Rouyn-Noranda

Experimental Dream Pop / Indie Pop / R&B

FME 2026 : NOUVELLES ONDES: HAWA B / N NAO / Grand Eugène / Lou-Adriane Cassidy à la scène principale

by Rédaction PAN M 360

Lou-Adriane Cassidy (22h)

Lou-Adriane Cassidy n’est plus un nom que l’on se doit de présenter. Plus récente lauréate de 12 Félix au Gala de l’ADISQ 2025, du prix Félix-Leclerc, récipiendaire du Félix du Spectacle de l’année réinterprétation au Gala de l’ADISQ 2024 et du Lucien de l’artiste de l’année au GAMIQ 2022, lauréate du prix Slaight Music 2022 et du prix Coup de Coeur de l’Académie Charles-Cros en 2020, Lou-Adriane Cassidy est désormais une des meneuses de la nouvelle scène québécoise. N’en témoigne que sa participation à la triomphale série de concerts Le Roy, la Rose et le Lou[p] et dont les critiques élogieuses laissent entendre qu’elle est une de celles détenant l’avenir de notre chanson entre ses mains. Elle a déjà marqué l’année 2025 de manière indélébile en alignant coup sur coup les apothéoses de son Journal d’un Loup-garou, le disque et le spectacle. D’aucuns parlent déjà de l’album comme d’un nouveau classique de la chanson québécoise et en ont souligné la profondeur des textes, des arrangements ainsi que la sublime qualité de son interprétation; le spectacle a pour sa part obtenu une réception dithyrambique de la part du public et des médias qui parlèrent de triomphe, de consécration, d’entrée dans la cour des grands. Son quatrième album, Triste Animal, paru en surprise le 6 mai 2025, nous démontre que Lou-Adriane est une créatrice inclassable et infatigable. Dans des arrangements dépouillés, contrastant avec le maximalisme de l’album précédent, Triste Animal nous donne un accès inédit à Lou-Adriane et à sa voix, qui ici, peut prendre toute la place qui lui revient. Lou-Adriane nous démontre encore une fois, et peut-être de la façon la plus évidente à ce jour, qu’elle est une interprète comme peu s’en rencontre dans une vie. Alliant folk, west-coast country orchestral, pop chic londonienne, soul, samba, grunge acoustique et jazz, Triste Animal est l’album le plus éclectique que l’artiste nous offre jusqu’à maintenant et, peut-être, son plus maîtrisé.

Lou-Adriane Cassidy is no longer a name we should introduce ourselves. Most recent recipient of 12 Félix awards at the 2025 ADISQ Gala, the Félix-Leclerc Prize, recipient of the Félix for Performance of the Year reinterpretation at the 2024 ADISQ Gala and the Lucien for Artist of the Year award at the 2022 GAMIQ, winner of the 2022 Slaight Music Award and the 2020 Coup de Coeur Prize from the Académie Charles-Cros, Lou-Adriane Cassidy is now one of the leaders of the new Quebec scene. Testifies only to her participation in the triumphant concert series Le Roy, la Rose and le Lou[p] and whose rave reviews suggest that she is one of those holding the future of our song in her hands. She has already indelibly marked the year 2025 by aligning, one after another, the apotheoses of her Journal d’un Loup-garou, the disc and the show. Some already speak of the album as a new classic of Quebec song and have highlighted the depth of the lyrics, arrangements and the sublime quality of its interpretation; the show, for its part, has received a rave reception from the public and the media who spoke of triumph, consecration, entry into the big league. Her fourth album, Triste Animal, released as a surprise on May 6, 2025, shows us that Lou-Adriane is an unstoppable and tireless creator. In stripped-down arrangements, contrasting with the maximalism of the previous album, Triste Animal gives us an unprecedented access to Lou-Adriane and her voice, which here can take all the place that belongs to her. Lou-Adriane shows us once again, and perhaps in the most obvious way to this day, that she is an interpreter as few meet in one’s life. Combining folk, orchestral west-coast country, London pop chic, soul, samba, acoustic grunge and jazz, Triste Animal is the most eclectic album the artist has ever offered us and, perhaps, his most masterful sound.

