Here are a few of the folk-country-pop musical highlights:

Nate Smith

If there was one artist who arrived at FEQ ready to tear things up, it was country powerhouse, Nate Smith. Forced to reschedule his appearance last year after losing his voice, Smith made his triumphant return to Québec City with unmatched charisma and high-octane energy. Acknowledging that there’s “something truly special about Québec,” he warmed the crowd up by trying out his French; a casual “ça va?”

Smith didn’t just perform from the stage; he hopped right into the pit, much to the cowboy-hat clad crowds’ delight. Hits like “Whiskey on You” and “Nobody Likes Your Girlfriend” had the entire field shouting every word, while his gritty cover of Luke Combs’ “Beer Never Broke My Heart” inspired the aforementioned “olé, olé, olé” chants from the audience. Showing off his genre-bending sensibilities, Smith threw in a crowd-pleasing rendition of Green Day’s “Boulevard of Broken Dreams” alongside his brand-new track, “Break Up Like That”. A really fun, lighthearted show, where you could feel Smith’s sheer joy from the stage.

Héron

Making their FEQ debut, folk outfit Héron delivered a set that seemed to transmit a “get up and dance” signal throughout the crowd. Although the clouds arrived just in time for their second song, the band brought the light via an energising traditional folk performance that included dancing, collective harmonising, and the weaving of traditional folk music, jigs, and even a bit of tap dancing. Created by singer-songwriter Henri Kinkead, who incidentally hails from Québec City, the Montreal-based group felt a bit like watching old friends perform; genuine and jovial. Swapping between acoustic guitars and soaring violins, the group created rich harmonies and was a lot of fun to watch live – even for someone with shaky French comprehension.

Goldfinger

Rounding out another memorable FEQ night, ska-punk legends Goldfinger proved that age is merely a detail when you have relentless “je ne sais quoi”. With their lead singer sporting a (predictably) sharp suit, the band unleashed a wave of nostalgia that instantly turned the crowd into a swirling, energetic pool. Playing fan favourites like “Counting the Days” and the iconic “Superman,” the group leaned into a whimsical set that was worth a listen.

Gwen Stefani

When Gwen Stefani took over FEQ’s Bell Stage, set up on the historic Plains of Abraham, expectations ran high. Seeing a legend perform was very cool, but for lifelong No Doubt fans, the night was an absolute thrill. The nineties and early 2000s were resurrected.

Onstage, Stefani was magnetic. And, it would be remiss not to mention her iconic wardrobe: a blend of buckles, plaid, fishnet, pink sparkles, and Doc Martens. Backed by an impressive troop of dancers, she proved she still has all the moves, and that her voice retains that unmistakable edge.

The crowd’s energy tipped into a frenzy when Stefani launched into solo mega-hits like “Hollaback Girl,” turning the massive grounds into a giant sing-along party. But an absolute highlight came when she dug into her No Doubt catalogue, delivering renditions of classics like “Ex-Girlfriend” and “Hella Good”.  

Gwen Stefani remains a total powerhouse performer, an artist who commands thousands with seemingly effortless charisma and incredible stage presence. It was truly a delight to watch someone who is undoubtedly still in her prime.  

After a few days spent at FEQ, it could certainly be said that this festival thrives on a mish-mash of artists, whether tap-dancing folk, a country star, or a legendary ska-pop queen. As the festival lights dimmed for another year, attendees walked away having experienced a truly community-oriented event and some pretty stellar musical moments.

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The five-piece band opened the set with “Another Night on Mars,” a 2015 track that speaks to the importance of friends. Immediately, I was struck by frontman John O’Callaghan’s confident, melodic swagger that was reminiscent of The National’s Matt Berninger; wiry and composed with a sleek aesthetic. There was an ease with the band’s onstage banter – something friendly and playful. Aesthetically, the neon and monochromatic backdrop felt like a throwback to a mid-2010 band, à la the 1975. 

