After 4 days of nonstop music ranging from various genres and places, it’s not hard to understand why FME has been happening at the beginning of September since 2003. The annual festival happens in the city of Rouyn-Noranda nestled in the region of Abitibi-Témiscamingue – a quaint feeling place that is as honest as it is transformative to the people that make the trip out there. An area that seems to foster a strong sense of community and a slower pace of living, it adds to the character of the festival, almost like a warmness that makes it feel less like a machine-generated party and more like a surprise homecoming. Standing for Festival de musique émergente or Emerging Music Festival in English, it’s such a fitting setting for both humble beginnings and special performances in general.
This year’s theme of “debunking the myth” surrounds the amazing and unbelievable with imagery around extraterrestrials, unicorns, asteroids, dinosaurs, and even Elvis Presley conspiracies carrying through the vibes of the signage and art installations around the spaces. From the heavy use of warning tape to staticky signals in cathode ray tvs, the artistic direction was one that stood out for sure.
On top of all that, the programming felt curated with care for an average pass holder as well as industry professionals and press. And with 80+ acts ranging from new artists to international exclusive acts, it’s more than enough music over four days that it creates various experiences for festival goers adopting the “choose-your-own-adventure” type of style over the weekend. Overlapping performances means people can also connect with others that saw shows that they might’ve missed or wanted to see. Unconventional venues and secret shows kept things interesting on top of it all and with the help of the dedicated phone app, FME-ers can keep notified of any upcoming sets and even venue changes.
DAY ONE
The main location of the festival space also houses the 7th Street outdoor stage – appropriately named with the area taking up more than a third of 7th Rue. This would be where headliners performed throughout FME and where Billie du Page kicked off as the first act on this stage.
Releasing her very first single Fake Friends and self-titled debut EP only last year in October, she’s been able to make a splash gaining lots of experience performing in festivals as well as taking space on the radio waves since then all at the young age of 20. Having opened for Cœur de Pirate, it’s easy to see her trajectory being similar as a French artist that’s been able to do some damage in the English market as well. And with that, she took the stage with confidence and a two piece band supporting her setting the bar for what people should expect from artists that perform on the biggest stage FME offers. Her style of pop was catchy and bubbly but felt real and personal too especially with songs she wrote to her crush and lost loves. Perfect for the radio and the wide age range of people watching, cheering her on, and even singing along to her tracks. With so much potential, it’ll be interesting to see where her music and early success will take her in a few years especially with what she did with one.
The first day of FME was probably the chilliest one but nonetheless, all of the services that this main area had to offer was in full swing. Day one in particular offered an outdoor dinner where early birds got to enjoy a free meal resembling a Sunday roast – the traditional “Supper on the 7th“. There was also a dedicated merch area and many different stations to buy drinks that even featured a booth that sold shawarma and “Lebanese potatoes” which were nicely spiced with toum (garlic sauce) on top that made your breath smell like you could kill a vampire with one word. Luckily, there were also candy and churro stations that can help with that if gum wasn’t in the cards. All in all, they made sure you had everything you need to enjoy everything FME had in store.
Within the area was also the Petit Théatre du Vieux Noranda and Le Cabaret de la dernière chance that’s nearby, just outside the main festival area. Both are venues that allow for quick exploration between shows going on inside that radius in case you want to catch a good spread of overlapping sets. A system that worked really well throughout the four day stretch. The electronic punk trio of Crasher broke the seal on Le Cabaret with their spacey 80s synths and drum machines blended with garage and new wave sounds formed amidst COVID. Band leader “Ash” Woodhead sporting a jumpsuit with grey lipstick really complimented their out-of-this-world vibe adding to the already David Bowie-esque energy of the music and aesthetic overall. The songs were dreamy and dancy and dreamy again with the audience following suit. Either way, Crasher surely had the crowd entranced, or at least until halfway through their last song when they apparently blew the venue’s subwoofer. This really speaks to the punch and energy of the music though and everyone was into it anyways. It would take more than a blown subwoofer to undo what Crasher was able to do on that tiny stage and jam-packed bar venue. Still a good story to share for anyone who decided to check out their engaging set.
