POP Montreal: Friday

POP Montreal returned for its annual weekend of concert after concert spread over 5 days, with over 400 artists and bands playing at over 50 venues across the city. On Friday, CJLO staff attended a few of the shows POP had to offer

Lisa Rupnik

POP Montreal has somehow snuck its way into my heart to become, for all extensive purposes, my favorite music festival in Montreal. It's not just the killer lineup that they bring year after year, it's also that its presence has become synonymous with the arrival of autumn in the city. I've often complained enough about all the stupid little things about Montreal that bring me down. And I'm justified to have those feelings, having lived here all my life. But when POP comes around I feel enchanted by my own city, like the carefree and detached feeling of a tourist. 

Part of the fun of the festival is popping around the Mile End from venue to venue, for that reason I couldn’t recommend getting the full festival pass more. There’s too much going on at the same time, festival goers have the heartbreaking task of picking and choosing between their favorite artists, which was the exact struggle I had on the Friday night of the festival. While eating my dinner, I had the POP Montreal festival booklet and with military precision made my strategic plan for the night.

The first band I knew I needed to see was Victoria’s Freak Heat Waves. They were opening up for Homeshake, which is fine and maybe justified, but Homeshake was one of the artists I had to cut out of my night. When I walked up the stairs to Theatre Fairmount, Freak Heat Waves had already taken the stage. The music felt as if it almost had a physical entity, and combined with their psychedelic stage visuals, their glow took up the entirety of the room. Their latest album Mondo Tempo was an entertaining and thorough listen, but seeing it performed really brought it to life. After I heard the song “In The Moment Divine”, featuring legendary artist Cindy Lee, I knew I had my fill and it was time to move on to the next venue.

At this point, I walked over from Theatre Fairmount to Le Ministere, which I'm still not sure is a long walk or not. The reason why I headed over was to catch LA-based electronic musician Nailah Hunter. Her 2023 album Lovegaze topped many end-of-year lists and Bandcamp spotlights.  Performing with just a harp and a pedal board that would outdo any shoegaze band, her live set sounded very different and stripped down compared to her lush and complex album. Nonetheless, this intimate setting with a rather simple setup really showcased her musical talent and skill. Ending with a cover of The Cure’s “Just Like Heaven” the audience was mesmerized. 

Unfortunately, I couldn’t stay for Cassandra Jenkins, as there was another artist calling me. Not to mention, this was also the showcase that was co-presented by CJLO. I stumbled back to the Rialto theatre, which maybe from Le Ministere is a pretty decent walk, and out of breath, made it just in time for Still House Plants and claire rousay. Still House Plants, unlike the other bands mentioned in this article, sounded exactly like their record. It was quite impressive to hear their very intricate and unique approach to performing, although at this point I was quite impatient to see one of my favorite artists of the festival, claire rousay. 

I made sure to sneak my way up to the front, to make sure I had a good view because if you don't get up front the Rialto Hall, you will simply see nothing. claire rousay was accompanied by a violinist as she played guitar, with her own impressive pedal board. She started the set with the diary-like voice note that is also the first track off of her latest album Sentiment. Like the usual Montreal crowd, people in the back were boisterous and annoying, but slowly but surely the crowd’s noise began to soften like an ocean wave in slow motion hitting the shore. claire rousay completely commanded the crowd with her set acting like one extended song. Halfway through the set, the crowd began sitting down cross-legged on the floor, looking up in awe at the artist. Which she later said to the crowd, “Are you sure you want to sit on the floor? Floors can be disgusting”, with a peal of soft laughter coming from the dark. One couldn’t ask anything more of her performance, strong written music, simple production, played with ease. When it's that simple it’s good and when it’s that good it’s perfection. 

I left the concert feeling ecstatic yet calm. I also got to thank claire rousay personally as another CJLO DJ convinced me to go up and talk to her at the merch table. I should mention it was a stumbling and stuttering thank you. I knew at that time that Egyptian Lover was playing downstairs at the Rialto theatre but after seeing all these bands and walking across the borough, I knew I had to call it quits. And at least, save some energy to do it all over again tomorrow.

Lisa Rupnik is the station manager at CJLO and co-host of The Last Stop. She is also an avid record collector, a “no nonsense” film lover and feels that her personality can be best defined by her two favourite bands: YMO and Sparks.