The set moved fluidly between songs, including upbeat tracks like “Die to Fall” and more melancholic tunes like “Taxi”. During the latter, O’Callaghan called upon lighters and cellphone flashlights to help build the emo-biance. Though sonically, the band is varied, each song seemed to land with a level of recognition and genuine joy across the crowd. In fact, one concert-goer noted that it was her fiftieth show. (Talk about loyalty!). A personal favourite was the track, “Quiet Part Loud”, which is a beautiful, slowed-down love ballad, throughout which the frontman took to the onstage couch. 

Fun moments included a spontaneous happy birthday to an audience member, along with O’Callaghan crowd surfing into the centre of the room. While the frontman oozes gregarity, the whole band created connection and rapport with the crowd, making for a well-rounded performance.

The Maine hails from the MySpace era, but has managed to remain relevant and connected to the younger generations by playing music that lands and is a lot of fun to see live.

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Taking to the stage at the stroke of 9 PM, the seven-member group opened with the moody “Television Love,” also the first track off their latest album, All is Love and Pain in the Mouse Parade. Released in October, this LP is a beautiful blend of emotional love letters and melancholic, reflective verses that harken back to their previous albums. One feature that makes this band so distinct is the beautiful call and response dynamic between lead singers Nanna Bryndís Hilmarsdóttir and Ragnar “Raggi” Þórhallsson. Hilmarsdóttir provides a deep, rich sound, poetically contrasted by Þórhallsson’s crisp, melodic vocals. This dynamic was particularly evident in “Tuna in a Can”, along with the crowd-pleasing tune, “Little Talks”, one of the band’s most recognisable songs off their 2012 album, My Head is an Animal. Generally speaking, the evening’s setlist felt well balanced, with tracks off their latest album woven in with past hits, my personal favourite being the toe-tapping, borderline electro, “Alligator”.

Visually, the show was on-brand, featuring a monochromatic set and soft lighting that complemented the band’s signature earthy style. Perhaps in part because of the group’s sheer size, the concert, at times, felt orchestral, with multiple instruments being integrated, including an airy melodica. Gentle, swaying dance moves, courtesy of Hilmarsdóttir, plus an impromptu on-stage song circle, further reinforced this grounded energy that seemed to unite not only the band’s members, but also the entranced crowd. It’s worth noting, also, the number of parents/guardians with teenage-ish kids, which was really endearing and full circle to witness.

There’s an indescribable magic about this band that feels both inviting and familiar. Maybe it’s the idea of them pulling from their Icelandic roots to create place-based, dreamy music à la Sigur Rós, or their lengthy discography that delivers a bit of nostalgia. Regardless, throughout the night, this atmospheric energy remained steady, and filled with moments of genuine connection built through both anecdotes and song. For instance, the band played “From Finner”, a 2012 track that Hilmarsdóttir explained was written on the coast of Iceland in a basement as an ode to being away from home for the first time as soon-to-be globally recognised musicians. Later, Þórhallsson introduced “Styrofoam Cathedral” as his favourite song off their new album, and at another point, Hilmarsdóttir shared that her brother, also a musician, lives in Canada and was set to make an on-stage appearance before the rescheduled date. The band lets you in a bit, and this access builds rapport. 

As the show came to an end, and we moved into the inevitable encore, the band returned to the stage with two final songs, “Love Love Love,” and my personal favourite off their newest LP, “Fruit Bat”. As the crowd expressed their disappointment at the show wrapping up, Hilmarsdóttir comforted us by saying, “I know, but don’t worry – this song is really long”. And it was the perfectly long, perfectly poetic ode to a beautiful show and their long-awaited Canadian stop. 

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Maybe it was the pre-holidays festive spirit, or perhaps the lingering post-COVID joy of unbridled access to live music, but upon first step inside the venue, there was something in the air, something palpably laid back, that set the tone for the evening. Smiles sprinkled throughout the crowd, clinking tin cans between comrades, and not a single person shoving through the crowd for as far as the eye could see.

The opening set from La Luz – a four-piece surf-rock group from California whose name translated from Spanish means “the light” – was a psychedelic fusion for both the eyes and ears. Visually, the band embraced a dreamy aesthetic with a gigantic, googly-eyed, and potentially papier-mâché sun, along with videos of tie-dyed patterns in pleasing pastel shades. The ambience was, simply put, psychedelic, baby. 

