Montréal

Jazz

Présence Autochtone: Backwater Township

by Rédaction PAN M 360

Backwater Township est un projet qui a commencé à Montréal en 2018 avec la vision de défier un genre musical teinté par l’élitisme intellectuel et le contrôle. Backwater Township n’est pas un groupe de musique, mais plutôt un collectif d’inadaptés et d’aberrants qui tentent de se tailler une place dans la scène musicale jazz.

Fondé par Corey Thomas (basse et compositeur) en 2018, le projet a commencé entant que moyen pour performer des compositions originales, ainsi que pour créer des arrangements musicaux d’anciens musiciens de jazz autochtones. Cela étant dans le but de préserver et de donner une meilleure représentation aux œuvres qui l’ont inspiré à travers son propre parcours musical.

Backwater Township a enregistré son premier EP en 2018 et a sorti son album de suivi, simplement intitulé Backwater Township II, en Novembre 2022. Le groupe a performé dans le cadre de plusieurs festivals, dont le Festival Présence autochtone (2019, 2020), le Festival International de Jazz de Montréal (2019) et Sunset on Sumerled (2019). Festival Jazz et Blues Saguenay (2023) La musique et la présence de Backwater Township ont permis la nomination du meneur de groupe Corey Thomas pour le prix Oliver Jones en 2019.

La musique de Backwater Township a été présentée dans les principales émissions de radio de CBC, telles que Minotan et l’émission Saturday Night Jazz, et a été incluse dans d’importantes listes de lecture organisées par Spotify, telles que Fresh Finds Jazz et The Jazz Collection.

En plus de travailler sur leur nouvel album, ils continuent de jouer de la musique devant des foules vibrantes et animées tout en affinant leurs compétences pour offrir non seulement de la bonne musique, mais aussi une expérience mémorable.

Backwater Township is a project that began in Montreal in 2018 with the vision of challenging a musical genre tinged with intellectual elitism and control. Backwater Township is not a band, but rather a collective of misfits and outliers trying to carve out a place for themselves in the jazz music scene.

Founded by Corey Thomas (bass and composer) in 2018, the project began as a means to perform original compositions, as well as to create musical arrangements of former native jazz musicians. This was with the aim of preserving and giving better representation to the works that inspired him through his own musical journey.

Backwater Township recorded their debut EP in 2018 and released their follow-up album, simply titled Backwater Township II, in November 2022. The band has performed at a number of festivals, including Festival Présence autochtone (2019, 2020), Festival International de Jazz de Montréal (2019) and Sunset on Sumerled (2019). Festival Jazz et Blues Saguenay (2023) Backwater Township’s music and presence led to bandleader Corey Thomas being nominated for the Oliver Jones Award in 2019.

Backwater Township’s music has been featured on major CBC radio shows, such as Minotan and Saturday Night Jazz, and included in major Spotify curated playlists, such as Fresh Finds Jazz and The Jazz Collectio

CET ÉVÉNEMENT EST GRATUIT

Ce contenu provient de Présence Autochtone et est adapté par PAN M 360.

Disco / House / Indigenous peoples

Présence Autochtone: DJ Pøptrt

by Rédaction PAN M 360

DJ Pøptrt est une célèbre artiste autochtone originaire de la nation mohawk de Kahnawá:ke. Son son combine son héritage Kanien’kehá:ka avec la musique électronique contemporaine, culminant dans une esthétique unique et captivante. Le parcours de Pøptrt en tant qu’artiste a commencé en 2015 lorsqu’elle a plongé dans le monde des médias et de l’art à Montréal, où elle s’est rapidement imposée en tant qu’artiste multidisciplinaire en pleine ascension dans l’industrie. Ses sets dynamiques couvrent plusieurs styles de house, tech house, disco house et plus encore. L’art de Pøptrt fusionne harmonieusement ses influences culturelles et ses sensibilités pop-art, ce qui donne lieu à une expérience artistique à la fois immersive et captivante. Elle s’est produite dans certains des événements et lieux les plus prestigieux du Canada, notamment Piknic Électronik, Future Forest, Igloofest. En tant que pionnière sur la scène canadienne de la musique et des arts visuels, Pøptrt est largement reconnue pour son talent exceptionnel et son point de vue unique. Sa vision artistique lui a valu de nombreuses récompenses et a inspiré des publics à travers le Canada à embrasser leur héritage culturel et leurs passions créatives.

