How Festival de Musique Émergente Became The Best Weekend Of Summer 2022
Every year, one of Quebec’s most renowned festivals takes place in the small town of Rouyn-Noranda, as some of the most exciting emerging talent from across Canada and other parts of the world come together alongside industry folks and festival goers for four days of music and magic at The Festival de Musique Émergente (FME).
I had the pleasure of checking out the festival for the first time with an all-access media pass, and the weekend away quickly became one of the best of the summer for me.
Thursday – 6:00am
Waking up at 6am on a Thursday before the sun is up isn’t a common thing for me. In fact, I would usually deem it “impossible” (apologies to those that have to do that on a regular basis).
But when there’s a shuttle to catch and an 8 hour drive ahead, duty calls.
Fast forward to 7:45am, downtown Toronto, and my half awake body is sitting in an executive minivan bound for the former mining town of Rouyn-Noranda. Directly north of Toronto, the small town of 42,000 people swells with excitement the first weekend of September for FME (pronounced eff-em-euh for non-Francophones).
For Canadian indie music fans and especially Quebec music folks, FME is one of the most exciting weekends of the year. Thousands of industry professionals, artists and locals pack into the downtown core for venue-hopping fun and, to be frank, intoxicated festivities.
The blocked off streets creates a community of beer-drinking music fans, joyfully wandering between bars and stages with absolutely no stress or negativity in sight. The shows are amazing (kudos to Montreal label Mothland for nailing the curation), but the real spirit of FME is “what happens between the stages’ – something that is both an unintentional catchphrase and a philosophy.
Thursday – 4:30pm
After kilometres of cottage country and stunning forestry, civilization emerges, with the sun shining as a warm welcome, a buzz of excitement filling the van. Rolling up to the “Maison d’accueil”, which happens to be a beautiful old house and music school that temporarily converted into the headquarters of the festival, we were looking forward to stretching our legs and getting our accreditation for the weekend.
A lush, green facade made up of vines and leaves drapes across the arched door frame and large, stained glass windows only add to the traditional glow of the building. Walking up the front doorway takes us into the building, and a quick right sees us into a comfy rendezvous space. A bartender and fully stocked fridge means there’s a cold beer in my hand within the first 15 minutes of my arrival (the first of many I will admit).
As per the philosophy of the festival, what happens between the stages reigns supreme; that includes interactions between the staff, media personnel and artists who will drop in and out of the maison over the course of the weekend.
After a quick hotel check in and bite to eat, the 10 minute walk over to the main festival grounds is exciting and a welcomed change after sitting in the van for over eight hours.
With a welcoming omen in tow, the giant angular unicorn welcomes festival goers with the golden hour sun hitting it just at the tip of the horn.
Montreal’s Bibi Club are opening things up, and while I only managed to catch the tail end of their set, their electronica pop songs were a great start to the evening. From then on, things began to take off, with Acadian cult favourite P’tit Belliveau delivering one of the festival’s best performances.
Like a choreographed group of college buddies, Belliveau and his four pals danced around in sports jerseys and thrifted shorts. The flashiness that often comes with being on stage clearly deflected off their comfortable and confident attire, giving their set a certain charisma that can only be matched by a close group of friends partying in their garage. Except add a thousand or so fans to the mix. Known for his comedic and relatable bilingual chansons, Belliveau brought his top guns with fiery banjo playing, rotating through individual solos from his band. Kitchen party mode engaged.
Following suit, New Brunswick trio Les Hay Babies brought the retro fits and energetic folk-rock-meets-jam-band for a lively performance.
Curiosity eventually got the better of me after a few beers so I found myself heading over to the Guinguette stage. About another 10 minute walk away from the main area, the stage boasted a stunning view of the lake with wooden structures and lights providing the ambience. The temperature had dropped, something that should be expected based on my geographical location. As a proud Canadian, I underestimated the temperature but bundled close with my light jacket and cozy, custom Dusty Organ hoodie.
