We’re still catching up on sleep from the buzz of Palomosa. The second edition of the festival delivered a spectrum of performances—from gripping moon-lit shoegaze to blitzing pop perfection—in a whirlwind of a weekend. We stumbled out of Parc Jean-Drapeau dazed, exhilarated, and with a Notes App full of thoughts from Montreal’s it-music weekend – here they are.

Palomosa’s Block Party (presented by Piknic Électronik) welcomed festival-goers on Thursday. Despite the unrelenting downpour, Tallandskiinny and Zack Fox had the crowd partying hard. The spirit set the tone for the rest of the weekend – upbeat, energetic, and ready to have a good time regardless of the circumstances.

Learning our lesson, we arrived ready for the official Day 1 rain-boot-clad à la Glastonbury. Friday was defined by the magnetism of cult-followed artists, starting with NYC electro-pop duo MGNA Crrrta. At just 21, the duo comprised of Farheen Khan and Ginger Scott have garnered an international following for their audacious, red-lining dance tracks. Decked out in 2013-esque cross tights and a crystal applique headband, the pair touted a playful stage presence that perfectly aligned with the sun coming out just in time for their set, where their laissez-faire attitude and bubble machine had us nostalgic for the dog days of summer. “Summer is my favourite season in the world!”

Next up on Palomosa’s Fizz Stage were Los Angeles electroclashers The Hellp. Shockingly punctual, they kicked into gear with saturated pop favourites “Hot Fun” and “Colorado,” which vibrated through the early crowd like the best kind of dorm-room daydream. Noah Dillon doubled over his mic while Chandler Ransom Lucy coolly puffed through a string of cigarettes, locking in without breaking focus. Midway through, “California Dream Girl” morphed into a tongue-in-cheek interpolation of Katy Perry’s “California Gurls,” a wink that drew cheers from the pit. After our exclusive interview with the band (coming soon…!), they confirmed it was their first time in Montreal, but judging by the emphatic reception, the city already claimed them as its own.

Berlin-based international artist collective Live From Earth took over the Scene du Jardin, and resident DJ, rapper and producer MCR-T had us dancing with our entire bodies. He performed some of his original songs throughout his set, singing over top, while also DJing other bangers, with his crew proudly flying the Live From Earth Flag in the background.

Back on the Fizz Stage, Lower East Side group Fcukers turned the party with their acidic house flounce. Filling out their sound as a four-piece, the live renditions of heavy-hitters like “Like It Like That” and recent heater “Play Me” were electrifying with drums and guitar. Seeing the band’s rave diva frontwoman Shannon Wise skate around her bandmates in real time almost distracted from the unbalanced live mix. The band played it cool as the crowd lost themselves in the bass.

Day 2 arrived with a groggy head, but the remnants of Palomosa’s eclectic roster were enough to shake off the sleepiness. Waking us from our end-of-fest slumber was the hypnotic pull of Cecile Believe. The experimental pop artist emerged with gratitude for the city where she began her ascent before diving into her set. Her crystalline vocals soared far beyond the Fizz Stage, and between the wistful purity of “Ponytail” and the rhythmic surge of “Blink Twice,” her signature blend of experimental textures and pop immediacy kept the audience completely absorbed. Most striking was Believe’s sense of movement, every bit as fluid as her dextrous voice. In our forthcoming interview with Believe, we explore the foundations of this presence and some of the recent projects that have propelled her artistry.

Sometime later, Yeule emerged onto the Fizz Stage, their petite frame cloaked in a cropped leather ensemble. As we noted in our Top Picks, their latest record Evangelic Girl is a Gun had marked a turn toward a gritty trip-hop slant, and the size of the crowd suggested its pull was widely felt. While Yeule was characteristically mesmerizing as an entity—wielding their electric guitar with ease, flailing their limbs to the beat—the vocal mix let them down, smothering a voice already fragile in its breathiness. This felt most apparent on songs like “Eko,” its glittering refrain completely dissolved by the backing track. Yet Yeule never lost their grip on the masses, which swelled with awe during their cover of “Anthems of a Seventeen Year-Old Girl.” Closing the show with a cigarette between their lips, Yeule strutted off stage, leaving only the phantom of their sound behind.

But the award for most consuming performance of the night easily goes to rising pop legend Rebecca Black – yes, that one. Her mic was unmistakably on—best demonstrated by a cheeky yet nimble cover of “Ur So Gay”—and the camp factor was cranked past ten. Flanked by Westboro Baptist Church-esque signage promoting “homo sex,” Black flashed her turquoise bloomers as she and her dancers snapped through clockwork choreography, spilling into every inch of the stage. By the time Black descended into a hyperpop fusion of “Friday” and “Sugar Water Cyanide,” the audience was delirious with glee. “If you don’t go hard, I’m gonna kill you!” Black shrieked, crawling onto her dancers’ backs and launching her sunglasses to the side. Something about this climax felt oddly emotional: here was someone who rode the wave of relentless, worldwide bullying into a daringly creative career. All those years ago she was cast as a punchline, and this felt like her metamorphosis.

Palomosa

Website | Instagram

Zoë Argiropulos-Hunter (she/her) is the Co-Founder and Managing Editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, and a radio host & DJ.

Malaika Astorga is the Co-Founder and Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

Rebecca Judd is the Editorial and Operations Lead of Also Cool Mag. She is currently based in Ottawa.

Featured