The electroclash duo of UTO followed after with their aggressive beats and more in-your-face stylings. It’s hard to say if anyone looked like they were having more fun on that stage than them. The pair took complete advantage of the UV lights that lit the stage room of Le Cabaret by dressing in all-white and even using flashlights and sheets mid-set that added a trippy layer to their performance. This also meant making photography near impossible with the lack of lighting but if the goal was to put on a show, I think that might be a small price to pay. Although they had a unique sound, the sound and energy is reminiscent of Die Antwoord if they were more influenced by the trip-hop of Portishead so fans of both should definitely watch out for the next releases this duo has lined up.
Back on the main stage was the last headliner of the night, singer-songwriter Jay Scøtt hailing from Terrebonne was evidently the perfect showstopper for the outdoor space as it looked to reach capacity despite the evening chill. People of all ages showed up to support the Quebec native to witness his wide range of musical skills from fusing rap with his beatmaking skills to get the crowd going, to folk songs that bring the crowd home. His hit Woodstock had the audience screaming back “Oh my god” in unison which must’ve been a satisfying experience as a fan. The legends are true that he plays his ukulele backwards as well.
Half an hour before midnight, anyone that had energy left in the tank moved to the last venue of Day one, the Petit Théatre du Vieux Noranda, to be introduced to Amsterdam’s Baby Berserk. Quite possibly the coolest group to play at FME, they took their synth and drum machine-driven grooves along with their energetic crowd work to spark life into the audience. The new wave disco crew consisted of Mano Hollestelle and Eva Wijnbergen who manned most of the instrumentals – a well-oiled machine that drove the addictive sound of club music that made you feel like you were transported to the 80s. Then capped off with Lieselot Elzinga who rocked the vocals and also bass guitar on some tracks – an absolute powerhouse on AND off the stage. She makes sure that the audience is always engaged, even joining the crowd and then climbing a bar table (in heels!) to elevate the performance, literally and figuratively. Self-labelled as “Psycho Dance Sleaze”, the trio exuded unapologetic raw energy that somehow radiated coolness at the same time. Perhaps it was also their aesthetic look and fashion sense that just completed the entire package – walking the walk AND talking the talk. They brought a stage presence reminiscent of Amyl and The Sniffers, except if they were a 3-piece that were huge Gary Numan fans. Chaotically cool in all of the best ways.
Another 3-piece We Are Wolves carried on the momentum from there with their punky alt-indie anthems. Hailing from Montréal like many acts at FME, they looked right at home with the audience cheering them on with distinct familiarity. It made sense as a band that saw its formation 25 years ago that definitely showed their staying power in the Petit Théatre. Arguably the heaviest act of Day one, WAW felt like an excellent tease to the metal bands that’ll be gracing the same stage on Day four. Their guitars and drums drove through like a psychedelic Volkswagen Bus speeding down a highway with absolute head bopper tracks like Attention and more synth-powered Fight & Kiss. Their sound made up of bassist Alexander Ortiz, Vincent Levesque on the keys, and Pierre-Luc Bégin on standing drums with all three on vocals, the trio proves that the right parts in the right places can create some pretty kickass synth-rock tunes.
DAY TWO
The second day kicked off in the late afternoon at Le QG, a “salle de spectacle” or performance hall about a 10 minute walk away from the 7th Rue main festival area. The intimate two-floor venue allowed for the audience to be levelled with the performer on the ground floor stage while having the option of balcony-style viewing from above. Mosez Jones was the first to grace the QG stage, a Montréal alternative hip-hop artist and producer. He was immediately met with a welcoming applause after mentioning how they had drove 7 hours to make the show and this was his first time at Rouyn-Noranda. As a self-made artist who’s found success in his home-studio produced music, his connection and gratitude to his music really stood out in his performance. With an effects board and 3-man band supporting him, the set felt complete and combined with the relaxed space Le QG had to offer, the personal and introspective topics across his R&B/Soul catalogue seemed to find a good home.
Then at Les Mooses(?), a venue that seems to be un-Google mappable (punch in L’Ordre Loyal Des Mooses instead), Cassandra Angheluta as APACALDA is set to perform. The dark wave dream-pop Montréaler backed by guitars, synths, and drums created a surreal vibe that absorbed the entire venue. The reverb and ghostly vocals really formed an immersive space that really lures the audience into the emotional and sensitive contexts her music had to offer. The tracks were satisfyingly unapologetic as the tracks hauntingly explore things like trauma and relationships inside a rock musical dreamscape while still forming a positive connection with the audience, even mentioning how much she loves the little town vibes of Rouyn-Noranda. Les Mooses is just as charming with a modest stage and a side bar like any local Legion in Canada. Very honest music for a very honest venue.