Sonically, La Luz offered a unique, echo-drenched, female-forward sound that was both beachy and haunting. The quartet’s tight harmonies were reminiscent of a ‘60s sound, while still maintaining a modern indie energy. Tracks like “Call Me in the Day,” “California Finally,” and the moodier, “Always in Love,” suggested themes of endless summer and unrequited love; dreamy and melancholic. Throughout their set, I couldn’t help but think how well these songs would suit a Sofia Coppola-inspired scene: sun-drenched, slightly ethereal, and oh-so atmospheric. 

After a speedy set change, headliners Portugal. The Man took to the stage, presenting what seemed to align with the night’s theme: a melting, atmospheric kaleidoscope of sounds and visuals. Dramatically opening with floor-to-ceiling screens, which played throughout their entire set, the band challenged us to dig a little deeper. This included consideration of the complex relationship between humans and nature through sweeping videos of the Alaskan landscape, along with provoking voiceovers and stills. To kick things off, the band chose a clip of a lone orca, swimming listlessly in a marine park, with a voiceover that asked us to question the meaning of life itself. This quickly transitioned into beautiful, sweeping shots of wild mountains and tundra. This was a clear nod to the mighty Denali, North America’s highest peak, which also happens to be the name of Portugal. The Man’s current tour, the new album’s first track, and located in their home state of Alaska. Perfect harmony.

Given that the band’s latest album, SHISH, released in early November, also references the 49th state, this visual presentation made perfect sense. It also made the experience feel fulsome, like something that went beyond sound and was meant to be consumed via multiple senses. Sonically, SHISH is a much different album from the band’s earlier music. It feels more rock-oriented and experimental, while still managing to deliver infectious pop hooks that the band has become known for producing. Regardless of genre, the crowd ate it up as Portugal. The Man alternated between full-throttle rock, flashes of metal, and infectious pop hooks. All while in matching track suits, I should add. 

Particular set highlights included their title track, “Denali,” a song that oscillates between electro-pop and heavy riffs, and the lighter, more melancholic “Tyonek” – a song with shades of their previous albums. This fluctuation was seamlessly navigated by all eight members, who appeared to simply be having the best time; moving, grooving, and hyping each other up. Concertgoers reciprocated the grooving towards the latter half of the set, which offered up crowd pleasers including “Feel It Still” and “Live in the Moment”.

It’s also fun to note that the performance offered multiple nods to Canadiana, featuring photos of Torontonians like John Candy, Eugene Levy, and Catherine O’Hara, along with a scene of Michael J. Fox in Back to the Future. 

All in all, both bands’ performances not only demonstrated their musical versatility but a commitment to the live music experience. It was an immersive, fun evening of camaraderie that felt both sonically and visually satisfying. 

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Here are some of Quip’s favourite artists from this year’s CMW:

Childlike

Toronto native, Childlike, a.k.a. Stella Lucia Enriquez-Azzopardi, offered up a whimsical performance that showcased both her music and charisma at The Cameron House’s cozy backspace. Backed by a three-piece band, (including her father on drums), Enriquez-Azzopardi brought serious energy to a highly personal performance underscored by impassioned songs about breakups – both platonic and romantic. She’s also a Pilates instructor, so she’s got energy to spare. Enriquez-Azzopardi invited the crowd in by sharing personal anecdotes about each song, and a bit about creating music during the pandemic. Enriquez-Azzopardi’s vocals are powerful but gentle with an emotive quality reminiscent of Tei Shi. While Childlike is just getting started, she’s one to keep an eye on as her music matures.

Nia Nadurata

Toronto’s Nia Nadurata, a singer-songwriter who took the stage solo – although noting she’s usually backed by a band – sparkled at Lee’s Palace’s CMW set. Nadurata has a serious stage presence and a crystal-clear voice that, in tandem with her guitar, captivated the crowd and seamlessly navigated technical issues that plagued each set throughout the night. Given Nadurata’s poise, it was surprising to hear that she released her first song only a year ago. Sharing tracks that included “I think I like your girlfriend” and “Boo Hoo”, we’ll be keeping our eyes on Nadurata’s next steps.

