Vancouver, B.C.-based artist whose sound ranges from dreary synth pop to moments of indie peppiness.
Ekkstacy est basée à Vancouver, en Colombie-Britannique, dont le son va de la pop synthétisée morne à des moments d’indie pétillante.
TO BUY YOUR TICKET, CLICK HERE!
This content comes from AllMusic and is adapted by PAN M 360.
A pop singer, songwriter, and producer with a smooth R&B flair, Ryan Beatty often adorns his yearning songs with sleek, woozy production and multi-tracked vocals. He began sharing videos of his performances of covers as a young teen in 2009 and had more than a million video-channel subscribers by the time he issued his first original song, “Every Little Thing,” in 2011. His self-released debut EP, 2012’s teen pop-oriented Because of You, entered the top half of the Billboard 200 chart. Another EP followed in 2013 before he re-emerged in 2018 with a more sophisticated and stylized sound on his debut album, Boy in Jeans, which he quickly followed with collaborations with the likes of Tyler, The Creator and Benny Blanco in addition to an ongoing support role with BROCKHAMPTON. Going forward, he embraced this off-center direction in sound, which remained intimate while delving into more expansive arrangements including strings on 2023’s Calico.
Chanteur, auteur-compositeur et producteur de musique pop avec une touche de R&B, Ryan Beatty agrémente souvent ses chansons nostalgiques d’une production élégante et brumeuse et de voix multipistes. Il a commencé à partager des vidéos de ses reprises en tant que jeune adolescent en 2009 et comptait plus d’un million d’abonnés à sa chaîne vidéo lorsqu’il a publié sa première chanson originale, “Every Little Thing”, en 2011. Son premier EP autoproduit, Because of You (2012), axé sur la pop pour adolescents, est entré dans la première moitié du classement Billboard 200. Un autre EP a suivi en 2013 avant qu’il ne réapparaisse en 2018 avec un son plus sophistiqué et stylisé sur son premier album, Boy in Jeans, qu’il a rapidement suivi avec des collaborations avec des artistes tels que Tyler, The Creator et Benny Blanco, en plus d’un rôle de soutien continu avec BROCKHAMPTON. Pour la suite, il a adopté cette direction sonore décentrée, qui reste intime tout en se plongeant dans des arrangements plus expansifs, y compris des cordes, sur Calico, en 2023.
TO BUY YOUR TICKET, CLICK HERE!
This content comes from AllMusic and is adapted by PAN M 360
Elisapie graced the stage at Châteauguay’s Pavillon de l’Ile last week, and the intimate venue was packed with fans buzzing with excitement to see her on the Inuktitut tour, in support of her album of the same name from September 2023. The collection of covers from artists like Queen, Blondie, and Metallica in Inuktitut, Elisapie’s first language, was easily one of the best albums released last year, winning her the 2023 GAMIQ award for Artist of the Year. Seeing her perform live proved why she deserved such an honour. Elisapie started the show on a strong note, appearing on stage from behind a wall of pink light, singing “Uummati Attanarsimat (Heart of Glass),” the first single off of the album. It was perfect—her voice, mixed in with the magic of the pink lights, had the room in awe. It was clear from the start that this show was going to be special and it most definitely was.
The show felt like it passed by so quickly, but throughout the entire show, the audience really got to know who Elisapie was. The singer was brutally honest and open with the crowd, explaining the stories behind her albums. From “Una”, the song she wrote to her birth mother, to the cover of “Dreams” by Fleetwood Mac in honour of her late brother, or “I Want to Break Free,” by Queen dedicated to her cousin who loved to dance. It was special and beautiful and made a few of us cry. Hearing the stories behind Inuktitut took it from a record full of wonderful covers and transformed it into a collection of songs that had a far deeper meaning to Elisapie.
The show was not just special from a musical standpoint either. From a technical point of view, the show was pretty simple. There were no crazy pyrotechnics, and aside from a cool light-up radio, there were no props, but the lighting masterfully guided the audience through the songs and kept your focus solely on Elisapie. The lights matched perfectly with the song she was singing as well as visually showing the range in her music. Sometimes the lights were flashing and fun, giving the room a dance club vibe, other times the stage was bathed in light, with the colour depending on the overall vibe of the songs.
Personally, my favourite lighting choice was the singular spotlight, casting the singer in an almost ethereal glow. The dramatic yet warm lighting sequences occurred several times during the show, often while she was telling her stories. Yet,the most memorable “simple lighting” moment happened during Elisapie’s performance of “Moi, Elsie,” a song written by Richard Desjardins and composed by Pierre Lapointe for Elisapie’s 2009 debut album There Will Be Stars. The lyrics tell the story of an Inuk woman in love with a white contractor who is set to go home soon.
