ONJ : Marianne Trudel | Au Centre, la Lumière… à la Cinquième Salle

by Rédaction PAN M 360

L’Orchestre national de jazz de Montréal (ONJ) confie à Marianne Trudel – pianiste, compositrice et cheffe d’orchestre de renom – la création d’une nouvelle œuvre, Au centre, la lumière.
Artiste audacieuse et émotive, Trudel marie improvisation, harmonies riches et structures complexes, promettant une pièce ambitieuse alliant puissance orchestrale et sensibilité. Le concert inclura également la première commande pour l’ONJ, Dans la Forêt de ma Mémoire (2015).
Cet événement, à la croisée du jazz traditionnel et de l’avant-garde, s’annonce comme un moment phare de la saison musicale 2025-2026. Avec son toucher unique et son inventivité, Marianne Trudel incarne le jazz de demain, faisant de cette création un rendez-vous magique à ne pas manquer.

The Orchestre national de jazz de Montréal (ONJ) has commissioned Marianne Trudel – renowned pianist, composer and conductor – to create a new work, Au centre, la lumière.
A bold and emotional artist, Trudel blends improvisation, rich harmonies and complex structures, promising an ambitious piece combining orchestral power and sensitivity. The concert will also include her first commission for the ONJ, Dans la Forêt de ma Mémoire (2015).
This event, at the crossroads of traditional jazz and the avant-garde, promises to be a highlight of the 2025-2026 musical season. With his unique touch and inventiveness, Marianne Trudel embodies the jazz of tomorrow, making this creation a magical rendez-vous not to be missed.

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Symphonic Metal

AnesthesiA | Hommage à Metallica symphonique à la salle Wilfrid-Pelletier

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À la demande générale et fort du succès retentissant de ses représentations à guichets fermés en 2022, 2023, 2024 et 2025, le spectacle Hommage à Metallica symphonique présenté par la formation AnesthesiA s’arrête à la Place des Arts, accompagné par l’Orchestre FILMharmonique.
Les admirateurs de la légendaire formation californienne vivront une expérience hors du commun, un concert spectaculaire où la puissance du métal rencontre la grandeur symphonique.
Sous la direction de Olivier Hébert, AnesthesiA et l’Orchestre FILMharmonique revisiteront les classiques incontournables couvrant la période marquante de 1983 à 1991, de Kill ‘Em All au légendaire Black Album.
Une soirée grandiose à ne pas manquer pour tous les passionnés de Metallica… et de métal!

By popular demand and following the resounding success of its sold-out performances in 2022, 2023, 2024, and 2025, Metallica – Symphonic Tribute, performed by the band AnesthesiA, makes a stop at Place des Arts, joined by the FILMharmonique Orchestra.
Fans of the legendary Californian band will be treated to an extraordinary experience: a spectacular concert where the raw power of metal meets the majesty of symphonic music.
Under the direction of Olivier Hébert, AnesthesiA and the FILMharmonique Orchestra will revisit the band’s iconic classics from the pivotal years 1983 to 1991, spanning from Kill ‘Em All to the legendary Black Album.
A monumental evening not to be missed by any Metallica fan — or any lover of metal!

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Hip Hop / Hip Hop / hip-hop alternatif / rap

Osheaga 2025 I Tyler, The Creator, Imperial despite the rain and fatigue

by Jacob Langlois-Pelletier

If there’s one thing Tyler, The Creator has proven—or rather reaffirmed—with the recent release of his dance project DON’T TAP THE GLASS, it’s that he doesn’t care about conventions and only wants to create music that he likes. And it was in this same spirit that he took to the stage at Osheaga, with one intention: to have fun with the crowd, despite the rain that cut his set short and his palpable fatigue.

Barely a week after his concert at the Bell Centre, Tyler undoubtedly recognized familiar faces among the thousands of spectators at Parc Jean-Drapeau. He made his entrance to the heavy, dramatic notes of “Big Poe,” followed by the catchy “Sugar on My Tongue,” perched on a structure bearing the title of his latest album. That was all it took for the audience to start dancing, just minutes after the show began.

In front of and behind him, pyrotechnic effects exploded to the rhythm of the songs, accompanied by precise lighting, always in tune with the different atmospheres of his repertoire. Tyler Gregory Okonma, his real name, is a true showman. Alone on the vast stage, he leapt, swayed his hips, and embodied each beat with intensity.