Laye

Montreal’s alt-pop Laye rounded out the night at Lee’s Palace following a solid line-up that drew a growing crowd. Sweet and melodic, with an energy akin to Lana Del Rey meets Fairuza Balk, Laye was backed by a three-person band, whom she also shouted out as top-notch Toronto producers.  Her voice is sweet and rich, highlighted by songs including “I saw God” and a tearjerker about a past relationship framed around Toronto – the city that Laye explained is also synonymous with her ex-lover. A haunting, devastating ode to the past; an essence that Laye seems to weave its way through each of her songs.

Terminator X and Easy Mo Bee showcase

With two heavy hitters back to back El Mocambo was a major throwback for three solid hours of performances. Terminator X, probably best known for his tenure in Public Enemy, reminded us all how fun vinyl can be. Mixing and scratching old-school hip-hop, pop, and even some rock memorabilia X got the room warmed up for the headliner, Easy Mo Bee. Easy Mo Bee is a legendary music producer who worked with the likes of Big Daddy Kane and Miles Davis, and today brings all of those top-notch old-school hip-hop tracks back to life through DJ sets.

The Wilderness

An indie rock sextet from Kingston, Ontario, this group brought a high-energy set to the Cameron House. Tightly packed on this small stage they performed their hearts out, playing of off each other like brothers with that “boys will be boys” kind of energy. The Wilderness songs are lyrically heavy, loud, and catchy, and it is easy to see them go a distance in this musical world.

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The stage setup was cleverly designed with mics and equipment facing each other from two sides. This not only offered a balance between Lafond-Beaulne and Poliquin, but also let the crowd into the pair’s onstage dance party, which they wonderfully maintained throughout their entire set. And, despite their latest album’s somber tone, the set did feel like a sort of celebratory event—a return to the spontaneity and palpable energy of live music.

Opening with “Worst Year of My Life”, ironically the last track on their album, the duo were quick to show off their powerful vocals—a complimentary, signature sound that was on display throughout the night. Moving into some older music, and undoubted crowd-pleasers, like “Coconut Water” and, later, “Pressure”, there is a unique fluidity to a Milk & Bone show that may be rooted in the fact that you’re not only watching two dedicated musicians perform. But the two friends have a deep understanding of each other as artists and are having a blast onstage. This hit especially strong in “Bigger Love” and “Movies”, which got the crowd bopping just a bit harder. Offering slower, emotionally-charged moments in “A Little Better Every Time”, which saw the pair change it up onstage by standing acoustics-style side-by-side with a guitar, the show delivered a range of emotions.

Consistently on-point aesthetically, the set shifted between blue, red, and rainbow. The pair’s curated looks seemed to be a Gen Z nineties nod, featuring all-black wardrobes that are similarly present throughout their albums and videos. For Lafond-Beaulne and Poliquin, who have been working on Milk & Bone for eight years, the show was a snapshot in the evolution of their artisthoods, and felt approachable but perhaps more confident and gelled together when compared with previous performances. A delightful, dreamy, dance party.

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Milk & Bone, the dreamy electropop duo based out of Montreal, have been making music together for eight years. They recently celebrated this milestone via the release of their third full-length album, Chrysalism. Comprised of long-time pals, Laurence Lafond-Beaulne and Camille Poliquin, (who you’d be forgiven for assuming to be sisters), Milk & Bone have not only grown-up together, and through their music, but have also grown more confident in their sound. QUIP caught up with the pair to talk about creating their latest album during the pandemic, crafting an authentic aesthetic, and what can be learned from heartbreak and healing.

Laura Eley: Your third album, Chrysalism, came out in October 2022. How was it influenced by the pandemic?

Camille Poliquin (CP): If you look at the title of the album, it’s called “Chrysalism”, and I feel it was a way of looking into this bubble of introspection that the pandemic kind of forced us to get into. I think everything got heightened emotionally; we were all forced to look within ourselves and spend more time just being in our own company. So many things in everyone’s lives got influenced by the fact that we were either separated for long periods of time or stuck together for longer periods of time; I think everyone who created something during the pandemic is going to [have] this little time capsule of how we all felt during that time. And Chrysalism is definitely that.

