Rouyn-Noranda

Indie Rock / jangle pop / Psych-Rock / Psychedelia

FME 2026 I Corridor, A Psychedelic Indie Rock Ouroboros

by Stephan Boissonneault

Montreal’s jangly indie rock stalwarts, Corridor, took the Petit Theatre audience on a wild ride of hazy introspection on Friday night. The four-piece jammed countless tracks from their latest LP, Mimi, and drew out moments of uninterrupted sound, putting us all in a sense of uneasy seclusion. If I had to equate it, it felt like staring directly into the sun and just letting it all go. Labyrinthine vocals and endless riffing repetitions, the ouroboros consuming itself in real time.

The four-piece, made up of vocalist and bassist Dominic Berthiaume, guitarist Julian Perreault, guitarist and vocalist Jonathan Robert and drummer Julien Bakvis, with the addition of multi-instrumentalist Samuel Gougoux live, has never been tighter. Even during the truly chaotic moments of noise and guitar wankery, Berthiaume would give Robert a little nod, and the group would suck it all back in.

This band is 11 years old, and their live performance shows it. We had to give a bit of props to the visuals, created, of course, by the projection wizard himself, Anthony Piazza. During “Jump Cut,” for example, visuals of track and field high jumps morphed with dollar bills and a strange eye exam. It just fit the vibe of the song. Corridor’s music has always been psychedelic, but the visuals truly opened up the third eye. When the lights came up, there was that particular quiet that follows a good gut-punch of a show—when the applause takes a second too long to start because everyone’s still somewhere else. Corridor have found the pocket between pure chaos and rehearsed bliss.

Garage Rock / Indie Rock / Post-Punk

FME 2026 I Iguana Death Cult Converts the Non-Believers

by Stephan Boissonneault

There’s really nothing quite like a sweaty and high-octane garage rock show, especially at 1:15 a.m. in far North Quebec. Iguana Death Cult, a group hailing from Rotterdam in South Holland, clearly brought the heat to their early-morning set. From the moment of the first bluesy riff, frontman Jeroen Reek, who looks like a more approachable Stone Cold Steve Austin, wailed on the microphone, his powerful voice echoey off the Pazzo bar ceiling and walls.

Iguana Death Cult’s music on paper is actually quite simple—some garagey punk riffs here, thundering bass there, batshit drum fills—but it’s in their tenacity and unrelenting vibe where they shine. The band isn’t a band, so much as a fever dream with a chaotic rhythm section—similar to Parquet Courts with a touch of Viagra Boys and The Damned.

Songs from the latest album, Guns Out, consistently bleed into each other after Reek spits a mist of beer into the air. I swear they crashed through about 20 songs in 40 minutes, which is just unheard of. The IDC boys also had some call-and-response from the audience during “I Like It, It’s Nice.”

By the time they tore into “Supreme Leader,” Reek had abandoned any pretense of standing still, his mic stand tilted and clinging for life like a felled tree, while bassist Sam Pols was locked into a groove so filthy it should have come with a “caution” sign. The crowd, sardined and sleep-deprived, didn’t care that it was well past any reasonable hour—they moshed like the sun was never coming up.

After the set, the room was drenched, deafened, and grinning. Pazzo’s ceiling may never fully recover from the echo of Iguana Death Cult, but neither will anyone who was standing under it.

