chanson française / hommage

Une Vie d’Amour au Théâtre Maisonneuve

by Rédaction PAN M 360

Une Vie d’Amour est une célébration vibrante des plus belles chansons d’amour de la francophonie. D’Édith Piaf à Charles Aznavour, de Jacques Brel à Gilbert Bécaud, ces œuvres intemporelles ont accompagné les plus belles histoires d’amour, traversé les générations et marqué à jamais notre mémoire collective.
Porté par les grandes voix que vous avez déjà eu la chance d’entendre à Montréal, ce spectacle réunit quatre chanteurs d’exception : Nathalie Lermitte (Piaf ! Le Spectacle, Piaf Symphonique), Jules Grison (Formidable ! Aznavour, Et Maintenant), Gregory Benchenafi (Douce France, Cyrano de Bergerac) et Stéphanie Impoco (Paris ! Le Spectacle, Et Maintenant). Tous se produisent dans les créations internationales imaginées par Gil Marsalla et Directo Productions, saluées sur les plus grandes scènes à travers le monde.
Accompagnés de quatre musiciens remarquables, ils offrent un récital d’une rare intensité où chaque chanson devient une histoire, chaque mélodie une émotion, chaque interprétation un hommage à celles et ceux qui ont fait rayonner la chanson française.
Une Vie d’Amour est bien plus qu’un concert : c’est un voyage au cœur de notre patrimoine musical, une ode à l’amour sous toutes ses formes et une invitation à redécouvrir des chansons devenues universelles. Un spectacle élégant, émouvant et profondément humain, où l’amour se chante… et se partage.

Une Vie d’Amour is a vibrant celebration of the most beautiful love songs from the French music patrimony. From Édith Piaf to Charles Aznavour, from Jacques Brel to Gilbert Bécaud, these timeless works have accompanied the most beautiful love stories, spanned generations, and left an indelible mark on our collective memory.
Featuring the great voices you’ve already had the pleasure of hearing in Montreal, this show brings together four exceptional singers: Nathalie Lermitte (Piaf! Le Spectacle, Piaf Symphonique), Jules Grison (Formidable! Aznavour, Et Maintenant), Gregory Benchenafi (Douce France, Cyrano de Bergerac), and Stéphanie Impoco (Paris! Le Spectacle, Et Maintenant). All perform in the international productions conceived by Gil Marsalla and Directo Prod, acclaimed on the world’s greatest stages.
Accompanied by four remarkable musicians, they offer a recital of rare intensity where every song becomes a story, every melody an emotion, and every performance a tribute to those who have brought French chanson to the world.
Une Vie d’Amour is much more than a concert: it is a journey to the heart of our musical heritage, an ode to love in all its forms, and an invitation to rediscover songs that have become universal. An elegant, moving, and deeply human show, where love is sung… and shared.

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Ce contenu provient de la Place des Arts 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.

Experimental Rock / Free Improvisation

Festival Flux : Ava Mendoza + Soledad Coyoli + Acrostiche à la Toscadura

by Rédaction PAN M 360

Ava Mendoza

Ava Mendoza est une guitariste, chanteuse, autrice-compositrice et compositrice établie à Brooklyn. Principalement reconnue pour ses performances en solo à la guitare et à la voix, ainsi que comme fondatrice du groupe de rock expérimental Unnatural Ways, elle est saluée par la critique pour un jeu de guitare qui conjugue avec force virtuosité technique et impact viscéral. Quel que soit le contexte, elle insuffle à sa musique de l’expressivité, de l’énergie et d’une vaste palette sonore. Mendoza s’est produite en tournée aux États-Unis et en Europe. Elle a enregistré et joué avec de nombreux artistes, dont Carla Bozulich, Malcolm Mooney (CAN), Bill Orcutt, Abiodun Oyewole (The Last Poets), Mike Watt, Adele Bertei, Mick Barr, William Hooker, Nels Cline, Matana Roberts, John Zorn, Jamaaladeen Tacuma, Fred Frith, William Parker, Hamid Drake, ROVA, Negativland, Violent Femmes, ainsi que des membres de Caroliner. Ses enregistrements ont paru sur les étiquettes Tzadik, Astral Spirits, Weird Forest, Clean Feed, Resipiscent et New Atlantis. Le magazine Guitar World l’a notamment classée parmi les « 10 guitaristes féminines à connaître ».

