Our first encounter with Millimetrik was a handful of years ago at FME in 2019. It was a chilly night but a group of festival-goers gathered under a small tent, losing themselves in dance in spite of the muddy ground and continuous rain. That night, Pascal Asselin and his drummer Jean-Mi Perrier, created a foggy and exciting environment by playing upbeat, disco-inspired tunes that attracted people from the nearby stages before the opening track ran its course. It was quite impressive, so when I saw that Millimetrik was set to play at FEQ this year it seemed like the right time to meet Pascal for a chat. 

Today, we get lucky, the sun is out and there is not a cloud in the sky. We met backstage after the soundcheck just as the crowd began to flood through the main gates chanting “Olé, Olé, Olé” (common crowd behavior in Québec I notice). A couple of chairs tucked away in the backstage media tent offer us both some comfort in the shade. Having just finished the soundcheck Pascal, dressed in a Toronto Raptors tank (represent!), relaxes for a moment, “I feel like with COVID I haven’t met anyone in person in a long time” – this is nice, we both regard with mild awkwardness. 

Millimetrik’s 10th studio album, Sun-Drenched, is the spotlight of this performance. The record took nearly a year to make and with the pandemic, a lot has changed over that year. In time some of the songs began to take on a darker tone, reflecting on the global environment but when the time came to curate the album Pascal chose to omit the dark songs in favour of those that were more optimistic. “The record is celebrating a year now, I’m really happy about [how it turned out]”.

Asselin’s first dive into the music scene was playing drums in various rock bands. When Millimetrik began to form as a concept he was determined to set the two projects apart, making darker, more ambient music. In time, the life of the rock band drummer took a backseat, “since I stopped playing drums in bands, I’ve brought back the drums on my solo work”. Some songs begin with a piano loop or the synthesizer but many of the songs begin on the drums so naturally, the drums are always a part of the live performance. 

Producing Sun-Drenched with various pandemic regulations in place restricting access to people and spaces was tricky but when the opportunity came Pascal met his collaborators in person. There are many voices on this latest record (Tire Le Coyote, Liana Bureau, Dominic Pelletier, Valérie Clio, Mel Lancet) all of whom got a creative say on their respective productions, including writing the lyrics. This pushing-the-boundaries mentality was present in collaborations as well: “I like to be surprised by the vocalist’s talents, so I push them to try new things,” Pascal admitted. One of these experimentations was having a folk singer (Dominic Pelletier) sing on an EDM track: “we tried a few different things, and after a few versions, we found a good path that we were both enjoying”. Seeing Dominic perform “Sunlight at Bay of Plenty” at FEQ, crowd surfing through the afternoon mosh pit, brought a smile to my face – “yes,” I thought, “he certainly seems to be having fun”.

Millimetrik is heavily inspired by cinema and the open road – “it’s funny, but it’s true, my album concepts come to me while I’m driving”. “Every time I’m driving, on new roads at least, I get ideas. I have post-it notes in the car and write down ideas as they come up” eventually, a bigger vision forms. Road trips are a frequent activity in  Pascal’s life, “Actually, I’m leaving next Sunday on a three-week crazy road trip to Utah,” it’s a family road trip but also a place for him to get inspired and create visuals, visuals we are likely going to see on the next release. Or maybe not, we’ll just need to wait and see but as someone who followed this adventure on Instagram, I am for one, excited to see what ideas will form from this journey. A project Pascal is currently working on is the overflow of tracks from his collaboration with the Flip Fabrique circus for whom he produced the soundtrack not too long ago. The album is basically ready, but as far as the creative process goes it would be safe to say that changes will be made before we get to hear it.

“So you’ve been making music for over a decade now, do you think you’ve changed as an artist?” I wondered out loud, “A lot” he quickly admitted. “I was telling everybody here that it’s so cool that I’m playing this huge stage tonight instead of like 10 years ago because my approach is totally different now. Back then I would have tried to just sound like the others but now I just make sure that people really enjoy the set and don’t worry about the trends so much”.

We talk a bit longer about travel, trends, and vinyl, that general appreciation and genuine love of music are in the air like soft perfume. “I have a copy of the record for you today,” he tells me during our chat. Pascal is a collector (I’m not surprised), “it’s the physical components, it is special,” he states like a true vinyl believer, “I think it’s a nice object, plus my kids can play it, and that’s pretty cool”.  The crowd out front begins to get louder, we exchange parting pleasantries and agree to stay in touch. Within the next hour, Millimetrik took the stage with Jean-Mi Perrier on the drums, joined by vocalists Dominic Pelletier and Liana Bureau and two dancers for a spectacular live performance of Sun-Drenched.