After a brief appearance of DON’T TAP THE GLASS, he followed up with several tracks from CHROMAKOPIA, released in October 2024. The atmosphere darkened as green beams, the project’s signature colour, flooded the stage. “Sticky” was one of the highlights, with the crowd chanting the verses of rappers GloRilla and Sexyy Red at the top of their lungs. Rarely does one see an audience so connected to its artist.

Crédit photo: Sophie Mediavilla-Rivard

Halfway through the show, Tyler revealed that he was going to draw on some older tracks, “to give me a break while you sing,” he said. By performing songs like “EARFQUAKE” (IGOR) and “WUSYANAME” (CALL ME IF YOU GET LOST), the alternative rap icon hit the mark. All he had to do was enjoy the audience singing along.

Several times, the artist mentioned how exhausted he was, admitting to feeling “drained” towards the end of his hour-long set. On tour since February, Tyler is nearing the end of a marathon of more than sixty concerts. We readily forgive him for his fatigue, especially given the energy he expended and the fact that he delivered the vast majority of his lyrics in their entirety.

After exploring every corner of his discography, Tyler concluded with the sublime “See You Again,” a collaboration with Kali Uchis from Flower Boy (2017). Carried by the voices of the audience, he left the stage with a warm thank you to his fans.

On “Rah Tah Tah,” Tyler, The Creator claims to be the greatest rapper in Los Angeles after Kendrick Lamar. After such a solid performance and a successful career, we can only agree with him. It’s not arrogance, but lucidity.

Alternative Rock / Blues / Blues Rock / Indie Folk / Indie Rock / Rock

Osheaga 2025 I Kaleo, Nordic Power

by Jacob Langlois-Pelletier

In terms of aura, charisma, and presence, Jökull Júlíusson, the central figure of Kaleo, is in a class of his own. Early Saturday evening, the Icelandic folk-rock band transported the Montreal audience to the heart of the Nordic landscapes, somewhere between land and sea.

With his shirt open, cowboy hat, and sunglasses firmly in place, the singer embodies style, clearly inspired by the country wave currently sweeping the music industry. As soon as he takes the stage, the band strikes up the opening notes of “Break My Baby,” a blues-rock track with modern accents from Surface Sounds. The audience immediately understands that they are about to experience something special.

The vocal power of the 35-year-old tenor is difficult to convey in writing: Júlíusson masterfully combines roughness and fragility. The Icelander can just as easily lull the crowd with a ballad like “All the Pretty Girls” — a real highlight of the evening — as he can rock them with “No Good.”

Surrounded by his four musicians and sidekicks, Júlíusson delivers a vibrant performance that stays true to the studio arrangements. Þorleifur Gaukur Davíðsson shines with his harmonica solos scattered here and there, adding a welcome touch of nostalgia. Add to that the singer’s deep soul, and the whole thing forms a perfectly balanced musical marriage.

Ten years after its release, “Way Down We Go” remains the band’s signature song. There was no better choice to conclude the show than this track, which was enthusiastically received by the fans gathered in front of the stage.

Kaleo’s performance, lasting just over 50 minutes, flew by in a flash. The band offered a moment of suspended time, poetic and soothing—a gentle balm between the high-energy performances of rappers Tommy Richman and Smino on the neighbouring stage.

Crédit photo: Tim Snow

Folk Pop / indie / Indie Pop / Rock

Osheaga 2025 I The Alex Warren phenomenon arrives in town

by Jacob Langlois-Pelletier

Like Chappell Roan last year, Alex Warren is one of those artists who exploded between being added to the Osheaga lineup and taking the stage. As a result, Jean-Drapeau Park was already packed by 3 p.m. to welcome the Californian phenomenon—one of the largest afternoon crowds in recent years.

Topping the Billboard charts for eight weeks, “Ordinary” has changed the trajectory of the 24-year-old singer-songwriter. Although Warren has been releasing songs sporadically since 2021, it was with the release of this track in February that he truly established himself as one of the new sensations of American pop.

From the very first notes, his powerful voice hits you like a ton of bricks. Warren skillfully conveys the emotions of a journey marked by hardship, including the loss of both his parents and the ups and downs of his love life.