Ava Mendoza is a Brooklyn-based guitarist, singer, songwriter and composer. Best known for her solo guitar and vocal performances, and as the leader of the experimental rock band Unnatural Ways, she has received critical acclaim for her guitar work’s compelling combination of technical virtuosity and visceral impact. In any context she is committed to bringing expressivity, energy and a wide sonic range to the music. Mendoza has toured throughout the U.S. and Europe and recorded/performed with musicians including Carla Bozulich, Malcolm Mooney (CAN), Bill Orcutt, Abiodun Oyewole (Last Poets), Mike Watt, Adele Bertei, Mick Barr, William Hooker, Nels Cline, Matana Roberts, John Zorn, Jamaaladeen Tacuma, Fred Frith, William Parker, Hamid Drake, John Zorn, ROVA, Negativland, the Violent Femmes, and members of Caroliner. Recordings are available on labels Tzadik, Astral Spirits, Weird Forest, Clean Feed, Resipiscent, and New Atlantis. She was featured as one of Guitar World‘s “10 Female Guitarists You Should Know”.

Soledad Coyoli

Lx artiste sonore Soledad Coyoli a grandi entre les peintures surréalistes de Leonora Carrington et Remedios Varo, les sculptures de sa grand-mère, la Malinche, la Llorona, les pièces détachées des robots que son oncle construisait et la musique sacrée que son père écoutait. Son travail sonore s’inspire de la tradition de la chanson mexicaine et latino américaine, et s’intéresse à la rencontre entre différentes voix / langues / cultures / technologies, ainsi qu’aux racines identitaires náhuatl (son nom signie « clochette » en náhuatl). Sa musique, lauréate de l’UNESCO-ASCHBERG en 2014, a été présentée dans certains des centres culturels les plus importants du Mexique, tels que le MUAC (Musée Universitaire d’art Contemporain), le musée Franz Mayer et le Centre de Culture numérique à la ville de Mexique. Depuis son arrivée à Tiohtiá:ke/Mooniyang/Montréal, son travail a trouvé une nouvelle orientation : la voix et le corps comme territoires uniques, propres et non répétables, mais aussi comme matières fluides, mystérieuses, mutantes et collaboratives. Soledad explore des territoires musicaux et corporels métisses, à la recherche d’une racine – d’une identité – d’un nepantla, un mot náhuatl qui signifie « la terre au milieu » qu’iel peut appeler « sa maison ».

Soledad Coyoli grew up surrounded by the surrealist paintings of Leonora Carrington and Remedios Varo, her grandmother’s sculptures, La Malinche, La Llorona, the robot parts their uncle used to build, and the sacred music her father listened to. Their sound work draws inspiration from the tradition of Mexican – Latin American song and explores the intersection of different languages, cultures, and technologies, as well as their Nahuatl roots (their name means “bell” in Nahuatl). Their music, recipient of the Unesco-Aschberg bursary in 2014, has been presented at some of Mexico’s most important cultural centers, such as the MUAC (University Museum of Contemporary Art), the Franz Mayer Museum, and the Center for Digital Culture in Mexico City. Since arriving in Tiohtiá:ke/Mooniyang/Montréal, their work has taken a new direction: the voice and the body as fluid, mysterious, mutable and collaborative materials. Soledad explores hybrid musical and bodily territories, in search of a root—an identity—a nepantla, a Nahuatl word often translated as “the land in the middle” that they might call “home.”

