Bass Music / Dancehall / Reggae

POP Montréal 2026 : Sister Nancy, Jah Cutta et Honeydrip au Piccolo Rialto – Salle Cult MTL

by Rédaction PAN M 360

Sister Nancy

Sister Nancy (Ophlin Russell) a ouvert la voie en tant que première femme deejay de dancehall jamaïcaine à connaître une renommée internationale. Son tube de 1982, « Bam Bam » — enregistré aux studios Channel One et publié sous le label Techniques de Winston Riley — repose sur le riddim Stalag, un groove aussi intemporel que le reggae lui-même. L’expression « bam bam » trouve son origine chez Toots & The Maytals (1966), inscrivant ainsi la version de Nancy dans une tradition jamaïcaine plus profonde fondée sur l’échange rythmique de type « appel et réponse ». Son interprétation, toutefois, lui est propre : fougueuse, assurée et affirmée.

Sister Nancy (Ophlin Russell) broke ground as Jamaica’s first internationally recognized female dancehall deejay. Her 1982 hit “Bam Bam”, recorded at Channel One Studios and released on Winston Riley’s Techniques label, sits atop the Stalag riddim, a groove as eternal as reggae itself. The chant “bam bam” dates back to Toots & The Maytals (1966), connecting Nancy’s version to a deeper Jamaican lineage of rhythmic call-and-response. Her interpretation, however, is wholly her own: fierce, confident, and declarative.

Jah Cutta

Jah Cutta est une figure incontournable de la scène reggae depuis plus de quatre décennies. Ses premiers succès à l’étranger lui ont valu une renommée et un statut légendaire à Montréal, sa ville natale. Né à Saint-Thomas, en Jamaïque, et installé à Montréal, au Québec, au Canada, il est réputé pour ses performances scéniques explosives. Jah Cutta a partagé la scène avec les plus grands noms de la musique, parmi lesquels Peter Tosh, UB40, James Brown, Patti LaBelle, Steel Pulse, Luciano the Messenger, The Mighty Diamonds, Ken Boothe, The Wailers, Gregory Isaacs, Beenie Man, Buju Banton, Toots & The Maytals, Public Enemy, Lee Scratch Perry, King Yellowman, et bien d’autres.

Jah Cutta has been a powerhouse in the reggae scene for over four decades. Early successes overseas led to his fame and legendary status at home in Montreal. Born in St-Thomas, Jamaica and based in Montreal, Quebec, Canada, he is renowned for his ferocious live performances. Jah Cutta has shared the stage with some of music’s greatest entertainers, including Peter Tosh, UB40, James Brown, Patti LaBelle, Steel Pulse, Luciano the Messenger, The Mighty Diamonds, Ken Boothe, The Wailers, Gregory Isaacs, Beenie Man, Buju Banton, Toots & The Maytals, Public Enemy, Lee Scratch Perry, King Yellowman, and many more.

Honeydrip

Depuis dix ans, Honeydrip est un nom marquant de la scène électronique underground montréalaise. Après s’être bâti une réputation dans la scène rave en pleine effervescence, elle est aujourd’hui une productrice de bass music, DJ et bâtisseuse de haut-parleurs respectée, qui anime des ateliers pour aider les femmes et la communauté LGBTQ+ à s’impliquer davantage dans la culture sound system. Sa pratique s’inspire fortement du dub, du reggae et du dancehall, qu’elle hybride et explore pour créer sa signature sonore. Honeydrip a tourné comme DJ et performeuse live en Europe, au Royaume-Uni, en Amérique du Sud et au Canada, et a publié sur des labels tels que Banoffee Pies Records, Woozy, Early Reflex et plusieurs autres. Elle continue de s’associer à certains des labels les plus avant-gardistes de la musique électronique et d’approfondir son lien avec la culture sound system.

Honeydrip has been a notable name in the Montreal underground electronic scene for a decade. Having built her reputation in the burgeoning rave scene, she is now a revered bass music producer, DJ, and speaker builder who hosts workshops for women and LGBTQ+ to get more involved in sound system culture. Her practice is heavily inspired by dub, reggae, and dancehall, which she hybridizes and explores to create her signature sound. Honeydrip has been touring as a DJ and a live performer in Europe, UK, South America, and Canada and has released on labels such as Banoffee Pies Records, Woozy, Early Reflex, and more. She continues to affiliate herself with some of the most avant-garde labels in electronic music and deepen her connection to sound system culture.