DJ Pøptrt is a celebrated Aboriginal artist from the Mohawk Nation of Kahnawá:ke. Her sound combines her Kanien’kehá:ka heritage with contemporary electronic music, culminating in a unique and captivating aesthetic. Pøptrt’s journey as an artist began in 2015 when she plunged into the world of media and art in Montreal, where she quickly established herself as a multidisciplinary artist on the rise in the industry. Her dynamic sets cover many styles of house, tech house, disco house and more. Pøptrt’s art seamlessly fuses her cultural influences and pop-art sensibilities, resulting in an artistic experience that is both immersive and captivating. She has performed at some of Canada’s most prestigious events and venues, including Piknic Électronik, Future Forest and Igloofest. As a pioneer on the Canadian music and visual arts scene, Pøptrt is widely recognized for her exceptional talent and unique point of view. Her artistic vision has won her numerous awards and inspired audiences across Canada to embrace their cultural heritage and creative passions.

CET ÉVÉNEMENT EST GRATUIT

Ce contenu provient de Présence Autochtone et est adapté par PAN M 360.

amapiano / Soul/R&B

Osheaga, Day 3 | Tyla, Tigress on the Loose

by Jacob Langlois-Pelletier

Judging by the size of the crowd eager to see her arrival early in the evening, the presence of South African sensation Tyla was one of the most anticipated events of the weekend. The new princess (let’s wait before proclaiming her queen) of amapiano and R&B certainly did not disappoint with a fiery performance where dancing and sensuality were the order of the day. And to think that she is only 22 years old…

It was on a giant tiger that the young singer made her entrance, to the cries of her admirers. To date, Tyla has only one project in her discography, her self-titled album. Needless to say, it was mostly material from her project released last March that she offered to festival-goers.

On stage, Tyla and her troupe performed a lot of dance moves, as if it wasn’t hot enough on this scorching day. The crowd watched her every move and applauded her every hip movement. “This is my first time here. I’ll remember it for the rest of my life,” she said between two songs, pleasantly surprised by the warm welcome.

Her rendition of No.1 , an excellent collaboration with Nigeria’s Tems, was vocally brilliant, as was her entire set. Tyla has been riding the wave of Water for several months, a song that propelled her internationally, and it’s this song that she will have reserved for the very end. A fiery finale for a high-quality R&B performance.

Crédit photo: Benoit Rousseau

Hip Hop / rap / Rap français

Osheaga, Day 3 | Hamza, from Belgium to Montréal

by Jacob Langlois-Pelletier

“Saucegod, Saucegod, Saucegod!” shouted the many festival-goers as Hamza arrived on stage. For several years, the Belgian rapper has had a wonderful relationship with Montrealers; another chapter in this beautiful story was written Sunday night at Osheaga.

Last year, Hamza earned a special place in our top 100 albums with Sincérement , a superb offering combining trap and R&B. It was with a string of tracks from this project that the Belgian began his set, starting with the excellent Codéine 19 . Although he started with his most recent material, he didn’t hesitate to dip into his classics such as Gasolina and FADE UP . There’s nothing wrong with the selection of tracks, a good mix highlighting the diversity of his discography.

Where the shoe pinches is in what is offered on stage. What is played is mostly pre-recorded soundtracks to which Hamza adds his grain of salt, autotune of course at the rendezvous. Don’t get me wrong, the eternal lover still offers a good show, but without artifice.

