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image+nation 2023: Two Films Not to Miss
The image+nation festival is celebrating its 36th anniversary from November 16th to 26th, 2023. Canada’s original LGBT2SQ+ film festival that celebrates new queer storytelling is hosting both a theatrical edition in Montreal and a hybrid edition across Canada. There will also be in-person events and panel discussions along the curated 11 days of programming. Emphasizing diversity through its 175 films, image+nation has showings from over 27 countries, representing all corners of the globe. Other spotlights include Queerment Quebec, Made Au Canada, INDIGIQUEER, and a focus on France in Focus France.
Opening the festival is the documentary film Marinette, Thursday, November 16th, 19H00 at Cinéma Imperial, which tells the story of Marinette Pinchon, the first French soccer player to sign a professional contract in the U.S, and of the first major French sportswoman to come out as queer. Filmmakers Virginie Verrier and Marinette Pichon will be in attendance.
The closing event will be the world premiere of Venus Envy: The House of Venus Story, Saturday, November 25th 19H00 at Cinéma Imperial. The film is based on Canada’s multidisciplinary artists whose mission has always been to spread joy while simultaneously opening up discussions about gender expression. Also featured that evening is a one-of-a-kind immersive show and party by legendary art and performance platform, Wiggle.
The section “A Question Of Gender” is back, including the film Close to You starring and produced by Elliot Page. Canada’s lesbian community will also be celebrated and highlighted in the section with a screening of Marusya Bociurkiew’s Analogue Revolution: How Feminist Media Changed the World, which will be preceded by a discussion with the filmmaker and participants.
Highlighted in the “A Question Of Gender” section was one of the films that I was able to screen, the documentary Summer Qamp from Canadian director Jennifer Markowitz. The film follows the young generation of LGBT2SQ+ youth who live in the conservative communities of southern Alberta, where they might not always be accepted or find friends who are part of their community. However, Camp fYrefly is a bastion of safety during the summer where camp attendees and counselors are all part of a queer community that creates a safe and loving space. Following these campers is a great way to see the evolution of each and everyone’s identity through a safe space, as they gain friends for life that can relate to living as an LGBT2SQ+ youth in a conservative community. Finally, we can see what it means to be yourself and enjoy your youthful years while having friends who accept and help you grow.
*November 2th 13:00 Salle J A De Sève*
Another documentary that I enjoyed was Studio One Forever from director Marc Saltarelli. From 1974 to 1994, Studio One in West Hollywood was seen as the center of queer nightlife in the city, as well as the staging ground for the rise of LGBTQ rights and fight against the AIDS crisis. On the threat of its demolition, old patrons and workers visit the spot to share fond and not-so-fond memories. One of the issues presented in the film is how the club let in white men only, turning away most African American clients, as well as women. This would only progressively get better as the years moved on and acceptance grew.
One of the hardest and most profound chapters in the film was the “decade from hell” where interviewees reflect on the AIDS epidemic. One former staff member showed a photograph of the 150 staff members, reflecting that there were only two still alive. However, we also see how Studio One hosted benefits for the AIDS crisis, featuring the likes of comedian Joan Rivers. The final moments showcase how Studio One was not just a club, but an institutional landmark whose history and legacy is well worth preserving as the forefront for the LGBT2SQ+ rights movement all these years later.
*November 18th 19:00 Stock and Soda*
For more information on image+nation programming and tickets, visit: image-nation.org
Interview with Stolen Time Director Helene Klodawsky
Remi interviews director Helene Klodawsky about her new film Stolen Time, screening as part of this year’s RIDM film festival on November 19th at 3 PM at Cinema Du Musée. Stolen Time follows the cases of elder right lawyer Melissa Miller as she and her clients navigate the complicated legal proceedings against for-profit nursing homes. The film shines a light on the ack of accountability and transparency in the for-profit sector of nursing homes.
At The Movies (With Iconic Sounds) is hosted by Remi and co-hosted by Danny every Tuesday Mornings from 8-9 AM only on CJLO 1690 AM.