LE: How have things changed in the music world since the start of the pandemic?

CP: I think it’s how we connect to the audience and to each other; if you’re not a person who finds comfort on the Internet, I think that’s a hard thing to come back to. I made so many friends during the pandemic online; I’m an Internet person, so I find comfort in that, for sure, but I think [Laurence] is different… Like, the Taylor Swift and Beyonce tickets are being released today, and everyone’s super stoked to get those tickets, but for shows like us, for mid-popularity bands like us, I feel like people don’t buy tickets much in advance anymore, because who knows if you’re going to be able to make it at that time.

Our reflexes changed, too; for us, the way that we gauge if people are excited about our project has completely changed. We have to find our new little anchors to figure out how to navigate this and how to connect with people—and that’s why I think it’s so exciting that we’re going to go on tour soon. I can’t wait to be in the room with people and really assess that.

LE: It’s been eight years since the release of your first album. How have your identities changed as artists?

Laurence Lafond-Beaulne (LLB): The main thing for me would be confidence. I don’t have to prove myself as much as I used to, to others. I always want to prove myself to myself, I always want to push my limits and get outside of my comfort zone, but I think there’s this thing in me that doesn’t want to please as much as before, and that’s very freeing. There’s probably a thing of also entering my 30s and getting older, but I think experience is part of it for sure.

CP: One thing I do notice is kind of a negative thing, but it’s over-analysis. A first record, you have no idea what’s awaiting you, and you kind of treat it like an activity you do with your friend. And there’s no “I wonder what people are going to think” or “how does this compare to other work that people have known me by?”, and all that stuff. So, I think for me that’s what’s majorly changed – the way I overanalyze sometimes. That’s definitely something I want to work on getting back to – a simplicity of work. But, at the same time, I love the experience. I love that I’m conscious of all that, but I think it’s important to be able to separate the two and let go.

LE: Many tracks from Chrysalism are focused on love and relationships and heartbreak. What is one thing that heartbreak has taught you?

LLB: During the pandemic, I experienced the biggest heartbreak I have ever experienced in my life. It was probably the first big, real one that wasn’t 15-year-old me. I think what I learned is that I had all of the tools in me, even if I didn’t know it. Mostly, that I can sit with pain, I can sit with my discomfort. I have this lucky gift of being an easily happy person, and going through a period like that, a year of very big pain, was very troubling for me because I felt like didn’t have the tools to deal with it. I think, what I learned most, is that it’s OK to feel discomfort and pain and they will go away eventually. Trying to actively make them go away doesn’t work.

CP: Me, being [Laurence’s] creative partner and very long-time friend seeing her in that state, you want to tell the person, “it’s going to go away—you don’t believe me right now, but it’s going to go away”. There’s no point in telling that to someone who’s going through it because it’s just frustrating. It’s frustrating for the person to feel like, “OK, but not today”.

LLB: It’s also, like, it’s not going to be the last time in life that I’m going to feel those things… I’m glad I learned all of that, and I’m glad that now I know I can go through that. It sucked; I hope it doesn’t happen too much.

CP: I just thought of something – our first album was called, Little Mourning, maybe this album should have been called…

CP & LLB: “Big Mourning” (laughing)

LLB: One thing that a friend told me, that was probably the best advice I got, was, “you cannot take a step back while mourning. You don’t go back—you always move forward, even if it doesn’t feel that way”. When you experience deep mourning, a big period of deep sadness, you feel like you’re stuck or you’re going back or not making progress. That’s not a thing. You’re always making progress.

LE: Can you speak to the idea of self-abandonment in relationships—an experience that seems to be captured in “A Little Better Every Time”?

CP: I think… it’s us coming into our thirties, when you realize that, yeah, a relationship is so important, and to give in to the other person and to make compromises is really important, in order to have a successful relationship, but at the same time, if that means to make yourself little for the other’s person’s comfort… I feel that’s a very feminine trait to do – we’re taught to belittle ourselves for someone else’s comfort and cater to. It’s definitely something we want to stop doing… we shouldn’t change ourselves in order to be accepted by a partner.