Regardless, the style of performance offered by the rapper did nothing to dampen the crowd, who were jumping from start to finish. The 30-year-old artist’s honeyed flow and catchy choruses are in a class of their own, here is another demonstration.

Crédit photo: Benoit Rousseau

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Disco / Funk / Soul/R&B

Osheaga, Day 3 | Party time with Jungle

by Jacob Langlois-Pelletier

Shortly after rapper Hamza’s last words on the adjacent stage, numerous beams of light gave festival-goers an orange hue, the color of Volcano, Jungle’s most recent project. On the notes of Busy Earnin’, a 2014 hit, the British soul-funk band made their entrance in remarkable fashion.

From the very first moments, the band’s different impulses had the crowd dancing. The music of Tom McFarland, Josh Lloyd-Watson and, most recently, Lydia Kitto, is one of the liveliest and most festive around. It’s no surprise that inflatables and balloons roamed among the fans throughout the performance; the mood was festive, to say the least. Jungle has a way of making us enjoy the moment.

The balance between recording and live creation couldn’t have been better. The three protagonists get involved vocally and contribute with various instruments such as guitar and synthesizer. The arrangements are danceable, and the vocals as bewitching as on record. Two percussionists and a bassist rounded things off brilliantly.

On two occasions, artists appeared on the big screen for the duration of a song. This was the case for Erick the Architect during the disco hit Candle Flame, a song on which the crowd burned a lot of calories, rest assured.

Several times, the band addressed the fans in both English and French. The Brits seemed delighted by the welcome they received from Montrealers, who responded by singing along to their various choruses and clapping their hands. There’s no doubt that Jungle’s appearance was one of the highlights of the weekend’s festivities.

Crédit photo: Benoit Rousseau

Pop / Punk / rap / Rock

Osheaga, Day 2 | The Smashing Pumpkins, Denzel Curry, Olivia Dean & New West

by Jacob Langlois-Pelletier

Nostalgia, when you hold us

The Smashing Pumpkins’ performance at Osheaga on Saturday couldn’t have come at a better time; just over 48 hours ago, the prolific American group released Aghori Mhori Mei , their 13th album. Contrary to what one might expect, Billy Corgan and his band ignored this release and opted for a selection of their greatest classics, much to the delight of the fans crowded in front of the two biggest stages of the festival.

Dressed in a black cassock, Corgan enveloped Parc Jean-Drapeau with his melancholic rock and his nasal voice that we know so well. Alongside him are his long-time colleagues James Iha on guitar and Jimmy Chamberlin on drums as well as Kiki Wong, a guitarist recruited a few months ago.

On stage, the Smashing Pumpkins exude the same determination and desire as they did 30 years ago. Too bad this state of mind does not translate into their recent releases.

With just a few minutes to go, dusk begins and the first notes of the famous “1979,” taken from the excellent Mellon Collie and the Infinite Sadness, are heard. This is when the crowd got loudest and the result was sublime. The euphoria provoked is yet another proof of the power of nostalgia. The Chicago band’s greatest hits will definitely never die, and neither will their influence on alternative rock.

Photo credit: Tim Snow

Denzel Curry, flawless, but not brilliant

If there’s one rapper who never stops reinventing himself with each release, it’s definitely American Denzel Curry. In mid-July, the Floridian released King Of The Mischievous South Vol. 2 , a mixtape overflowing with collaborations following a first volume released a dozen years ago. In this opus, he explores the dirty south, a subgenre from the Southern United States.

At 29 years old and with several high-quality projects under his belt, it is now fair to say that Denzel is one of the most important pawns in current rap. Brimming with energy on stage, the MC raps each of the rhymes of his songs with precision and finesse. The festival-goers received exactly what they get on his albums.

Throughout his performance, Curry multiplied the interactions with the crowd and displayed a fascinating ease.