Frozen to Death at Le Studio TD, and it's Only November
“The best Montreal show we’ve ever played,” gasped Frozen Soul frontman Chad Green while wiping sweat off his face after a particularly energetic show. The Texas death metal act played at Le Studio TD last Thursday as part of their Assimila-Tour with 200 Stab Wounds, Judiciary, and Tribal Gaze.
Green’s post-show quote was far from hyperbole. Frozen Soul’s massive sound lit a fire under the audience right from the get-go, spinning the pit in an infinite circle while a barrage of crowd surfers launched from either end of the stage like a declaration of war. “You like those big boy riffs, huh?” Green spit as an army of devil horns shot up in his direction.
Frozen Soul have quickly launched up the corpse-orate ladder since their 2019 demo Encased in Ice. Although they deal riffs comparable to Bolt Thrower and other genre legends, Frozen Soul’s dedication to the ice theme has distinguished them from scene rivals. Their most recent Glacial Domination came out through Century Media – a humble brag for a band that otherwise sounds like most modern death metal acts. The ice gimmick was particularly fitting for the Montreal outing, given that the season’s first heavy snowfall hit early that morning, as Montrealers prepare for another deep freeze.
Gimmick or not, the band made their dedication to the local scene clear. Between energetic performances all around from the quintet, Green gave shoutouts to Montreal bands like Despised Icon and Spectral Wound (the latter being quite the underground name). The frontman also manned the venue exit immediately after their set, taking the time to shake hands with fans. Little things like these are what stick in your head after a show, and shed light on why Frozen Soul have been able to make so much headway in the scene.
The band repeatedly filled the show with memorable moments. A push-up competition was sparked halfway through their set, with about 10 sailors in Sanguisugabogg t-shirts dropping to the wet pit floor when prompted by Green. This military exercise definitely did not contribute to the “death metal smell” that was particularly rank at this meetup, a stench the Studio TD cleaning crew are probably still trying to air out of the venue.
Green also made one of the best song introductions possible. He prompted the audience – “Can you guess what the heaviest band of all time is?” After a few drunken callouts, the frontman turned around and slowly lifted his Cannibal Corpse tank, unveiling a Mortician tramp stamp right above his generous posterior. Frozen Soul immediately erupted into a scorching cover of “Witches Coven.”
When Green was asked about how he gets in the zone before a show, he answered “Apex Legends and Magic the Gathering, that’s my pre-game ritual.”
Although 200 Stab Wounds, Judiciary, and Tribal Gaze were nothing to shake a stick at, Frozen Soul’s personality made quite the impression. Make sure to check tour dates for an outing near you.
Slow Pulp’s Contemplative Shoegaze Grunge Fills Bar Le Ritz
Slow Pulp is a dreamy Chicago-based band that formed in elementary school as a trio between guitarist Henry Stoehr, bass player Alexander Leeds, and drummer Theodore Mathews, before Emily Massey joined the band as their vocalist in 2017. Yard, their second full-length LP, was just released in September 2023. The band’s use of unconventional instrumentation alongside mellow shoegaze and moody grunge textures is part of the band’s appeal — with violin on their hit track “Falling Apart,” and slide guitar, harmonica and banjo ornamenting their new song “Broadview.” Throw in fun, catchy melodies and comfortingly intimate lyrics that make it feel like your best friend is singing in your ear, and you’ve got a musical act that’s easy to fall in love with.
It was evident on Monday, November 6th, at their show at Bar Le Ritz PDB, that this was the case. Their down-to-earth, relaxed performance style was perfectly suited for the rainy weather. Yet the room still buzzed with excitement and eagerly filled in the lyrics to their most popular songs anytime that Massey asked. In live performance, Slow Pulp’s music had a more stripped-down quality that had me missing some of the album’s fun vocal effects, like the vocal looping in the intro for “Slugs.” However, the sparseness also made ballads like “New Horse” somehow more gorgeous than they already were. Regardless, the core energy of each song was still translated well on stage and it was satisfying to get to hear all these songs that I’ve been obsessed with live.