Alt Folk / Indie Pop / Pop-Rock

FME 2026 : Vincent Khouni au QG Salle de spectacles

by Rédaction PAN M 360

Leader du groupe rock garage montréalais Double Date with Death (DDWD), Vincent Khouni a pris le large en solo, tel un message confié aux vagues, pour explorer un univers plus intime. Avec le multi-instrumentiste Emmanuel Alias (ALIAS) à la batterie et à la réalisation, il compose une musique située quelque part entre la chaleur analogique de la fin des années 60 et l’expérimentation contemporaine. Artiste visuel à temps perdu (collage, peinture), Khouni aime jouer avec les images, les mots et leurs résonances. Après des expositions à Montréal et en Europe, ainsi que des collaborations avec divers magazines, il transpose son sens du collage à la chanson, traitant chaque morceau comme une toile à peindre. Autant à l’aise en français qu’en anglais, Khouni enrichit sans cesse sa palette sonore, façonnant des chansons où la texture et l’atmosphère priment autant que la mélodie. En septembre 2023, il dévoile 8:12pm, un premier album salué par Le Devoir comme « une dose de réconfort ». Sur scène, il partage son univers lors de concerts marquants (Coup de cœur francophone, Les Francouvertes, premières parties de Bon Enfant, Alex Burger, Bibi Club, Alphonse Bisaillon, LARAW, Yuma Abe). En 2026, Vincent revient avec Accident, un EP de quatre titres façonnés avec Emmanuel Alias. Plus sombre, ce projet navigue entre pop alternative et électro planante, teintée de touches post-rock. Des rythmiques électroniques se mêlent à des synthés “dreamy” et à des guitares texturées. Inspirés de ses contemporains comme Flavien Berger James Blake ou d’autres Bon Iver, l’auteur-compositeur poursuit son odyssée musicale. Avec Accident, Khouni une ligne claire entre poésie et modernité, là où les émotions se fondent dans la matière sonore.

Leader of the Montreal garage rock band Double Date with Death (DDWD), Vincent Khouni took off on his own, like a message entrusted to the waves, to explore a more intimate universe. With the multi-instrumentalist Emmanuel Alias (ALIAS) on drums and at the direction, he composes a music somewhere between the analog warmth of the late 60s and contemporary experimentation. A visual artist in his lost time (collage, painting), Khouni likes to play with images, words and their resonances. After exhibitions in Montreal and Europe, as well as collaborations with various magazines, he transposes his sense of collage to the song, treating each piece like a canvas to paint. Equally at ease in French and English, Khouni constantly enriches his sound palette, shaping songs where texture and atmosphere are as much a priority as melody. In September 2023, he unveiled 8:12pm, a first album hailed by Le Devoir as “a dose of comfort”. On stage, he shares his universe during memorable concerts (Coup de coeur francophone, Les Francouvertes, opening acts of Bon Enfant, Alex Burger, Bibi Club, Alphonse Bisaillon, LARAW, Yuma Abe). In 2026, Vincent returns with Accident, an EP of four tracks crafted with Emmanuel Alias. Darker, this project navigates between alternative pop and soaring electro, tinged with post-rock touches. Electronic rhythms mix with “dreamy” synths and textured guitars. Inspired by his contemporaries such as Flavien Berger, James Blake or other Bon Iver, the songwriter continues his musical odyssey. With Accident, Khouni draws a clear line between poetry and modernity, where emotions merge into sound material.

CE SPECTACLE EST GRATUIT!

Ce contenu provient du Festival de musique émergente en Abitibi-Témiscamingue et est adapté par PAN M 360

Electro-Rock / Pop-Rock

FME 2026 I Max Baby is an Indie Sleeze Elf

by Charly Blais

I guess being born with a name like Max Baby, you kind of have to grow up to be a showman. With pointed ears peeking out between dark, grown-out locks, Baby delivered his explosive electronic rock to Rouyn-Noranda’s Petit Theatre like an indie sleeze Christmas elf.

Alternating bursts of stalking and stumbling around the stage with airborne solos at the precipice, this show was fun to watch from start to finish. The sound was reminiscent of a darker Phoenix, and talented touring bassist Félix Ramaën kept everything grounded and pulsing, while Baby’s blown-out guitar tone almost sounded like a keyboard.

At times, Baby seemed a little disappointed in a perceived lack of verbal enthusiasm from the audience, but that didn’t stop him from leaving his guitar behind to jump into the crowd and demand a response, singing passionately as he flailed through bodies to launch himself off a table at the back of the room. As he repeats in one catchy song, Max Baby made it clear he believes he “can do anything” and is damn well going to try.

Garage Punk / Grunge

FME 2026 I Birds of Prrrey’s Grungey Siren Call

by Saleh Balfaqih

“I know you think of me when you reach second base,” quipped Clarence Tremblay, frontwoman of Montreal three-piece soft grunge band, Birds of Prrrey, as they kicked off this year’s FME main stage. It’s not a bad way to introduce yourself and it certainly caught my attention. Based in Montreal, Birds of Prrrey have been a staple of the local scene for the past few years, but somehow I’ve never gotten around to seeing them live. They recently dropped their debut album, Peace Love Homicide. It’s a dreamy, soft-grunge banger of an album with punk and Riot Grrrl elements (two genres and sounds that’s have been foundational to who they are). All I can say is I’ve been missing out. 