Grand Eugène (21h)

Le duo québécois Grand Eugène, composé de Melyssa Lemieux et Jeremy Lachance, chemine autant dans l’urgence de créer que dans le creux des souvenirs qu’on peine à raconter. Après deux microalbums que le groupe a portés sur les routes du Québec et de la France, Grand Eugène présente son premier album, Deux places au cimetière. Témoignant d’un esprit indie rock agile, qui se meut aisément au gré des humeurs, l’album est le produit d’un élan créatif inarrêtable : des maquettes enregistrées entre Saint-Hugues, Montréal, Paris et l’ancienne van de Jeremy, parfois sur un coin de table, avec rien de plus qu’un micro d’ordinateur et un haut-parleur. Comme une fleur sur une pierre tombale, leur musique pousse partout, cajole les cœurs brisés et donne un air vivace aux choses les plus éphémères.

The Quebec duo Grand Eugène, composed of Melyssa Lemieux and Jeremy Lachance, walks as much in the urgency to create as in the hollow of memories that we struggle to tell. After two micro-albums that the group has taken on the roads of Quebec and France, Grand Eugène presents its first album, Deux places au cimetière. Reflecting an agile indie rock spirit, which moves easily according to the moods, the album is the product of an unstoppable creative momentum: models recorded between Saint-Hugues, Montreal, Paris and Jeremy’s old van, sometimes on a table corner, with nothing more than a computer microphone and a speaker. Like a flower on a tombstone, their music grows everywhere, coddles broken hearts and gives a lively air to the most ephemeral things.

N Nao (20h)

N NAO, nommée Naomie de Lorimier, est une artiste née et basée à Montréal. Elle explore la romance expérimentale par la musique, la performance et la vidéo depuis des millions d’années. Ses compositions s’inscrivent dans une démarche écoféministe, inspirée de rêves et de rituels. Elle se taille une place sur la Longue Liste du Prix en musique Polaris en 2023 et 2025, avec ses albums L’eau et les rêves (24 mars 2023 via Mothland) et Nouveau Langage (31 janvier 2025 via Mothland), ce dernier cité parmi ses meilleurs albums de 2025 chez Le Devoir, qui ajoute : « Nouveau Langage évoque l’idée du futur, entre autres par son recours à Auto-Tune et à l’électro de différentes mouvances, allant de l’EDM à la drum and bass. [N NAO] rappelle une Björk ou une Laurie Anderson, par moments. » En sus de collaborer avec entre autres Lou-Adriane Cassidy (participant notamment au célébré Journal d’un loup-garou), Rau_Ze, Marie-Pierre Arthur, Klô Pelgag, Laurence-Anne, Joni Void, Crabe, Zouz, Jonathan Personne, Lumière et Bon Enfant, elle a assuré les premières parties de plusieurs artistes dont Sarah Pagé, Jessica Moss, Ariane Moffatt, Patrick Watson et Water From Your Eyes, et joué dans les dernières années notamment à Pop Montréal, Paris, Berlin, Sled Island à Calgary et SXSW au Texas. N NAO nous partage Nouveaux Langages le 17 juillet 2026 via Mothland, un album-double où figurent collaborations, remixes et démos inédits.

N NAO, named Naomie de Lorimier, is an artist born and based in Montreal. She has been exploring experimental romance through music, performance and video for millions of years. Her compositions are part of an ecofeminist approach, inspired by dreams and rituals. She carved out a place on the Long List of the Polaris Music Prize in 2023 and 2025, with her albums L’eau et les rêves (March 24, 2023 via Mothland) and Nouveau Langage (January 31, 2025 via Mothland), the latter cited as one of her best albums of 2025 by Le Devoir, which adds: «Nouveau Langage evokes the idea of the future, among other things by its use of Auto-Tune and electro from different genres, ranging from EDM to drum and bass. [N NAO] reminds me of a Björk or a Laurie Anderson, at times.” In addition to collaborating with, among others, Lou-Adriane Cassidy (notably participating in the famous Journal d’un loup-garou), Rau_Ze, Marie-Pierre Arthur, Klô Pelgag, Laurence-Anne, Joni Void, Crabe, Zouz, Jonathan Personne, Lumière, and Bon Enfant, she opened for several artists including Sarah Pagé, Jessica Moss, Ariane Moffatt, Patrick Watson and Water From Your Eyes, and played in the last years at Pop Montreal, Paris, Berlin, Sled Island in Calgary and SXSW in Texas. N NAO shares Nouveaux Langages on July 17, 2026 via Mothland, a double album featuring collaborations, remixes and unreleased demos.

