Montréal

afro-soul / Jazz / R&B

Francos de Montréal : Sueilo à la scène Loto-Québec

by Rédaction PAN M 360

Baignée dans la musique depuis toujours, l’artiste Réunionnaise Sueilo n’a pas fini de faire parler d’elle ! Lorsque, plus jeune, elle intègre l’École de Musique Actuelle (EMA) de La Réunion, elle rencontre celui qui deviendra son complice et guitariste : l’excellent Djoun’s, toujours fidèle et patron du studio Surprise à Saint-Leu. Inspirée par le Groove, notamment la Soul et le Jazz, Sueilo commence par composer en anglais pour finalement retrouver la langue de Molière et le Créole pour donner une dimension plus profonde, enracinée dans ses origines culturelles. Un choix qui la mènera vers un style plus afro-urbain dans lequel elle raconte les nuances de l’amour sous toutes ses formes, incarnant l’indépendance et la puissance féminine.

Immersed in music from an early age, Réunionese artist Sueilo is just getting started. As a young student at the École de Musique Actuelle (EMA) in Réunion, she met her future collaborator and guitarist, the talented Djoun’s—still by her side today and head of the Surprise studio in Saint-Leu. Influenced by groove-driven genres like soul and jazz, Sueilo began writing songs in English before reconnecting with French and Creole, adding a deeper, more culturally rooted dimension to her music. This shift led her toward a more Afro-urban sound, where she explores the many shades of love and boldly embodies independence and feminine strength.

CE SPECTACLE EST GRATUIT!

Ce contenu provient de Framer et est adapté par PAN M 360

Afrobeat / DJ set / House

Suoni per il Popolo : DJ The Vibes + DJ Fly Lady Di + DJ BlackGold – danseur·euses: Athena, DJUNGLE et EASE à la Sotterenea

by Rédaction PAN M 360

GET DEEP vous apporte l’underground de la musique House, sa culture et des basses explosives pour votre plaisir auditif. Laissez la musique faire bouger votre corps et célébrez sur la piste de danse avec des danseurs.seuses et des projections avec DJ The Vibes, DJ Fly Lady Di et DJ BlackGold. Tous.tes les invité.e.s représentent la scène House et Club de Paris, du Cameroun, de Toronto et de Montréal et, avec l’amour de la danse et du club, ont voyagé à travers le monde. Le 20 juin, ils partageront cela avec vous !
Les artistes montréalais.es Delande DJUNGLE Dorsaint et Éloïse « EASE » Caza sont des danseurs.euses dynamiques spécialisé.e.s dans les styles de rue comme le Hip-Hop, tandis qu’Athena Lucie Assamba mélange la danse africaine et la danse de rue dans sa chorégraphie.

GET DEEP brings the underground of House music, culture and booming bass all for your listening pleasure. Let the music move your body and celebrate on the dance floor with dancers and projections with DJ The Vibes, DJ Fly Lady Di and DJ BlackGold. All invited guests represent the House and Club Scene from Paris, Cameroon, Toronto and Mtl and with the love of dance and the club travelled the world. On June 20th, they will share this with you!
Montreal artists Delande Djungle Dorsaint and Éloïse “EASE” Caza are dynamic dancers specializing in street styles like Hip-Hop, while Athena Lucie Assamba blends African and street dance in her choreography.

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Ce contenu provient de Suoni per il Popolo et est adapté par PAN M 360

Darkwave / latino / Psych-Rock

Suoni per il Popolo : Ces Cadáveres + Un Hombre Solo + CUERPOS + Bad Faith Actor + Dj Uñas à La Sala Rossa

by Rédaction PAN M 360

Préparez-vous pour une soirée où les frontières du son ne sont pas seulement repoussées, mais pulvérisées ! Noise Not Borders et Suoni Per Il Popolo sont ravis de vous présenter une collision électrisante d’énergie pure et de rythmes captivants. Les sons purificateurs de BAD FAITH ACTOR promettent une expérience intense, tandis que CUERPOS déchaîne une fusion psychédélique de rythmes latins, caribéens et électroniques. Suivra la darkwave brute et EBM d’Un Hombre Solo. Enfin, Ces Cadáveres enflammera la scène avec leur ferveur punk-électronique. Uñas apportera son set DJ contagieux et innovant pour maintenir l’énergie au maximum et le plancher de danse en mouvement.