I’ll admit I’ve always had a soft spot for a three-piece band. There’s something I really like about a trio getting so much out of so little. And they killed it. They produced a wall of sound that enveloped the Main Stage. Noelle Inniss, hunched over her drum set, brought an intensity and energy that drove the whole thing forward. Grace Spitzley, on bass, had this hypnotic quality with her bass riffs. For me though, what really elevated the band’s performance was Tremblay. Her vocals were hauntingly beautiful. Her wailing invoked a sense of yearning and pining within me that made me reminisce about all of my past romantic failings. It’s a tough and thankless job to open a festival’s main stage. The crowd is sparse, the mood hasn’t really been set yet, and the pressure is on to set the tone. Birds of Prrrey did just that—their set acting like a siren’s call slowly pulling people towards the stage.

disco funk / Italo Disco / Jazz-Funk / Post-Punk

FME 2026 I Choses Sauvages: Where the Wild Things Are

by Lyle Hendriks

Blending ‘80s Italia-glam and a primal, self-aware machismo of the future, Choses Sauvages never fails to electrify a crowd. Headed by the ever-animalistic Félix Bélisle (who was in his finest Freddy Mercury look for FME’s Thursday night), the Saint-Eustache/Montreal funk-punking supergroup takes pleasure in firebombing the dancefloor, demanding motion and mayhem with each long, shapeshifting song.

Each Choses Sauvages cut is an unassuming trapdoor leading to a new subterranean wonder realm of pure sensation. What starts as a funky, four-on-the-floor beat transforms before our eyes, zig-zagging through moments of screamo, hard rock, Prince-esque seduction anthems, and back to that irresistible funk sound at its centre. It’s impossible to keep track, feeling less like a setlist and more like a wall of TVs switched to clashing yet strangely resonant frequencies.

Adding to the frenetic, Quebec-infused tones that Choses Sauvages is so known for was the guest addition of Montreal post-punk Alix Fernz on guitar. His usual angular, juxtaposing style is mellowed slightly here, leaning into the soul and the feeling in a symbiotic push-and-pull with full-time member Marc-Antoine Barbier. Locking it down throughout is Charles Primeau on bass, each nasty little riff coaxing a little more, more, more out of the fast-rising crowd.

Bélisle himself never disappoints on vocals, showing off raw power and endurance with hair-raising high notes and ferocious, growling passages alike. Like the rest of the songs, his cadence and delivery can change at a moment’s notice, stretching and pulling until it snaps like a brittle rubber band, slingshotting the whole outfit into another danceworthy instrumental break to take us home. At FME 2026, Choses Sauvages showed us the power and grace of celebrating music, not just playing it.

Experimental / Contemporary / Noise / Noise-Pop

FME 2026 I Camilla Sparksss Brings the Noise

by Stephan Boissonneault

Usually the weird noise artist is booked a little later in the FME roster, so we all have a moment of reprieve to truly take in the abstract magical energy given off by a place like Rouyn-Noranda. But the FME bookers and Mothland really pulled out the experimental stop early with Camilla Sparksss.

As we entered the Petit Theatre, I felt slightly drunk, not due to the four or five beers prior, but because of the MC Escher-vibed electronic loop Camilla Sparksss was blasting. The synthesized riff seemed to be cannibalizing itself in real time and throwing me off my axis. I heard one person say, “I hate this,” while another said, “This is my vibe.” Either way, it was a bit off-putting and difficult to take in, and I felt like I was falling up some confusing stairs.

Camilla Sparksss is a Swiss-Canadian noise artist who drops heavy beats, ear-piercing synth lines, and razor-toothed vocals about drunken love, hate, and apathy. At times, her set felt very Berlin club-coded, and others it was more like a shoegaze show. She was constantly moving, as if she had four arms extending from her black dress, jumping between the two turntables, two samplers, and a metric shit ton of effects pedals. At one point, Camilla’s backdrop became rotoscoped as she screamed “I Like the Noise.” Her vibe also reminded me of Toronto noise punks, SLASH/NEED—another FME alumni.

It’s these kinds of noise shows that both unite and conflict a festival crowd. I’m sure most people have no idea who or what Camilla Sparksss is, but for the ones who did witness her, we will all remember it.