Hawa B (19h)

Nadia Hawa Baldé HAWA B est une auteure-compositrice-interprète qui échappe aux étiquettes. Sa musique est un espace libre invitant à la réflexion : certains l’entendront rock, d’autres R’n’B, jazz ou électro…un mélange audacieux, exécuté avec soin, qui mène à une proposition unique et percutante. Elle crée un espace où l’on peut twerker en pleine session de head bang, rire et pleurer dans un même souffle. Son art cherche à redéfinir l’idée de perfection en célébrant les différences, en revendiquant les failles, sans honte ni filtre. HAWA B façonne un univers où la diversité devient une source de richesse et d’apprentissage. C’est un appel à l’authenticité et à la croissance personnelle. Après avoir partagé la scène en tant que choriste avec des artistes tels qu’Hubert Lenoir, Charlotte Cardin, Clay and Friends, et Dominique Fils-Aimé, HAWA B est aujourd’hui lauréate d’un prix GAMIQ pour son EP sadder but better. Son premier album solo, better sad than sorry est sorti en novembre 2024 via Duprince et est en nomination au GAMIQ pour l’album Soul R’N’B de l’année. En 2025, HAWA B a sorti trois singles: Je danse dans ma tête (reprise de Céline Dion), Je veux rester (feat. Greg Beaudin) et oui non I know.

Nadia Hawa Baldé HAWA B is a singer-songwriter who escapes labels. His music is a free space inviting to reflection: some will hear it rock, others R’n’B, jazz or electro… a bold blend, executed with care, which leads to a unique and impactful proposal. It creates a space where you can twerk in the middle of a head bang session, laugh and cry in the same breath. His art seeks to redefine the idea of perfection by celebrating differences, claiming flaws, without shame or filter. HAWA B shapes a universe where diversity becomes a source of richness and learning. It is a call for authenticity and personal growth. After sharing the stage as a chorister with artists such as Hubert Lenoir, Charlotte Cardin, Clay and Friends, and Dominique Fils-Aimé, HAWA B is now the winner of a GAMIQ award for her EP sadder but better. His first solo album, better sad than sorry was released in November 2024 via Duprince and is nominated at the GAMIQ for Soul R’N’B of the year. In 2025, HAWA B released three singles: “Je danse dans ma tête” (a Céline Dion cover), “Je veux rester” (feat. Greg Beaudin) and yes, no, I know.

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

Art Rock / Indie Pop / Musiques du Monde

FME 2026 : Marie Céleste à Les Mooses

by Rédaction PAN M 360

Il y a quelque chose d’organique, d’élastique chez Marie Céleste : dans ses généreuses compositions autant que dans sa chronologie. Apparu au mitan de la précédente décennie à Alma, ce quintette formé d’amis du secondaire – qui se définit comme la somme des influences de ses cinq têtes, hybridant folk, indie pop, art-rock, electro et musiques globales – prend finalement son envol en 2023, suite à une migration vers la métropole. Et, depuis, tout coule vivement : en 2024 paraît le mini-album Feux de joie, qui s’affirme rapidement comme un succès initiateur. Paru le 13 mars 2026, Tout ce qui brille est un album de célébration, de lumière, de communauté, d’amour, d’amitié, d’aller mieux. Marie Céleste, c’est « indéniablement de la musique qui s’écoute avec des oreilles » – et, de plus en plus, avec le cœur.

There is something organic, elastic about Marie Céleste: in her generous compositions as much as in her chronology. Appearing at the end of the previous decade in Alma, this quintet made up of high school friends – which defines itself as the sum of its five influences, hybridizing folk, indie pop, art-rock, electro, and global music – finally took off in 2023, following a migration to the metropolis. And, since then, everything has been pouring in: in 2024, the mini-album Feux de Joie was released, which quickly established itself as a seminal success. Released on March 13, 2026, Tout ce qui brille is an album of celebration, light, community, love, friendship, getting better. Marie Céleste is “undeniably music that can be listened to with your ears” – and, increasingly, with your heart.