As the show went on, the band seemed to grow a little less shy and halfway through the set Massey started to regularly chat with the crowd, asking funny questions like “Anybody got a crush in the crowd tonight?” and “Is anyone on their period right now?” before launching into the track “Cramps.” After declaring that Vancouver did a hell of a job singing the verses to “High” last month, the crowd chanted it so ferociously that the band was visibly in awe and Massey declared that Montreal had won the singing competition. Seeing how Slow Pulp opened up more with the audience as the night went on, I would love to see how much more mobile and comfortable on stage the band will become with their next tour! The music was crisp and Massey’s breathy, introspective voice was just as emotionally moving as on their albums. With Slow Pulp’s latest release heading in a more bright, high-energy direction, I’m looking forward to how that will influence them to continue to take bigger risks with their stage presence.
Fuming Mouth’s Mark Whelan on Touring in Canada and Last Day of Sun
“Halloween is fucking over!” screamed Fuming Mouth frontman Mark Whelan as he threw a plush Jack Skellington doll onto the stage floor. While the singer/guitarist shouldn’t need an excuse to curb-stomp Halloween decorations that overstay their welcome, the Nov. 3 concert at Foufounes Électriques marks a new era for the group with the release of their sophomore album Last Day of Sun.
I saw the Milford, Massachusetts death/crust act play their first show in Montreal back in 2019. It was the archetypal DIY gig – 50 people packed into the very well-lit basement of a clothing store; raucous noise elevating fans swinging from the rafters above. Four years later, Fuming Mouth have molted into a new beast – breaking in Foufs’ new Cabaret stage in style (this time there were 100 people there to see them).
Fuming Mouth are currently on the first leg of their North American tour with Final Gasp and Devil Master, burning through 25 cities in 34 days. Despite running larger numbers these days, the band still plays a lot off the cuff. “It’s day four and we’ve changed our setlist three times,” Whelan said with a chuckle. “Last Day of Sun came out today but I wanted to play some songs off The Grand Descent, and it just felt lame next to a song like ‘Out of Time.’” Although still fierce as ever, Whelan works in some melodic Katatonia-esque clean singing on Fuming Mouth’s new record, marking a more mature sound since their 2013 demo. “A lot of our music has just been slamming you against the wall. [...] I think this album having dynamics, no matter how slight they might be, really just gives that impression about how there’s different things going on in the live set now.”
Those singing parts are a real palate cleanser. When the frontman isn’t tuning into his engaging yet punkishly-monotone clean singing voice, he’s bombarding the audience with hellish screams while his eyes widen like some kind of possessed guitar-slinging demon (Last Day of Sun was recorded in Salem, Massachusetts). The stage persona pairs well with the band’s style, cranking out breakdown riffs in a true wall of sound. “It’s my one moment of letting loose and going crazy and just being very aggressive.”
Whelan’s stage energy became infinitely more impressive when he told me about his recent health issues. “I had cancer two years ago, and I did not know.” The 33-year-old frontman was diagnosed with Acute Myeloid Leukemia, which required a bone marrow transplant to be treated – a procedure Whelan made sound metal as hell. “They basically make it so you have no blood in your body and you’re kinda just like a skeleton, and they put new blood in you.”
“Kill the Disease” off Last Day of Sun touches on Whelan’s battle with cancer, featuring the lyrics “Fear can’t stop me now. I must persevere through all of this sickness. Plague, famine, cancer can’t kill me.” But in a cruel twist of fate, the song was more of a foreshadowing. “I did write the record before I got diagnosed,” Whelan said. “It was supposed to be fictional. And then it kinda just became real where it was the last day of sun, I literally couldn’t go outside because it would reactivate the cancer. [...] I could go out at night and be a vampire, but that’s about it.”