Garage Punk / Noise Rock / Punk Rock

FME 2026 : FIN DE SOIRÉE – Thee Soreheads et Dogo Suicide à l’Agora des Arts

by Rédaction PAN M 360

Dogo Suicide (1h)

Dans l’esprit que chaque concert pourrait être le dernier – un groupe nommé Dogo Suicide a toutes les raisons du monde de mourir prématurément – le trio noise rock de Québec s’est rapidement fait remarquer autant pour ses prestations déchainées que pour l’odeur de plastique brûlé qui empeste les salles à leur sortie de scène ; la légende veut que les amplis de basse seraient allergiques aux malveillants powerchords de leur bassiste. Tout en étant inspiré par l’ambiance des tavernes mal famées de la basse-ville de Québec, le trio se plaît à naviguer parmi les influences multiples de ses membres tout en jouant avec les codes du punk avec désinvolture et impétuosité. Les chroniqueurs, journalistes et podcasteurs ont toujours éprouvé une certaine difficulté à qualifier le genre musical de Dogo Suicide. Voici enfin une réponse éclairée : post-toute mais assez punk dans l’ensemble. Mention honorable à la bienveillante chroniqueuse qui a un jour dit que « les restreindre à un groupe de punk serait l’équivalent d’affirmer que les Mr.Puffs ne sont qu’un dessert.» Même s’il n’a pas encore fait paraître son premier album, Dogo Suicide embrasse sa tendance hyperactive depuis la sortie de son premier EP « Sexe pour les yeux » en septembre 2021. En effet, le jeune trio s’est depuis présenté sur scène près de 100 fois et a fait paraître plusieurs EPs qui furent tous nominés au Gala alternatif de la Musique indépendante Québécoise.

In the spirit that every concert could be the last – a band named Dogo Suicide has all the reasons in the world to die prematurely – The noise rock trio from Quebec was quickly noticed as much for their wild performances as for the smell of burnt plastic that fills the halls when they leave the stage; legend has it that bass amps are allergic to their bassist’s malicious powerchords. While being inspired by the atmosphere of the unfamous taverns of Lower Town, the trio likes to navigate among the multiple influences of its members while playing with punk codes with casualness and impetuosity. Chroniclers, journalists and podcasters have always found it difficult to describe the musical genre of Dogo Suicide. Here is finally an enlightened answer: post-all but quite punk overall. Honorable mention to the benevolent columnist who once said that “restricting them to a punk band would be the equivalent of saying that Mr.Puffs are just a dessert.” Even though he has not yet released his first album, Dogo Suicide embraces his hyperactive trend since the release of his first EP “Sex for the eyes” in September 2021. Indeed, the young trio has since appeared on stage nearly 100 times and released several EPs that were all nominated at the Gala alternatif de la Musique indépendante Québécoise.

Thee Soreheads (00h)

Formé à Montréal en 2023, Thee Soreheads est un groupe punk à front féminin construit autour de guitares bruyantes, de hooks accrocheurs et d’une tolérance zéro pour les conneries. Chantant en anglais, et en espagnol, le groupe écrit des chansons rapides et bruyantes sur la masculinité toxique, le sexisme, la frustration et le chaos général de la vie. Inspiré par l’énergie brute de Bikini Kill, Thee Headcoats et le swagger complètement déjanté de Amyl and the Sniffers, Thee Soreheads amène intensité, humour et un vrai esprit DIY à chaque show. 2025 a marqué une grosse année pour le groupe avec la sortie de leur premier EP, I’m Not Your Fucking Sex Doll, ainsi qu’une première partie pour GrimSkunk lors d’un spectacle à guichets fermés au MTELUS. Depuis, ça ne fait que monter. En 2026, le groupe a joué au Taverne Tour, remporté le Prix du Public au Cabaret Festif!, donné un show à guichets fermés aux Foufounes Électriques diffusé en direct sur Radio-Canada, et brassé la cage au Sled Island à Calgary. Avec plusieurs festivals au Québec et en Ontario déjà derrière elles et encore beaucoup de bruit à faire, Thee Soreheads ne font que commencer.