Prepare yourself for an evening where the boundaries of sound are not just pushed, but shattered! Noise Not Borders and Suoni Per Il Popolo are thrilled to present an electrifying collision of pure energy and captivating rhythms. The purging sounds of BAD FAITH ACTOR promise an intense experience, while CUERPOS unleashes a psychedelic fusion of Latin, Caribbean, and electronic beats. Followed by the raw, EBM-driven darkwave of Un Hombre Solo. Finally, Ces Cadáveres will ignite the stage with their punk-meets-electronic ferocity. Uñas brings their infectious, genre-bending DJ set to keep the energy high and the dancefloor moving.

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Ce contenu provient de Suoni per il Popolo et est adapté par PAN M 360

art visuel / Avant-Garde / Jazz

Suoni per il Popolo : Jessica Ackerley + Ky Brooks & Robyn Gray+ Ianna Book + chik white à la Casa Del Popolo

by Rédaction PAN M 360

Laissez-vous transporter par les explorations guitaristiques transcendantes de la tête d’affiche Jessica Ackerley, une visionnaire brouillant les frontières entre le jazz d’avant-garde, le classique éthéré et les textures ambiantes immersives. Préparez-vous à l’alchimie sonore singulière de chik white (Darcy Spidle), un improvisateur hors pair de Nouvelle-Écosse.
Ajoutant une flamme bien locale à la soirée, retrouvez les talents montréalais de Ky Brooks, dont les explorations vocales expérimentales défieront vos perceptions, ainsi que Robyn Gray (de KY band et Power Drop), qui manie la guitare avec une approche résolument singulière. Plongez également dans l’univers évocateur de l’artiste multidisciplinaire Ianna Book, où l’art visuel, la performance et le son expérimental entrent en collision pour créer une expérience sensorielle percutante.

Witness the transcendent guitar explorations of headliner Jessica Ackerley, a visionary blurring the lines between avant-garde jazz, ethereal classical, and immersive ambient textures. Prepare for the singular sound alchemy of chik white (Darcy Spidle), an improvisational maverick from Nova Scotia.
Adding local fire to the night are Montreal’s own Ky Brooks, whose experimental vocals will challenge your perceptions, and Robyn Gray (of KY band and Power Drop), wielding a guitar like no other. Immerse yourself further in the evocative world of Montreal’s multidisciplinary artist Ianna Book, where visual art, performance, and experimental sound collide.

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Ce contenu provient de Suoni per il Popolo et est adapté par PAN M 360

Contemporary / période romantique

Ensemble Obiora: Sisterhood in music

by Frédéric Cardin

An all-female, feminist concert and an example of cultural diversity in contemporary music, Ensemble Obiora’s Sororité (Sisterhood) drew a large audience to Salle Pierre-Mercure yesterday afternoon. Led by Janna Sailor, the programme featured the music of Reena Ismaïl, one of the most exciting voices in contemporary music, for a too rare time in Montreal. After a rather academic opening composition (Rachel McFarlane’s When Enchantment Comes, inspired by Oscar Peterson but rather unrepresentative of the pianist’s music), it was the Indo-Western fusion universe of Ismaïl, a composer of Indian origin living in the United States, that provided the most colourful moment of the afternoon. Meri Sakhi ki Avaaz (My Sister’s Voice), for chamber orchestra, soprano and Hindustani singer (the classical vocal style of North India), offered a spellbinding encounter between two very different vocal styles, set against a romantico-impressionist orchestral backdrop (Debussian to be precise, but with evident indian colourings) with no contemporary harmonic asperities, but expertly detailed. The work opens with a tape extract of the famous flower duet from Léo Delibes’s opera Lakmé (set in India), followed by a more ‘authentic’ version of this melody, sung by soloist Anuja Panditrao (excellent). 

Lyric soprano Suzanne Taffot joins in later and the two women talk about friendship and sisterhood in an echo of the more than famous opera aria (so often used in advertisements). The meeting of the two types of singing is very well balanced and skilfully constructed by Ismaïl. The finale even demands a great deal of virtuosity from Taffot, who imitates the virtuosic flights typical of Hindustani singing with great precision. Well done!

The concert’s finale was Amy Beach’s Gaelic Symphony, a work long neglected but almost on the way to becoming a staple of the repertoire. Sailor’s reading called for great precision, generally offered by Obiora, apart from occasional rhythmic inaccuracies. Above all, the orchestra offered a beautiful, full ensemble sound, transcending its character as a ‘large chamber orchestra’ rather than a true symphony orchestra. 