The curtain-dropping set of his most popular tracks Ultimate and CLOUT COBAIN | CLOUT CO13A1N was met with a very loud reception from the crowd, which had been quite discreet since the beginning. It must be said that placing the rapper after the punk group Rancid and before the Smashing Pumpkins and Green Day was perhaps not the best idea…

Regardless, the proposal from the member of the famous Freshman class of 2016 was honest and well-balanced. However, his offering lacked that little something to not fall into oblivion.

Crédit photo: Tim Snow

Olivia Dean, a breath of fresh air in the middle of a heat wave


While exploring the lineup for the 2024 edition, Olivia Dean’s name really piqued my curiosity. As I looked through her slim, young discography, I discovered a soul singer inspired by the great ladies of this musical genre. The British singer cites Carole King, Amy Winehouse, The Supremes and Lauryn Hill as inspirations for her music.

Accompanied by a small orchestra, the 25-year-old artist is dressed in a very colorful dress and takes her place at the front of the stage. “If this is the first time you’ve seen me perform, I have one rule. You have to have a good time!” she says between her first two songs. It was largely material from Messy, her only album of her career, that the London native introduced to the crowd. She also took the opportunity to perform her most recent release entitled Time , a song in which she explores more rock avenues than usual, which suits her like a glove.

Olivia Dean exudes an aura that is not of our time. Jazz, R&B, soul, pop; everything is mobilized. Visibly captivated, the festival-goers scrutinized her actions and then responded vocally. The 45 minutes of performance passed in the blink of an eye and we would have liked it to never end.


Photo credit: Benoit Rousseau

New West, Toronto’s New Sensation

With the huge success of their title Those Eyes , the Canadian collective New West no longer needs an introduction. This year, the Torontonians had the task of opening the ball at 2 p.m.


Taking advantage of an impressive crowd for an early afternoon due to the imminent arrival of the star Chappell Roan, the band formed by Kala Wita, Noel West, Lee Vella and Ben Key will offer an inspired and colorful performance.

Winner of a Juno for “New Group of the Year” in 2024, New West offers a diverse sound that includes jazz, R&B and indie, among other things. On the festival’s main stage, Kala Wita gave it their all, moving from left to right, singing lying on the floor and offering moments on the piano. This performance allowed us to discover more about the personalities of the different members of the group.

Vocally, Wita is right and envelops us with tracks like “Stevie Nicks” or “Guessing Game.”  The sample is thin, but the future seems promising for New West.

Photo credit: Tim Snow

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Jazz / latino

Palomosa: Jai Paul, Yves Tumor, BADBADNOTGOOD, Nana Zen et plus encore!

by Rédaction PAN M 360

Les artistes du jour: Jai Paul, Yves Tumor, BADBADNOTGOOD, The Dare, Pelada, Delachute, Nana Zen, SHYGIRL, LSDXOXO et Angelita.

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Ce contenu provient du Palomosa et est adapté par PAN M 360.

Electronic / Hip Hop / rap

Palomosa: Gesaffelstein, Destroy Lonely, Yung Lean et bien plus!

by Rédaction PAN M 360

Artistes du jour: Gesaffelstein, Destroy Lonely, Yung Lean, Yaeji (DJ Set), Snow Strippers, underscores, distraction4ever, Andrea de Tour, horsegiirL, Young Marco, Jump Source et Laurence Matte.

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Ce contenu provient du Palomosa et est adapté par PAN M 360.

Blues / Bossa Nova / Brazilian / Gospel / Jazz / Soul

A Choir at Balattou for Bïa Ferreira

by Sandra Gasana

“The last time I was here, I said I was going to come back to Montreal and speak French. But I still don’t speak it. But I ordered my supper in French!” Brazilian singer Bïa Ferreira proudly shares in English, as she begins her second concert in Montreal. And just as she did the first time, she divided her concert into two parts, one dealing with love and the other with activism.

“If you leave here different from when you arrived, then I’ll have done my job,” she adds. And it’s off to a prayer-like start, as whistling, voice and guitar mingle to deliver a beautiful sonic cocktail. Indeed, she may be alone on stage with her guitar, but at times it feels like there are five of them.