Formed in Montreal in 2023, Thee Soreheads is a women’s-front punk band built around loud guitars, catchy hooks, and zero tolerance for bullshit. Singing in both English and Spanish, the band writes fast and loud songs about toxic masculinity, sexism, frustration and the general chaos of life. Inspired by the raw energy of Bikini Kill, Thee Headcoats and the completely crazy swagger of Amyl and the Sniffers, Thee Soreheads brings intensity, humor and a real DIY spirit to each show. 2025 marked a big year for the band with the release of their debut EP, I’m Not Your Fucking Sex Doll, as well as an opening act for GrimSkunk during a sold-out show at MTELUS. Since then, it’s only been getting better. In 2026, the group played at the Taverne Tour and won the Audience Award at the Cabaret Festif! , gave a sold-out show to Les Foufounes Électriques broadcast live on Radio-Canada, and brewed the cage at Sled Island in Calgary. With several festivals in Quebec and Ontario already behind them and still a lot of noise to make, Thee Soreheads have only just begun.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient du Festival de musique émergente en Abitibi-Témiscamingue et est adapté par PAN M 360

acadie / Folk / Pop-Rock

FME 2026 : Écarlate à Les Mooses

by Rédaction PAN M 360

Écarlate est un trio de Moncton formé de Clémence Langlois, Daphnée McIntyre et Samuel LeBlanc. Récompensés à Accros de la chanson, au Gala de la chanson de Caraquet, et remarqués comme demi-finalistes du Festival international de la chanson de Granby, ils séduisent par une musique à la fois lumineuse, poétique et percutante. Leur premier EP Fleur de peau (2023), réalisé par Benoit Morier (Lisa LeBlanc), leur vaut le prix « Enregistrement de l’année » au Prix Musique NB. Avec leur album Coup de soleil (2025), réalisé par Katrine Noël et Mico Roy (Les Hay Babies, Les Hôtesses d’Hilaire), Écarlate affirme une signature sonore où se mêlent harmonies vocales, folk moderne et sensibilité pop.

Écarlate is a trio from Moncton formed by Clémence Langlois, Daphnée McIntyre and Samuel LeBlanc. Awarded at Accros de la chanson, at the Gala de la chanson de Caraquet, and noted as semi-finalists of the Festival international de la chanson de Granby, they seduce with a music that is both bright, poetic and impactful. Their first EP Fleur de peau (2023), produced by Benoit Morier (Lisa LeBlanc), earned them the “Recording of the Year” award at the Prix Musique NB. With their album Coup de soleil (2025), produced by Katrine Noël and Mico Roy (Les Hay Babies, Les Hôtesses d’Hilaire), Écarlate asserts a sound signature where mix vocal harmonies, modern folk and pop sensibility.

CE SPECTACLE EST GRATUIT!

Ce contenu provient du Festival de musique émergente en Abitibi-Témiscamingue et est adapté par PAN M 360

chanson keb franco / Indie Pop / Indie Rock

FME 2026 : Erika Hagen au Café-bar L’Abstracto

by Rédaction PAN M 360

Erika Hagen, alias musical de l’artiste multidisciplinaire Érika Hagen-Veilleux, est un projet intime et fougueux, qui s’inscrit dans la grande famille du indie-rock-folk garage. Inspirée de poètes comme Patrice Desbiens, du courant des Riot Grrrls ainsi que d’artistes comme Courtney Barnett, Adrianne Lenker et Avec pas d’casque, ses chansons sont à la fois irrévérencieuses et tendres. Récemment récipiendaire de la troisième bourse Karim-Ouellet, elle porte son projet sur scène, en quatuor, dans de nombreuses salles et festivals, notamment au Festival St-Roch XP, au Festival OFF de Québec, à Pop Montréal, au Taverne Tour, au Festival de la chanson de Tadoussac, au Festival Le Phoque OFF, ainsi qu’aux Francouvertes 2025. Érika Hagen-Veilleux est une artiste plurielle de la ville de Québec. Diplômée de l’École de cirque de Québec en 2017, sa pratique kaléidoscopique cherche à établir des dialogues entre le corps, la musique et la poésie quotidienne. Principalement mobilisée par la musique depuis 2024, son projet Erika Hagen fait paraître son premier album, Pouvoirs magiques, réalisé par Dany Placard, au printemps 2025.

