In past years, when I was unable to make my way to Ryoun-Noranda for the annual FME festival I would console myself with the refrain “ You can see most of these acts back home in Montreal anytime….”

Every year the feedback on offer from trusted attendees, as they relayed their experiences navigating through Ryoun-Noranda’s quaint downtown for four days of continuous and expertly curated music, betrayed my excuses.

Although FME is celebrating its 20th year in Ryoun-Noranda, the town at first, feels like an unlikely backdrop for a festival such as FME. After my first couple of hours roaming the streets and seeing the city in motion with it’s cast of locals going about their usual Thursday afternoon routines, hipsters ambled around Ryoun-Noranda’s core , learning it’s back alleys, waterfronts and secrets.

After indulging in a walking tour of the variety of venues on offer and soaking up the local scenery, it became apparent that this mining town of roughly 45,000 was just as important a character in the FME experience as the bands and artists on hand. An eclectic mix of venues would reveal themselves , each with a different fingerprint of experience.

As Paul guided me around town, passing down his adventures from his last experience at FME in 2021, the scale of the city started to reveal itself to me. The next four days would be a pleasure to navigate around to the festivals venues. Although the festival has easily available shuttles to pick up and drive delegates, media and artists around town, in my experience, walking through Ryoun-Noranda became a calming buffer between shows.

As the weekend drew on, every time the crowd would spill out of the sweaty venue and into the streets and into back alleys, the atmosphere emitting around town throughout the festival was rejuvenating.

Frankly I’m smitten.

LAST WALTZON

Our first stop was to Cabaret Derniére Chance for one of our favourite Montreal bands, Last Waltzon. We arrived early enough to catch their soundcheck from the picnic tables set up outside the venue on 8iéme Rue. After soundcheck we caught up with Jack, Judah, Cam and Josh over beers outside watching the attendees slowly filer by and enter the bar.

By the time that Last Waltzon took to the stage, the cluster of photographers jockeying for the perfect spot up front, was a reminder that FME is very much an industry event, an opportunity for booking agents, journalists and labels from all over to discover some the endless talent emanating from Québec and beyond in 2024.

I’ve been a fan ever since first seeing Last Waltzon at O Patro Vys on a very cold winter night in 2022, The band are merchants of a punk that is in part drenched in the DNA of the bands past, the sounds from of SST Records or Goner, frenetic and propulsive… melodic and menacing, the other part is uniquely their own.Over the last year so, these ambassadors of unruly sounds have been working their asses off assembling what sounds like a stellar debut album. Each member carves out their own space and holds their own reigns, a symbiotic four headed beast.

Their live performance is a compliment to the sounds they make on their recordings. Their set on display that evening was combustable, and by the time the band’s cracked out early single Vandalism, the crowd was on fire. For the uninitiated, vocals are shared between Judah, Jack and Cam, while Josh shovels the proverbial coal to the engine barrelling down the rails the rails. The addition of newer songs to their recent live sets has been thrilling as we await the band’s as of now, self-released debut album down the road in the not too distant future.

Orchestra Gold

Although it stung, we cut out before the end of Last Waltzon’s set in order to make our way to FME’s main outdoor stage to see Oakland California’s Afro Psych band Orchestra Gold, who ironically would be heading to Montréal on Saturday August 31 and playing with Last Waltzon at L’Esco .

The band would rest well knowing that the long journey from California to Northern Québec was not a waste of time or effort. The outdoor crowd instantly absorbed the band’s rhythmic fusion of traditional Mallian sounds and a more modern psychedelic delivery. The band’s six year lifespan is in step with the prowess they displayed on stage. The set had the musicians interlocking into one unstoppable set of Afro psych, repleat with free wheeling saxophone and a rhythm section locked in to interstellar grooves.

Front woman Mariam Diakite mesmerized the crowd with songs sung in her mother tongue of bambara while the band shifted from funky to thrilling, usually within the same song. The crowd giving back that energy to the band with its homogenous reaction through dance and applause.

Bodega

After a suggestion from the gentlemen in Last Waltzon, we stuck around the main stage for New York buzz band, the aptly named BODEGA (formerly Bodega Bay).

It would be no easy feat to follow Orchestra Gold, but Bodega’s brand of punk and art pop went down as easy as the libations on hand. The band shared songs from their latest album, the cleverly titled concept album “Our Brand Could Be Yr Life” ( Michael Azerrad anyone?). A critical observation on the power of corporation over the youth of today. Their set was infectious and fun, shifting from angular guitars and wired rhythms to gritty riffs. Frontman Ben Hozie was chatty between songs sharing some the meanings or context behind the songs and expressing the band’s enthusiasm for being there.