“I’m going to get some water and my guitar, then play a song I wrote for my wife,” he says before performing the touching “Catch My Breath.” It is precisely this sincerity and humility that charm his audience and explain the extent of his success. Throughout his performance, the artist repeatedly thanked the audience and engaged in warm exchanges with them.

Despite a still limited repertoire, he delivered a generous show, culminating in “Ordinary,” sung at the top of his lungs by a captivated crowd. Special mention goes to “Bloodline,” undoubtedly one of the most intense and successful moments of his performance.

Alex Warren may not be revolutionizing the genre, but he offers polished, unifying, and, above all, effective folk-pop. And judging by the enthusiasm he generates, his rise is only just beginning.

Crédit photo: Tim Snow

Bedroom Pop / Folk Pop / Indie Pop

Osheaga 2025 I The Magic of Gracie Abrams

by Sophie Mediavilla-Rivard

Gracie Abrams shone on the second night of Osheaga in front of an audience that was already won over, despite the concert being cut short by the weather. “This is unreal,” she said on stage, visibly moved by the warm reception from festival-goers.

She made her entrance with her guitar in hand, dressed in a long white dress that made her look like an angel. The 25-year-old artist immediately created a magical atmosphere by opening her set with the song “Risk,” from her latest album, The Secret of Us, released in June 2024.

It was this album that propelled her to the popular success she enjoys today and brought together an enthusiastic crowd on Saturday evening at Jean-Drapeau Park. Gracie Abrams first made a name for herself with “21,” a track from the album Minor, released in 2020. She performed it in front of sparkling fireworks projected behind the stage.

Unfortunately, a storm forced the show to stop about ten minutes before the end, preventing Gracie Abrams from playing her two most popular songs, “Close To You” and “That’s So True,” much to the disappointment of her loyal audience.

However, we will remember the artist fondly, as she gave one of the strongest performances of the second day of the festival. She proved that she is as skilled on the guitar and piano (on which she played “Cool” and “I miss you, I’m sorry”) as she is with her voice. Always authentically herself, the singer performed with equal parts gentleness and passion.

“Osheaga, I’m so sad we had to cut the last set short because of the weather, but you were incredible tonight. It was crazy and wonderful to be back after three years,” wrote the singer, who first came to Osheaga in 2022, on Instagram, clearly sharing her fans’ disappointment but also their joy.

Crédit photo: Osheaga

Garage Punk / Glam Rock / Pop

Osheaga : The Beaches au parc Jean-Drapeau

by Rédaction PAN M 360

Le groupe canadien The Beaches mêle un garage pop audacieux à l’éclat du glam rock et à l’attitude des girl groups. Formé alors que ses membres étaient encore au secondaire, le groupe voit son style punk-pop sucré s’affirmer au fil des sorties, évoluant vers un son plus musclé, inspiré du rock des années 1970. Leur premier album, Late Show (2017), attire l’attention et leur vaut un prix Juno. Elles remportent un second Juno en 2022 pour la compilation Sisters Not Twins (The Professional Lovers Album). En 2023, leur deuxième album, Blame My Ex, entre dans le Top 100 du classement canadien des albums, porté par le succès viral du single Blame Brett.

Canadian group the Beaches blend brash garage pop with glam rock flash and girl group attitude. They formed while the members were in high school, and their sugary punk-pop sound coalesced into something tougher and more ’70s-inspired as they released more singles. Their 2017 debut album, Late Show, made enough of a splash to win them a Juno Award. They took home another Juno in 2022 for the compilation album Sisters Not Twins (The Professional Lovers Album). In 2023, they hit the Top 100 of the Canadian Albums Chart with their sophomore long-player, Blame My Ex, which featured the viral hit “Blame Brett.”

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Alternative Rock / Indie / Post-Punk

Osheaga : Royel Otis au parc Jean-Drapeau

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Mêlant une pop indie ensoleillée et détendue à des influences du rock alternatif des années 1990 et du post-punk des années 2000, le duo australien Royel Otis a suscité l’enthousiasme de la critique tout en attirant l’attention des classements. Ils se font connaître en 2023 grâce à une reprise virale de Murder on the Dance Floor de Sophie Ellis-Bextor, ce qui contribue à propulser leur premier album Pratts & Pain (2024) dans le Top 10 de l’ARIA Albums Chart. En 2025, ils reviennent avec Hickey, porté par le succès du single Moody.