Montreal artists Naya Ali and Conassieur Ticaso brought the party with their respective styles of hip-hop, the latter sharing his Francophone boom bap (something he has been honing for over 20 years, apparently). And while some would think that it being 11:00pm means the night is done, they would be oh, so wrong.
Heading back to the main area, the shows flow over into the handful of different smaller, indoor venues. One noteworthy luxury of the festival (or perhaps the province) was the convenience of moving between streets and venues. You have a beer from the last place? No worries, bring the can with you. You can finish on the way and get another once you get there!
The next show started at midnight, and there was already a buzz building: “Are you going to see Gustaf?”, “I’m so excited to see Gustaf!”, were being passed around the bar while waiting for Brooklyn post-punk/noise rock group Grim Streaker – a band which should not be forgotten.
With brown eyes set for kill and her effortlessly well-dressed band behind her, Grim Streaker frontwoman Amelia Bushell quickly put a spell on the bar. With an inexplicable tenacity that came through her long stares and casual ferociousness, Bushell and her band brought the NYC post-punk scene with her into the 200 person-capped Cabaret de la Dernière Chance. She was even generous enough to hand out some Miss Vickie’s chips out of seemingly nowhere to the front row.
It should also be mentioned that their live show blew their most recent EP out of the water; the two almost feel like worlds apart if it wasn’t for Bushwell‘s personality at the helm.
It’s now 1:00am on Friday, and the anticipation for Gustaf is finally ending, with the group arriving on stage. Led by the incomparable Lydia Gammill, the NYC art-punk group are confident in forging their own lane in the independent music scene.
With an oversized suit and pigtails shooting out in all directions, Gammill’s stage demeanour felt only like a slight shift from her real self – we were introduced while I was enjoying the aforementioned first beer as she and the band climbed out of their tour van.
Kudos to them; not only were they an amazing performance but their stop at FME was actually the only one of their “tour”. They drove all the way from Brooklyn just to play Rouyn-Noranda for one night. Something definitely not for the faint of heart or newbie musicians, and a testament to the atmosphere and reputation of this festival.
Their most recent album Audio Drag For Ego Slobs was released back in late 2021 and it was a wonderfully piercing and eccentric collection that captured the band’s ‘70s proto/art-punk influences into a whirlwind of contemporary energy. But nothing on that record could have prepared you for the show, other than knowing the lyrics that Lydia would recite with hypnotic franticness.
It was as if she was championing her followers from an imaginary soap box, and while most on a street corner would be delusional in thinking their audience was there, hers were in her firm, melodic grip.
Of course the rest of the band should not be overlooked; vocalist Tarra Thiessen playfully incorporates handheld rhythmic instruments and a low pitched vocal filter, adding to the band’s peculiarities. Drummer Melissa Lucciola kept things controlled & chaotic, alongside guitarist Vram Kherlopian and bassist Tine Hill. While the post-punk revival is not a new thing, Gustaf’s chemistry and unhinged edge on stage give them a unique advantage to all the other bands trying to accomplish something similar.
The first day of FME had some of the best performances of the long weekend, with P’tit Belliveau, Grim Streaker, and Gustaf setting the bar high. With the first day over, a late night stroll through the quiet, chilly Rouyn streets back to the hotel was a much needed decompress.
Friday – 9:30am
Free hotel breakfasts are a beautiful thing. Free food is an amazing thing to begin with, but having that first meal decided for you without any effort is immaculate. Followed closely behind is free lunches, which was on the agenda courtesy of Montreal-based music company, Bonsound.
Their annual BBQ was Friday afternoon, and not only was the weather perfect, but the house they had rented for the event was stunning. A stone cottage hidden amongst lush tree canopies and foliage invites you in, with the backyard mirroring the front. A green garden and small greenhouse filled with various vegetables and plants sits just past the black framed archway as you make your way in. A small pop up bar with endless (you guessed it) beer, wine, and bourbon lemonade greets you, with a packed audience surrounding a clear blue swimming pool. On just the other side, Lisa LeBlanc and her band were performing an intimate outdoor set. The backyard continued down a small slope, where hammocks, yard games and an unobstructed view of the lake completed the scene.