From there, Meggie Lennon took the emotional momentum and knew what to do with it. Meeting her earlier that day, she mentioned Melody’s Echo Chamber being an inspiration of hers and the dreamy chamber-pop influences really did stand out in her performance. With a bubbly stage presence and a clear connection with her bandmates, the audience could only try to have as much fun as she was having on stage. When the song Vicious Cycle came around, she even made sure to do a breathing exercise with the audience as the track kicked off with the lyrics “Breathe baby. You’ve got to breathe baby”. The layers of psychadelic synths and guitars definitely complimented her easy-going and kind sounding voice as well. The tracks from her “Desire Days” album that was released back in June really takes you on an emotional and well-produced melodic journey and is one to check out for sure.
Above all else though, the band Population II seemed to be in the frequent spotlight. It felt like the band’s name was in every conversation since the day began as “the band to watch” with others even mentioning them as “the best band in Montréal right now”. The hype was absolutely real but understandable as soon as you hear them play. This 3-man machine pumps out heavy psych rock with the energy of a punk band equipped with jam band chops – truly a satisfying thing to watch and listen to. Fittingly, Population II played twice on Day 2 which is also satisfying with the band gracing the Bonsound BBQ backyard “stage” at noon and the 7th Street outdoor stage in the evening.
The former set was probably the most memorable highlight of the day with the band performing in a backyard in front of a pool that included tasty hotdogs, refreshing drinks, and just an excellent vibe overall. The owner mentioned that it took 40 years to get this backyard to the way it was and the you could really see the hard work he and his wife put into the space. Complete with an outdoor sauna and a giant chess set, it really set up a surreal performance that had everyone gathered and engaged with the band because of the relaxed setting. Pierre-Luc Gratton who held it down on the drums and vocals had the audience banter down to a science. You didn’t need to understand French to believe his jokes were funny based on the crowd reaction alone. Tristan Lacombe awed with his skills on the keys and guitars with many pedalheads approaching after the set to admire his setup. His beautiful 12-string Vox Mark was also cool to see in action and looked to be in the right hands. Sébastien Provençal then keeps it tight on the bass and feels like it just rounds off the trio’s sound perfectly. Their release Maintenant Jamais earlier this March is definitely one to check out especially with the album being shortlisted for the 2025 Polaris Music Prize. For sure a band to keep an eye on before the bandwagons start to line up.
Back at the Le Cabaret, it was a full house for Yoo Doo Right, another 3-piece from Montréal that pushes experimental rock through the speakers. The darkness and heat of the venue combined with the music definitely created an atmosphere that isn’t for casual listeners but the buzz around the band kept the place packed and people’s interest piqued. With that said, it’s really all about the textures between the synths, guitars and effects topped off with percussion inside long instrumental passages and build-ups that will either keep listeners in (or out). The band has spoken about snowed-in sessions in a remote cabin Saguenay, QC for their work in From the Heights… that could really give you a sense of some directions that the band is able to go and the ambience they want to create. Under the band name You II, it felt just right hearing about collaborations between this band and Population II and how there might be an impromptu performance at FME.
Speaking of secret shows, word had also been going around that there was going to be one at a parking lot outside of Chez Morasse, the local poutine spot that’s frequented by late-night festival goers throughout the 4 days being possibly the only 24 hour food joint in this little town. Sporting “Since 1969” on its sign, it also claims to have “the best poutine in the world” and it could be true – just because a late-night poutine really does hit the spot after any long day of music and drinks. Being a couple of blocks away from Le Cabaret, it gave people the option to switch gears from Yoo Doo Right’s set and into the club stylings of Baby Berserk marking their second performance at FME! This gave people who missed their show the day before a chance to catch the trio in an unconventional DIY stage that just added to the grit of their already raw performances. Lieselot brought the same energy and climbed anything she could including a lightpost as well as a hitch cargo carrier that was parked nearby the stage. The audience looked up at her like a shining star as Mano and Eve’s kept the party vibes locked down. The large group of people on the lot danced and cheered for the band as hungry patrons visible through the restaurant windows just went about their poutine orders – business as usual on both sides. The contrast was as funny as it was cool and it’s easy to assume that anyone who caught this set understood how unique this experience was.