Acrostiche

Entre synthétiseurs, électroniques, objets récalcitrants et machines plus ou moins domestiquées, le duo Acrostiche (Belinda Campbell et Raphaël Foisy-Couture) bricolent une musique de répétitions, de collisions et de tensions. Quelque part entre le jeu et le chantier, la précision et le débordement, ils assemblent en temps réel une mécanique sonore dont certaines pièces ont manifestement été montées à l’envers. Mais ça tourne… Un album sortira d’ailleurs quelque part en 2027. Campbell arrive avec une pratique pluri-(in)disciplinaire qui circule entre musique, performance et arts visuels; Foisy-Couture avec une longue fréquentation de l’improvisation, des détournements instrumentaux et des bidouillages en tous genres.

Using synthesizers, electronic devices, quirky objects, and machines that are more or less well-behaved, the duo Acrostiche (Belinda Campbell and Raphaël Foisy-Couture) crafts music built on repetition, collisions, and tension. Somewhere between play and construction work, control and overflow, they build a sound machine in real time — one whose parts occasionally seem to have been installed the wrong way around. Somehow, though, it still runs. An album is also expected to emerge from the process sometime in 2027. Campbell brings a multi-(in)disciplinary practice that moves between music, performance, and visual arts; Foisy-Couture brings a long involvement in improvisation, instrument repurposing, and tinkering of all kinds.

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

Art Folk / Baroque Pop / Indie Pop

Festival International de Jazz de Montréal : Patrick Watson à la scène TD

by Rédaction PAN M 360

CE SPECTACLE EST GRATUIT!

Ce contenu provient du Festival International de Jazz de Montréal et est adapté par PAN M 360

Indie / Neo-Soul / R&B

M pour Montréal : Geoffroy, Lou Val et Cherrykim au Ministère

by Rédaction PAN M 360

Lou Val – 22h15

Lou Val est un artiste, auteur-compositeur et innovateur basé à Montréal, originaire de Kano, au Nigéria. Depuis 2017, il façonne un univers sonore distinctif mêlant indie, R&B et influences alternatives, créant une musique fluide et chargée d’émotion. Son travail reflète un profond engagement envers la vulnérabilité et l’exploration artistique, offrant aux auditeurs un espace sonore fait d’intimité, d’expérimentation et d’une quête constante de connexion et de sens.

Lou Val is a Montreal-based artist, songwriter, and innovator originally from Kano, Nigeria. Since 2017, he has been crafting a distinctive sound that blends indie, R&B, and alternative influences, creating a fluid and emotionally rich musical universe. His work reflects a deep commitment to vulnerability and artistic exploration, offering listeners a sonic space shaped by intimacy, experimentation, and a constant search for connection and meaning.

Geoffroy – 21h30

Le chanteur, auteur-compositeur et producteur montréalais Geoffroy façonne depuis plus de dix ans une musique qui trouve aussi naturellement sa place sur la scène d’un grand festival que sur une plage au coucher du soleil ou lors d’un retour à la maison à l’aube. Mariant électro indie, instrumentation organique et écriture pop tout en finesse, il cumule des centaines de millions d’écoutes tout en rassemblant un public fidèle à l’international, séduit par la chaleur, la sincérité et l’esprit d’évasion de son univers. Depuis la sortie de son premier album salué par la critique, Coastline, Geoffroy n’a cessé d’évoluer sans jamais perdre l’intimité de l’écriture qui caractérise sa musique. Chacun de ses projets reflète un nouveau chapitre de son parcours, passant de compositions introspectives et atmosphériques à des œuvres plus lumineuses et rythmées, inspirées par des années de voyages et d’exploration créative à travers le monde. Son plus récent album, Good Boy, est son projet le plus ambitieux et éclatant à ce jour, intégrant des influences rythmiques latino-américaines et africaines à son mélange distinctif de textures électroniques et de mélodies empreintes d’émotion. Artiste de scène captivant, Geoffroy transforme chacune de ses chansons en une expérience immersive, naviguant avec aisance entre moments de contemplation et refrains fédérateurs. Ses performances allient la profondeur émotionnelle d’un auteur-compositeur à l’énergie d’un spectacle électronique, créant un concert à la fois profondément intime et résolument rassembleur.

