DJ set / Electronic / Indigenous peoples

Présence Autochtone : DJ Pøptrt aux Jardins Gamelin

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 Indigenous artist originating from the Mohawk Nation of Kahnawá:ke. Her sound combines her Kanien’kehá:ka heritage with contemporary electronic music, culminating in a truly unique and captivating aesthetic. Pøptrt’s journey as an artist began in 2015 when she delved into the world of media and art in Montréal, where she swiftly gained prominence as a rising multidisciplinary artist in the industry. Her dynamic sets span across many styles of house, tech house, disco house and more. Pøptrt’s art seamlessly merges 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, Igloofest and more. As a trailblazer in the Canadian music and visual art scene, Pøptrt has garnered widespread recognition for her exceptional talent and unique perspective. Her artistic vision has earned her numerous accolades and has inspired audiences across Canada to embrace their cultural heritage and creative passions.

CE SPECTACLE EST GRATUIT!

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

danse / DJ set / Middle Eastern

Festival Orientalys : Iran en feu – danse et lumière au Quai de l’Horloge

by Rédaction PAN M 360

Dans un souffle incandescent de grâce et de puissance, la troupe de danse SimorK, Jwan et Toucheh embrasent la scène avec une fougue chorégraphique irrésistible. Issues des racines profondes de la culture iranienne, elles réinventent l’héritage des danses traditionnelles en un tourbillon de mouvements poétiques et exaltés. Des pas ciselés comme la calligraphie, des gestes amples comme les dunes du désert, des regards chargés d’histoire : chaque tableau est une offrande à la mémoire vive d’un peuple, un corps à corps vibrant entre passé et présent.
Costumes flamboyants, port de tête royal, précision du geste – tout évoque un monde ancien réanimé sous les projecteurs, un chant muet venu des montagnes du Kurdistan jusqu’aux confins du Golfe Persique. À travers leurs chorégraphies éclatantes, ces trois troupes portent la voix d’une Iran plurielle, ardente, indomptable.
Et quand la scène se charge de brume et de faisceaux colorés, l’énergie devient électrique. DJ Sam sera présent sur scène, enveloppant les performances d’une ambiance électrisante. Avec ses rythmes percutants, ses lumières vibrantes et ses mixes envoûtants, il transforme l’espace en une véritable fête, rappelant l’énergie des nuits de Téhéran. Il accompagne les danseurs dans une montée en intensité où la musique amplifie chaque mouvement, chaque émotion.
Un moment brûlant d’intensité où les traditions s’enlacent à l’audace, où chaque pulsation, chaque envolée chorégraphique, chaque éclair de lumière devient le souffle vibrant d’un Iran fier, multiple et intensément vivant.

In an incandescent breath of grace and pizzazz, the dance troupe SimorK, Jwan et Toucheh embrace the stage with a whirlwind of irresistible choreography.
Deeply rooted in Iranian culture, they reinvent the heritage of traditional dance through a torrent of poetic and exalted movement. Their steps are as intricate as calligraphy, their gestures as sweeping as desert dunes, their gazes filled with history. Each scene is an offering to the living memory of a people a vibrant, visceral dialogue between past and present.
Flaming costumes, regal poise, a precision of gesture; everything evokes an ancient world brought back to life under the spotlight, a silent song rising from the mountains of Kurdistan to the far reaches of the Persian Gulf. Through prismatic choreographies, these three troupes carry the voice of a plural, passionate, and untamable Iran.
And when the stage carries golden beams, the air turns electric. DJ Sam will be present on stage, wrapping the performances in a kinetic atmosphere
With percussive rhythms, vibrant lights, and hypnotic mixes, he transforms the space into a true celebration, echoing the energy of Tehran’s nightlife. He accompanies the dancers in a rising wave of intensity, where music amplifies every movement and emotion.
A moment burning with intensity, where tradition intertwines with boldness, where each pulse, each choreographic flight, each flash of light becomes the vibrant breath of a proud, plural, and fiercely alive Iran.

CE SPECTACLE EST GRATUIT!

Ce contenu provient du Festival Orientalys et est adapté par PAN M 360

Classical

Festival de Lanaudière | A Lanaudière magic named Nagano

by Frédéric Cardin

Last Friday, August 1st, the Amphithéâtre de Lanaudière hosted the OSM, and especially Kent Nagano as its conductor, in a return that could almost be described as triumphant. The audience was waiting for him and was probably ready to applaud any performance by the conductor. Fortunately, Kent Nagano offered a very beautiful musical interpretation of three rich works in terms of color and polyphonic language.

For the colors, Debussy’s Rhapsody for Clarinet and Orchestra in B-flat Major, L. 116, with Todd Cope, solo clarinetist of the OSM, fulfilled the beautiful promises of a rich and wonderfully colorful score. The numerous interpretive pitfalls in the score were well-handled and even enhanced by the soloist’s notable ease, to whom the guest conductor provided skillful and nuanced orchestral support.

As the opening piece, Webern’s Op. 1, the Passacaglia in D minor received the treatment it deserved, with a very beautiful breadth of strings, still tinged with Romanticism, doubled by more modernist/impressionistic contrapuntal voices in the woodwinds. Webern had not yet crossed the bridge to atonality, which makes this Passacaglia still eminently accessible to the general public, while also allowing them to become acquainted with a premonition of the refined complexity of this composer’s language.