Karkwa

Closing out the first night on the main stage was Montreal’s Karkwa, whose twelve year absence from the scene was obliterated within moments of walking on stage to a very enthusiastic crowd. The band successfully fulfilled headlining duties instigating sing-a-longs amongst their fan base pulling from 2023’s Dans la second. The band seemed to be vibrating throughout their performance blurring the line between Karkwa’s awaited return and the festive closing of night 1 on the mainstage.

TVOD

It was no effort to slink into Petit Théatre Du Vieux Noranda for Brooklyn’s TVOD (TV Overdose). This disco punk six piece was as thrilling to hear as they were to watch. Frontman Tyler Wright paced back and forth along the stage frothing like a demonic Jim Carrey, his face contorting demented expressions.

As Wright’s punk rock tales unfolded, his stares burned through you, arppegiated guitars and wiry riffs cut through a pendulous low end allowing everybody in attendance to swing. The band’s latest single Poppies pulls back the hammer and fires a Pixies-esque infused slice of pop which was a nice counter to the band’s sweaty punk groove, allowing time for the sweat to drip. Looking forward to the next one from these guys.

Nobro

As expected Nobro set was off the hook and eviscerated any notion of getting to sleep. or even blinking. Their performance would act as an adrenaline generator as the ladies of Nobro checked off all the bangers from their upcoming album “Set your Pussy Free” due out Oct. 27 on Dine Alone Records.

Our hostesses, Kathryn McCaughey (bass/vocals), Karolane Carbonneau (guitars), Lisandre Bourdage (keys/percussion), and Sarah Dion (drums) operated as though they have been playing to major stadium crowds for infinity. I didn’t take long to realize that Nobro were taking no prisoners, each song pummelling home the point that this band doesn’t fuck around in the name of rocking out. In brief, Kathryn is a born front woman emitting electricity with every move, Karolane absolutely shreds, Lisandre’s energy was infectious as she bounced between percussion and keys and Sarah kept time like thunder.

Day 2

Kaya Hoax

Day 2 started with a walk down to the location of Bonsound’s BBQ lunch party. It took place in what appears to be a private residence with a multi-tiered landscaped backyard overlooking Lac Osisko. A sauna and pool only added to the upscale ambiance while media, artists and industry people slung veggie hot dogs, mamosa’s and spliffs. I found this to be an excellent way to start the day and ease any networking inhibitions.

Up and coming Montreal pop artist Kaya Hoax entertained the crowd with her brand of pop, hip-hop, dancehall and punk. I had witnessed Kaya Hoax perform at this year’s Osheaga and although she was performing on one of the site’s smaller pop up stages, Kaya Hoax held her own amongst Osheaga’s Tin Tok giants. This time however, with the backdrop of Lac Osisko behind her, the reflection of the sun on the swimming pool in front of her, it was one of the more intimate performances I witnessed throughout the festival and a great way to start Day 2.

Orchestra Gold (Part two)

The afternoon saw us making our way to QG Salle De Spectacles for a “Secret” second performance by Orchestra Gold. A smaller venue and a smaller crowd made this high energy encore performance something special, and probably an indication of what would have been on offer at L’Esco the following evening. Vocalist Mariam Diakite, took the opportunity to further enhanced the intimacy of the gig by joining the attendees on the floor. and jokingly passing around a tip hat.

Mossaï Mossaĩ

I found myself instantly drawn to Mossaï Mossaï, the evening’s openers at Le Paramount. A larger venue dripping with character and what seams to be a great room for sound. The band’s mechanical drone gave way to chanting vocals and propulsive beats. It instantly lands as sounding completely unique. Any notion of displacing myself for a beer is quickly put aside, distracted at what unfolds onstage. The set would ebb and flow like a water system, sometimes calm and meditative but not without a squall on the horizon. Marie’s spoken word vocals captivated over soundscapes before guitars would cut in like a thunderstorms.

Alix Ferz

Regrettably, I have had a couple of missed opportunities to see Alix Fernz live since the release of his brilliant debut album Bizou, released earlier this year via Mothland.

Since Bizou’s release it has become one of my favourite albums of 2024. Alix’s gonzo hybrid of art punk, pop, glitch, synth and everything in between is one of the most unique yet instantly agreeable musical statements i’ve delved into this year.

The melodies that manifest after more noisy left field passages always satisfies, and where Bizou sounds like an album made by one man in his creative element, these songs are scaled up live by a killer live band that visually compliments Alix’s already unique stylel and musical direction. Ready for Bizou 2.