Rushing back to Le Cabaret, Solids is back to gracing the stage as a two-piece powerhouse. With Xavier Germain-Poitras on guitar & vocals and Louis Guillemette on drums & vocals, walls of sound reminiscent of a punk-powered White Stripes pushed against every corner of the room – enough to drive cigarette smokers to take a quick break through the venue’s back door before coming back soon after. Described as “heavy yet melodic”, it’s always exciting to witness a delightful blend of technique and power coming out of 2-piece bands. Germain-Poitras’s guitar work can shift from densely packed distortion to clean pick-work which isn’t only pleasing to hear but also shows the complexity in the performance. Then Guillemette’s clean drum work just rounds off their early-90’s alt-rock sound to a tee. With the band apparently going into a timely hiatus right before the start of COVID, it’s stirring to see passion for sharing music catching up and guiding the way back to the stage.
Like clockwork, FME goers gathered back at the Petit Théatre du Vieux Noranda at 11:30pm to catch La Flemme’s set. The quartet from Marseille made up of Jules (guitar, vocals, sometimes synth), Stella (bass & vocals), Charles (drums), and Ronie (guitar & backing vocals) started in mid-2023 and being a newer band, they bring a hungry and eager energy to the stage and with that, a rawness in their sound that feels more literal rather than a descriptive buzz word. They filled the theatre with songs that feel alive with spontaneity and with hooks that made it easy to understand why people can get on board with their roster of hitters in their 2+ years of activity. Along with curated circle pits and a wall of death, the garage-pop punkers brought band yells and attitude to the stage complimented by fast paces and fuzz guitars. Their track La Fête that kicks off their debut album of the same name (released this past April) came through like a bullet train that had the crowd going different directions. A really fun band to see with the skills and energy to show for it.
A pleasant surprise was learning that at midnight, Brooklyn’s own Mary Shelley was playing at the Bar Du Curling – a literal curling club and one to add to the list of most interesting performance locations of the weekend. They had played the basement of the Petit Théatre the night before and this surprise set gave another chance to catch them before they make the almost 7 hour drive back to Toronto to play Burdock Music Hall later that evening as mentioned by guitarist Taylor Yancy at the end of the evening. Nothing screams “hard working band” like 2 shows in two in two cities on the same day so this performance was a savoured treat for fans in the know. The “venue” is a block away from the Petit Théatre with the “stage” backed up against the corner of the viewing area and so a 90 degree turn counter-clockwise when facing the band is a wide perspective of the curling rink eerily lit by a single lamp. It was fitting considering how dark the lighting was in there that did add to the ambience but made photography a bit tricky on top of the smoke machines that just blasted the bands the rocked the club space. The dance-punk band sported hospital scrubs while they caused an uproar with their disco-esque halloween rock and roll that easily gets those hips going and arms flailing in one way or another. Despite the sense of fun anarchy in the sound, the four-piece looks completely self-aware and in control. A must-see band if you find an opportunity, even just to see if you can catch their vibe and get your dance or your mosh on.
Based on festival murmurings thus far, apparently another must-see band was back at the Petit Théatre to catch the prolific Les Breastfeeders for the night owls that kept the late Friday night rolling. Not knowing much about the band, hearing a friend say that “we are lucky to be seeing them” said it all. Formed in 1999, it isn’t hard to assume the amount of influence and respect the band has garnered since they started so there definitely was a realization of how cool it was that fellow garage-rockers La Flemme warmed up the crowd before their set – new school garage opening for legends in the same vein that leaned more on their style of francophone rock and roll. Having gone through multiple band member changes including a few drummers and a couple of guitarists, it was an absolute treat to witness Johnny Maldoror in action – an absolute menacing but pleasant presence on stage with his skills on the tambourine and beer. Perhaps the music was just fresh in mind but they sounded like a combination of La Flemme and Mary Shelley in both energy and musical style. A sort of groovy type of punk you could dance to but still had a lot to offer in terms of musicianship and raw sound. Maybe this subtly speaks on the group’s staying power, just showing the Canadian bands on the come-up how it’s done for so long and now they’re just here to have a good time and take the crowd with them.