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With the main stage stretching across the historical battlefield of Planes of Abraham and most others a short walk away the concertgoers could easily visit multiple venues on the same day but sadly were always at risk of getting rained out; luckily during our 3-day visit that only happened twice. Event organizers clearly had a plan in place for such a situation and were very efficient in evacuating the grounds during thunderstorms and then promptly letting people back in and firing up the equipment. Needless to say, a few acts’ sets got affected by the rainfall but such is the sacrifice with outdoor events.

The main stage, being as large as it was, was catered by efficient on-the-move staff carrying beers and straight-up liquor bottle shots minimizing movement and bar lineups. The excited crowds at the front had very little opportunity to get out so this type of “table-service” was very welcomed as people purchased 6-packs of Coors Light or quick shots of Bacardi rum. Security guards in the photo pits were always paying a close eye on the tightly packed fans, handing them water and promptly pulling out anyone who might look slightly unwell. 

Since the viral TikTok debut of “Stuck in the Middle” Tai Verdes has been taking the musical world by storm playing major festivals across North America and receiving praise from publications like Rolling Stone, Billboard, and Lyrical Lemonade. Tai Verdes is known for his positivity-laced tracks and that infectious positivity carries through to his live performances just the same. Playing an 8:00 pm set to a full crowd he kept encouraging us to get loud and wild, demanding that everyone in the crowd gets their hands up, even those far in the back. Verdes continually interacted with the fans between chart-topping hits like “A-O-K,” “Happy Til It Hurts,” and “LAst dAy oN EaRTh”. The most involved sing-along naturally happened during “Stuck In The Middle” – a song describing the all too familiar struggles of young love and dating: ‘But friends turn into sleepovers / And sleepovers turn into love / Love turns into jealousy / And now we both fucked up’.

Tai Verdes crowd also came through for Young M.A who crushed the music charts with her quadruple-platinum hit single “Ooouuu” in 2017, she is still surfing that wave. We, of course, got to hear the track today with an open mosh pit and collective energy busting at the seams. But no event in Québec is complete without an appearance of a local rap celebrity and tonight we got to see Loud. Born Simon Cliche Trudeau, Loud is a hometown hero and his dedicated fanbase always comes through strong. Dressed like a safari guide and accompanied by a great DJ Loud took us through his career highlights with songs from his first solo EP New Phone to the latest release Aucune Promesse. Naturally, a handful of guests (Francis Belleau, 2Faces, 20some, Rymz, Lary Kidd) joined Loud on stage for a few collaborative tracks and a tribute to the late Karim Ouellet.

One of the most anticipated rap sets for the week was Freddie Gibbs. Arriving a bit late due to issues at the customs Gibbs entered the stage with a smile and a token “Fuck police!” shoutout, which became an ongoing thread statement between tracks and verses. From day one this excited crowd chanted the soccer anthem when in anticipation (in perfect sync I might add) so naturally they greeted Gibbs with “Olé, Olé, Olé” – Gibbs was taken aback by this behavior but embraced the confusion with a callback (laughingly asking people to shut up) before heading into his next track. Often leaning into a cappella Gibbs brought to his fans tracks from  Piñata, You Only Lie 2wice, and Freddie. “I’ve been doing this shit for a long time” he grinned looking out at the crowd. Close to the end due to a thunderous rainfall Gibbs had to leave the stage a bit abruptly, therefore, becoming the rapper to close this evening rendering Lil Tecca’s set canceled by the weather.

Sometime mid-day as the main festival gates opened the stage was being prepared for the Québec veteran electronic producer Pascal Asselin, better known by his stage name Millimetrik. With nearly a decade-long music career Millimetrik has a lot to show for himself and continually grows and evolves as an artist. One thing, however, that stays constant is the vibrant energy of all his music brought to life by drums during live performances. His latest record, Sun-Drenched, is a summary take on a blend of house, disco, and soul. This also just might be one of the most collaborative records Pascal has produced thus far showcasing the voices of Tire Le Coyote, Liana Bureau, Dominic Pelletier, Valérie Clio, as well as Mel Lancet. Dominic Pelletier (vocalist from New Bleach) and Liana Bureau were both present for today’s set, joined on stage by two dancers. At one point Dominic climbed over the barricade and rolled over the crowd all the way back to the stage while continuing to perform his song, inevitably being dropped on the ground closer to the stage but springing back to life in seconds, causing a riot of a laugh for those who saw it. It was an engaging and entertaining set to watch and an amazing way to start the day. Interview with Millimetrik to come shortly as well, stay tuned.