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Ce contenu provient de POP Montréal et est adapté par PAN M 360

DJ set / électro-indie / Tech-House

OfF Piknic : Nora En Pure au parc Jean-Drapeau

by Rédaction PAN M 360

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Ce contenu provient du Piknic Électronik et est adapté par PAN M 360

Disco / Electro-Pop / Électronique

Pré-Piknic : Cece the Red et Arielle Roberge au Casino de Montréal

by Rédaction PAN M 360

CET ÉVÉNEMENT EST GRATUIT!

Ce contenu provient du Piknic Électronik et est adapté par PAN M 360

Jazz / Modern Jazz

Jazz@vue : Gentiane MG + Léno au Théâtre Outremont

by Rédaction PAN M 360

La série Jazz@Vue est présentée par le Théâtre Outremont en collaboration avec Effendi, l’une des étiquettes jazz les plus importantes au Canada, les Productions Yves Léveillé et les Productions Félix Stüssi, organismes voués à la production et la présentation de concerts de jazz contemporain. Du 29 octobre au 1er novembre, découvrez chaque soir un plateau double d’artistes.
Gentiane MG
La pianiste et compositrice montréalaise Gentiane MG présente Can You Hear the Birds? (Entends-tu les oiseaux?), un projet profondément humain, façonné par la connexion et l’écoute. La musique de cet album, enregistré avec son trio de longue date, composé du bassiste Levi Dover et du batteur Mark Nelson, se déploie comme une expérience partagée, ancrée dans la confiance, l’intuition et l’expression collective.
LéNo
LéNo c’est Arnaud Dolmen et Léonardo Montana, un duo français piano/batterie avec voix. Entraîné par les rythmes et la danse, envoûté par les ostinatos du piano, les cascades et sauts dans le vide, l’esprit s’abandonne… Un monde où deux musiciens sonnent comme cinq ou dix, et où dans chaque interstice jaillit l’histoire, les convictions, l’imaginaire et le rêve. Tirant le meilleur de sa Jazzette, la plus petite espèce de kit de batterie, Dolmen transcende l’héritage, décuple son champ d’expression et montre une inventivité folle, donnant à chaque ligne de Leonardo de nouveaux reliefs.

The Jazz@Vue series is presented by Théâtre Outremont in collaboration with Effendi, one of the most important jazz labels in Canada, Productions Yves Léveillé and Productions Félix Stüssi, organizations dedicated to the production and presentation of contemporary jazz concerts. From 29 October to 1 November, every evening discover a double platter of artists.
Gentian MG
Montreal pianist and composer Gentiane MG presents Can You Hear the Birds? , a profoundly human project, shaped by connection and listening. The music on this album, recorded with his longtime trio of bassist Levi Dover and drummer Mark Nelson, unfolds as a shared experience rooted in trust, intuition and collective expression.
LéNo
LéNo is Arnaud Dolmen and Léonardo Montana, a French piano/drums duo with vocals. Driven by the rhythms and the dance, bewitched by the ostinatos of the piano, the cascades and jumps into the void, the spirit abandons itself… A world where two musicians sound like five or ten, and where in each interstice springs history, convictions, imagination and dream. Making the best of his Jazzette, the smallest kind of drum kit, Dolmen transcends heritage, multiplies its field of expression and shows a crazy inventiveness, giving each line of Leonardo new reliefs.

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Ce contenu provient du Théâtre Outremont et est adapté par PAN M 360

Jazz

FIJM 2026 | Solarium: full light on some exciting Keb Jazz

by Frédéric Cardin

I went to see the free show by the Quebec quartet Solarium last Saturday at the Molson Pub during the Montreal International Jazz Festival. I had never seen and heard them live before, and I guarantee it won’t be the last time I do.

