solo artist. He has sold over 90 million records worldwide and released multiple chart topping albums, including Heartbreak Weather, which reached No. 1 in the U.K. and topped Billboard’s Top Album Sales chart. In 2024, his album The Show sparked a sold out global arena tour across multiple continents, further cementing his status as one of pop’s most compelling live performers. Horan is also a three time winning coach on NBC’s The Voice, and will release his new single “Dinner Party” on March 20 ahead of his fourth studio album.
Au fil des dernières années, Angèle s’est imposée comme l’une des artistes européennes les plus influentes de sa génération. Avec plusieurs sorties certifiées, près de 4 milliards de streams dans le monde, des tournées en arenas à guichets fermés et une empreinte culturelle qui s’étend à la musique, à la mode et au cinéma, elle a construit l’une des identités artistiques les plus singulières de la pop européenne. Angèle vient de dévoiler son nouveau single « une seule vie », un hymne pop solaire qui ouvre les portes de l’univers d’INSTINCT. Son nouvel album sortira le 16 octobre, et est désormais disponible en précommande. Construit sur les fondations électroniques d’INSTINCT, le titre fait évoluer le son vers quelque chose de plus lumineux, pensé pour fonctionner aussi bien sur une piste de danse qu’à la radio en journée.
Over the past few years, Angèle has established herself as one of the most influential European artists of her generation. With multiple certified releases, nearly 4 billion streams worldwide, sold-out arena tours and a cultural footprint spanning music, fashion and film, she has built one of the most distinctive artistic identities in European pop. Angèle recently releases her new single “Une seule vie”, a radiant pop anthem that opens the door to the world of INSTINCT. Her new album will be released on October 16 and is now available for pre-order. Built on the electronic foundations of INSTINCT, the song evolves into something brighter, designed to work just as well on the dancefloor as it does on daytime radio.