The last show to catch at the Bar Du Curling for Day 2 is Toronto’s Bad Waitress. An all-female four-piece that brought the noise and the fury like they’re playing war music for a fight they’re obviously going to win. Pleasantly chaotic as hell, the brand of garage punk they shredded has an undeniable ferocity that had levels to it – some heavy grunge mixed with textures of noise that didn’t care if you liked it or not. And if you did, you’re right where you belong with the people going mad in a curling club that night. Absolutely ripping their set, they’re one of the few acts that had a proper “ENCORE” cheer from their audience prompting the band with surprised faces to happily come back out rip some more from their roster of high-octane bangers. Feeding off their audiences, their flavour of punk was just one of those styles that seem to tickle your ears in the right way and forces you to headbang like the songs have a tight grip on your scalp hair. Signed to Royal Mountain records, they are in good company with other notable Toronto bands such as Alvvays and PUP and it wouldn’t be surprising if they rose to the same levels or higher. A band to keep an eye on and Toronto is lucky to be called their home especially as they also make the almost 7 hour drive back with Mary Shelley.
At this point in the night, it was easy to justify yourself as a the last choo-choo train of the night with the last band playing in the basement or “sous-sol” of the Petit Théatre. A part of Montréal’s local street-punk and hardcore scene, Puffer somehow brought a fire into the already hot underground of the theatre at 1:30am in the morning. A type of punk that’s so visceral and intense, the jury’s still out on whether anyone saw the frontman Martin wear anything but pure aggression in his face as his fierce vocals cut through the punchy and driving rock and roll tracks. It was nice to see Baby Berserk enjoying the set as well before they head to play their very first show in Toronto at Low Bar (kind of disappointing news for Torontonians missing it because of FME but alas). It’s hard to miss seeing Lieselot Elzinga bouncing from one side of the crowd to the other (sporting a Batman tee no less) and it’s just incredibly wholesome to see musicians supporting each other across the spectrum of genres FME had to offer. There was blood, sweat, and maybe tears in that basement as the high-energy 5-piece squeezed out the last drops of energy any festival goer had left. Punk rockers would get their money’s worth and have no regrets making the trip to MTL just to see them play with a home-court advantage.
DAY THREE
After a jam-packed Friday, it felt right to start Saturday slow especially if you want to go the distance. And with that said, Perma’s dream pop and shoegaze stylings felt like the a good beginning to the range of events Day 3 had to offer. Nestled into the corner of Le Polonais Cocktail Bar just around the corner of Deville Hotel where some 4 day FME-ers stayed for the weekend, the guitar duo created a chill atmosphere for both bar patrons and listeners alike but with the main door and wide-set windows open, the music was also approachable to any passerbys in case they were curious to stay and listen. It was the type of music that could do as such – lure people to the group’s hypnotic and soothing sounds and maybe enough to think about a quick cocktail or two. Their debut self-titled EP from 2024 includes a track called Trop Froid that apparently “tells the story of a person whose fear of the outside and the cold is only matched by the desire to eat chips and drink a soda”. With the weather finally starting to heat up (compared to last two days that delivered quite the late autumn chill), you could say this fear was something the festival goers could relate to and a fear that was extinguished with the temperatures of Day 3.
The sunny streets made the 10 minute walk from Le Polonais to café-bar L’Abstracto a delightful one to check out Alice’s performance that was smack dab in the middle of the communal coffee space. She brought a style of country and folk-rock that was quite fitting for the venue – cozy music that complimented a nicely brewed cup of coffee. Another musician hailing from Montréal, she filled the café-bar with a warm energy that fuels feelings of togetherness and home. It’s crazy to see a space like this somehow transformed to facilitate normal patrons and the FME crowd as well – a blend of people that’s probably as balanced as the coffees they were serving. Manning the keys, she was supported by a five-piece band that somehow fit into the stage space but added more value to the feel-good music she offered to the crowd. Overall, it’s easy to assume her feel-good music found a perfect welcoming place to stay.