Ada Oda

One of the surprises of the festival was Brussels’ Ada Oda. Their blend of arty dance pop, punk rock adorned with Italian vocals cleared the air and was infectious to move to. The electric energy in the air at Cabaret de la Dernière Chance manifested instantly as the band began to win over the well receiving crowd in attendance. Front woman Victoria Barracato effervescently navigated the cramped stage while her bandmates Clément Marion, Alex De Bueger and Aurélien Gainetdinoff lay down slinky guitar and some bouncing rhythm. If The B-52’s grew up on lo -fi Bossa nova.

It was a raucous performance offering up all the delights to be found on the band’s Un Amor Debole released on 62 TV Records. It’s a sound that would feel at home in New York in the seventies, Athens GA. in the eightiess or Sweden in the nineties…. although for the listener it would seem the time is now.

Feeling Figures

Feeling Figures have been busy readying their follow album to last years excellent Migration Magic. For those in attendance for Day 2’s closing out show at QG Salle De Spectacles, they were treated to some new songs from the highly anticipated Everything Around You. Their signature outsider punk rock remains intact with Zack Slax and Kay Moon exchanging vocal duties. Joe Chamandy and Thomas Molander are tight as they come in the rhythm section department, and had the younger sect of the audience convulsing to the jangled noise emanating from the stage. The momentum just kept building throughout their set while echoes of C86, K records and Sonic Youth reverberated through the room, culminating in a cover of Harmonium’s “Pour Un Instant”, which went down with the Ryoun-Noranda crowd. These guys are pros. Really stoked to get my hands on Everything Around You.

Day 3

My afternoon was kickstarted by meeting up with The Wesleys at Le Paramount for the band’s soundcheck prior to that evening’s performance along with openers Douance and headliner Gab Bouchard. It was a nice opportunity to experience the venue empty and walk around. The sound team on hand nailed the Wesleys set up and it was back to the hotel.

A quick bite, stretch and a few libations later, and I was back to Le Paramount for Douance. Unfortunately while being captivated by their set, I had forgotten to take any photos or videos.

The Wesleys

Following Douances, The Wesleys stepped out to play their largest stage to date in front of an amped up crowd. The band quickly drew new fans as the crowd started to move along to the band’s uniquely satisfying brand of garage/ Jangle / Pop!

The Wesleys kicked things off with the one-two punch of Fucked Up and 25 from the band’s fantastic S/T debut album ( ahem) out now via Petit Village Records (formerly Little Village Records).

The crowd succumbed to, and was charmed by Henry Girard and William D’amours’ intertwining serpentine guitar jangles, while drummer Pablo Garcia Gaubeca- Rejon and bassist Quentin Chisholm demonstrated that they might be the best rhythm section going. Pablo’s look just as radical as his time keeping, while Chisolm’s baselines essentially act as a third lead guitar and are untouchable.

. The set sounded fantastic in a larger venue, the Velvet Underground meets Pavement sound of their hits like A Lot To Lose, Radio Circus and Better Believe It, sounded amped up to meet the volumous space of Le Paramount (pun intended). The Wesleys played a new, as yet to be titled song that has been described as early R.E.M. meets the Oh Sees and sounds like heaven to these ears. The Wesleys are continually upping the game claiming their own corner. It’s official, The Wesleys have ditched underdog status. A larger audience is awaiting them.

PYPY

Had I never witnessed the sheer force of Pypy, a band comprised of members of two of Motreal’s most respected punk rock institutions, Duchess Says and Red Mass, I might have been confounded by what I was walking into three quarters of the way through the band’s set. Bopping in the crowd were open outdoor parasols as though they were the only thing not locked down and up for sacrifice. The spectacle afoot thankfully re-animaed the memories of seeing PyPy’s past unhinged performances and I was able to fill in the blanks. Annie-Claude, her voice cutting through the room, like a lightning bolt through the chaos, stood at the front of the stage covering her eyes while Phil Clement and Simon Besré jostled in and out of view from between the silhouettes of spectators letting loose, pushing up against one another looking for release within the sounds,.

By the time my eyes reached Roy Vucino, who is absolutely doused in sweat, I’m reminded of what a sheer joy it is to watch him shred. Time and space might have been ripped open in Ryoun-Noranda that night. Pypy’s new album, the highly anticipated Sacred Times drops October 18th via Goner Records.

Turbine

Just off the main entrance to the main festival stage site, was a smaller pop up performance space called the Fizz stage. We stumbled upon the French turntable trio Turbine while on our way through one of the connecting alleys. It was impossible not to stop as the trio’s mesmerizing interlocking display unfolded before us.