Blending sunny, laid-back indie pop with ’90s alternative and 2000s post-punk influences, Australian duo Royel Otis have garnered critical buzz and chart attention. They broke through with a 2023 viral cover of Sophie Ellis-Bextor’s “Murder on the Dance Floor,” helping push their 2024 full-length debut, Pratts & Pain, into the Top Ten of the Aria Albums Chart. In 2025, they returned with Hickey, featuring the hit “Moody.”

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électro-indie / R&B

Osheaga : Jamie xx au parc Jean-Drapeau

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Beatmaker et producteur constamment innovant, Jamie xx a contribué à façonner le son du XXIe siècle, tant avec son groupe The xx — lauréat du Mercury Music Prize — qu’en solo. Le subtil mélange d’indie, de R&B et de musique électronique qu’il a développé avec The xx a fait de lui un remixeur très sollicité, collaborant notamment avec Adele, Florence + the Machine ou encore Gil Scott-Heron, comme en témoigne l’album audacieux We’re New Here (2011). En solo, Jamie xx s’affranchit de la retenue caractéristique de ses projets collectifs pour mieux rendre hommage à la puissance de la musique dance, capable de faire vibrer les corps autant que les cœurs. Sur des titres comme Under One Roof Raving (2014) et son premier album In Colour (2015), il déploie un savant équilibre entre énergie rythmique et atmosphères contemplatives, dans un style à la fois inventif et évocateur. Des morceaux plus percutants comme Idontknow (2020) ou festifs comme Let’s Do It Again (2022) ont préparé le terrain pour In Waves (2024), album sur lequel Jamie xx conjugue grooves irrésistibles et émotions réfléchies avec une maîtrise remarquable.

A consistently innovative beatmaker and producer, Jamie xx has helped shape the sound of the 21st century with his Mercury Music Prize-winning group the xx and on his own. The subtle blend of indie, R&B, and dance he crafted with the xx made him a sought-after remixer for artists such as Adele, Florence + the Machine, and Gil Scott-Heron, as on 2011’s boundary-breaking We’re New Here. As a solo artist, Jamie xx tempered the restraint of his other work with his reverence for dance music’s power to move bodies and hearts. On singles like 2014’s “Under One Roof Raving” and 2015’s full-length In Colour, his artful blend of the kinetic and the atmospheric was inventive and evocative. With 2020’s hard-edged “Idontknow” and 2022’s festival-ready “Let’s Do It Again” paving the way for 2024’s In Waves, Jamie xx balanced crowd-pleasing grooves and thoughtful moods with an expert touch.

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Pop

Osheaga : Olivia Rodrigo au parc Jean-Drapeau

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En insufflant l’authenticité de sa vie dans des chansons auxquelles beaucoup peuvent s’identifier, Olivia Rodrigo a connu un succès fulgurant et historique. Son tube Driver’s License sorti en 2021, suivi des singles Deja Vu et Good 4 U, a fait d’elle la plus jeune artiste à atteindre la première place du Billboard Hot 100, et la première à voir ses trois premiers singles entrer directement dans le Top 10 de ce classement.
Cette popularité phénoménale a préparé le terrain pour Sour, son premier album, certifié multi-platine et récompensé aux Grammy Awards. Mêlant pop, folk et rock alternatif, Sour capture avec une intensité poignante, rebelle et pleine d’esprit les hauts et les bas d’une jeune femme qui exprime sans filtre qui elle est, ce qu’elle ressent et ce qu’elle désire. Olivia Rodrigo a poursuivi dans cette veine avec davantage de maturité sur GUTS, son deuxième album sorti en 2023, nommé aux Grammy Awards et porté par le single Vampire, qui s’est hissé au sommet des classements.