They are four young guys, intertwined during their time at the CEGEP of Saint-Laurent (a good brewing pool of up-and-coming-talent, the “St-Lo”): Karl-André Rozankovic (Compositions, Pianos, Keyboards), Léo Minville (Compositions, Drums, Guitar), Louis Plouffe (Saxophones), and Vincent Dessureault (Double Bass, Bass). Their mark is that of a vigorous post-bop, enhanced with modern rock touches and, occasionally, traditional references. It lifts, it grooves, it rips a bit, sometimes, and we like what we hear from one track to the next. The guys are having fun, obviously, and they allow us to envision a bright future for both them and us, attentive music lovers.

While waiting to have the immense pleasure of seeing them on stage somewhere, I will dive back into their discography (available on Bandcamp). Their most recent album (released just a few weeks ago) is called Live à Montréal. Put that in your ears, you’ll get the vibe.

Arabic / DJ set / Electronic

Festival Flux : 3Phaz + Liliane Chlela à la SAT

by Rédaction PAN M 360

3Phaz

3Phaz est un producteur de musique électronique établi au Caire, principalement reconnu pour son premier album, Three Phase. Paru en 2020 sur l’étiquette égyptienne 100Copies, l’album propose une relecture puissante et novatrice des sonorités égyptiennes du mahraganat et du shaabi. Grâce à plusieurs simples et remix publiés notamment par Rinse, Boomkat, Polaar, Nashazphone et Irsh, 3Phaz s’est rapidement taillé une place sur la scène internationale des musiques de club, se produisant un peu partout en Europe. Son deuxième album, Ends Meet, est paru en février 2023 chez Souk, sous-étiquette de Discrepant. Il a été suivi en mai 2023 par le minialbum DramTraTrax, publié par Tratratrax. Ces deux parutions ont figuré dans plusieurs palmarès de fin d’année, notamment ceux de= Pitchfork, The Quietus et Bandcamp.

3Phaz is a Cairo based electronic producer mostly known for his debut album ‘Three Phase’, an album that presented a powerful and fresh new take on Egyptian mahraganat/shaabi sound; the record was released on Egyptian label 100Copies in 2020. With further singles and remixes released on the likes of Rinse, Boomkat, Polaar, Nashazphone, and Irsh, 3Phaz quickly carved his way into the international club music scene allowing him to perform all around Europe. 3Phaz’s sophomore album ‘Ends Meet’ was released in Feb 2023 on Discrepant sub-label Souk followed by his EP ‘DramTraTrax’ released on Tratratrax in May 2023, both of which were featured in multiple end of year lists including Pitchfork, The Quietus, and Bandcamp to name a few.

Liliane Chlela

Productrice de musique électronique, DJ et interprète, Liliane Chlela est reconnue pour sa manière de faire éclater les frontières des paysages sonores. Née et élevée à Beyrouth, aujourd’hui établie à Montréal, elle s’est d’abord imposée comme une figure incontournable des foisonnantes scènes expérimentale et électronique libanaises, avant d’acquérir une renommée internationale grâce à ses explorations sonores singulières. Son travail solo conjugue avec maîtrise enregistrements de terrain, rythmes électroniques déconstruits et dialogue intérieur sans fard, dans un langage sonore audacieux, novateur et affranchi des genres. Sa musique naît d’un processus spontané et improvisé : guidée par un instinct aiguisé et une profonde conscience de soi, elle pousse ses expérimentations toujours plus loin avant de donner aux enregistrements leur forme définitive. Farouchement indépendante, Chlela façonne une identité sonore qui n’appartient qu’à elle, tant dans son travail de compositaire et de productrice que dans l’énergie saisissante de ses prestations comme DJ.

As an electronic producer, DJ, and performer, Liliane Chlela is revered for the way she shatters the boundaries of auditory landscapes. Born and raised in Beirut and currently based in Montréal, she came up as a key member of Lebanon’s thriving experimental and electronic scenes and has since gained international acclaim for her distinctive sonic explorations. Her solo work masterfully combines field recordings, deconstructed electronic beats, and a transparent inner dialogue with bold, cutting-edge sounds and a genre-defying approach. Her music is born out of a spontaneous, improvisational process, and she relies on sharp instincts and a deep sense of self-awareness to push her experiments to the next level and shape recordings into their final form. Fiercely independent, she aims to forge an unparalleled sonic persona, whether through her role as a composer and producer or in her dynamic prowess as a DJ.

