FME 2021
The following piece tries to capture the experience of my five day adventure in Rouyn-Noranda for the 19th edition of the Festival De Musique Émergente. Unfortunately, due to COVID-19 restrictions, I could not make it into everything that I had hoped to see, but for every show missed, there was a new artist discovered. Festivals like these cannot be planned out in an agenda like some travel package, they must be experienced with the flexibility and understanding that you are not in control, but are open to experience whatever is to be. Here are my thoughts on some of what I did see.
Mr. Santé / Pantayo
A little disoriented by my whirlwind arrival (I won't bore you with the details) my nerves were more than a little frayed by the time my transport pulled up to Poisson Volant, an outdoor stage set up on the banks of Osisko Lake. As I walked through the gates, Mr. Santé began his set and he certainly lived up to his name. After all the confusion to get there I was able to sit at a picnic table right beside the lake, with a cold beer in hand and take in the cool, calming sounds of Mr. Santé. The music seemed to blend perfectly with the breeze gently blowing in off the lake. It had been so long since I had been in a crowd like this, that it actually brought tears to my eyes. Oh how we’ve all missed live music! The crowd was such a wonderful, eclectic mix of young and old, from all walks of life. Sitting by myself, scanning the clusters of friends, all I saw were smiling faces. There was such a shared sense of community it really was the most perfect way to start this musical adventure.
As the sun began to set, Pantayo took the stage and opened with “V V V (They Lie)”, a powerful song of protest off their 2020 Polaris-nominated, self-titled debut album. The reason this show was so high on my list of must-see shows was because I knew this would be like nothing I’ve ever heard, and I was not disappointed. Throughout their set they weaved the percussive beats of the traditional kulintang music of the Southern Philippines with experimental synth-pop and R&B. The groove on “Divine” was so sexy it would have made Marvin Gaye blush. The fourth song, a mesmerizing percussion jam, was so hypnotizing it felt like it transported me to another time and place, which I guess is exactly what the music of Pantayo is. With the dying light of the golden-blue sky fading into night and the large, dark clouds ominously creeping in, the power of the music grew stronger and gave me the second wind I would need to finish the night. With my mind calmed and my feet firmly back underneath me, I decided to walk downtown and avoid any more troubles with transport calls getting lost in translation. As a Choses Sauvages song blasted out of the speakers, I made my way out of Poisson Volant and headed around the lakeshore. Knowing that I would not get into the Backxwash / Cadence Weapon show, I went straight to Cabaret de la Dernière Chance, where Drogue, who was next on my must-see list, would be playing in a couple of hours. As it was already sold out to the public, this meant that only a few media passes would get in, and it was best to arrive early.
Johnny Clash & The Porkyz / Drogue
Cabaret de la Dernière Chance is the exact type of bar you dream of finding at festivals like these, small but big enough, square tables, hard wood chairs with arms, an amber glow bouncing off the mostly wooden walls to go along with the smell of beer, friendly bar staff and a great terrace in back. It was cozy and familiar while still being brand new. With “Mind Daze” by Psychic Ills playing as my first pint was delivered, I knew I was in the right place. However, I won’t lie, I was still a little concerned about the name of the first band. Johnny Clash & The Porkyz did not sound like something that I would intentionally go see, but this is what makes festivals so thrilling. The set up was simple, a duo consisting of a drummer (Alain ‘Crayzee’ Quirion) and bassist (Master Bougaricci), with backing video tracks. The drummer with only a kick drum on its side, a snare, cymbal and a high-hat, would attack them with mallets (except when he was playing the Theremin!) The bass player, who was also the singer in the video (except when they would be jamming over classics by the likes of Ella Fitzgerald or Bill Evans!) whose head was superimposed onto the bodies of characters from scenes of pop cultural touchstones like the 1984 blockbuster Ghostbusters or classic episodes of Star Trek. The whole thing happening under the wash of red stage lights and the sporadic screams in French from Bougaricci (all of which I could not understand, except for the constant “TABERNAK!”). Even as I write this, it still doesn’t sound like something I would like, but I did. In fact I loved it. It was like being inside a lost scene from the Red Room in Twin Peaks. A brilliant cocktail of madness and folly.
