One of Canada’s most eclectic, adventurous, and well-organized new music festivals, Festival De Musique Émergente (FME) is the pride and joy of the Northern Quebec town of Rouyn-Noranda. Nestled in the heart of copper and gold mining territory, the dichotomy of the working-class Quebecois and the celebration of homegrown arts makes for a fascinating contrast.
The main stage, occupying an entire block downtown, is in the shadow of a menacing copper refinery, which can feel like attending an indie music show at the gates of Mordor. Groups of grizzled locals gather at a grimy old tavern, while across the street, another, more upscale pub hosts cutting-edge musical acts while patrons sip cocktails and nibble tapas. Bearded men drive their oversized F-150s aggressively while cyclists ride bike paths strewn with anti-corporate, anti-police, and anti-colonial graffiti.
It all might seem surreal, but there’s also much warmth and conviviality at Festival De Musique Émergente. While musicians and industry insiders are flown in from across North America and Europe, the community embraces the festival even more so, with large crowds gathering for performances that go well into the night. One great thing about remote cities is that locals quickly embrace musicians who make the long trip (an eight-hour drive north of Montreal). That excitement is palpable throughout the long weekend, making for an often magical atmosphere.
Held over the Labor Day weekend, the 2024 edition of Festival De Musique Émergente was another resounding success, albeit a slightly lower-key festival this time around. Fewer big names hit the many stages, but while several “legacy” artists were making appearances, FME is about discovering new music. That’s where the festival always succeeds: when you go exploring on one night of FME, you’ll discover at least one new favorite artist, guaranteed.
Heavy-hitting power trio zouz did their best to level the small pub they were playing in on an early Thursday night. The Montreal band’s blend of heavy garage rock and the searing tones of early King Crimson makes for a highly enticing mix, especially when heard in close quarters. Led by guitarist David Marchand, the threesome’s tone was massive.
One block away, Brooklyn’s Bodega led a raucous street party thanks to their high-energy performance, not to mention their hook-laden tunes, which somehow bridge the dance-punk of the Rapture, the snark of the Fall, and the taut arrangements of the Yeah Yeah Yeahs. Equally punk but much more chaotic, fellow Brooklynites TVOD (Television Overdose) had the mosh pit churning with their manic social commentary, led by indomitable frontman Tyler Wright, who was a ball of nervous energy, seeming like he was about to explode at any second.
Probably the biggest name of the Festival De Musique Émergente, Montreal feminist punks NOBRO capped off night one with a raucous headline performance that solidified their status as one of Canada’s most important emerging bands. A savvy mix of the pop-punk ferocity of the Buzzcocks and the confrontational attitude of the Runaways, the foursome’s 2023 album Set Your Pussy Free was a well-deserved shortlist nominee for Canada’s Polaris Music Prize.
That explosive, fun energy was cranked tenfold as soon as they launched into “Where My Girls At?” Featuring pint-sized bassist/singer Kathryn McCaughey, shredding guitarist Karolane Carbonneau, sparkplug percussionist Lisandre Bourdages, and powerhouse drummer Sarah Dion, NOBRO is an onslaught of catchy choruses, contagious energy, and wisecracking commentary that had the packed venue sweating. Big things are in store for this group.
For something completely different, singer-songwriter Maryze brought her mix of chanson, emo, and dance to the cozy La Polonais cocktail bar. Despite being a stripped-down performance – just her and her laptop – the gregariously queer singer worked the room like a pro, whether channeling Fallout Boy, delivering some lively house beats, or belting Edith Piaf’s “La Vie en Rose” a cappella while lounging seductively on the bar.
Billed as a blend of “folk, psychedelic, pop, yéyé, and shoegaze”, Paige Barlow wooed a sweltering community lodge with her charming indie rock. On the electropop side, Kaya Hoax showed why she’s a highly touted signing by venerable Quebec label Bonsound, turning in a pair of sets that showcased her fashion-forward presence and her intoxicating London Grammar-meets-Allie X compositions.
One of the biggest revelations of this year’s Festival De Musique Émergente happened on a tiny free stage in an alley, as Montreal turntablist trio Turbine put on an absolute clinic in DJ skill. The three French expats coordinated a complex mix of hundreds of samples for a straight hour, creating a flow exploring all facets of French Touch. The precision and dynamics were flawless, the beats inventive and relentless, with surprises lurking around every corner.
Nearby, Montreal’s Pypy brought their raw, Stooges-style jams to a jam-packed bar, inciting mayhem in the process. Led by inimitable singer Annie-Claude Deschênes (an accomplished solo artist, and also singer for Duchess Says) it was a blitzkrieg of Ron Asheton-style riffery and Deschênes’ constant delight in breaking the fourth wall. It was so delightfully manic that if you looked away for a minute, you’d turn around and find Deschênes screaming in your face while holding a gigantic patio umbrella. Over on the main stage, the recently reunited Karkwa turned in a thrilling, atmospheric, indie-meets-progressive rock set that reminded everyone why they won the Polaris in 2010.
Hip-hop had its moment at Festival De Musique Émergente as well, highlighted by 2019 Polaris winner Haviah Mighty. An unusual choice for a festival that likes to focus on Francophone hip-hop, the gregarious Toronto MC won the local crowd over with her charisma and especially the quality of her songs. The reunited Quebecois rap trio Loud Lary Ajust put in a sensational headline performance on the street stage, celebrating their popular 2014 album Blue Volvo. In front of a diverse, adoring crowd, the threesome’s performance was a reminder of how forward-thinking their music remains, not to mention unfairly overlooked in English Canada.
Montreal’s great Marie Davidson brought Saturday night to a spectacular climax with a boisterous set that was an assault of the aggressive, hammering, minimalist beats the producer has become famous for. Performing such faves as “Work It” and “Renegade Breakdown” and pulling out ace new singles “Y.A.A.M.” and “Pleasure on My Mind”, Davidson was a whirlwind, switching from pulling off some mixing board wizardry and then bursting to the front of the stage to work the big crowd into a fervor.
Conversely, Quebecois death metal legends Martyr capped off the festival on Sunday night with an astounding reminder of how important and loved a band they are in the province. Attracting an adoring throng of fans, the band, led by Voivod guitarist Dan Mongrain dipped into their late 1990s and early 2000s back catalog for an hour’s worth of favorites that had the venue bouncing. Featuring such tracks as “Hopeless Hopes”, “Perpetual Healing (Infinite Pain)”, and “Endless Vortex Towards Erasing Destiny”, Martyr played with undeniable authority, as though they haven’t lost a beat 18 years since their last full-length album. On an otherwise low-key closing night, Martyr’s triumphant return to the Abitibi region of Quebec was a perfect and joyous way to close out another raucous, perpetually illuminating festival.