Whelan expressed gratitude for his treatment’s success, enough so that he’s back terrorizing audiences on stage, especially up here in Canada. “I love being able to play shows in cities like this,” he said after raving about the iconic Foufounes Électriques, given the venue’s early role in alt/punk history, hosting hallmark bands like Nirvana and Green Day before their respective pop culture explosions. “That’s the cool thing about Montreal, so many great venues have survived, and there’s a lot across the world that haven’t.”
Last Day of Sun is out now on Nuclear Blast. Make sure to check Fuming Mouth’s tour schedule so you don’t miss out on a date near you.
Dope Lemon at L’Olympia: Pure Psychosis
What is it that is captured by the pseudonym of Dope Lemon? For one, it is a psychedelic experience orchestrated by Australian singer-songwriter, Angus Stone. Listeners might as well gear up with their bell bottoms and a tightly rolled joint, as Stone’s music very much mimics the sensations of lying in the beating sun at late-1960s Woodstock. The strong folk and indie influences from Stone’s earlier musical duo, alongside sister Julia Stone, carry through into his newest project, Dope Lemon. Dope Lemon was established as Stone’s new artistic front in 2016. With the desire to explore a more rhythmic and upbeat style of music, the vocal production fluctuates between soft-sung lyrics and instances of recitative, similar to spoken-word, style of voice. Stone’s investment in creating Dope Lemon has re-introduced audiences to the 70s pop-rock age.
This past Monday, November 1st, Dope Lemon and brilliant touring musicians Leigh Fisher, Louis King, Brad Heald and JP Dominique stunned Montreal’s L’Olympia crowd. The late thirty-year-old grooved effortlessly on stage, jamming alongside bandmates, and raising screams when tilting his hat to the audience. His electric energy had everybody watching convinced he had not aged since his twenties. During the band’s performance of “Hey You,” the leading track off of their Smooth Big Cat record, Stone’s distorted megaphone vocals cut smoothly against the shakers and eclectic bongo beat. Audience members moved their hips sensually and swayed to the burlesque ambiance, not stopping during King’s gritty guitar solo.
Attracting a diverse range of concertgoers, Dope Lemon’s intricate sound ruminated the venue. During “Just You & Me” from Stone’s newly released work, Kimosabé, it became clear that this music thrives for both those who wish to be taken back to the times of Flower Power and Gen-Z, looking for easy listening. The band’s live performance of “Just You & Me” encapsulated the much-needed break from the burdens of the outside world, providing tranquillity at its finest.
A much-needed spotlight should be used to credit lighting and effects designers of the tour. From a classic strobe to the detailed backdrops projecting a visual for each story sung by Stone, Dope Lemon’s artistry was able to flourish beyond sound.
There was an otherworldly sensation to the show. Audience members were taken on a psychedelic trip through time, space, and reality. An eclectic compilation of instruments highlighted Stone’s creativity in composition, and exposed audience members of all ages to music reflecting the work of greats. Elements of Fleetwood Mac, Led Zepplin and The Rolling Stones were heard throughout the evening. Dope Lemon’s performance was truly a concert for everyone.
Psychedelic Fractals Dance Above Heads in SAT’s Dome
Alien landscapes mutating into castles of crystals melting into the internal structures of snowflakes, all twirling and collapsing in on themselves, this is the immersive experience of Recombination, the mathematical artist Julius Horsthuis’ fractal-created VFX work.
Montreal’s Société des Arts Technologiques’ (SAT) Satosphere domed projection room presented Horsthuis’s computer-generated psychedelic experience for an audience reclining below on ergonomic bean bag chairs. Horsthuis collaborated with nine of his favourite musicians to produce an hour-long show consisting of nine different ‘songs’, each with distinct fractal patterning and musical compositions ranging from classical orchestras to borderline electronic club tracks. Horsthuis differentiates himself from traditional understandings of art creation and imagination, claiming the worlds he creates are not designed. It is not a journey from his imagination or experiences, but developed from mathematical realities, which he explores and “makes them reveal themselves” as if he were a director or a photographer.