The Obiora ensemble is proving to be an important addition to the musical landscape of Montreal and Quebec, because if the large, diverse, family-friendly and above all attentive audience is anything to go by, it has succeeded in winning the loyalty of a new audience to whom it introduces a little-known and inspiring repertoire. An EDI success that must be celebrated!

dance / DJ set / House

SAT : Dômesicle x Ferias — Alina b2b Guthrie (all night long)

by Rédaction PAN M 360

Pour fêter le solstice d’été, le crew Ferias prend possession du Dôme pour une soirée complète en mode dance et house. Torride!

To celebrate the summer solstice, the Ferias crew takes over the Dome for a full evening of dance and house music. Hot!

Alina b2b Guthrie

Ferias est profondément ancré dans la communauté dance montréalaise, avec ses résidents Guthrie & Alina qui explorent des sons venus de tous horizons. Le collectif s’est construit autour de l’effervescence musicale montréalaise, avec des résidences au Sans Soleil, au Datcha et au Système, et des apparitions régulières aux Piknic Électronik, à la SAT, Igloofest et au Festival de Jazz de Montréal, sans oublier les célèbres Wills Block Parties et leurs légendaires « Space Jams ».

Ferias is deeply rooted in the Montreal dance community, with residents Guthrie & Alina flowing through sounds from all corners. Holding down residencies at local haunts such as Sans Soleil, Datcha, and Systeme alongside regular appearances at Piknic Electronic, SAT, Igloofest, MTL Jazzfest – not to mention their famed Wills Block Parties and their infamous ’Space Jams’ – the collective was built around Montreal’s ever-present musical buzz.

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Ce contenu provient de la Société des arts technologiques et est adapté par PAN M 360

Classical Singing / classique

Concours musical international de Montréal : Première épreuve du CMIM | Étape 1 – Aria

by Rédaction PAN M 360

Dans cette étape libre de 18 minutes de musique, les 24 concurrents internationaux doivent chanter trois œuvres dans au moins deux langues différentes et intégrer un air contemporain à leur programme.
À tour de rôle lors des cinq séances, ces jeunes chanteurs et chanteuses de la nouvelle génération font résonner leur virtuosité vocale, leur musicalité et les nuances uniques de leur personnalité dans l’acoustique exceptionnelle de la Salle Bourgie du Musée des beaux-arts de Montréal pour le plus grand plaisir du public et du grand jury international.
Vivez une expérience musicale et humaine inoubliable en compagnie de chanteurs et chanteuses d’exception.

In a free program of 18 minutes of music, the 24 international competitors must sing three arias in at least two different languages, including one contemporary aria.
In turn, these brilliant young singers of the new generation will display their vocal virtuosity, musicality, and unique personalities in the exceptional acoustics of the Salle Bourgie at the Montreal Museum of Fine Arts, to the delight of audiences and before the international grand jury.
Enjoy an unforgettable musical and emotional experience in the company of exceptional singers.

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POUR ACHETER VOTRE BILLET, C’EST ICI! (25 MAI, À 19H30)

POUR ACHETER VOTRE BILLET, C’EST ICI! (26 MAI, À 13H30)

POUR ACHETER VOTRE BILLET, C’EST ICI! (26 MAI, À 19H30)

POUR ACHETER VOTRE BILLET, C’EST ICI! (27 MAI, À 19H30)

Ce contenu provient de Place des Arts et est adapté par PAN M 360

DJ set / Dubstep

Level Up au MTelus

by Rédaction PAN M 360

LEVEL UP, alias Sonya Broner, se sent le plus à l’aise derrière les platines. Ancienne DJ de battle formée par la légende Rob Swift, elle s’est tournée vers la production musicale après avoir découvert le dubstep. Façonner continuellement son son est ce qui la rend la plus heureuse, une forme d’expression authentique. Bien qu’elle soit encore au début de sa carrière, elle a déjà sorti de la musique sur les labels Deadbeats, GRVDNCR et Buygore, avec de nombreux projets en préparation.
Ancienne actrice de théâtre dans sa jeunesse, sa capacité de narration transparaît dans sa musique : des wubs et wobbles d’une lourdeur inouïe, ainsi que des doubles tricks dynamiques qui électrisent le public. LEVEL UP a accompagné Subtronics lors d’une tournée nationale et s’est produite sur des scènes prestigieuses comme Red Rocks, Lost Lands, Beyond Wonderland, Electric Forest et Bass Canyon.