Montreal singer, songwriter and producer Geoffroy has spent the last decade crafting a sound that feels equally at home on a festival main stage, a late-night beach, or a sunrise drive home. Blending indie electronic, organic instrumentation and understated pop songwriting, his music has earned hundreds of millions of streams while building a devoted international audience drawn to its warmth, honesty and sense of escape. Since emerging with the acclaimed debut album Coastline, Geoffroy has continually evolved without losing the intimate songwriting that first defined his music. Each release has captured a different chapter of his life—from introspective, atmospheric recordings to brighter, rhythm-driven work inspired by years of travel and creative exploration across the globe. His latest album, Good Boy, marks his most vibrant and expansive release yet, weaving Latin and African rhythmic influences into his signature blend of electronic textures and heartfelt melodies. A captivating live performer, Geoffroy transforms his songs into immersive experiences that effortlessly move between reflective moments and euphoric singalongs. His performances balance the emotional depth of a songwriter with the energy of an electronic act, creating a set that feels both deeply personal and unmistakably communal.

Cherrykim – 20h30

Cherrykim est un chanteur, auteur-compositeur et multi-instrumentiste basé à Montréal, qui fusionne soul rétro, néo-soul et R&B contemporain dans un son chaleureux et intemporel. Né en Corée du Sud et ayant grandi à travers l’Amérique du Nord, sa musique reflète une vie façonnée par des cultures et des expériences multiples. Autodidacte et entièrement indépendant, il s’inspire de la soul des années 70, de D’Angelo et du R&B actuel pour créer des morceaux intimes, centrés sur le groove, l’émotion et la narration personnelle.

Cherrykim is a Montreal-based singer, songwriter, and multi-instrumentalist blending retro soul, neo-soul, and modern R&B into a warm, timeless sound. Born in South Korea and raised across North America, his music reflects a life shaped by multiple cultures and lived experiences. Self-taught and fully independent, he draws from ’70s soul, D’Angelo, and contemporary R&B to craft intimate, groove-driven songs centered on emotion, connection, and personal storytelling.

LES BILLETS POUR CE SPECTACLE SONT ÉPUISÉS!

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

classique / période romantique / Piano

Poèmes symphoniques à la salle Bourgie

by Rédaction PAN M 360

La pianiste et compositrice suisse Beatrice Berrut captive le public à travers le monde grâce à son sens de la narration et ses talents de coloriste. Elle nous offre un programme flamboyant constitué de ses propres œuvres et de transcriptions de grandes pages du répertoire orchestral.

Swiss pianist and composer Beatrice Berrut captivates audiences worldwide with her powerful storytelling and rich musical palette. She presents a fiery program featuring her own compositions alongside piano transcriptions of orchestral classics.

Programme

SAINT-SAËNS Danse macabre, op. 40 (arr. F. Liszt)
MAHLER Symphonie no 6, GMW 46 (arr. B. Berrut) : III. Andante moderato
Beatrice BERRUT
Polaris
Céphéides
LISZT « Le triomphe funèbre du Tasse », S. 112/3
DUKAS L’apprenti sorcier (arr. B. Berrut)

Program

SAINT-SAËNS Danse macabre, Op. 40 (arr. F. Liszt)
MAHLER Symphony No. 6, GMW 46: III. Andante moderato (arr. B. Berrut)
Beatrice BERRUT
Polaris
Céphéides
LISZT “Le triomphe funèbre du Tasse,” S. 112/3
DUKAS The Sorcerer’s Apprentice (arr. B. Berrut)

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