After finishing off a few hot dogs, downing a couple of beers and lemonades, and catching up with some out of town friends, I returned to the hotel room to finish some editing and to plan out the rest of the evening.
When I first arrived at FME, it didn’t take long for me to meet some like-minded media friends, making shows and what happens between the stages (the philosophy really rubs off on you) became a lot more interesting. Friday really began to feel a lot more like a festival with friends, as myself and a few others would hop between stages, slowly chipping away at the free beers courtesy of our media wristbands and at the Maison headquarters.
Wallet: check. Phone: check. Camera: check. Beer: check. All the essentials.
A set from Gus Englehorn started off the evening, with Isreali rock group Tamar Aphek right behind and bringing some ferocious alt-rock to the stage. After snapping some photos, I slipped away to the main outdoor stage where Montreal rapper Loud was performing. Coincidentally, a friend of mine was playing drums with him so a quick stop backstage was in order. It’s always a treat when hip-hop and rap artists are able to bring a live band with them, and Loud’s set was so much stronger because of it. Biases aside, the young Friday night crowd were a strong indication of his energising abilities as a performer.
One unique aspect of FME that adds an interactive quality to the curation is their “secret shows”. With the FME app, festival goers will be given a 15 to 30 minute notice of an unscheduled show that could be virtually anywhere around the festival grounds.
My first secret show was in a small parking lot-alleyway hybrid where Belgian Afro-noise rock group Avalanche Kaito put on one of the most compelling performances of the festival. Led by Kaito Winse, the trio combine African instruments with visceral and distorted guitars and drums. Making sure to take up as much space as possible sonically and physically, Kaito would jump into the crowd and onto the road to get audience members moving and dancing alongside.
At this point it was about 11:30pm and with a few beers and some complimentary ‘shrooms from a friend in my system, things were only going to get better.
Bouncing between venues, I popped in to catch Toronto noise rock group Gloin for a few songs. Flashing lights in a dark room with blistering guitars searing through the air provided lifegiving powers as the clock continued to move forward into the next day.
Ding.
Another secret show notification pops up, this time it’s Gus playing in the dingy basement of La Punk House. Walking into the venue, the glowing graffiti walls that lead down to the low-ceiling performance area gives an abandoned Putting Edge aesthetic, as the two-person duo of Gus Englehorn and drummer/partner Estée Preda played to a crowded, sweaty room.
Heading into the weekend, my plan was to play by ear and see where things took me. Well, by Friday night, – actually Saturday morning – 1:30am, I found myself at an outdoor dance party with a great group of fellow media guests, also there to have a great time on top of their planned coverage. The work and business stuff managed to happen during “business hours”, while having a great time at shows and moving around the FME “village” was an after hours priority. Needless to say, with the shows done, and a dance party happening until just after 2:00 am,an after party was the next logical thing.
Most work industries will probably deny or lie about having their vices, while the music industry (at the risk of sounding stereotypical) is certainly more well-known for leaning into it. And of course, not everybody is involved in any sort of extra-curricular activities, but it still happens to be an excellent way to network and meet people you may have never met – even if it is in the wee hours of the morning.
Without naming names, Room 101 is where the night takes us, as 3:00am starts to inch closer. A handful of people hanging outside drinking, and smoking welcome myself and a few pals as we step inside to help ourselves to the well-stocked beer fridge. Exhaustion will be tomorrow’s problem. For now, I’m enjoying myself, meeting artists and industry staff. Eventually, a stomach grumble advises me to check the time: Poutine o’clock.
With only one late-night food option available, we head to Chez Morasse (because who would ever want less ass). We had tried to go earlier at 2:00am, but an hour waiting in line felt better spent drinking and socialising. By now it was 4:00am, and the lineup had cleared out.
Delicious cheese curds, rich brown gravy, and a generous offering of French fries was exactly what the walk back to the hotel called for.
Will I regret going to bed at 5:00am? Who cares – Saturday was already off to a great start regardless…
Saturday – 11:00am
Free hotel breakfasts are a thing – unless you miss them.