CE SPECTACLE EST GRATUIT!

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

Americana / Country Folk / Folk

FME 2025: Ada Lea Soaks in the Summer

by Jake Friesen

In a hot cafe turned performance venue, Montreal-based singer-songwriter Ada Lea and her band draw a quiet, attentive crowd. Her sound is sweet singer-songwriter fare with twinkling guitar, warm bass and grounded percussion. Ada Lea’s voice, with a slight western twinge, is as warm and breathy as the last exhalations of summer itself. 

During the performance, her band is exceedingly stoic while she nervously attempts the task of stage banter. The nerves, however, do not translate to her performance in any way. She easily regains her footing once the music starts again, a brief intermission in her sonic landscape. Drawing us into vignettes of dappled sunlight and dusty roads with songs like “Diner.” In many ways, Ada Lea’s performance felt like an outlier compared to the exposition of oddities that is FME. That being said, the crowd that had gathered for her was undivided in their attention to her low-key and consummate performance. A break from the cacophonous offerings of the festival, Ada Lea invites you to take a seat and soak in the final precious moments of summer.

Club / Darkwave / Synth-Pop / Synthwave

FME 2025: Automelodi Reads the Room

by Lyle Hendriks

In FME’s past, my memory of the final show of the weekend is always one of being dead on my feet, swaying gently in a basement as I fight to maintain my final, vestigial brain cells against an onslaught of some sort of trancy, droning music.

So as you can imagine, I was thrilled to find out the final show of the weekend this year was not only outside, but featured Automelodi, an outstanding, energetic synthpop performer who came to party. Automelodi, also known as Xavier Paradis, is a lone figure onstage surrounded by synths, beatpads, and mic stands. Having gotten his start in 2006, we’re now seeing a renaissance for the Montreal musician, as he returns to the stage in sync with many upcoming releases in 2025. With distorted, reverb-soaked vocals, breakneck change-ups, and an unrelenting danceability to every moment, the music is urgent, lively, and compels—even my sorry, hungover ass—to dance one last time to close out the weekend.

We few who remained by the end of the night, were crushed to see him finish the set, begging for just one more dirty, crime spree club hit to close out the night. While we weren’t granted this encore, I was still glad that FME decided to round out this year’s programming with such an obvious, universally enjoyable smash hit of an act.

Psych-Rock / Psychedelia / Surf

FME 2025: TEKE::TEKE Spirit Us Away

by Lyle Hendriks

Many bands claim to transport you to another world. Few achieve it so quickly and profoundly as Montreal’s Japanese psych surf rock legends TEKE::TEKE.

Whether it’s vocalist Maya Kuroki taking the stage at the beginning to deliver a melodramatic monologue while shedding mask after mask to reveal an even more unsettling one beneath, flautist Yuki Isami and her glamorous, ’70s go-go dancer look, or simply the restless, constantly shapeshifting compositions that make up this group’s catalogue, it’s impossible to not find yourself spirited away by this impeccable six-piece before long.

Dressed in loud, clashing patterns that mirror the disparate musical influences driving the group, TEKE::TEKE took us on a truly epic 90-odd-minute journey through the better part of their catalogue, from their earliest releases all the way to some of their more recent work created for a recent Assassin’s Creed soundtrack. Sometimes, it’s raucous and upbeat, the perfect thing for a day on the breakwater. Other times, it’s a high-octane parkour chase theme that grips us and never lets go, every hairpin turn catching us off-guard to create a dense, intricate weave of sonic threads that feel impossible to parse.

Songs may have five, six, ten different sections a piece, and the group is beyond solid as they deftly swing into abrupt turns, sink into the quiet moments, and explode back out into dramatic climaxes with little to no warning. With an unmatched energy and a sound unlike any other, TEKE::TEKE continues to be a force to be reckoned with.

FME 2025: Frannie Holder debuts her artsy solo project

by Stephan Boissonneault

There is some old FME lore behind the name Frannie Holder. I only know the name because one of her band’s, Random Recipe, played FME’s first secret show inside the famed late-night Morasse Poutine shop some 20 years ago. Now at this year’s FME, Frannie debuted her solo project in the seated Agora Des Spectacles. The bits that I saw were a combination of experimental pop, trip-hop and French art house vibes.