Elisapie is the type of performer who demands your attention. No matter what she did, whether she was dancing or telling us her stories, all eyes were on her. But her shadow looming on the wall behind her gave the impression that the singer was larger than life. The words she was saying were important and you knew it, but it wasn’t daunting. Whether it was the warmness of the lighting or her sweet voice, you felt safe, almost as if we were all sitting around a campfire and listening to her tell stories.
Elisapie and the writer, Gigi Brown
Elisapie is a voice and a presence on stage that we, as Canadians, should be fiercely proud of, and it was an honour to watch her perform.
The Inuktitut tour goes on until November 30, 2024, with shows all around Quebec, plus a few shows in Europe.
Elisapie is also set to perform for the Festival International de Jazz de Montréal at Théâtre Maisonneuve on June 30, 2024.
Intro photo Courtesy of Bonsound
Credit: Leeor Wild
Maréchal Events announces an unforgettable evening with Samara at Théâtre Paradoxe Maréchal Events is delighted to announce exciting news for all Samara fans: the Tunisian rapper has been granted his visa and will perform an exceptional concert at Théâtre Paradoxe in Montreal on Friday, March 1, 2024, starting at 9pm. The event promises to be a memorable musical experience, with Samara delivering a stunning performance in the unique atmosphere of the Théâtre Paradoxe, located at 5959 Bd Monk, Montreal, QC H4E 3H5. Surprise guests will also be on hand to ensure an electrifying opening act.
Maréchal Events annonce une soirée inoubliable avec Samara au Théâtre Paradoxe Maréchal Events est ravi d’annoncer une nouvelle passionnante pour tous les fans de Samara : le rappeur tunisien a obtenu son visa et se produira en concert exceptionnel au Théâtre Paradoxe à Montréal le vendredi 1 mars 2024, à partir de 21h. L’événement promet d’être une expérience musicale mémorable, avec Samara offrant une performance époustouflante dans l’atmosphère unique du Théâtre Paradoxe, situé au 5959 Bd Monk, Montréal, QC H4E 3H5. Des invités surprises seront également présents pour assurer une première partie électrisante.
TO BUY YOUR TICKET, CLICK HERE!
This content comes from Théâtre Paradoxe and is adapted by PAN M 360.
This concert (re)discovers two contrasting Masses heard in France during the reigns of Louis XVI and Napoleon. Written by Mozart in 1791 on his deathbed, at the urgent request of an enigmatic figure, his Requiem was performed in Paris for the first time in 1804 in a slightly reworked version, conducted by Luigi Cherubini. It was a triumph! A little earlier, in 1774, François Giroust, the last representative of the French grand motet, had been commissioned to compose the music for Louis XVI’s coronation mass in Reims cathedral.
Ce concert propose de (re)découvrir deux Messes contrastées entendues en France sous les règnes de Louis XVI et de Napoléon. Écrit par Mozart en 1791 sur son lit de mort, à la demande pressante d’un personnage énigmatique, son Requiem est donné à Paris pour la première fois en 1804 dans une version légèrement remaniée et sous la direction de Luigi Cherubini. C’est un triomphe ! Un peu auparavant, en 1774, c’est François Giroust, le dernier représentant du grand motet à la française, qui avait été chargé de composer la musique de la messe du sacre de Louis XVI en la cathédrale de Reims.
TO BUY YOUR TICKET, CLICK HERE!
This content comes from Arion Orchestre Baroque and is adapted by PAN M 360.
This Is The Kit is the musical project of Kate Stables and whoever joins her. You thought you didn’t like the banjo but you were wrong pal. Listen as Kate rips forward with her hypnotic twang pattern and a voice of rare, unaffected beauty.
This Is The Kit est le projet musical de Kate Stables et de tous ceux qui la rejoignent. Vous pensiez que vous n’aimiez pas le banjo, mais vous vous trompiez. Ecoutez Kate se déchaîner avec son twang hypnotique et sa voix d’une beauté rare et intacte.
TO BUY YOUR TICKET, CLICK HERE!
This content comes from thisisthekit.bandcamp and is adapted by PAN M 360.
This great pianist, songwriter, composer and arranger born in Holguin, Cuba, evolving on stage at every concert, he continues to impress with its imaginative musical approach and the wide variety of musical styles he has masters.
Ce grand pianiste, auteur, compositeur et arrangeur né à Holguin, Cuba, évolue sur la scène à chaque concert, il continue d’impressionner par son approche musicale imaginative et la grande variété de styles musicaux qu’il maîtrise.
RESERVATIONS BY PHONE AT 514-931-6808
This content comes from Upstairs Jazz and is adapted by PAN M 360.