She also serves us Xote, a Brazilian musical rhythm often danced in pairs. “When I wrote this song, I was very much in love. But I was the only one in love,” she reveals. With her powerful voice and distinctive timbre, she masters her relationship with the microphone, knowing when to step away from it and when to approach it. With my friend Juliana, who’s just as much of a music lover as I am, we thought her music was a mix of blues, jazz, soul and gospel, all with a Brazilian flavour. Her signature is the whistle, which recurs in several songs and which she masters very well, as well as the many other noises she makes with her mouth, in addition to beatboxing. In fact, on one of her tracks, she adds a bit of Lionel Richie’s Easy Like a Sunday morning, which is a surprise but an instant crowd-pleaser.

“The last time I was here was in February and it was very cold. So I thought I’d come back in the summer. And here I am!” to applause from the audience.

On the track Saudade, you sometimes get the impression of hearing cajón and sometimes piano, whereas she does it all with her guitar. She then finishes with a bossa nova rhythm, which adds depth to the track. “It’s hard to translate Saudade. It’s not ‘I miss you’! It’s something else, it’s a feeling that makes you sick!”

Bïa Ferreira is also an excellent storyteller. She takes the time to explain all the songs, but even during certain tracks, she tells us stories, sometimes with a very rapid but always theatrical vocal delivery. This is notably the case on Molho Madeira, which will feature on Ellen Oléria’s forthcoming album, mixing passages where she talks and raps, waltzing between gentleness and aggression, banging on her guitar which serves as percussion.

“Every church has a choir. So to end this first part, I’ll need your help on the raggamuffin-tinged Levante a bandeira do amor (Raise the flag of love).

The second part, more committed and political, kicks off with an a capella rendition of Seu Jorge’s Zé do Caroço, a classic of Brazilian music.

After a tribute to Leci Brandão, the queen of samba, she kicks off the second half with a rhythmic reggae track, with a bit of beatboxing, which sets the tone for what’s to come. She first pays tribute to women around the world in Não precisa ser Amélia, in which she screams at times, showing off her vocal cords in full action.
The high point of the evening, in my opinion, came with the song Diga não (or Say no!), in which she denounced silence in the face of the genocide raging in Palestine. “By remaining silent, you are choosing a side. Your silence helps the oppressors! The audience takes its role as choir very seriously, especially on the song A conta vai chegar (or the bill will arrive), alluding to the debts linked to colonization.

She ended on a high note with Sharamanayas, the principle of keeping what’s good for you, and getting rid of what’s bad. One thing’s for sure, Bïa Ferreira’s concert was good for the people who came to see her, even if I would have expected a fuller house, as on her first visit. Having just come out of the Festival Nuits d’Afrique, this event may well have slipped under the radar of many a fan of her music.

Photo Credit: Inaa

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classique

OSM: Payare dirige les Gurre-Lieder de Schoenberg

by Rédaction PAN M 360

En compagnie de solistes renommés et à la tête d’un effectif vocal et orchestral colossal, Rafael Payare dirigera un monument du répertoire postromantique : les Gurre-Lieder de Schoenberg.
In the company of renowned soloists and at the head of a colossal vocal and orchestral ensemble, Rafael Payare conducts a monument of the post-Romantic repertoire: Schoenberg’s Gurre-Lieder.
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Ce contenu provient de l’Orchestre Symphonique De Montréal et est adapté par PAN M 360

Electronic / Modern music / Pop

Habitat Sonore: Listening Room at Centre Phi

by Rédaction PAN M 360

Tune out outside noise and immerse yourself in one of Montreal’s only spatial audio listening rooms.

The artists: 
Dominique Fils-Aimé
Michael Gary Dean
SlowPitchSound
Tanya Tagaq


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This content comes from the Centre Phi and is adapted by PAN M 360

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