However, FME was throwing a Pro Brunch at the Maison at noon, so there was food available, thank you for your concern.
After last night, things were a bit slower moving in the morning – for me and most people it seemed. Endless mimosas and coffee were flowing as we waited for an incredibly over the top meal, waiting on the misting rain to clear up. I quickly and graciously devoured my smoked salmon on a bagel with duck confit and fruit.
Saturday – 6:00pm
Full, happy, and refreshed from both a nap and a small industry BBQ (more hot dogs and beer for me!) Saturday’s festivities started – continued? – by 6:00pm as we caught Bria Salmena and her band at what felt like a dive sports bar. A row of glowing virtual slot machines, pool tables tucked away, and an extremely dimly lit room gave her alt-country tunes an appropriately matched energy. A member of Orville Peck’s band, and having previously performed in noise and alt-rock bands, Salmena’s elegant grit was mesmerising, as her sharp, piercing eyes acted like a siren call to match her jangly, sad country music.
In need of some energy boosting, a secret show with Montreal rapper Koriass filled the open space of a small neighbourhood park, before I headed to an old store front for another secret show from Tamar Aphek.
Saturday felt like it was moving at a bit of a slower pace, as I would take in small portions of a show, with Montreal neo-R&B artist Fernie and Lativan experimental art-pop artist Elizabete Balčus contributing some incredible performances to my venue-hopping journey.
Electronic artist CRi was on the main outdoor stage, and his dance music provided an extra jolt of energy to my somewhat chill day. Going full out, the Montreal producer ditched the backing tracks and brought out Sophia Bel and Jesse Mac Cormack as featured vocalists, and went one step further with Mac Cormack to go back-to-back for a few songs, showcasing how close-knit the Montreal music scene truly is.
Closing out the night was Animal Collective – a band that really helped shape my eclectic taste of music and introduce me to the melodic obscurity that can exist in the indie music scene; there was a small “full-circle” element to having such close proximity to the band from the photo pit and backstage.
Oddly enough however, there was a general commentary of feeling that the band was one everyone knew about but no one’s favourite, seeing as their discography was so vast and somewhat unapproachable. Adding to the doubt, their set felt static, with each member stationed in their respective section. In the past, the band have been known to be visually extravagant with their performances, but the one at FME seemed to be more of a stock grade. Colourful video images flashed behind them, but it quickly plateaued and left me curious about other performances.
Fortunately, a notification pops up. Growlers Choir.
In the same parking lot-alleyway spot as Avalanche Kaito, an 11-piece metal choir from Montreal set themselves up. The simplest explanation would be to picture a church choir but instead of singing sustained hymns, they are singing in death metal growls and screams. It was a unique performance and I doubt I will ever come across something similar again in my life. A narrator stood at the top of a fire escape painting a story behind the performance as the choir members dressed in black clothes and matching eye makeup let out low, deep vocal tones. It was certainly for an acquired taste, but definitely worth checking out for the curious ones.
The metal singers would be a gateway into the boisterous acts for the rest of the night, with the midnight show going to Quebec City/Montreal psych-rockers Solipsisme, who brought their predominantly instrumental ‘60-’70s psychedelic noise rock to the late night crowd. The band sent the crowd back in time with their music and outfits, creating a roaring vintage atmosphere. Lead guitarist Francois Lemieux was an especially dominating performer, with his unruly hair flipping around while his fingers and guitar became one psych-gaze weapon.
Now would be a great time to mention the importance of proper ear protection, as had I not had ear plugs for the weekend, I would surely have suffered damage. For those that stuck around for Solipsisme and closing act Autre Part without anything blocking the sound waves, I CAN SPEAK UP IF YOU NEED ME TO.
While not for everyone, noise rock group Autre Part put on an incredible show. The combination of post-rock and blistering noise distortion made an impeccable ending to the evening as they took the stage at 1:00am. One fan was so into it, he even brought out a lightsaber to provide a twirling light show that meshed surprisingly well with the aggressive guitar work.
After sticking around to introduce myself to the band and finish off another beer or two, I made my way back to the hotel for a somewhat early night, if being in bed by 3:00am counts.