LEVEL UP aka Sonya Broner feels most at home behind the decks. Originally a battle DJ studying under the legendary Rob Swift, LEVEL UP dove into music production after discovering dubstep. Continuously crafting her sound is what makes her feel the happiest and is her truest form of self expression. While at the beginning of her journey, she has already gone on to release music on Deadbeats, GRVDNCR, and Buygore, with much more in the pipeline.
A theatre actress in her youth, her storytelling ability is evident through her music: unfathomably heavy wubs and wobbles, and tricky doubles leave the audience energized and ready for more. She has since gone on a national tour with Subtronics, and graced the stages of Red Rocks, Lost Lands, Beyond Wonderland, Electric Forest, Bass Canyon, and more.

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Ce contenu provient d’Insomniac et est adapté par PAN M 360

chanson keb franco / Indie Rock / Pop indé

La Marche de l’empereur au Club Soda : Thierry Larose, blesse, Lysandre, P’tit Belliveau et invités

by Rédaction PAN M 360

La Marche de l’empereur, ayoye. Festival d’un soir seulement au Club Soda orchestré par Maison Pingouin. Des chansons sélectionnées HABILEMENT présentées par les artistes eux-mêmes : Thierry Larose, blesse, Lysandre et P’tit Belliveau en plus de plusieurs invités surprises. La cerise sur le sundae : Marianne Boucher à la direction artistique ; capitaine des transitions pour enchaîner les artistes pingouins / artistes invités. DJ Pingouin en ouverture blastera-très-fort du hip-hop approuvé par la vraie culture. Ayoye!

La Marche de l’empereur, ayoye. A one-night-only festival at Club Soda orchestrated by Maison Pingouin. Selected songs HABIALLY presented by the artists themselves: Thierry Larose, blesse, Lysandre and P’tit Belliveau, plus several surprise guests. The icing on the sundae: Marianne Boucher as artistic director; master of transitions to link Penguin artists / guest artists. DJ Pingouin opens with a blaster of hip-hop approved by real culture. Ayoye!

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Ce contenu provient de Simone Records et est adapté par PAN M 360

Classical / Modern Classical

OSM and Khachatryan | Music, Politics and The Human Condition

by Hélène Archambault

There are moments when you feel privileged to be where you are. Such was the case on Wednesday evening at the Maison symphonique. I think the feeling was mutual, at least if I’m to judge by the encore given by violinist Sergey Khachatryan, who gave a superb performance of Tchaikovsky’s Violin Concerto in D major, Op. 35.

The orchestra provided a setting in which he could express his sincerity, as when the flutes pick up at the end of his very personal cadenza, or again in the opening bars, as the strings introduce the solo violin.

The reminder is a piece by Grigor Narekatsi, a 10th-century Armenian mystic poet and saint of the Armenian Apostolic Church. In 2015, in commemoration of the 100th anniversary of the Armenian genocide, Pope Francis declared St. Gregory of Narek (Frenchized name), Doctor of the Church, the 36th, for his timeless writings. Timeless, Havoun, havoun is. More than 1,000 years apart, his play resonates.

After intermission, Payare and the OSM attack Shostakovich’s Symphony No. 11, Op. 103 “The Year 1905”. 11 young instrumentalists from Montreal’s Conservatory, McGill, and Université de Montréal music schools join the orchestra for the occasion. Knowing the history of this symphony is the key to fully appreciating it because it’s not the kind of piece you listen to while preparing a chickpea salad on Monday morning before catching the metro. The program notes are illuminating. Symphony No. 11 is intimately linked to the history of Russia, and later the Soviet Union, both in its writing and its reception by the regime. With the USSR having decreed Shostakovich’s music an enemy of the workers in the aftermath of the Second World War, new compositions had to wait until the 1950s. Composed at the beginning of 1957, Shostakovich recounts in music the popular uprising of 1905 against the Russian Empire.

The first movement, “Palace Square”, opens with a hostile winter scene, where bloody repression soon unfolds. Military snare drums, bugles, and folk song illustrations are all sound manifestations of the violence of the repression. The second movement evokes Red Sunday, and here again, Shostakovich uses musical material to depict the horror of the massacre and the desolation of death. The third movement, “Eternal Memory”, is reminiscent of the Revolutionaries’ Funeral March. As for the Finale, “Tocsin”, this is revolutionary fervor, characterized by trumpets and low strings, interrupted by an English horn melody, and ending with the sounds of cymbals and bells. When the music stops, you wonder what you’ve just experienced. I was moved, disturbed, and thrown to the ground. This concert embodies the human condition in all its fragility.