On July 13th many people came into the city exclusively to see Marshmello (aka Christopher Comstock) at Planes of Abraham. Geared up in branded t-shirts, hoodies, and masks people of all ages packed the venue in anticipation. Performing his entire set solo Marshmello was far and away behind his giant DJ setup. Luckily that ‘desk’ also served as a second stage on which he would occasionally hop up to take a stroll and interact with the fans, holding up a hand to his marshmallow head as if requesting feedback (which he obviously received in bulk). The pyrotechnics added an exciting layer to this showcase causing a loud stir through the park every time the steamy jets went off. Marshmello played a range of original solo tracks (mostly from Shockwave) as well as a few well-known collaborations like “Here With Me” feat Chvrches and “Numb” feat Khalid eventually wrapping up his set with “Happier”.

The Armoury was home for the FEQ late-night extras including a memorable showcase by multi-platinum DJ/producer Felix Cartal. It was a bit of a slow start but when Cartal got going the party also took off. His latest LP  release, Expensive Sounds For Nice People, has carved out a niche within the electronic music genre exploring love, loss, and heartbreak in a rather upbeat manner and his signature indie-tinged house. Late-night FEQ attendees got to dance to the tracks like “Over It,” “The life,” “Worry” (from Next Session), and a remix of Euphoria’s “Still Don’t Know My Name”. 

Five Alarm Funk also made an appearance for a late-night special at The Armoury, taking over the tiny stage with a full band. Their all-encompassing marching band energy filled every corner of the room. With five acclaimed albums under their belt, this 8-piece band certainly know how to create an environment for a sweaty dance floor. 

After 3 full days of events, with a dash of city exploration, FEQ came to an end for us but continued to surprise and entertain audiences for a few more days. Admittedly 12-days straight is a lot to expect of any music fan but when the time allows, with the festival pass priced well under $200, you could pick and choose events as you wish while continuing regular activities with minimal interruption. Or just dive head first into full programming on select days, like us and many others. To each their own but there is certainly something for everyone.

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The first addition of FME took place in 2002. That year, 22 bands performed and the festival was run by a small group of friends who shared all of the jobs amongst themselves. Today, FME sells out every available room in town and fills a campsite of artists just nearby. “What has grown the most over the years is that fans and people [from] the community got engaged… So now the festival is almost running by itself because it’s really, really organic,” comments festival director Jenny Thibault. Walking around town, FME volunteers could be seen everywhere, it is this region’s TIFF and people do come from across the globe to participate. But FME is not a big festival business and there is no red carpet (although admittedly some of us did get there on a charter plane). FME is a well-run, beautifully designed, community event that fosters discovery, innovation, and coalition.

On Friday the main outdoor stage was home to some of the best French rappers starting with KT Gorique, and Montréal’s Sarahmée. The evening began with Sarahmée, who drew an early and very enthusiastic crowd to the cold outdoor stage. A few people in the front row had been waiting since soundcheck and as the artist took the stage the crowd roared. All of those in the front row got a uniquely personal experience, making conversation with the performer between tracks. Still riding the wave of her most recent release, Irreversible, Sarahmée delivered a clean and powerful performance, hitting the high notes with some of the more popular tracks from the album like “Le cercle se rétrécit“ and “Fuego” with Souldia. On the side of the road is an elevated VIP area, with a scoping view of the stage. Filled with the who’s who and the who’s who’s guests, the patio was a hot location. Intoxicated attendees were cheering and dancing, tightly gripping to their FME mugs while the front of the stage was having small talk with Sarahmée.

Up next, carrying us into the night was KT Gorique, who traveled all the way from Switzerland to perform on the FME stage. Gorique is the first (and only) female champion of End of The Weak, an international freestyle rap competition which she won in 2012. Since then the artist’s main focus has been on music. Her stage presence is open and friendly, and despite the sharp lyrics she was smiling almost the entire set. For each performance, Gorique wears her “most beautiful face” – subtle face paint celebrating her African origin. Gorique took the audience on a music adventure from hip hop to dancehall and reggae and as expected, “Kunta Kinta” (the title track from an album by the same name) and “Outta Road” brought the ‘house’ down. Throughout the performance, she danced, praised her band, and repeatedly thanked the crowd for their affection.

The rest of the weekend showcased a set of heavy hitter rappers like Loud, who has been touring through Europe and Québec and returned to FME for another, near soldout set on Friday. A thick crowd of people singing along to Loud sounded like a stadium anthem, an epic way to end the outdoor performances for the night. Saturday stage hosted Montréal’s rapper FouKi and Koriass, both of whom are incredibly hype. FouKi, sporting a signature yellow tracksuit, was pacing the stage spitting Latin-inspired rhythms while Koriass (bottom image) ran a bit overtime – by audience demand – and at the end of the show jumped into the photo pit to get closer to the fans who were nearly tearing up shouting for an encore.