A large question looming between myself and the transfixing dome above me is, simple in words but complicated to grasp, what is a fractal? Going into this experience, I knew it had something to do with math and connected nature’s talent for pattern creation to the ten-hour-long audio visualization videos popular on YouTube. I was partially expecting a professor and a chalkboard to start the show off with fanciful equations. Unfortunately, there was no explanatory introduction for the simpletons in the audience, just an hour straight of psychedelic shapes and patterns moving around in rainbows of colours, leaving me confused and slightly sedated.
A handful of searches and math class recordings later, I feel partially confident in defining fractals. They are infinitely reproducing patterns produced by lengthy equations with numerical placeholders and font-decreased numbers attached above and below variables. Yeah, I was never popular in math class. These equations produce funky graphs of spiky-looking patterns that you can infinitely zoom into and they will continuously repeat the same geometric pattern as defined by the inputted equation.
This connects to nature via naturally occurring repeating patterns, like broccoli. If you look closely at a broccoli stem, the pattern of branching stems repeats themselves, perhaps not infinitely, but still similar to a fractal. Some mathematical philosophers ponder the whole universe is a fractal, you can see this sentiment reflected in the patterning of rotating galaxies, spiralling snail shells, and branching river systems.
Understanding this, I have a new appreciation for Julius Horsthuis’ fractal creation, by taking empty equations and altering the variables, rates of repetition, colouring, and scale, he is able to create infinitely swirling colourful patterns that would certainly give me vertigo if I was standing. The resulting projections, created by mathematical computing, eerily reflect blood cells in a vein, neon-coloured neurons firing, Star Wars-like landscapes, and floating moss balls, ever mirroring itself and continuing unfolding. At times, it felt like my bean bag chair was in the backseat of a spaceship exploring an alien planet, diving into its cavernous systems of tunnels, or swirling around open space, forever flying into floating multicoloured triangles.
My experience under the dome validates Horsthuis’ intention of sparking the “flames of imagination” of the viewers, encouraging them to develop their own spiritual meanings of his secular equation directing. He states that the essence of the beauty in his work reflects the “intricate dance of numbers and patterns that govern our world.” The viewer must understand that math is not as far removed from the natural world as it may feel in high school math class. Mathematics is just another lens one can put on to further question and learn from the realities that surround us, fractals play a big part in that.
Laufey Bewitches Theatre Beanfield
Laufey's Bewitching tour truly is representative of its name. The 24-year-old is currently the most streamed jazz musician on Spotify. She holds inspiration from Ella Fitzgerald, Billie Holiday, Oscar Peterson, and Taylor Swift. Saturday, October 28th, the Icelandic singer took the stage to perform her latest album Bewitched at Theatre Beanfield.
The night started with the opener, Adam Melchor, an indie artist, singing “Somewhere Over the Rainbow.” He demonstrated impressive vocal riffs and guitar playing. The artist’s stage presence was impeccable as he had the ability to keep an audience entertained with introspective rants and self-deprecating humour, notably telling stories of his childhood and an ex’s car hitting a tree. His lyrics held the same power of beautifully juxtaposing humour and vulnerability.
Once Laufey came on, I finally understood why people love jazz so much, as she serenaded the crowd like a princess singing to animals in the forest. She meticulously enchanted everyone with her beautiful voice and diary-inspired lyrics. The singer-songwriter writes on matters of the heart, such as secret longing, hopeful endeavours, and remorse. The crowd was the loudest for the song “From the Start,” singing and sometimes screaming along to her hopeful and hopeless lyrics about having a crush on a friend who doesn’t feel the same way. Laufey showed great musical skill in jazz, classical and pop music, with her ability to switch between three guitars, the cello, and the piano at any given moment. Her theatrical facial expressions and dancing made it feel like we were all listening to her tell stories, like a group of old friends.
Laufey often interacted with the audience by replying to the people who screamed out, laughing with the crowd, and speaking of her hopes and fears, anything that led her to write and create such poetry.