Erika Hagen, musical alias of the multidisciplinary artist Érika Hagen-Veilleux, is an intimate and fiery project, which fits into the big family of indie-rock-folk garage. Inspired by poets such as Patrice Desbiens, the Riot Grrrls and artists like Courtney Barnett, Adrianne Lenker and Avec pas d’casque, his songs are both irreverent and tender. Recently recipient of the third Karim-Ouellet scholarship, she has been performing her project on stage, as a quartet, in numerous venues and festivals, including the St-Roch XP Festival, the OFF Festival of Quebec, Pop Montreal, the Taverne Tour, the Festival de la chanson de Tadoussac, at the Le Phoque OFF Festival, as well as at the 2025 Francouvertes. Érika Hagen-Veilleux is a plural artist from Quebec City. A graduate of the École de cirque de Québec in 2017, her kaleidoscopic practice seeks to establish dialogues between the body, music and everyday poetry. Mainly mobilized by music since 2024, her project Erika Hagen releases her first album, Pouvoirs magiques, produced by Dany Placard, in spring 2025.

CE SPECTACLE EST GRATUIT!

Ce contenu provient du Festival de musique émergente en Abitibi-Témiscamingue et est adapté par PAN M 360

chanson keb franco / Folk

FME 2026 : Charlotte Cornfield et Philippe B au Paramount

by Rédaction PAN M 360

Philippe B (22h)

Entre la chanson sophistiquée de Cohen, Jacques Brel et Félix Leclerc, le folk rustique de Dylan, Neil Young et Richard Desjardins, la pop acoustique de Simon & Garfunkel et la mélancolie fantomatique de Nick Drake et Elliott Smith, il y a Philippe B, qui nous rappelle toute la profondeur de ce qu’on peut transmettre avec rien de plus qu’une guitare et quelques mots. C’est sur Cigale, septième album paru le 13 mars 2026, qu’on le retrouve à son plus brut et personnel; inspiré par sa jeunesse, Philippe y illustre la réalité d’un musicien en début de carrière qui tente tant bien que mal de gagner sa vie. Ça fait maintenant plus de 20 ans que Philippe B nourrit le Québec de ses précieuses chansons. Reconnu comme l’un de nos plus brillants auteurs-compositeurs-interprètes, l’artiste originaire de Rouyn-Noranda touche par la beauté de ses mélodies, la finesse de ses arrangements et l’intimité désarmante de ses textes. S’il est passé maître dans l’art de l’autofiction, Philippe B n’est pas pour autant un poète hermétique; la simplicité et la précision avec laquelle il réussit à nous faire voir l’universel au travers d’expériences pourtant spécifiques transforme ses chansons en miroirs, au travers desquels on finit toujours par apercevoir une partie de soi. Qu’il soit question de relations amoureuses, du passage du temps ou de son Abitibi natale, le sujet est toujours porté par une plume émouvante et imagée. Suite à deux premiers albums sur lesquels il développe son identité d’auteur-compositeur-interprète au cours des années 2000, sa carrière solo atteint un niveau supérieur avec la sortie de Variations fantômes en 2011. Ce troisième opus est immédiatement acclamé par la critique comme le public, entre autres pour sa réinterprétation de grandes œuvres du répertoire classique, soigneusement échantillonnées pour habiller chaque morceau de sublimes arrangements orchestraux. Variations fantômes s’est retrouvé sur plusieurs listes de fin d’année de médias réputés (Le Devoir, La Presse), en plus d’être listé dans le top 25 des meilleurs albums québécois parus depuis 1990 par le Journal de Montréal et d’être nommé meilleur album de la décennie 2010 par CISM. Ses albums suivants obtiennent aussi une reconnaissance considérable : Ornithologie, la nuit (2014), La grande nuit vidéo (2017) et Nouvelle administration (2023) lui méritent des nominations aux Galas de l’ADISQ (dont une victoire pour le Félix de l’auteur ou compositeur de l’année en 2014), aux JUNOS et sur la longue liste du prix Polaris. Même s’ils suivent tous une recette similaire, chacun de ses albums est habité d’une personnalité qui lui est propre. C’est exactement pour cette familière simplicité que chaque nouvelle sortie de Philippe B est accueillie aussi chaudement : on ne sait jamais exactement sous quel angle il présentera ses histoires, mais on sait qu’on va vivre quelque chose de puissant. Au cours de sa carrière, Philippe B a accumulé les collaborations avec plusieurs artistes talentueux de la scène québécoise, notamment sur les plans de l’écriture (Safia Nolin, Vincent Vallières, Pierre Lapointe, Salomé Leclerc, entre autres) et de la réalisation (Les soeurs Boulay, Émile Bilodeau, Isabelle Boulay), sans oublier son rôle de guitariste auprès de Pierre Lapointe pendant les années 2000. Il se dévoile également dans le domaine du cinéma, en composant la trame sonore de deux films d’Éric Morin, Chasse au Godard d’Abbittibbi (2013) et Nous sommes Gold (2019), ainsi que du documentaire de Dominic Leclerc, Les chiens-loups (2019).