As Frannie sang in operatic tone in French, a bass player and drummer created a hazy wall of sound, allowing Frannie to hop on the synthesizer. It was a bit Regina Spektor meets Björk, with a dash of Montreal’s N NAO— a calming way to start the day at 4 pm. I noticed that it was in fact the drummer leading many of the more complex changes, calling out “un, deux, trois, quatre,” before ending a song or signalling the next jam. It will be interesting to see what shape these songs take on record, but only time will tell.

Hard Rock / Metal

FME 2025: A tribute to Aut’Chose with young rock n’ roll blood

by Stephan Boissonneault

Being from Alberta, I had no idea who Aut’Chose was before this tribute show on the last day of FME, but I did recall the name from a conversation with rock and metal historian Felix Desfosses some years ago. He also references them a few times in his 2014 book, L’évolution du métal: No Speed Limit 1964-1989. 

Singer/poet Lucien Francoeur (who passed last year at age 76) guitarist, Jacques Racine (who also passed in 2024) and Aut’Chose were a legendary force in the hard rock Quebecois music scene, releasing three albums in the mid ’70s. This FME Les Freaks de Montreal tribute show had new and younger artists: Rose Cormier of Mulch, Alix Fernz, N Nao, Pierre-Luc Gratton of Population II, and others, taking over the vocal duties and eulogizing Francoeur in between songs. The band was somewhat of a supergroup; on drums was Michel “Away” Langevin (Voïvod), guitars and synths were members of GrimSkunk, Groovy Aardvark, and Tricky Woo.

Again, I had never heard Aut’Chose songs before this show, but to me it felt like the best parts of RUSH, ZZ Top, Black Sabbath, and a bit of Lou Reed vocal delivery. There were moments of straight hard rock and moments of strange, fuzzy prog. It was fun and interesting to hear and see each vocalist in a different light: N Nao screaming, Alix Fernz without many vocal effects, sounding as clear as he ever has, and Pierre-Luc Gratton standing while singing, as he usually mans the throne and sings in Population II. Another standout has to be the double bass guitar action as Population II took the stage a second time.

Garage Punk / Hard Rock / Pop-Punk / Punk

FME 2025: The OBGMS are Celine Dion??

by Jake Friesen

The OBGMs return to FME for the first time since 2021, where they played to a COVID-restricted, seated audience. They take the main stage and declare themselves a Celine Dion cover band. Despite a lukewarm reception from the audience, they launch headlong into an unrelentingly energetic set.  Vocalist Densil MacFarlane charismatically provokes the audience at every turn, challenging them to go harder. The OBGMs are sonically dialled, catchy melodies, impassioned vocals, furious percussion, and no shortage of shredding. They are a magnetic force to be reckoned with as they straddle the line between needle-point precision and thrashing punk sensibilities. After a hard-won battle for the audience’s full commitment, MacFarlane brings them in by asking if anyone in the audience has an ex they really hate. 

Applause rings out as everyone chants “Fuck Robbie” and Macfarlane dedicates the next song to an audience member’s ex, Robbie. Even though The OBGMs stand before an audience of hundreds of people, they effortlessly cultivate the feeling of community found at an underground punk show. They stand wholeheartedly in their artistry and principles as MacFarlane gives an impassioned reminder to make space for each other in both the physical and communal sense. 

After seeing their show on Saturday night, I am convinced the OBGMS are well on their way to taking over the world, and that’s just fine by me.

Photos by Julia Mela

Alternative Rock / Indie Rock

FME 2025: Inflatable Poolgirl party in the alley

by Jake Friesen

Montreal garage rock outfit Poolgirl makes their FME debut to an enthusiastic crowd huddled around the stage. With the crowd hopping around like popcorn kernels and inflatable pool paraphernalia being flung left and right, Poolgirl is in their element.