One of the biggest discoveries in the electronic genre for this addition of FME was Millimetrik – Québec City’s composer Pascal Asselin (image below). Playing a more intimate outdoor stage right after the rain, Pascal was joined by a drummer (cover image) and the two of them went on to play a colorful selection of ambient beats accented with heart-thumping bass and melodic drums. Songs like “Coucher de doll dans Sandoval County” came to life with a fantastic air of disco causing the audience to stomp and swirl on the wet grass. Our shoes got soaked but the cloudy Millimetrik dance party was worth it. For the rest of the weekend, smaller outdoor stages hosted an array of dance DJs creating a small rave around the DJ booth, dancing to the likes of veteran vinyl master Miss USA and a local Shagass Disco who wrapped up the festival at 5 am on Monday morning.

Late nights at FME are a special experience. Hoards of people wander from venue to venue, sipping out of their open containers and festival mugs, meeting new friends over cigarette breaks and hoping not to lose anything. Many nights at FME end at Bar Des Chums, a local staple joint with poor decor and minimal service but hospitable to whatever kind of frenzy your group might be up for that night, from catching a breath on the patio to doing a group karaoke performance after losing quarters at the pool table. 

The musical variety continues even during the day with various pop up shows around town. São Paulo’s Sessa played a surprise morning show at the public market on Saturday. Nested in the sun with three backup singers who performed in admirable sync and played quite a few small instruments, creating layers in the music. Sessa’s most recent release, Grandeza, is psychedelic Brazilian pop, “an album about the natural gesture of love and the softness of the human body,” shared Sessa. It’s the kind of music that makes you appreciate music, grab your portable record player and spend a day drinking champagne on the beach.

Later in the day, Scene Paramount welcomed Montréal’s Dominique Fils-Aimé to the stage. Recently nominated for a Polaris Prize, the singer-songwriter performed with impressive control, creating silence around notes, and matching the strings with her smooth voice. Dominique put the room into appreciative silence, first by request and then out of awe. Standing center stage Dominique gently swayed side-to-side singing her original songs and favourite covers like Nina Simone’s “Feeling good”, weaving a pattern near the microphone with her silver nails. Dominique Fils-Aimé’s poetic narratives are also not light, covering quite a bit of African history as seen through music, but more on that can be found in her interview.

Carrying on the joyful sadness into the evening was La Force, aka Ariel Engle, a vocalist and the most recent addition to the Broken Social Scene. The bio describes La Force as “godless devotional music that comes straight from the beating heart” which may be hard to grasp but can be definitely observed live. Engle was joined on stage by a drummer and a backup singer who complemented her perfectly with a wide range of vocals. Between tracks, La Force shared stories about her music, commented on the themes and pointed out the heavy topics they cover, like postpartum depression. Her tracks range from danceable, like “You Amaze Me,” to straight-up tear-jerkers like “Lucky One.” Engle had the crowd’s dedicated attention, watching her every move for nearly an hour.

Among other more musically-relaxed artists was Pierre Guitard, who played a late afternoon set on Sunday at Stage Evolu-son, a mid-town two-level concert venue. Lit up with blue lights and performing with a full band, Pierre Guitard is pop-rock with a spark of string and a few impressive guitar solos. At this point of our recount of FME, Guitard seems like an appropriate segue to what was seemingly the focus for most festival attendees: rock, indie, and a dash of punk mixed weirdness that cannot be defined as a genre.

One of such bands was Ellemetue (above), Mingo the Indian and Nunu Metal, who played a packed room at the Cabaret – a staple venue at FME. The duo played a mix of experimental electronic rock with an occasional electric keys undertone; their music “rings out like a wild cry from the murky depths of an imaginary swamp” the band writes in the bio. At the opposite end of the festival were FET.NAT, a performance nearly everyone was looking forward to and no one could describe to me. What I’ve learned is FET.NAT (second last image) are experimentalists known for their bizarre strangeness and incredibly entertaining performances. It’s a four-member psycho-jazz punk-funk band that played with the audience as much as with the music. The lead singer’s voice is shockingly scratchy but between the rough vocals, an oddly melodic moment would come through to only be followed by an intensely challenging saxophone solo.

Admittedly, the above account of the festival covers a small portion of performances because it is simply impossible to see them all. As an average attendee, you dance, drink, party, and inevitably take daytime naps knowing that there is always a late-night street or house party you may want to attend. For at least the first two days most people’s diet transforms into rounds of poutine and BBQ served with local brews and gin and tonic coolers. As the perpetual hangover begins to set it the weekend comes to an end, most likely at sunrise. When you get home, a quiet nostalgic reality replaces the music and crowd noise. Merci FME, till next year.

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