LE: Let’s talk about your aesthetic. How do you decide what your videos will look like?

CP: For this album cycle, we really wanted to add someone to the team in terms of creative…and that was Lian Benoit; she is a Montreal creative director. It was so good to have another member of the team to bounce ideas with; I feel, you know, we’ve done two albums, there are so many things that happened, and then with the pandemic… it was really good to add a person with a vision of the band from the outside. We don’t know how, anymore, how we’re being perceived. It was so refreshing to have someone let us know, this is how I see you, this is your personality…

This album is a bit dark. One of the first images we had in mind was nature growing out of concrete. A very – it’s going to get better, but right now it’s not the best, but what’s coming is fresh and new. And that was also the genesis of the choice of colours we chose for the album. It’s dark but it’s also very green, it’s also very new. That was the spark that started the whole visual direction of the album. We also wanted to be extra. We went with the nails, and the makeup, and the hair… We’re also more comfortable with ourselves and our bodies…

LLB: I think in the past, we were trying to find this middle ground and make ourselves bland. And now we’re like, OK, this is never going to work. We’re really different, and that’s what’s great about the band. Let’s accentuate and play with that – and that’s what we did in this project. And, we feel so much better, because we feel like we’re us – one hundred percent. Extra, of course, but that’s something we wanted to do differently for sure.

* * *

Catch Milk & Bone this March and April at select shows throughout the U.S. and Canada.

As for Canadian artists recommended by Milk & Bone? Make sure to check out: Anna Sofia, Gabrielle Shonk, Men I Trust, and Munya.

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For years now, Rayman has been an enigma in the music world. Credited as originally hailing from Lost Springs, Wyoming – a town with a population of just six people, according to a 2020 census – Rayman’s lyrics often touch on the American experience. Take, for example, the track, “Alabama’s Song”, off his 2016 album, Hotel Allan, and “Lost Springs” or “Bye Bye Blondie” off his latest album – Roadhouse 02. Even the album’s cover – a shadowy portrait of Rayman staring into the camera from a wooded area– suggests some sort of wintery scene, perhaps in the forests of the northern U.S. or Canada. One can’t help but wonder how the pandemic influenced his most recent music – and whether, perhaps, he was held up in the woods somewhere while making it.

Rayman is known for often dodging interviews, (although, over the past couple of years, it seems he may be warming to them). What we do know is that he is a master at crafting moody, energizing synths, paired with haunting vocals. And, as it turns out, his shows are not far from this vibe either.

Rayman and his band arrived on stage, backlit by chromatic tones that cast heavy shadows across their figures and faces. Throughout the set, Rayman himself felt elusive; hard to pin down as he seemed to shapeshift while moving across the stage. The band kicked things off straight away with tracks off the latest album, including “Lately” and “Good Enough,” during which Rayman crooned “I feel everything way too much” – much to the crowd’s delight. In fact, for one moment, it felt as if that one line was being sung by a choir across the entire room (cue the feels).

At one point, later in the night, Rayman amplified these communal voices even further by swinging his microphone over the crowd. Perhaps it was his casual demeanor, or choice to minimize his on-stage banter, but Rayman’s presence offered up a performance that was as captivating as it was approachable and at ease.

Midway through the show, Rayman and his band played throwbacks from older albums, including “Tennessee” and “Madhouse”, which turned out to be two highlights of the show. While intermittently thanking the crowd, Rayman confessed that he didn’t want to play a Dave Matthews-Esque four-hour concert – a humble nod to his own impressive musical Rolodex.

All-in-Allan? A fittingly low-key concert from a self-aware artist that would, seemingly, prefer you focus on the music instead of the man.

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Quip was thrilled to be out for the fest – here were some of our favourites!

FRANKIE FLOWERS

Originally from Waterloo (ON), the up-and-coming dark wave-indie artist played a Wednesday-evening set, one of two at this year’s festival. Together with a sunglass-clad guitarist, FRANKIE FLOWERS offered a psychedelic performance that harkened to Billie Eilish – both eclectic and engaging. The crowd was eager to engage with a slowed version of The Smiths’ “There is a Light That Never Goes Out”, along with FLOWERS’ singles, “GIRLS WITH BOYFRIENDS” and “KISS ME LIKE THE WORLD IS ENDING”. Imaginative and cool, FLOWERS weaves personal anecdotes– including heartbreak – through her music, making it both personal and poetic. Stay tuned, folks – FRANKIE FLOWERS is one to keep your eye on!