Photo Credit: Antoine Saito 

chanson française / Vocal Jazz

David Marino | Entre jazz et chanson à la salle Claude-Léveillée

by Rédaction PAN M 360

Entre jazz et chanson, un nouveau concert où David Marino nous fait découvrir ses coups de cœur musicaux, du répertoire jazz traditionnel à la grande chanson française. Accompagné d’un trio jazz, c’est l’époque des grands crooners comme Sinatra ou Ella Fitzgerald qu’il fera revivre, mais aussi ses influences françaises comme Brel ou Michel Legrand, qu’il aura le plaisir de vous chanter. David Marino est un jeune vocaliste en pleine ascension sur la scène internationale. Sa voix envoûtante et son charisme lui permettent de briller dans les clubs de jazz les plus prestigieux d’Amérique du Nord, notamment au légendaire Birdland de New York, où il se produit aux côtés du pianiste Billy Stritch, le directeur musical de Liza Minnelli et Tony Bennett.

David Marino is excited to present his new concert Entre jazz et chanson where he will sing his favourite songs from the jazz standards in the ‘Great American Songbook’ all the way to french chanson. Accompanied by a jazz trio, Marino will take you back to the era of the great crooners like Frank Sinatra, and will also dive into some of his greatest French influences like Jacques Brel or Michel Legrand, which he has the pleasure of singing for you. David Marino is a young vocalist and rising star making headway internationally, performing at prestigious theatres and jazz clubs across the world. Fresh off releasing his debut EP, “The Debut Sessions”, Marino has made himself a home at the iconic Birdland Jazz Club in New York, alongside musical director Billy Stritch, and has recently completed tour dates in California, Florida, Germany, France, Italy and the UK.

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Ce contenu provient de la Place des Arts et est adapté par PAN M 360

musique contemporaine

M/NM | Music with soul and Indian ink

by Frédéric Cardin

Yesterday the Festival Montréal Nouvelles Musiques presented an unusual programme, Le son de l’encre, at the centre of which was the mechanical and symbolic process of line, drawing and writing. Five works for flute and various additions (video, gesture-animated sound interface, live calligraphy) were performed. The spirit of Asian calligraphy is associated with elegance, harmony and meticulousness. It was also in this state of sound, at least in general, that the music on offer flourished. Although ‘contemporary,’ most of the pieces on the programme were enveloped in more or less explicit echoes of Asian music, thanks to the harmonies on pentatonic scales.

Penned by François Dery, Claire-Melanie Sinnhuber, Tao Yu, Gualtiero Dazzi and François Daudin Clavaud, the evocatively-titled works (Bambous, Fleurs de prunes tombantes, Le son de l’encre, Vent léger, etc.) set the scene in a way that was both modern and timeless, bathed in an atmosphere that was often contemplative, even ritualistic. Some pieces were more poignant than others, such as Gualtiero Dazzi’s La demeure du rêve, a superb sound construction based on drawings by South Korean Kim Yung Gi, one of the great illustrators of our time, who died at the age of 47 in 2022. Gi’s drawings, four in all and admirable for their naturalness but also for their symbolic complexity, took the form of a series of family portraits set against each other. A deeply moving moment.

The presence of renowned calligrapher Shanshan Sun was necessary to accompany some of the works, such as Feu, neige, cendres by François Déry. I wasn’t as convinced by the coherent relationship between Sun’s live gestures and the music. Especially in the last piece of the evening, coordination seemed to be lacking, with Sun finishing his writing on a large piece of paper on the floor, while the musicians had finished playing. I’d say almost a minute passed during which I caught the look on the face of one of the flautists, silently wondering how long he should hold his instrument up… 

Be that as it may, I must mention the great versatility of the Trio d’argent, made up of Michel Boizot, Xavier Saint-Bonnet and François Daudin Clavaud. Three flutes together, some would say, is suicide. The French have shown that it can be done very well, and sound magnificently too. The variety of flutes used was also a major factor. Western, Oriental, bass flutes (I love them!), etc., the colours deployed were numerous and beautifully applied, in a contemporary perspective, certainly, but not experimental. 

It was an evening that was sometimes bewitching, often soothing, always pleasant and surprising. A lovely offering from the Festival Montréal Nouvelles Musiques, and it’s only just beginning. 

Interview (in French) with one of the musicians :

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