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Ce contenu provient d’Arts in the Margins et est adapté par PAN M 360

expérimental / contemporain / Poetry

Festival Flux : Kim Zombik’s Origin Stories with Silvervest Quartet + Christelle Saint-Julien + Deanna Smith à La Sala Rossa

by Rédaction PAN M 360

Kim Zombik

ORIGIN STORIES de Kim Zombik est une œuvre autobiographique en cours de création. Son récit évolutif trace les contours d’un fragile chemin vers la guérison, du lien avec les ancêtres et des merveilles de la réappropriation. Que faut-il pour transformer des cicatrices douloureuses en dentelles translucides? Cette version d’Origin Stories réunira certains monologues de la production intégrale ainsi qu’une grande partie de sa musique. La création complète sera présentée à l’hiver 2027. Avec Kim Zombik (voix et texte), Nicolas Caloia (contrebasse), David Ryshpan (claviers) et Jahsun (batterie).

Kim Zombik’s ORIGIN STORIES is work-in-progress autobiographical performance piece. The evolving narrative maps the tentative bridge of healing, the reach of ancestors, and the wonders of reclamation. What does it take to stretch painful scars into transparencies of lace? This version of Origin Stories will include some monologues from the full production, as well as much of the music. Look for the Origin Stories full production in winter 2027. Performers include Kim Zombik (vocalist and writer), Nicolas Caloia (double bass), David Ryshpan, (keyboards) and Jahsun (drums).

Christelle Saint-Julien

Christelle Saint-Julien est journaliste, autrice, traductrice et musicienne ; elle vit et meurt à Montréal. Elle s’intéresse aux gens et à leurs histoires, à l’intangible comme au perceptible.

Christelle Saint-Julien is a journalist, writer, translator and musician living and dying in Montreal. She is interested in people and their stories, intangible and perceptible.

Deanna Smith

Deanna Smith fait partie de la communauté artistique de la grande région de Montréal depuis 2009. Elle est poète et artiste-enseignante. Elle anime des ateliers d’écriture créative et de poésie/slam pour des participants de 4 ans jusqu’à la retraite et au-delà. Ses œuvres touchent l’héritage, l’amour, et la famille. Elle croit profondément au pouvoir de la communication, à la transcendance de solitudes apportée par l’ouverture d’esprit, et au courage d’avoir tort des fois. Deanna s’engage à promouvoir le vivre ensemble en parlant de tout ça pendant ses ateliers, sur scène, et par la création.

Deanna Smith is a Montreal-based poet, performer, and teaching artist. Her practice is inspired by transcendence, faith, the boundless power of love to liberate us, and the growth that comes from deeply reflecting on the self. Her work has been published in “Great Black North – Contemporary African Canadian Poetry” (Frontenac House, 2013), in Montreal Serai Magazine, and in Arc Magazine (translation). She has also consulted on literary projects as a substantive editor and translator. She is currently seeking publication of several children’s books, and is working on a longer poetry manuscript. Deanna facilitates workshops for participants aged 4 and up.

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Ce contenu provient d’Arts in the Margins et est adapté par PAN M 360

Jazz

FIJM 2026 | Anamaria Oramas Showcases Authentic Colombian Jazz

by Michel Labrecque

Away from the large crowd heading towards Patrick Watson’s concert, the spectators who had chosen the Molson Pub were treated throughout the evening to moments of varied and generous Latin music.

Follow me and you’ll understand that “everything is in everything,” as the poet Raoul Duguay said. At 7 p.m., Quebec trumpeter Rachel Therrien presented her Latin jazz show; in the middle of it, she introduced us to her “great friend” from Colombia, Anamaria Oramas. The two women embarked on a rather inspiring dialogue between flute and flugelhorn.

Once the show is over, I head towards Ste-Catherine Street, where Hilario Duran is preparing to deliver a solo piano performance, right in the middle of the street. Originally Cuban, Duran has lived in Toronto for two decades. Is he the best pianist living in Canada right now? The question deserves to be asked. A magnificent solo performance, a moment of grace, only spoiled by the too omnipresent presence of a speaker which broadcast totally different music, too close.

Back at the Molson Pub at 9 p.m., it was the turn of Colombian flautist Anamaria Oramas to take the stage. It was her first time at the FIJM, she told us in French tinged with Spanish, but after five minutes, she had won over a fairly large audience.