Between the sophisticated song of Cohen, Jacques Brel and Félix Leclerc, the rustic folk of Dylan, Neil Young and Richard Desjardins, the acoustic pop of Simon & Garfunkel and the ghostly melancholy of Nick Drake and Elliott Smith, there is Philippe B, who reminds us of the depth of what can be transmitted with nothing more than a guitar and a few words. It is on Cigale, the seventh album released on March 13, 2026, that we find him at his most raw and personal; inspired by his youth, Philippe illustrates the reality of a musician in the beginning of his career who tries as best he can to earn a living. It’s been more than 20 years now that Philippe B feeds Quebec with his precious songs. Recognized as one of our most brilliant singer-songwriters, the artist from Rouyn-Noranda touches by the beauty of his melodies, the finesse of his arrangements and the disarming intimacy of his texts. If he is a master in the art of autofiction, Philippe B is not for all that an hermetic poet; the simplicity and precision with which he manages to make us see the universal through specific experiences transforms his songs into mirrors, through which one always ends up perceiving a part of oneself. Whether it is a question of romantic relationships, the passage of time or his native Abitibi, the subject is always carried by a moving and pictorial pen. Following the first two albums on which he developed his identity as a singer-songwriter during the 2000s, his solo career reached a higher level with the release of Variations fantômes in 2011.This third opus is immediately acclaimed by critics and the public, among others for its reinterpretation of great works from the classical repertoire, carefully sampled to dress each piece with sublime orchestral arrangements. Variations fantômes has been on several year-end lists of renowned media (Le Devoir, La Presse), in addition to being listed in the top 25 of the best Quebec albums published since 1990 by the Journal de Montréal and being named best album of the decade 2010 by CISM. His following albums also get considerable recognition: Ornithologie, la nuit (2014), La grande nuit vidéo (2017) and Nouvelle administration (2023) earned him nominations at ADISQ galas (including a win for the Félix of the author or composer of the year in 2014), at JUNOS and on the long list of the Polaris Prize. Even if they all follow a similar recipe, each of his albums has its own personality. It’s exactly for this familiar simplicity that every new release of Philippe B is so warmly welcomed: you never know exactly in which angle he will present his stories, but you know you’re going to experience something powerful. During his career, Philippe B has accumulated collaborations with several talented artists from the Quebec scene, notably in terms of writing (Safia Nolin, Vincent Vallières, Pierre Lapointe, Salomé Leclerc, among others) and directing (Les sœurs Boulay, Émile Bilodeau, Isabelle Boulay), not to mention his role as guitarist with Pierre Lapointe during the 2000s. He also reveals himself in the field of cinema, composing the soundtrack of two films by Éric Morin, Chasse au Godard d’Abbittibbi (2013) and Nous sommes Gold (2019), as well as the documentary by Dominic Leclerc, Les chiens-loups (2019). This third opus is immediately acclaimed by critics and the public, among others for its reinterpretation of great works from the classical repertoire, carefully sampled to dress each piece with sublime orchestral arrangements. Variations fantômes has been on several year-end lists of renowned media (Le Devoir, La Presse), in addition to being listed in the top 25 of the best Quebec albums published since 1990 by the Journal de Montréal and being named best album of the decade 2010 by CISM. His following albums also get considerable recognition: Ornithologie, la nuit (2014), La grande nuit vidéo (2017) and Nouvelle administration (2023) earned him nominations at ADISQ galas (including a win for the Félix of the author or composer of the year in 2014), at JUNOS and on the long list of the Polaris Prize. Even if they all follow a similar recipe, each of his albums has its own personality. It’s exactly for this familiar simplicity that every new release of Philippe B is so warmly welcomed: you never know exactly in which angle he will present his stories, but you know you’re going to experience something powerful. During his career, Philippe B has accumulated collaborations with several talented artists from the Quebec scene, notably in terms of writing (Safia Nolin, Vincent Vallières, Pierre Lapointe, Salomé Leclerc, among others) and directing (Les sœurs Boulay, Émile Bilodeau, Isabelle Boulay), not to mention his role as guitarist with Pierre Lapointe during the 2000s. He also reveals himself in the field of cinema, composing the soundtrack of two films by Éric Morin, Chasse au Godard d’Abbittibbi (2013) and Nous sommes Gold (2019), as well as the documentary by Dominic Leclerc, Les chiens-loups (2019).