The North Sound

The North Sound, comprised of real-life partners Nevada Freistadt and Forrest Eaglespeaker, joined NXNE from Saskatoon (SK), playing a Wednesday night set at The Dakota Tavern. Winners of the Saskatchewan Music Award for Indigenous Artist of the Year, as well as nominees for three Saskatchewan Country Music Awards, The North Sound is making waves across the roots-rock genre. Their NXNE performance was both soft and powerful, with the combined vocals of Friedstadt and Eaglespeaker creating poignant melodies and gentle harmonies. Eaglespeaker shared some inspiration behind the music, which included his Blackfoot identity and traditions from Treaty 7 Territory, as well as his father who worked in the trades. Playing a variety of songs, including “This Land” and “Between the Ditches” off their latest album, As the Stars Explode, The North Sound’s tracks are both haunting and inspiring, taking on pressing social issues and the human experience. If you haven’t already – give them a listen.

Kyara Tetreault

Taking over The Cameron House’s backstage on Thursday night was Toronto-based singer-songwriter, Kyara Tetreault, who also recently performed as an avatar on Fox’s new singing competition, Alter Ego. In fact, Tetreault noted that her NXNE show was her first one back in the city since appearing on the show. Together with her guitarist, Tetreault played a smoky, soulful set that included songs “Gold,” “Pick Up and Go (Rolling Stone),” and “Rag Doll,” off her 2021 EP, self titled. Tetreault also delivered beautiful versions of Daniel Cesar’s “Japanese Denim”, Amy Winehouse’s “Love is a Losing Game”, and Blackstreet and Dr. Dre’s “No Diggity” that left the crowd gently swaying to interactive sing-alongs. Gifted with vocals that resonated and reverberated throughout the entire room, Tetreault is one to keep an eye on – whether in avatar form or not.

Late Night Thoughts

Making the journey north from New York City, the indie-pop duo – Late Night Thoughts – took to the stage of the legendary Horseshoe Tavern on Thursday night with an upbeat performance that included a cover of Van Morrison’s “Brown Eyed Girl” along with songs from their latest EP, Bridges & Tunnels, singles, and past EP, Moonlit Memories. Made up of friends, Michael Harlow and Brian Rauch, who shared that they met at Brandeis University, the duo offered a heartfelt performance that contended with the crowd’s volume. Noting that this set was their first in Toronto, Harlow and Rauch are entertaining and affable performers that put on a folk show reminiscent of campfires and college bars. An upbeat, catchy performance – worth catching the next time they’re in town.

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Killedbykira only exists on the internet… or at the Rivoli’s NXNE curator series: club boyband. The Toronto-based rapper has strong ties to the anime scene and Toronto’s Generation Z who were out in full force to embrace the Friday night set. The rapper, accompanied by a hype man on stage, delivered a variety of loud, brash beats that bounced between rap and metal. Cheered on by a crowd of eager supporters that were decked out in what were likely Toronto’s coolest and most colourful accessories, the audience’s reaction to Killebykira’s slow, looping lyrics was one of the set’s most surprising elements. It was like stepping into a secret internet show – with a mosh pit.

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Another addition to the This is Brampton set was Canadian-Jamaican reggae artist, Kae Music. Filling The Hideout with a vibrant, laid back atmosphere, Kae had a natural charisma that shone through her dance moves and on stage banter. Highlighting the set with her song “The Struggle is Real”, an honest reflection on the challenges of daily life, and a powerful cover of Bob Marley’s “Redemption Song”, Kae also took on Adele’s “Someone Like You” and managed to make it her own. Bottom line? Kae Music is a ton of fun; you wanted to hop on stage, take off your heels and sway with her. And, the crowd felt it, too; the music moved almost everyone to their feet.   

photos by Kateryna Topol

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