Then came one of the most memorable performances of the entire festival. The timing of the sunset was like magic over Lake Osisko where word of a known superband of sorts that had joined forces before delivered what felt like a once-in-a-lifetime secret show at a lakeside amphitheatre in Parc Tremoy. Calling themselves “Yoo II”, the 3-piece that made up Population II along with the founding members of Yoo Doo Right as well as Nolan Potter, a multi-instrumentalist hailing from Austin, TX combined their talents to create a special and surreal experience for the secret show goers that made it out. The 6-piece jam band machine worked through different soundscapes that ranged from shoegaze, jazz, psych, and krautrock that had the crowd locked in a trance – like a fugue state fuelled by music but also the bright oranges and reds that reflected off the lake behind the band. It was like watching a francophone-powered version of King Gizzard especially with the dual drum kits and tracks that featured Potter on the flute a la Stu Mackenzie. The set felt like FME’s nod to Pink Floyd’s live performance in Pompeii albeit reduced to a semi-circle and didn’t take 4 days to film but nonetheless, a show that perhaps had you pinching yourself just as a reminder that what was happening was reality. This also felt like a great way to get people ready for the September 12th release of the Yoo II Avec Nolan Potter album that could have people trying to relive this performance that was a perfect segue into the evening sets to come.
Back at the 7th Street outdoor stage at the peak of the evening, it was noticeable how much more people came out to FME compared to the days prior. Was it the warmer weather? Was it because it was Saturday? Was it because of the big festival headliners that were set to hit the stage that night? It might’ve been all of those reasons but in any case, it set up The OBGMs from Toronto to have a huge response to the big-time energy they radiate once they get on stage. It’s hard to say if this large audience was ready for this band’s brand of punk rock. As unapologetic as it could get, the band showcased their personalities immediately with really engaging crowd work on top of their raw stage presence. With Densil McFarlane on main vocals, involving the crowd during AND between songs was a nonstop pattern. It felt like anything could happen at an OBGMs show and it sort of did. At one point, the band had the crowd getting as low as possible to the ground before jumping into a frenzy at the drop of Denz’s hat. The 4-piece even got choreographed the crowd to move from one side of the space to the other like a human wave pool. Densil must’ve jumped into the crowd a few times to join the party and also even parting the crowd like Moses in the Red Sea to set up a giant wall of death that he happily gets sandwiched between on his mark. What Rouyn-Noranda witnessed was the return of professionals that will not ever think any stage is too big for them to perform on. Being up for the Polaris Prize Album award did not feel undeserved at all for 4-piece whose music felt real and ready to be pumped out into the masses. Their performance at Massey Hall on September 16th for Polaris is definitely one to take in because this band isn’t coming for just a piece of the pie, they’re hungry for the whole thing.
The area around Le Cabaret de la dernière chance had a lot going on if you wanted to step away to get a breather from the dense crowd at the main festival area. As Saint-Lazare native and multi-faceted artist Magi Merlin filled Le Cabaret with their fluid material across Neo-soul, 90s house-driven, and glitch-pop sounds, the new alt hip-hop solo project by Karim Lakhdar called Boutique Feelings was setting up just outside to transform an empty gravel lot into a musical space complete with coloured lighting, smoke machines, and moving projections on grafittied walls. Lakdhar part from the experimental group Atsuko Chiba had the all the collective support him with this performance along with a friend of the band Vanessa Ascher Vittoria on flute and backing vocals who really added a new noticeable layer to what the boys of Atsuko Chiba could achieve on their own. The performance was a nice blend of introspective hip-hop lyricism on top of atmospheric sections driven by synths and different sonic textures across the guitars, drums, and bass. It was like a glimpse of Lakdhar’s exploration into a world of music in his mind that he really wanted venture into and it was cool to see his bandmates eager to tag along with him for the ride. Another one of those cases where the music and the atmosphere worked hand-in-hand to deliver a performance you could easily awe at.
Less than a 5 minute walk away in the main festival area was the outdoor scène Fizz where Poolgirl had kicked off their alt-rock set. Sporting a riot grrrl-punk sound, it was really easy music to get into and get energized by especially with audience members righteously rocking inner tubes and waving pool noodles around while the band emanated their unrestrained stage presence especially on electric tracks like Triple A, that highlighted Miranda Powell-New’s smooth vocals on top the distortion-driven guitars with drums that followed suit. It’s nuts to think they formed over calls for bandmates via social media the way the band synergizes with one another. They have a sound that could get a crowd going that somehow captures both joy and anger at once and so it’s music that could get you through a good day or a bad one. From what it looked and sounded like, everyone was having a good day for sure and Tiohtià:ke’s Poolgirl might just be a contributor to all of that and more.
The late evening found FME-ers gathering back at the Bar Du Curling again for the last couple of sets there with Thomas Dakin’s Cure-Pipe breaking in the viewing area stage first. Dakin takes matters into his own hands with this fuzz and garage-rock project by curating the right collaborator to bring his vision to life. Sporting a robe that gives off a bit of a cult leader vibe, he also leads a tight quartet of musicians around him to bring a mixture of psychadelic and classic rock into the venue’s smoke-filled space that also helps immerse listeners into whimsical soundscape.