Next up was Québécois supergroup Drogue, whose sound combines the proto-punk of the MC5, the power chords of AC/DC, and the frenetic energy of the Dead Boys. With frontman Ludwig Wax decked out in leopard print pants and a Lucha libre wrestling mask things got off to a brilliant start, and while the mask didn’t last the brilliance sure did. Blazing through the songs from their debut EP, they turned the knobs up to 11 and had the energy level of the tiny venue pumping. I had the thought that maybe the Québec government should send these fellas around to elementary schools to teach kids what rock ‘n’ roll is supposed to sound like. Their set was infused with the spirit of James Brown and Little Richard, with Wax jumping into a full split to punctuate this fact. The show ended with a rousing cover of Dr. Feelgood’s “She Does It Right” that left the band and everyone else in the room sweaty and spent. The perfect way to end my first day of a music festival.
Paul Jacobs
Day two got off to a fine start with the annual Bon Sound BBQ / Pool Party. Grilled hot dogs and boiled corn on the cob, schmoozing with other media folk, soaking up some late summer sunshine and the bourbon lemonade was the perfect tonic for the mayhem of the previous night, a little “hair of the dog”, as they say. Nestled in between the pool and the beautiful garden in full bloom, with Osisko Lake off in the distance, the setting for Paul Jacobs was spectacular and as soon as the band began to play, so was the sound. Immediately it became clear that this was a band to be reckoned with. Led by Paul Jacobs, who is so obviously a star, the band is the perfect compliment to his songwriting. What jumped out most to me in this setting was drummer Evan Sharma, who once again proved himself to be one of the best at his craft in the Montreal music scene. Having previously seen him play with Chocolat and Birds of Paradise, it seems that this might be the most perfect fit for his style. In this garden set-up he wasn’t tucked away in the back, but right up front beside Jacobs, for all to see. Later that day I would catch this incredible band again, this time at Petit Théâtre, where what they lost in setting, was made up for with more muscular versions of the songs and a trippy light show. It is safe to say that this was the best band I saw during FME, and they have only just begun to scratch the surface of what they have to offer. If you haven’t already picked up a copy of Pink Dogs on the Green Grass, do so immediately.
ALIAS
One of my favourite discoveries doing research before heading off to FME was ALIAS, Emmanuel Alias’ psych-rock band. While all the banter between songs was in French, I was still able to tell that this was one cool and charming motherfucker. In fact after seeing the band rip through their set I am now convinced that Emmanuel Alias is who Johnny Depp wishes he was. I was also left with a few questions, like what is the reason for donning the leopard mask for the last song, or what is the significance of ‘1934’ which is prominently tattooed on his neck, but most importantly, when is the full length album coming out. What is not in question is the talent of this band.
Janette King
Another great discovery of FME was the soulful singer Janette King. Unfortunately what should have been another beautiful outdoor show had to be moved into the basement of one of the venues due to rain. While the setting was a little dreary it did not seem to dampen the mood of Ms. King or the audience, and once she began singing it wouldn’t have mattered where we were. Her blend of R&B and jazz reminded me a little of Dionne Farris, and her use of the beat machine to create grooves and play with speech samples added great texture to the songs. I would love to see her perform with a full band, like say The Brooks, to give her voice the full complement it deserves, but I have nothing negative to say about this performer or performance. So glad that this Vancouver native has decided to make Montreal home, so that I can continue to watch her evolve.
Vanille / Mort Rose
Vanille, dressed in a thrift store floral dress that fit perfectly with her 1960’s retro aesthetic, took the stage and immediately commanded the attention of everyone in the room. I know it is cheesy or clichéd to say, but she really does seem to have the voice of an angel. Or what I would imagine an angel to sing like. Starting out, the show began with the slower numbers, working its way up tempo into a full on rave up. “Il me dit”, the French cover version of The Rolling Stones “Tell Me”, was the perfect jumping off point from the softer first half of the show to the more rollicking second half. There is no doubt that the future for this young woman is boundless and each time I have the pleasure of seeing her perform only reinforces that fact.