By bringing the authenticity of her life to her relatable songs, Olivia Rodrigo has achieved record-breaking success. Her 2021 smash hit “Driver’s License” and subsequent singles “Deja Vu” and “Good 4 U” made the singer/songwriter the youngest artist ever to top the Billboard Hot 100, and the first artist to have their first three singles debut in the Top Ten of that chart.
These extraordinarily popular songs paved the way for Rodrigo’s multi-platinum, Grammy-winning debut album, Sour. Its heartbroken, defiant, and witty mix of pop, folk, and alternative rock captured the highs and lows of a young woman fearlessly expressing who she is, how she feels, and what she wants — themes she approached with more maturity on 2023’s Grammy-nominated GUTS and its chart-topping single “Vampire.”

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Hip Hop / Neo-soul

Osheaga : Tyler, the Creator au parc Jean-Drapeau

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Tyler, The Creator est un rappeur et producteur surtout reconnu pour sa voix grave et rocailleuse ainsi que pour son tempérament irascible, digne d’un garagiste bourru. Il a émergé à la fin des années 2000 comme membre fondateur d’Odd Future, un collectif de rap alternatif excentrique formé d’adolescents, qui a peu à peu conquis le grand public en donnant naissance à une multitude de projets connexes. La plupart de ces enregistrements — dont Earl d’Earl Sweatshirt, The OF Tape, Vol. 2 (classé dans le Top 10) d’Odd Future, et Channel Orange de Frank Ocean, couronné aux Grammy Awards — ont été réalisés avec la forte implication de Tyler.
Au cœur de cette effervescence, Tyler a entamé une carrière solo marquée par des albums aux styles oscillant joyeusement entre la provocation crue et le raffinement subtil, brouillant parfois les frontières entre ces deux extrêmes. Ses quatre premiers albums — Goblin (2011), Wolf (2013), Cherry Bomb (2015) et Flower Boy (2017) — ont tous débuté dans le Top 5 du classement Billboard 200. L’accueil enthousiaste réservé à l’album kaléidoscopique Flower Boy, succès classé numéro deux et nommé aux Grammy Awards dans la catégorie Meilleur album rap, a ouvert la voie à un triomphe critique et commercial avec IGOR (2019) et CALL ME IF YOU GET LOST (2021). Ce dernier a élargi encore davantage la palette stylistique de Tyler, tout en réaffirmant son attachement au hip-hop par une approche lyrique brute et authentique.

Tyler, The Creator is a rapper and producer distinguished above all other singular qualities by his gravelly voice and an irascible disposition befitting a collision-shop owner. He appeared in the late 2000s as a founding member of Odd Future, an outlandish teenaged alternative rap crew that gradually permeated the mainstream as it begat a multitude of related projects. Most of these recordings, including Earl Sweatshirt’s Earl, Odd Future’s Top Ten The OF Tape, Vol. 2, and Frank Ocean’s Grammy-winning Channel Orange, were made with Tyler’s deep involvement.
Amid this whirlwind, Tyler started building a solo discography that has gleefully swung from purposefully distasteful and crude to charming and sophisticated, sometimes blurring the distinction between the extremes. Goblin (2011), Wolf (2013), Cherry Bomb (2015), and Flower Boy (2017), his first four solo albums, all debuted within the Top Five of the Billboard 200. The widespread embrace of the kaleidoscopic Flower Boy, a number two hit nominated for a Grammy in the category of Best Rap Album, led to chart-topping, Grammy-winning success with IGOR (2019) and CALL ME IF YOU GET LOST (2021). The latter lengthened Tyler’s stylistic reach while reaffirming his devotion to hip-hop with a raw lyrical approach.

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Pop

Osheaga : Mark Ambor au parc Jean-Drapeau

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Chanteur et auteur-compositeur, Mark Ambor se distingue par ses chansons romantiques pleines d’entrain, souvent porteuses de messages réconfortants et optimistes. Il se fait connaître à la fin des années 2010 grâce à sa présence sur les réseaux sociaux, puis sort la compilation de singles Hello World en 2022. C’est toutefois avec Belong Together, un hymne entraînant et rythmé figurant sur son album Rockwood (2024) et classé au Billboard Hot 100, qu’il accède à une plus large reconnaissance.

Singer and songwriter Mark Ambor’s ebullient relationship songs tend to favor uplifting, reassuring messages. He emerged in the late 2010s, finding support on social media, and releasing the singles collection Hello World in 2022. However, it was his bouncy, foot-stomping, Hot 100 anthem “Belong Together,” off 2024’s Rockwood, that garnered him wider attention.

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