The flautist, who plays the transverse flute but also the typically Colombian gaita and the gauta, a sort of mixture of the two instruments, quickly made us understand that her music was a percussion jazz which encompasses all Colombian musical influences. And it worked very well.

Accompanied by an excellent trio of drums, double bass and electric guitar, Anamaria delivered original, vibrant music, which she presented as a form of resistance and freedom.

His country, Colombia, won its soccer match against Ghana while playing in Montreal. However, it has just elected a Donald Trump wannabe as its new president.

This always poses the dilemma of Latin America and the South for me: how can music and culture be so bold when these countries are so burdened by problems of inequality and corruption?

In the middle of her concert, the Colombian singer invited her Quebec friend, Rachel Therrien, to join her on stage. She told us that the two women had studied music at university together in Cuba 20 years ago.

The only thing missing to complete the Latin hat trick was the presence of Hilario Duran on stage.

It was an evening that seemed to satisfy fans of innovative music. Including the person writing this text.

Publicité panam

Jazz

FIJM 2026 | The Art of the Perfect Trio at Upstairs with Billy Childs

by Frédéric Cardin

The pianist Billy Childs may not be a super star of jazz piano, like Brad Mehldau, Robert Glasper, or Vijay Iyer, but he has been carving out a very high-quality personal path for about forty years and knows how to offer music lovers exceptional jazz evenings. This is exactly what happened on Friday evening at the Upstairs club, which was lucky enough to welcome him for the first of two evenings (four sets, therefore) that will remain in the memory. If you are reading this text on this little Saturday morning, know that there may still be a few rare spots left for tonight. Maybe.

Childs launched his program with 34 Skidoo by Bill Evans. The message is clear: there will be good energy, without any fuss but with a lot of class. Childs is a marathon runner on the keyboard: he maintains the pace without rushing, sometimes daring a few deviations, but the overall focus is unshakeable, assured, logical, and above all, inspired. He is with two giants of the rhythm section: Matt Penman on double bass and Ari Hoenig on drums. These two guys finely frame the leader’s discourse, but not only that. They are intrinsically part of the discussion, often stepping out of the pulsing skeleton to chat more freely. That said, we never lose the thread. A close and intimate symbiosis.

Childs then introduces one of his compositions, Tight Rope, followed by another, Like Father, Like Son, a tribute to his father. One of Childs’ early pieces, released on the album Twilight Is Upon Us in 1989. Exciting hard bop flights on a solid but subtly undulating rhythmic cushion. Next comes a classic by Dexter Gordon, another giant of Hard Bop.

Between the pieces, Childs briefly introduces the pieces to us, without any fuss, but sometimes with an anecdote, a reflection. Above all, with class, restraint, and authenticity. In the hushed atmosphere, crowded with attentive ears, at Upstairs, we are experiencing a jazz event of a high level of classicism and intelligence together. Upstairs is one of the best clubs in North America. Maybe in the world. This is the proof.

The set officially ends with New World Disorder, a committed commentary dating back to the era of U.S. President George H.W. Bush, but which applies with even more acuity in 2026. The sharp chords, the disjointed pulse bring a dose of modernity not heard until now. A curious way to end a concert. What the “encore” (Whisper Not by Benny Golson, a benevolent standard) quickly corrected.

The music lovers and other curious attendees at Upstairs were lucky: we haven’t heard much from Childs in a trio format in recent years. The recent release of the album Triumvirate, by the way, is a return to form after a thirty-year absence! Once again, the three masters will be there tonight, Saturday, July 4th.

Hurry up and call Joel (Giberovitch, the owner of Upstairs) to hope to get a spot (if there are any left, honestly I’m not sure).

INFO AND TICKETS

Jazz

FIJM 2026 | Kalia Vandever’s Nocturnal Trombone creates the right mood

by Frédéric Cardin

At the Molson Pub, on the Jazz Fest’s Esplanade Tranquille, we were quite a crowd Wednesday night to savour the music of Kalia Vandever, a new voice on the trombone, whose reflections you can further explore by reading the interview I conducted with them.