“From her virtuoso playing emanate strong, sparkling melodies and an often joyous energy (…) the advent of an artist capable of putting a fine sheen of modernity on West African tradition” (La Presse, 2022). The Gambian-British artist takes center stage with her majestic kora: an atypical image, but one that is full of joy and hope, to see a woman confidently play this symbolic instrument; to see her embody tradition and fully embrace her status as a griot; to see her, too, assume with aplomb her desire to shake up conventions with a breath of Jazz, she who counts tens of millions of views on web platforms. Her 2nd album, Badinyaa Kumoo (2022), 7 years in the making, includes a collaboration with Youssou N’Dour.
Living between England and Gambia, Sona Jobarteh enjoys the title of pioneering kora virtuoso in Africa. From New York to Paris, the press follows her every move, and she expresses herself not only on stage, but also through internationally-attended conferences. His boundless humanity spills over into his social struggles, including his active role in musical education in Gambia. After a memorable concert on the outdoor stage of the Festival international Nuits d’Afrique last July, Sona will this time be performing an indoor concert, accompanied by her young son on Balafon.
“De son jeu virtuose émanent des mélodies fortes, scintillantes, et une énergie souvent joyeuse. (…) l’avènement d’une artiste capable de mettre un fin lustre de modernité sur la tradition ouest-africaine” (La Presse, 2022). La britano-gambienne trône au centre de la scène avec sa majestueuse kora: une image atypique, mais ô combien réjouissante et porteuse d’espoir, de voir une femme jouer avec assurance de cet instrument symbolique ; de la voir incarner la tradition et endosser pleinement son statut de griotte ; de la voir, aussi, assumer avec aplomb son envie de bousculer les conventions d’un souffle Jazz, elle qui compte des dizaines de millions de vues sur les plateformes web. Son 2e album, Badinyaa Kumoo (2022), en gestation pendant 7 ans, inclut notamment une collaboration avec Youssou N’Dour.
Vivant entre l’Angleterre et la Gambie, Sona Jobarteh jouit du titre de pionnière virtuose de la kora en Afrique. De New-York à Paris, la presse suit ses moindres manifestations, ne se contente pas de la scène pour s’exprimer mais également par des conférences internationalement suivies. Son humanité sans borne se déverse dans ses luttes sociales dont son rôle actif dans l’éducation musicale en Gambie. Après un concert mémorable sur la scène extérieure du Festival international Nuits d’Afrique en juillet dernier, Sona nous proposera cette fois-ci un concert en salle, accompagnée de son jeune fils au Balafon.
TO BUY YOUR TICKET, CLICK HERE!
This content comes from Black History Month and is adapted by PAN M 360
Singer, songwriter, activist and fierce defender of the LGBTI+ community worldwide, Bia Ferreira defines her music as MMP: Música de Mulher Preta (Black Woman Music). She broke into the public consciousness in 2017 with the track, Cota Não é Esmola, about the importance of the quota system for black people’s access to university. In addition to 13 million views on YouTube and several million plays on Spotify, the song became required reading for the entrance exam to the University of Brasília. She was nominated for the 2018 Women in Music Awards, and on her 2019 album, Igreja Lesbiteriana: Um Chamado, (Lesbitarian Church: A Calling), the messages are hitched to a carriage of funky rhythms, reggae and soulful ballad grooves. This year, she performed on Portugal’s biggest stages, including a memorable concert at LMM Sines.
Chanteuse, auteure-compositrice, activiste et farouche défenseuse de la communauté LGBTI+ à travers le monde, Bia Ferreira définit sa musique comme MMP : Música de Mulher Preta (Black Woman Music). Elle a percé dans la conscience publique en 2017 avec le titre, Cota Não é Esmola, sur l’importance du système de quotas pour l’accès de la population noire à l’université. Outre les 13 millions de vues sur YouTube et plusieurs millions de lectures sur Spotify, la chanson est devenue une lecture obligatoire pour l’examen d’entrée à l’université de Brasília. Elle a été nommée pour les Women in Music Awards 2018, et sur son album 2019, Igreja Lesbiteriana : Um Chamado, (Lesbitarian Church : A Calling), les messages sont attelés à un carrosse de rythmes funky, de reggae et de grooves de ballades soul. Cette année, elle s’est produite sur les plus grandes scènes du Portugal, notamment lors d’un concert mémorable au LMM Sines.
TO BUY YOUR TICKET, CLICK HERE!
This content comes from Black History Month and is adapted by PAN M 360
The concept is becoming a tradition. After Mungo’s Hifi in 2019, Iration Steppas in 2022, Lek Sen and Jah Observer in 2023, it’s now the two women and activists of the Berlin-based sound systems collective Roots Daughters who will take center stage for this 12kW-plus session, which promises to give off a unique vibe of empowerment.
Their guests founded Roots Daughters in 2009, inspired by Rastafari and Jamaican and British sound system culture. Their sessions are a space for reflection, connection, empowerment and the sharing of vibes and music. Julie and Jahminta are passionate vinyl collectors who will introduce you to reggae music in all its beauty and versatility – from its foundations to more recent releases.