After a short break it was Fangus’ turn to light up the club space. This band that formed mid-summer of 2022 easily reactivated the curling club crowd. With their occult rock theatrics combined with their sound that was equal parts Motörhead worship and psychedelic Sabbath-y undertones, their set made for a fun show and one worth catching late into the night. The track Colors Of Death was a satisfying slow headbanger that uses a driving sound that keeps building on itself. The crowd was buying in as they got deeper into their set leaning into horror and shock rock tropes. It was interesting to say the least to see frontman “Screamin’ Jim Laflamme” in full make-up complete with top hat and jacket crushing through heavy rock tunes inside a curling club. Even without this contrast, what a great band to send-off a venue that had people talkin’.
Last but definitely not least, a final set at the Petit Théatre’s basement had to be the proper way to end Day 3. Lorena Stadelmann, a Swiss-Guatemalan artist going by Baby Volcano took the basement stage with a confidence like no other. Her performance in the middle of the night exuded power and visceral conviction. Musically, she leaned on blends of reggaeton, rap/hip-hop, Latin rhythms, and everything in between. Seeing her perform was like seeing a unicorn you’ve never imagined. “Good things come in small packages” in human form, Stadelmann’s set was a journey that explored both aggression and empowerment as well as sensitivity and vulnerability while asking for no handouts. During the show, she moved from tracks that found her showing off her contemporary dance and performance skills that she honed in Buenos Aires, and into tracks that had her donning a blonde wig as seen in some of her visuals online and playing a somber song on an acoustic guitar. Not only did this show her range musically, but also what lengths she’s willing to go to showcase a performance how she envisions it even going as far as removing her top to paint a thick red line from her chin to the base of her navel to take things to emotional extremes. The crowd did nothing but support everything she had to offer and so naturally, it wasn’t weird at all that the crowd wanted more and Baby Volcano fired on all cylinders. There was a bunch of talk earlier in the festival around making sure to have the energy to catch her late night set and after witnessing her in action, all my questions were answered.
DAY FOUR
The skies were clear for Sunday morning and was the perfect weather to walk down to the Parc botanique À fleur d’eau, a nearby waterfront park complete with botanical garden to catch Cumbia/Surf group Empanadas Illegales coming all the way from Vancouver (though many of the members have Latin American roots ranging from Columbia, Ecuador, Argentina, Peru, Brazil, and more). Manufacturing their brand of psychedelic Cumbia since 2017, the band’s been around and has had some time to gel into who they are today and that day was a beautiful one with FME providing Mexican-style street corn complete with butter and spices as well as water bottles and a variety of juices to keep everyone fed and hydrated while the band provided a relaxing warm atmosphere. People who caught the Yoo II set the day before were forced to miss Empanadas’ set on the 7th Street outdoor stage right before The OBGMs and so as much as that was the set to watch, there was something so gratifying about seeing them in this serene nature-filled setting. Arguably, this might’ve been the preferred performance to make anyways because live music is always an absolute treat around lush nature and good company with the audience ranging from festival goers, to families nearby, and people just having their morning stroll through the park trail that come across the band’s surf rock and traditional Latin styles. Really good music under the bright 1pm sun.
A few hours later at Le QG, Naomi de Lorimier also known as N NAO took the stage and stepping into her musical space was like entering a different plane. With dim lights and a hushed crowd, there was tension in the air. She blended ethereal folk and dream pop tones: tremolo guitars, gentle keyboards, soft reverb, layered with voice effects. The stage had haze / smoke (or at least ambient lighting) that made everything feel suspended, almost like floating underwater. Her stage presence was calm but magnetic. There weren’t huge gestures but she still made sure to interact with the crowd but still letting herself feel her music and locking into those emotions. If you came for something intimate, beautiful, and a touch otherworldly, N NAO gave you that.
Then Nadah El Shazly followed, a Cairo-born artist and composer who now lives in Montréal who brought a similar vibe of taking the audience somewhere beyond the usual. Accompanied by an electric harpist, El Shazly’s set had a rare ethereal quality with the harp’s shimmering tones contrasting with her vocal presence, creating tension and release in a way that was almost like a teleporting you to another place. Her computer that typically needed another person involved even malfunctioned mid-set, and instead of it weakening the performance, it seemed to unlock something more raw as she decided to roll with the punches and pivoted to a purely voice & harp performance. Her magic wasn’t just in the curated performance, but in the vulnerability, the raw edges, and the moments that felt unplanned.