Sunday – 10:00am
After learning my mistake from yesterday, I made sure to be up in time for the complimentary breakfast in the hotel, making an appearance in the quiet dining area and chatting with some international contacts I had met the first night. My French was nowhere near perfect, but being surrounded by the language and having a somewhat functioning base level understanding, I started to notice an improvement by the end of the weekend.
This would be the final day of the festival, with a 7:30am call time to catch the bus home the next morning looming in the back of my mind. Running off of limited sleep and making sure to get my steps in every day was starting to catch up, and there was a sense of relief to being near the finish line.
Don’t get me wrong – FME had been a tremendous weekend and overall experience, but four days of music festival going does start to add up.
With some energy to start the day, and nothing on the agenda for the first time this weekend, I found some downtime before catching my first show at 6:00pm.
Sunday – 6:00pm
OMBIIGIZI, a collaboration between Zoon (Daniel Monkman) and Status/Non-Status (Adam Sturgeon), brought their powerful shoegaze sound to The Paramount stage. Fusing together rich, sonic tones and melodic guitar noise with compelling social commentary and storytelling based on their Anishnaabe culture, the band were extremely moving and cerebral. A lot of the weight that is in their music was not entirely captured on the record, but their live show was able to bring it out.
With the intention of not overcrowding my schedule, and with a slightly smaller roster for the last day, I caught my next show a few hours later at 8:00pm: Lou-Adriane Cassidy. With a soft and sultry outerly appearance, her music brought out a provocative side, and as the rock music took hold itstripped her of her black dress, seeing a switch to a rich red robe instead and nude coloured intimates.
With a buzz in the air, next up was East Coast indie pop artist Rich Aucoin who brought his entertaining live show to the main outdoor stage. Combining film, pop culture references, and comedy with his show, his hilarious meme-filled introduction video set the tone for the high-energy performance. While his music has often flown under people’s radars, his live show builds a community, regardless of familiarity. Through movement, sing-alongs, and jumping into the crowd, Aucoin was a formidable and interactive performer.
But nothing could have prepared us for the hurricane that was Hubert Lenoir. Closing off the main stage outdoors, the Montreal-based alternative artist and his band were one of the best, if not the best performance of the festival.
Donning an oversized safety vest, a black cowboy hat, and headphones connected to nothing, Hubert was not alone in his obscure outfit. The rest of his band wore matching work gear, some with more eccentric items hidden underneath. Each with their own bottle of straight liquor, shots and solos were passed around in equal measure, as Hubert’s grandiose stage presence involved over five stage dives, stomping around every square inch of the stage, and rocking his heart out in a thin white dress.
To no one’s surprise, his music was just as chaotic and unpredictable. Like a vacuum of genres, he would pull together industrial, disco, funk, rock, pop, R&B, baroque pop, and electronic just to name a few. There were only two consistent things: his energy and charisma, everything else seemed to flow out of him like a whirlpool.
With a melted face and air still in my lungs, I headed to the basement of a bar for one final show from Montreal punk trio No Waves. At just 19 years old, the 3 friends had riffs and chops ready to go, showcasing their strengths as young, dynamic songwriters. The basement DIY scenery and dim lighting were a great match for the group’s surf-punk inspired sound. There’s a lot of potential in this group, and I’m excited to see where they go next.
Monday – 7:30am
After a quick packing session and breakfast – yes, still free -, the Toronto minivan gets ready to complete the trip back to the big city. Time to plug into some true crime podcasts and nap.
Thank you to the town of Rouyn-Noranda for hosting such an incredible festival, Mothland and FME for their curation skills, and of course to everyone I spent time with over the weekend. The shows were fantastic, but what happened between the stages was the best part.
Fans of emerging music and independent artistry will feel like they’ve struck gold with FME. Even though I had a unique experience as accredited media, the town is welcoming to the festival and there’s a humbleness that the artists bring to the shows. Considering its odd location, everyone that is there wants to be there and a universal sense of comradery washes over the grounds.
It’s only been a week since the trip and I’m already looking forward to next year.
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