It’s hard to get more passionate than the guys at WWSS! For the past fifteen years, they’ve been fine-tuning their sound system in the purest Jamaican tradition. Homemade subwoofers, analog equipment, sirens and other sound effects, vinyl records, the MC: everything contributes to this authenticity.
Le concept est en voie de devenir une tradition. Après Mungo’s Hifi en 2019, Iration Steppas en 2022, Lek Sen et Jah Observer en 2023, se sont désormais les deux femmes et activistes du collectif sound systems Roots Daughters basé à Berlin qui seront à l’honneur pour cette session à plus de 12kW, qui promet de dégager une vibe of empowerment unique.
Leurs invitées ont fondé Roots Daughters en 2009, inspirés par rastafari et la culture sound system jamaïcaine et britannique. Leurs sessions sont un espace de réflexion, de connexion, d’autonomisation et de partage de vibrations et de musique. Julie et Jahminta sont des passionnés et des collectionneuses de vinyles qui vous feront découvrir la musique reggae dans toute sa beauté et sa polyvalence – de ses fondations jusqu’aux sorties plus récentes.
On peut difficilement être plus passionnés que le sont les gars de WWSS ! Depuis une quinzaine d’années, ils peaufinent leur sound system dans la plus pure tradition jamaïcaine. Les caissons faits maison, les équipements analogiques, les sirènes et autres effets sonores, les vinyles, le MC: tout contribue à cette authenticité.
TO BUY YOUR TICKET, CLICK HERE!
This content comes from Black History Month and is adapted by PAN M 360
Lorraine Klaasen, daughter of legendary South African jazz singer Thandie Klaasen, is one of the few South African artists to have preserved the classic sound of township music, which remains the most distinctive sound to emerge from South Africa. Born and raised in Soweto, Lorraine has electrified audiences around the world with her dynamic stage presence and showwoman skills. Lorraine was influenced by the giants of South African music in the 1950s and 1960s, such as Miriam Makeba (who was a close friend of Lorraine and Thandie), as well as Dolly Rathebe, Dorothy Masuka, Sophie Mgcina and Busi Mhlongo, who frequented her mother’s home. Baptized “The Queen” of the Nuits d’Afrique International Festival, Lorraine Klaasen will be back to celebrate her 40-year career.
Lorraine Klaasen, fille de la légendaire chanteuse de jazz sud-africaine Thandie Klaasen, est l’une des rares artistes sud-africaines à avoir préservé le son classique de la musique de township, qui reste le son le plus distinctif à émerger d’Afrique du Sud. Née et élevée à Soweto, Lorraine a électrisé des publics du monde entier avec sa présence dynamique sur scène et son talent de showwoman. Lorraine a été influencée par les géants de la musique sud-africaine des années 1950 et 1960, tels que Miriam Makeba (qui était une amie proche de Lorraine et de Thandie), ainsi que Dolly Rathebe, Dorothy Masuka, Sophie Mgcina et Busi Mhlongo, qui fréquentaient la maison de sa mère. Baptisée ‘’La Reine’’ du Festival international Nuits d’Afrique en y étant programmée dès les premières éditions, Lorraine Klaasen fera son grand retour et viendra célébrer ses 40 ans de carrière.
TO BUY YOUR TICKET, CLICK HERE!
This content comes from Black History Month and is adapted by PAN M 360
Lydol, première slameuse finaliste au Prix Découvertes RFI, ouvrira cette édition 2024 du Mois de l’histoire des noirs. Ambassadrice de la Collaboration Afrique-Union Européenne en 2022, elle compte deux albums et plusieurs singles, tout en élargissant ses horizons artistiques. En plus de performances internationales, elle promeut activement le slam en dehors des cercles “intimistes” et dirige des festivals tels que PluriElles et Slam’Up. Fondatrice de la compétition Science Slam Cameroun, elle gère également l’Association SHEroes, soutenant les femmes victimes de violences. Ses ateliers d’écriture, Style haut à stylo, reflètent son engagement à coacher de nouveaux talents.
Lydol, the first female slammer to be nominated for the Prix Découvertes RFI, will open this 2024 edition of Black History Month. Ambassador of the Africa-European Union Collaboration in 2022, she has two albums and several singles to her name, while broadening her artistic horizons. In addition to international performances, she actively promotes slam outside “intimate” circles and directs festivals such as PluriElles and Slam’Up. Founder of the Science Slam Cameroun competition, she also runs the SHEroes Association, supporting women victims of violence. Her writing workshops, Style haut à stylo, reflect her commitment to coaching new talent.
POUR ACHETER VOTRE BILLET, C’EST ICI!
Ce contenu provient du Mois de l’Histoire des Noirs et est adapté par PAN M 360