Grungy guitars, clamorous percussion and charged, throaty vocals fill the air. Unpretentious and sincere, the raw quality of their sound is endearing—Poolgirl trades seriousness in their performance for the raucous fanfare of youth. They inhabit a sonic space previously reserved for suburban teenage boys. Still, under the lights of the FME Fizz Stage, it is refreshing to bear witness to easy breezy bratty garage rock on full display from a band comprised primarily of femme-presenting musicians. 

A constant bounciness carries Poolgirl through their set as though they themselves are as buoyant as the beach balls ricocheting off the heads of the audience. The roiling, grimy bass propelling them ever forward into their final song, and in true garage rock fashion, they disappear into the night like teenagers fleeing the scene of an illicit houseshow.

Hip Hop / Trip Hop

FME 2025: Transcendental Alleywork with Boutique Feelings

by Stephan Boissonneault

Catching Boutique Feelings in that intimate alley setting at FME was exactly what we needed, especially my friend on a wicked dose of LSD. Karim Lakhdar’s genre-bending project delivered everything—a mesmerizing blend of psychedelic hip-hop that felt both introspective and energizing, enough to bring back the dead.

My friends and I were in a pretty spaced-out headspace and completely captivated by the distortion-mangled hooks and offbeat storytelling. The socio-political messaging had this grounding effect that brought everyone in the crowd for one moment, jsut for Lakhdar to destroy it and create it again.

Karim Lakhdar is doing something wild with this project – like if Madlib and Kim Gordon had a baby and raised it on krautrock records. All of Atsuko Chiba is now in this project. Absolutely subliminally, sublime.

Experimental / Experimental / Contemporary / Experimental Rock / Krautrock / Rock

FME 2025: Krautrock by sunset

by Stephan Boissonneault

I’m too young to have been alive for Pink Floyd’s Live at Pompeii set that was played for no one—save for the camera crew and a few strangers—but witnessing this once in a lifetime You II Avec Nolan Potter performance, at FME is the closest I’ll ever get. This six-piece titan of krautrock, the two core members of Yoo Doo Right, all three of Population II, and Austin’s multi-instrumental mastermind Nolan Potter, played a vibey, hazy and psychedelic set for the halycon age. The venue? Lake Osisko in Rouyn-Noranda, or just off of it on a concrete slab, during sunset. Despite some sound difficulties, which was most likely unavoidable with the legion of gear this sextet produced out of thin air, this show was phenomenal. Two drummers, with full kits, so locked in that their fills were part of a collective imagination. Two synth/guitarists trading off solos, giving each other space as they approached oblivion. Nolan Potter hopping on a quick tenor saxophone, flute flourish, tambourine man interlude, and most importantly, lighting smokes for himself and drummer John Talbot.

Looking back, the sound difficulties seemed rehearsed and part of the jam. You could see the palpable frustration as guitarist/synth wizard Justin Cober’s guitar failed to compute, but it was brought back to life for a secure guitar bend. This show will never be again. The best part? The never-ending finale, signalled by a quick “OUAIS!” by drummer/ vocalist Pierre-Luc Gratton.

Alternative / Alternative Rock / No Wave / Post-Punk

FME 2025: Mary Shelley, a reanimated lifeform

by Lyle Hendriks

Arriving at the dark, liminal space of Bar du Curling, we’re immediately met with Brooklyn punk outfit Mary Shelley. Young, energetic, and full of that signature New York piss and vinegar, it doesn’t take long to start bouncing off the walls alongside this scrappy, genre-fucked four-piece.

Though some bands have had to work hard to earn their dancefloors this FME, this didn’t seem to be an issue at all for Mary Shelley, who commanded our attention and energy from the outset. After grabbing us by the hair, they shredded through an impressively intense set full of hard-punk, literary, IDLES-style lyrics, and jangly indie pop all rolled into one. There’s seemingly no influence or genre out of bounds for Mary Shelley, blending shoegaze, post-punk, and even bits of pieces of hip-hop to produce an altered state that I still can’t quite explain. Swapping instruments, swapping sounds, and crushing beers. Anyone worried about the death of punk is simply unwilling to recognize this reanimated lifeform as the real thing.

Like the author they’re named after, Mary Shelley is a frightening, exhilarating subversion of whatever it is you expect going in—even if you arrive with no idea who they are, both old-fashioned and totally novel.

Photos by Jacob Zweig

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