The concert, performed without an intermission, concluded with Symphony No. 3 in F major, Op. 90, with its great polyphonic richness and magnificent themes and melodies. I was wondering if Kent Nagano would present us with Brahms’ historically informed vision, such as what we hear in his recording of the same work on the BIS label, which was released a few weeks ago. I was talking to you then, in the album review (READ HERE), about the great freedom of movement, the rhythmic ease, the airy breath of the voices that the conductor brought to the reading of this music. Although recently released, the recording in question dates back to 2019. Over all this time, Nagano has had plenty of time to refine his vision. So, what was it like? Well yes, what you hear on the album is definitely there, with even more conviction and oxygen. The very famous third movement, Poco allegretto, collectively lifted us up with its poignant melody and the natural tenderness with which the conductor brought it to life. A beautiful magic that everyone gathered was able to capture and feel.

Sustained applause forced Kent Nagano to return to the stage six times. The public loves him, and if you’d like to learn more about his perception of the affection between him and Quebec, in addition to his vision of Brahms, LISTEN TO THE INTERVIEW I CONDUCTED WITH KENT NAGANO HERE.

Arabic / DJ set

Festival Orientalys : DJ Sajed au Quai de l’Horloge

by Rédaction PAN M 360

À seulement 15 ans, DJ Sajed impose déjà son style unique, tout en suivant les traces de son paternel DJ Omar. Avec une maîtrise étonnante, il fusionne les vibrations modernes de la scène arabe pour enflammer la scène.
Sur ses platines, il capte l’essence du moment pour créer une énergie irrésistible, entraînant le public dans un tourbillon musical vibrant et spontané. Préparez-vous à vivre une expérience rythmée et pleine de fraîcheur. La relève est assurée!

At just 15 years old, DJ Sajed already stands out with his unique style, following in the footsteps of his father, DJ Omar. With remarkable skill, he blends the modern vibes of the Arab music scene to set the stage on fire.
Behind his decks, he captures the spirit of the moment, creating an irresistible energy that sweeps the crowd into a vibrant and spontaneous musical whirlwind. Get ready for a fresh and rhythmic experience. The future is in great hands !

CE SPECTACLE EST GRATUIT!

Ce contenu provient du Festival Orientalys et est adapté par PAN M 360

chanson française / hommage

Hier encore… par Clément Courtois à la salle Claude-Léveillée

by Rédaction PAN M 360

Lancement d’album! Venez voyager au cœur de la chanson française, lors d’un concert acoustique intime, où la poésie des mots et la pureté des mélodies se rencontrent.
Redécouvrez des classiques et des pépites moins connues, réinventées pour vous en toute simplicité.

Album launch! Come and journey to the heart of French song during an intimate acoustic concert, where poetic lyrics and pure melodies come together.
Rediscover classics and lesser-known gems, reinvented for you with simplicity.

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

musique de film

L’univers symphonique du cinéma | Hommage à Joe Hisaishi à la salle Wilfrid-Pelletier

by Rédaction PAN M 360

Plongez dans l’univers enchanteur du Studio Ghibli à travers la musique inoubliable de Joe Hisaishi, compositeur emblématique derrière les chefs-d’œuvre d’Hayao Miyazaki.
Sous la direction du maestro Francis Choinière, l’Orchestre FILMharmonique vous propose un voyage orchestral à travers des bandes originales inoubliables : Le Voyage de Chihiro, Mon Voisin Totoro, Princesse Mononoké, Le Château ambulant, Nausicaä de la Vallée du Vent, et bien d’autres classiques intemporels.
Revivez les moments magiques de ces œuvres célébrées dans un hommage orchestral saisissant qui ravira petits et grands!

Rediscover the enchanting world of Studio Ghibli through the unforgettable music of Joe Hisaishi, the iconic composer behind the beloved films of Hayao Miyazaki.
Under the baton of maestro Francis Choinière, the FILMharmonique Orchestra presents an orchestral journey through unforgettable soundtracks: Spirited Away, My Neighbor Totoro, Princess Mononoke, Howl’s Moving Castle, Nausicaä of the Valley of the Wind, and other timeless classics.
Relive the magical moments of these celebrated scores in a breathtaking orchestral tribute for audiences of all ages!

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

classique / Électro

One More Time | Hommage électro-symphonique à Daft Punk à la salle Wilfrid-Pelletier

by Rédaction PAN M 360

One More Time, l’hommage électro-symphonique à Daft Punk est bien plus qu’un concert : c’est une véritable expérience inédite, dédiée au plus légendaire duo français de la musique contemporaine.
Pour la première fois, un orchestre symphonique complet se joint à une création électronique et lumineuse d’envergure, pour offrir au public un spectacle à la croisée du son et de la lumière.
Interprété par Barnev, accompagné de l’Orchestre FILMharmonique sous la direction de Francis Choinière, ce spectacle rend hommage à l’univers visionnaire de Daft Punk, dans toute sa richesse sonore et esthétique.

One More Time is far more than a concert – it is a groundbreaking electro-symphonic experience dedicated to one of the most legendary French duos in contemporary music.
For the first time ever, a full symphony orchestra joins forces with a large-scale electronic and lighting creation to deliver a total performance at the crossroads of sound and light.
Performed by Barnev, accompanied by the FILMharmonique Orchestra conducted by Francis Choinière, this show pays tribute to Daft Punk’s visionary universe in all its sonic and aesthetic richness.

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

Avant-Garde / classique / Jazz

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

Symphonic Metal

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

by Rédaction PAN M 360

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!

POUR ACHETER VOTRE BILLET, C’EST ICI!

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

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