Day 4

Our last morning in Rylan-Noranda started with the usual routine of shaking loose the cobwebs of the previous evening, rehydrate and track down some breakfast. Water damage from the previous night’s rainfall meant that our usual hub for coffee and food was relocated and slightly delated. It was well worth it though as local Volunteers greeted us with smiles and a variety of options in terms of healthy portions. The coffee wasn’t too bad either. The children scanning our bracelets at the door was another reminder of the importance to the confluence of the town, the citizen’s of Rylan Noranda and the festival itself.

Erik Fines

The overcast afternoon lent the last day of the Festival a bit of a gloomy feeling of finality. We checked in to Les Mooses, a community centre / veteran’s lodge. As we entered there were two distinct groups entering the building. Those of us who were there to check out the country stylings of Erik Fines and his supremely talented band and Montréal country icon Lil’ Andy with his latest conceptual incarnation, The Complete Recordings of Hezekiah Procter.

As Erik Fines and his band of cohorts, a Montréal wrecking crew consisting of Frisco Lee on keys, Ben Vallée on pedal steel, Aidan Kealey on bass and Fred Poulin on drums, took to the stage, the small but quaint venue left very little room as attendees of all ages poured in. Children sat on the floor in front as the older set navigated their way to the bar between songs for tall boys of 50. Erik Fines entertained the crowd with his inability to speak French, joking that that other members did however,, and then rated their linguistic abilities.

Language barriers, be damned, it didn’t really matter as soon as the band leaned in to their set. Erik performed songs from his debut EP Country Ghost as well as an offering of new songs, one of which stood out from a live acoustic set Erik performed on the Go-Go Radio Magic Show a while back. Now adorned with his stellar band, theses new songs were given new personalities and was a perfect kickoff for our last day in Rylan-Noranda. The diverse crowd gave back as much as Erik and his band gave them, despite the change odf season weather outside, it was warming up rather nicely inside Les Mooses.

The Complete Recordings of Hezekiah Procter

Petite Amie

It was back to Le Paramount for the Festival’s closing out performance by Montréal’s own funk phenomenon The Brooks with Joe Grass and Mexico’s Petite Amie. Unfortunately, we arrived too late to catch Joe Grass, but arrived just as Petite Amie were taking the stage. The band peddled an airy brand of psych-lite party music, adorned with acoustic strums, synth breakdowns and French vocals, a distinct blend that never ceased to get the crowd moving.

The Brooks

A handful of albums in, and Montréal’s premiere Funk / Soul / R&B / Afrobeat and Jazz band The Brooks are a bonafide institution. There was no denying it as the band absolutely raised the roof and the temperature in the room and in our hearts,throughout their brilliant set closing out the 2024 FME experience. The horns wailed as bassist Alexandre Lapointe’s electric grooves were laid down and set on fire, as trombonist / vocalist Alan Prater led the ship of undeniable funk crashing through the good people of Ryoun-Noranda, and they hopped aboard without hesitation. Pulling from their back catalog and their forthcoming 2024 album, anything stationary, stood out, as the crowd shimmied in unison until every sweaty note was played. The Brooks conquered.

Patche

I could not imagine the evening ending after the energizing performance by the Brooks. The final act of festival participation brought me to SOUS-SOL DU PETIT THÉÂTRE DU VIEUX NORANDA for the after party performance of MTL’s Patche. It was a good excuse to work off any additional stimulation and adrenaline through dance.As the glow of the environs absorbed me, Patche’s minimal modular synthcapes stimulated and encouraged my body to just slip in to the sonic void. Like repetitive loops intertwining throughout the band’s music, the crowds movements stated to lock in to a greater whole. The soundsrefreshed like a sonic shower, the band’s motor pulses washed over me, reinvigorating, energizing and hypnotic.

A huge thank you to the good people at FME. All those who volunteered and kept us moving, fed, informed and engaged. Thank you to the gang at MOTHLAND for their endless efforts to bring engaging music and culture to the people of Québec as well as promoting local music and culture to a wider outside audience.

A special thank you to Danny Payne from Raison d’être Media (also, CJLO’s The Pressure Drop), who kept us in the loop and offered us another dimension to one of the most unique Festival Experiences I’ve had the pleasure of attending.

As far as what makes FME so special? Apart from the stellar programming on display, the key as far as I can tell is that the organizers are keeping everything on a human, and manageable scale, mixed with a location that is as much charming as it is engaging, that itself becomes intertwined with the whole experience. It was really nice to see a town that for once a year for 4 days in August opens itself up to the outside world, while embracing all the engaging music that comes with it.

Merci Ryon-Noranda.

FME 2024