On the tiny stage of Cabaret de la Dernière Chance, Mort Rose swelled from the original four-piece indie pop band to an eight-piece Cosmic Americana full tilt boogie band and I couldn’t be happier. Not that I didn’t like their earlier music but from the look and feel of the performance on this night, they have found the groove they were meant to be in. Three guitars, keys, saxophone, bass, drums and even a little flute and tambourine, flushed out the sounds of the old songs and gave a brilliant first performance of the songs off the new album, Au revoir cowboys. The stand out for me was this fully realised edition of my summer jam, “Le p'tit popy”, Mort Rose’s contribution to the Bonbonbon cover series released back in May.
Mayfly
A secret show that I only ended up going to when a colleague asked if I wanted to jump in the transport with her and check it out. So glad that I did! This electro-folk band, singing in both English and French, runs the full gamut of emotions that reveal both the good and bad experiences of falling in love. Voices so beautiful that they conjure images of the mythical Greek Sirens, whether solo or in beautiful two and three part harmonies. The sparse accompaniment by rotating in various instruments - electric guitar, electric piano, sampler - only added to the hypnotic atmosphere of the soundscapes being created. With such sad songs, at least when they sing in French I can’t understand the lyrics and this allows me the freedom to simply hear the voices as instruments and lessens the sadness a little. This gave the performance waves of lightness, even though I’m sure those lyrics would be just as sad if I knew what they were. This was the first time my lack of French has worked for me in Rouyn-Noranda!
Ouri
The moment Ourielle Auvé walked on stage at Diable Rond there was a shift in the room. Like what I can only imagine it feels like when Mick Jagger or Erykah Badu enter a room. Their presence is palpable and there is no question as to who is the coolest person in the room. While that might sound juvenile, and in many ways it is, the fact remains that it is a real thing. The problem is that ‘coolness’ is so often bestowed on the wrong people or worse, has been co-opted by douchebags with no real claim to it, people who try to cultivate it, but it’s forced or bought. However, when you see the real deal, or more correctly, feel it, you know it is still a thing. That is what Ouri has. Think Marvin Gaye singing the National Anthem at the 1983 NBA Allstar Game. When she began to play it only reinforced that feeling. Ouri is soul music at its roots, with influences brought in from many places, that she bends and sculpts to create her own sound, one that aligns with her vision of what soul music is. This is the music of an artist working completely free of genre restrictions and rules.
FHANG /. Valance
It is only fitting that the last night would end back at Cabaret de la Dernière Chance. This time it was to witness FHANG attempt to recreate their incredible debut album that was purely a studio creation made during the pandemic lockdown. Knowing how layered every song on the album is, this was going to be quite the Herculean effort for just two people. Luckily those two people were Mishka Stein and Samuel Woywitka, two great artists who didn’t know any better that it shouldn’t be attempted. An absolute “In your face!” to The Beatles for being too scared to try and recreate Revolver on stage, these two mavericks and sonic wizards pulled it off and then some! Working within the limitations, FHANG found ways to give these songs new life while still maintaining the original essence of the work. On the track “Something Real” the live presentation reveals just how incredible Stein is as a bass player, and on a stripped down version of “Fleur Du Mal”, the tenderness of the song is pushed to the forefront. And for a man more comfortable in the producer’s chair, Woywitka steps into the spotlight with tremendous stage presence and command on songs like “King Blame” and “Vaudevillian” where he takes over vocal duties. The beauty of seeing a performance like this is that there will probably never be another one exactly the same. This is an ongoing experiment that will probably see augmented members added or new arrangements of the beats and samples. Either way, it was very exciting to see the musical equivalent of Fitzcaraldo pushing that steamship over the Andes.
The final performance of my FME experience would be another new discovery. My colleague Noémie told me that this was the band that I needed to see, and since she had not been wrong all weekend, I decided to stick around after FHANG. Boy, was I glad that I did! I’m not sure what I was expecting but it certainly wasn’t the hip-thrusting, good timey music that came blasting out of this band. This was a Québécois answer to T-Rex. Boogie music that would win over any room. In the pantheon of ‘sex, drugs & rock ‘n’ roll” bands, Valance seemed to double up on the sex part. When they turn up the tempo they get the room bouncing, and when they bring it down, this is music that you want to take your clothes off to. Even the introduction of the band was sexy, as if frontman Vincent Dufour was trying to hook each band member up with a member of the audience.
A big thank you to FME and in particular Danny Payne. Here is hoping that my first trip to this excellent festival in Rouyn-Noranda hopefully won’t be my last.