At the end of the night, she performed a one-off surprise song, “Dance With You Tonight,” which she explained would only be performed in Montreal. Laufey made me want to fall in love, cry, and rewatch all my favourite childhood fairy tales. Finally, she gave me a deeper appreciation for jazz.
Genesis Owusu @ Le Studio TD
How do you one-up yourself after a theatrical live debut, a sold-out orchestral show in Sydney, and an opening slot for Paramore? If you’re Genesis Owusu, you don’t. You reset, you go back to basics, proving your talent in a singular vision only an artist of your calibre can provide. On October 18, Montreal had the privilege of catching the genre-defying artist live on the STRUGGLER tour, supporting his acclaimed sophomore album of the same name.
When walking into Le Studio TD, I found myself greeted by loud noises spilling out from beyond the doors, which turned out to be the opening act Godly The Ruler, who was giving it their all. Supported by a simple backing band (a single guitarist and drummer), the experimental rocker’s passion was palpable. Heavy electronic beats filled the space along with a receptive crowd cheering them on throughout. Perhaps their performance could be summarised by how it ended: a thanks to the crowd with distortion overtaking the vocals, sincerity coming through the noise.
It didn't take long for Genesis Owusu to take to the stage, starting his set with STRUGGLER’s lead single “Leaving The Light.” Right before the explosive chorus, he took off the front cover of a large rectangular prism, revealing three pairs of vertical light panels with a projector on top behind glass. The pulsating strobe lights matched his commanding vocals on display as he yelled about a roach trying to escape from god (the main story of STRUGGLER). In previous tours, Owusu performed with The Goons, mutuals of his that punctuated his shows with energy, not by playing instruments but simply wilding out alongside him. Now he is on his own, forcing the audience to stare front and center. If anyone thought this show was going to be anything except for a raw display of talent, they were immediately proven wrong
The heavy bangers in his discography such as “Stay Blessed” allowed for intense moments of authority, keeping the audience locked in as he belted out lyrics and struck poses. Balancing out the tracklist was an equal amount of slow tunes, such as “Waitin’ On Ya.” In these slower moments, Owusu could relax his energy and focus on delivering some impressively sweet melodies. Between groups of songs, pre-recorded narration acted as a replacement for the usual concert chit-chat, increasing the thematics of the show. I found it challenging to dissect what each section was talking about, but the commitment to keeping the flow maintained was appreciated. Owusu also enjoyed toying with the crowd, sprinkling a dose of fun throughout the show that kept the audience engaged.
Genesis Owusu had the odds stacked against him. A purely solo show with no backing band and only minimal use of visuals needs a truly standout star to bring it all together. Going into the concert, I have to admit I had my doubts that he would be able to pull it off. But not only did the STRUGGLER tour prove Genesis Owusu’s music as modern classics in the making, but cemented Genesis Owusu himself as a star; one capable of tackling the momentous task of having a solo show go toe to toe with an orchestrated performance. Never have I felt so comfortable betting on a roach in a fight with god.
POP Montreal 2023: In Review
POP Montreal took over the city’s Plateau district from September 27th through October 1st, 2023. Oh, those halcyon days of two weeks ago, the nights were warmer, the world was maybe just a little bit less screwed up and the sound of music spilled out onto the sidewalks of our fair city.
While the bigger name shows like Martyn Bootyspoon and Islands might have drawn larger crowds, all the cool people could be found on Saint Laurent Boulevard at Casa Del Popolo. Even CJLO’s own unflappable host of Hooked on Sonics, Omar Sonics, was hanging out for the evening of music that featured Avec Plaisir and Barnacle. Alt-rockers Bonnie Trash were also on the schedule but, unfortunately, one of the band members caught the Covid blues, forcing the cancellation of the show. Because of this, the two bands left standing Avec Plaisir and Barnacle hit the stage a bit later than expected. Fortunately, those in attendance hardly blinked an eye and the shows went on without missing a beat.