To everyone’s satisfaction, Baby Volcano was set to follow her strong performance the night before with a secret show outside at L’Esplanade du Parc Trémoy, an opposite distance to the area of the Parc where Yoo II had performed. In fact, you can see the amphitheatre from across the water. This area was instead around a sort of monument that stood across a statue situated in the water behind the performance. Once again, another cool “venue” to add to the books. Baby Volcano did the same performance but in this setting, it definitely hit the audience differently, for those who missed her set as well as those who can see the contrast between this open space versus the basement of the theatre. Either way, it couldn’t hurt to see her perform once again before she goes off on her travels continuing to build her empire of global followers.
Then it was time for the long-awaited metal night at Petit Théâtre and it was everything heavy music fans in Rouyn-Noranda could’ve asked for. Something loud, cathartic, and full of energy from start to finish for the slew of band shirt wearing fans that had a lineup stretching out of the theatre doors – likely the longest lineup there throughout the entire weekend. Digital Ghosts kicked things off with a set that showed lots of promise, blending melody with nasty metalcore breakdowns in a way that felt both heartfelt and heavy. They’re the kind of band you can imagine building a loyal following especially being the freshest one in the lineup. Scorching Tomb gladly took the baton and took over cranking things up a notch, leaning into pure brutality with crushing riffs and an intensity that had the crowd throwing themselves into the mosh pits they conjured up with their heavy guitars and heavier growls. This was perfect because by the time Despised Icon jumped on the stage, the room was primed, and basically made it impossible for the veteran deathcore legends to disappoint.
With nearly 25 years under their belt, Despised Icon could have just played with whatever energy they wanted, but instead they showed how hard they could go and how that determination got them to where they are. Their set was tight, absolutely punishing, and precise, with dual vocals and machine-gun drumming hitting like bullets into a concrete wall. I can’t stress enough how much the dual vocals added so much to the performance especially with some deathhore vocalists in mind finding success in doing double duties when they’re just another vocalist or screamer away from levelling up their sound. It really begs the question if dual vocalists are excessive or if bands should be exploring this more while it means sharing the spotlight at the mic. Either way, this lineup must’ve been a full circle feeling for fans seeing local newcomers share the stage with genre-defining icons. It just made the night a reminder of how strong and connected the Quebec metal scene really is.
A welcome surprise was Automelodi’s set being the perfect way to wrap up FME. Bumping music that’s sleek, moody, and danceable all at once, Xavier Paradis created a celebration of the end akin to the Ewok party at the end of The Return of the Jedi. The eccentric soloist kept things cool and understated, with his vocals floating over pulsing synths that had the late-night crowd locked in a steady groove. After a weekend packed with all kinds of sounds, it really did feel like the festival was winding down into one last, stylish after-hours party. It wasn’t flashy, but it was magnetic. A dark, synthy send-off that left the room buzzing and made the goodbyes hurt a little bit less.
FINAL THOUGHTS
The FME’s mission is to “encourage the spread of original music and to contribute to the broader exposure of Canadian bands both nationally and internationally” and I don’t think it fell short of that goal. The amount of music experienced over the 4 days was staggering in a good way but overall, FME brought more than just a musical festival to people but more so a memorable experience. And unlike most fests, it doesn’t put you in a position where you could become overwhelmed by the size of the event or the people that attend it and it also doesn’t pressure you into faking a good experience out because it’s so self-aware and authentic to itself without trying. There’s something for everyone at FME whether it’s the music itself and the discovery of artists you wished you had known about sooner, or the feeling of peace that a small town offers where anything that could ever bother you is too far away, or even the people you can meet and connect with that you share this wonderful long weekend journey with. Whatever the case may be, it’s a festival that feels special with no validation from any one needed, and it’s likely the intersection of all of these great reasons that makes that statement true.
Next year in 2026 marks the 100 year anniversary of Rouyn-Noranda and with 2025 being as great as it was, this next 24th instalment of FME is expected to be a special one and of course, one to consider planning for. Keep up with the latest on FME on their Instagram and Website.