READ THE INTERVIEW WITH KALIA VANDEVER

The artist based in New York (Brooklyn) manipulates her instrument in a way different from her usual jazz colleagues. Don’t think of Trombone Shorty, Steve Turre, Wycliffe Gordon, etc. Vandever does not take much pleasure in distributing bouquets of notes in virtuosic fireworks. It is the long and patient melodic lines, as many cushions for elegant improvisations, that inspire them.

Vandever creates atmospheres that oscillate between ambient and chamber rock groove inherited from the previous generation (E.S.T.), endorsed by the current one (Bad Plus). They are solidly supported by their colleagues on stage in the deployment of well-structured horizontal frameworks. The rhythmic backbone is well maintained by Kayvon Gordon (drums) and Kanoa Mendenhall (double bass), the same as on the album Another View (released in 2025), which constitutes the essence of the performance. On guitar, the only deviation from the album’s lineup, Gregory Uhlmann knows his stuff. Although Mary Halvorsen is inimitable in her unusual timbral creations, Uhlmann still manages to hold his own. He knows how to colour the discourse and even generate astonishing soundscapes. He surprises us by imitating a saxophone in a stunning passage.

A performance that leaves a pleasant memory, like a soft moment of nocturnal and groovy mood at the end of a humid and slightly rainy evening.

Much, much to like.

hommage / Vocal Jazz

Festival International de Jazz de Montréal : John Pizzarelli sings Tony Bennett au Théâtre Maisonneuve

by Rédaction PAN M 360

Reconnu comme l’un des meilleurs interprètes contemporains du Great American Songbook, John Pizzarelli a élargi son répertoire en y incluant la musique de Paul McCartney, Joni Mitchell, Neil Young, Tom Waits, Antônio Carlos Jobim et les Beatles. Le guitariste et chanteur a également été salué par le Boston Globe pour avoir « redonné vie au Great American Songbook et remis le jazz au goût du jour ». En plus d’être chef d’orchestre et artiste solo, Pizzarelli a été invité spécial sur des enregistrements de grands noms de la pop tels que Natalie Cole, Kristin Chenoweth, Tom Wopat, Rickie Lee Jones et Dave Van Ronk, ainsi que d’artistes de jazz de premier plan tels que Rosemary Clooney, Ruby Braff, Johnny Frigo, Buddy DeFranco, Harry Allen et, bien sûr, son père Bucky Pizzarelli. Il a remporté un Grammy Award dans la catégorie Meilleur album vocal pop traditionnel en tant que coproducteur de l’album American Standard de James Taylor en 2021. Personnalité de la radio depuis ses débuts en 1984, Pizzarelli co-anime, aux côtés de sa femme Jessica Molaskey, l’émission Radio Deluxe with John Pizzarelli. Il s’est produit dans les émissions de télévision nationales les plus populaires des États-Unis, telles que The Tonight Show Starring Jimmy Fallon, Conan et Great Performances, ainsi que dans les talk-shows de Jay Leno, David Letterman, Regis Philbin et la Macy’s Thanksgiving Day Parade.

Guitarist and singer John Pizzarelli has been hailed by the Boston Globe for “reinvigorating the Great American Songbook and re-popularizing jazz.” Established as one of the prime contemporary interpreters of the Great American Songbook, Pizzarelli has expanded that repertoire by including the music of Paul McCartney, Joni Mitchell, Neil Young, Tom Waits, Antônio Carlos Jobim and the Beatles. In addition to being a bandleader and solo performer, Pizzarelli has been a special guest on recordings for major pop names such as Natalie Cole, Kristin Chenoweth, Tom Wopat, Rickie Lee Jones and Dave Van Ronk, as well as leading jazz artists such as Rosemary Clooney, Ruby Braff, Johnny Frigo, Buddy DeFranco, Harry Allen and, of course, his father Bucky Pizzarelli. He won a Grammy Award in the Best Traditional Pop Vocal Album category as co-producer of James Taylor’s American Standard in 2021. A radio personality who got his start in the medium in 1984, Pizzarelli is co-host, alongside wife Jessica Molaskey, of Radio Deluxe with John Pizzarelli. He has performed on America’s most popular national television shows such as The Tonight Show Starring Jimmy Fallon, Conan, and Great Performances, as well as the talk shows of Jay Leno, David Letterman, Regis Philbin and the Macy’s Thanksgiving Day Parade.

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