Avec Plaisir, a self-described indie punk quartet that consists of Sam Winsor and Sébastien Vézina on guitar and vocals, Julien Besner on bass and vocals and Maxime Verreault on drums. Their debut album, released in 2022 was simply titled, An Album and that laid-back attitude was quite apparent during their forty-five minute or so set that included songs from said album, like “Jarry St.” and “Jeep Cherokee Influencer.” The band tried to get the audience involved in an old-school circle dance adding a bit of oomph to the evening, to which Avec Plaisir took it up a notch adding a bit more reverb and energy.
When Barnacle took the stage, the small venue had filled up and a buzz of the first night of Pop Fest excitement filled the air. Led by the strong vocals of lead singer Sam Cummins, Zack Bruce on guitar, the steady beat of drummer Raph Sandler and the pounding bass provided by Allison O’Reilly on songs like “Uncle Chucky” and “Sunblock,” one could not help but to shake about.
Day two of POP Montreal saw Club L’Esco host the album launch of Montreal singer-songwriter Sasha Cay's latest album, Spin. Alphonse Bisaillon kicked off the evening with a solo endeavour of him and his keyboard that entranced the appreciative and abnormally quiet audience with his pop melodies and quirky storytelling. Up next was Montreal music producer Sam Woywitka’s latest project SAMWOY. A band that denies explanation preferring to let the listener join them on their sonic journey.
Unlike the quiet and attentive audience during Alphonse Bisaillon’s set, the audience during Sasha Cay’s set was the chattiest I had been around in quite a long time. No matter where I wandered in the small venue people seemed more interested in catching up with their mates than what was happening on stage. The low volume of the vocals on songs like “Shadowboxing” and “Blackfly” certainly did not help matters. The sound did get turned up three-quarters through the show which seemed to help drone out all the incessant chatter. Closing out the evening was the Montreal post-punk band Sunforger.
The third day of the POP Festival, Friday, was Rhythm and Blues night at the Rialto Theater. Caribbean-Canadian artist Janette King’s fusion of R&B and house had the Rialto audience dancing in their seats. After the up-and-coming artist Janet King, came the four-time Grammy-nominated, who as a teenager toured with Sam Cooke and Mahalia Jackson, Candi Staton. Her mash-up of “Stand By Me” and “Stand By Your Man” stood out as well as a couple of songs made popular by Elvis Presley, “In The Ghetto” and “Suspicious Minds.”
Taking a break from the music, POP Montreal welcomed presidential candidate Dr. Cornell West Saturday night. Speaking at a packed Rialto Theater Dr. West discussed society's spiritual decay and the virtues of love and John Coltrane. Right next door at the Rialto Hall CJLO was presenting a duo of performers. Singer-songwriter Hiroki Tanaka and Los Angeles-based Hand Habits.
All week the festival was graced with beautiful fall weather and the final day, Sunday was no different. One of the few outdoor venues, Entrepôt77 was hosting a band I was looking forward to checking out. Unfortunately, the mid-afternoon start time might have been a bit early for some as the turnout for Balaklava Blues was quite disappointing. Like really disappointing, I'm pretty sure I could have taken a head count with my fingers and toes. The professionals that they are, they played as if the Big O was filled with adoring fans as their set closed to a climatic rendition of “Shelter Our Sky” and “Let Me Out.” Towards the evening the venue filled up for the hip hop artists El Mega S.P.R.M and Gayance. Over at the Rialto Theater folk artists Beyries and Bonnie “Prince” Billy played to a full house. Both solo performers had no trouble commanding the attention of the audience. A fitting end to the festival was the encore when Bonnie “Prince” Billy played a cover of Sinéad O’Connor’s “Queen of Denmark.”
Spread over five days, POP Montreal is a marathon of musical mayhem and I’m sure there was much that I missed while I was seeing other bands. In the end, the twenty-second edition of POP Montreal will be remembered when people say, “remember when we saw (insert favourite band here) in that tiny hole-in-the-wall bar.”
Clifton Hanger hosts Brave New Jams, every Saturday 10-midnight on CJLO.
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