Charlotte Cornfield (21h)

[aucune description disponible]

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POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient du Festival de musique émergente en Abitibi-Témiscamingue et est adapté par PAN M 360

chanson keb franco / Folk / Indie Pop

FME 2026 : Mantisse au Café-bar L’Abstracto

by Rédaction PAN M 360

Biographie Mantisse – 2026 Mantisse est un auteur-compositeur-interprète montréalais. Formé en guitare et en chant dès sa jeunesse, il se tourne vers le hip-hop à l’adolescence, un style qui devient central dans sa pratique dès l’âge de 17 ans. En 2016, il cofonde le groupe de rap LaF avec des amis du CEGEP, marquant ainsi ses débuts professionnels. Le groupe s’impose rapidement sur la scène rap et musicale québécoise, notamment en remportant Les Francouvertes en 2018. Avec LaF, Mantisse co-écrit, co-interprète et co-réalise trois EPs, trois albums, en plus de lancer un album solo en 2022, sous l’étiquette Disques 7ième Ciel. Artiste de scène prolifique et énergique, il cumule plus de 300 spectacles à travers les bars, salles et grands festivals du Québec. À la fin de 2022, une remise en question identitaire le ramène à ses premiers amours musicaux. En voyageant en Europe et en Amérique centrale avec sa guitare, et au contact de musicien·nes issu·es du rock et de la chanson, il amorce une recherche artistique plus intime, nourrie par la littérature et des réflexions sur l’amour, l’amitié et les liens familiaux à l’ère numérique. Ce virage marque une transition vers une musique plus personnelle et profonde, explorée notamment en collaboration avec Étienne Coppée et Bnjmn.lloyd, qui l’accompagnent respectivement dans l’écriture, la direction artistique et l’exploration sonore d’une nouvelle esthétique folk contemporaine. En 2026, c’est toujours avec son timbre de voix distingué et son sens de la mélodie qu’on lui connaît, qu’il présentera un premier album sous l’étiquette 117 Records, fruit de cette démarche personnelle et artistique.

Mantisse is a singer-songwriter from Montreal. Trained in guitar and singing from his youth, he turned to hip-hop in adolescence, a style that became central to his practice at the age of 17. In 2016, he co-founded the rap group LaF with friends from CEGEP, marking his professional debut. The group quickly established itself on the Quebec rap and music scene, notably by winning Les Francouvertes in 2018. With LaF, Mantisse co-wrote, co-performed and co-produced three EPs, three albums, in addition to launching a solo album in 2022, under the label Disques 7ième Ciel. A prolific and energetic performing artist, he has performed over 300 shows in bars, venues and major festivals across Quebec. At the end of 2022, a questioning of identity brings him back to his first musical love. Traveling in Europe and Central America with his guitar, and in contact with musicians from rock and song, he initiated a more intimate artistic research, nourished by literature and reflections on love, friendship and family ties in the digital age. This shift marks a transition towards a more personal and deep music, explored notably in collaboration with Étienne Coppée and Bnjmn.lloyd, who accompany him respectively in writing, artistic direction and sound exploration of a new contemporary folk aesthetic. In 2026, it is still with his distinguished tone of voice and his sense of melody that we know him, that he will present a first album under the label 117 Records, fruit of this personal and artistic approach.

CE SPECTACLE EST GRATUIT!

Ce contenu provient du Festival de musique émergente en Abitibi-Témiscamingue et est adapté par PAN M 360

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