FME Take 3: The Also Cools' Return to Rouyn-Noranda

The Festival de musique émergente celebrated its 21st birthday this past weekend, returning to the northern city of Rouyn-Noranda. Surrounded by lush greenery and vibrant murals, the Also Cools unpacked our suitcases and jumped straight into four outstanding days of live performance.

Featuring over 350 artists from across Quebec and beyond, FME sprawled across every sidewalk, and we are pleased to report that it shone as bright as the end-of-summer sun. As we bounced between venues, chilled Sapporos in hand, it became progressively more obvious that identifying our favourites would be no small feat – that every memory of this edition deserved to live forever. 

Our adventures included secret shows with sunset backdrops, car parking lots, chalk drawing late into the night, the Bonsound pool-side BBQ, making toast out of a Darth Vader toaster with Truckviolence, and enjoying some of the best music that the indie scene has to offer. Here are just some of the sets that made the séjour a success.

La Sécurité

Although La Sécurité marked our seventh show of the day on Friday, the art-punk quintet packed a rejuvenating punch. Rocking a pair of gas station visor shades, band member Éliane Viens-Synnott exuded carefree cool from the moment she took the stage. Her eccentric delivery and free-flowing choreography commanded the Diable Rond – as did bandmate and drummer Kenny Smith, whose technical precision was impossible to ignore.

Les Louanges

Emotive yet unserious, mellow and multidimensional – Les Louanges held Rouyn-Noranda in the palm of his hand. The Lévis native has garnered praise at lightning speed for his soulful stylings, and his appearance on the main stage certainly justified the hype. Backed by groovy basslines, howling flutes, and a slew of rapturous Queb teens, the artist floated to and fro with a captivating sense of swagger. Catching Les Louanges at this dynamic moment in his career was nothing short of a privilege.

TUKAN

Without question, TUKAN is the name on every festival-goer’s lips. The Belgian group delivered three palpitating performances over the course of the weekend, taking FME by storm with vivid post-rock arrangements. While their jam-packed set at Le Petit Theatre was a strobey-sweet affair, the magic of TUKAN’s final show will be something to remember. Lining 7ème rue with an air of bittersweet anticipation, a sea of glistening bodies gathered to transcend one last time, folding into each rhythm with the desire to make it last forever. And TUKAN? They did too.

AMMAR 808

We met AMMAR 808 on one of the many volunteer-run shuttles we took from our hotel to the main festival grounds. He told us about his long journey from Amsterdam, and mentioned he would be playing a set “somewhere, sometime soon”. Little did we know, our humble new friend is the acclaimed Tunisian producer Sofyann Ben Youssef. We caught his show at the electronic night at Le Petit Theatre, and were absolutely blown away by his masterful blend of traditional African beats and hardcore techno.

Milk TV 

Another post-punk favourite of the festival was Milk TV, a trio hailing from Brussels. Initially not knowing where they were from, we thought they must have emerged from either the Canadian West Coast post-punk scene (think NOV3L, Pottery, and Crack Cloud), or somewhere from the world of Omni, Deeper, or Parquet Courts. Their no-wave energy was electrifying and had the whole crowd moshing by the end of the set.

Myst Milano

Absolutely slayful, and a new discovery for Also Cool, is Myst Milano. The DJ and multi-instrumentalist captivated their audience with their 90s-inspired beats and hard-hitting lyrics, not to mention killer dance moves. Their album Shapeshyfter, which made the Polaris Prize longlist in 2022, now has a permanent spot on the Also Cool daily Spotify rotation.

We once again had a beautiful time in Rouyn-Noranda, surrounded by good music, new friends, and the most incredible end-of-summer vibes we could ask for.

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FME
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Homework, Cats, and Rock'n'Roll: An Unforgettable Evening with the Linda Lindas (POP Montreal)

The Linda Lindas by Zac Farro

Festival season in the city carries a potent charm, as it dusts its magic over sticky bar floors and croaking choruses. The venue-hopping antics of last weekend’s POP Montreal returned with a particular fervour, highlighting a stellar showcase of industry fixations both emerging and established. Among these acts were the Linda Lindas – the LA teen punks whose rise to the top has warmed hearts around the world.

As I stomped into Theatre Rialto for their headlining show, my first realization was the number of kids anxiously awaiting the group. This was not a surprise, necessarily, but more of an endearing reassurance; an element that would reinforce itself throughout the show was the Linda Lindas’ earnest awareness of their fanbase’s vast demographics. The show felt like a safe space for fans of all stripes – a place to indulge one’s wildest musical fantasies and learn what’s possible in the world of rock.

From that first note of “Linda Linda,” the band emanated rays of remarkably-infectious confidence. “I want you all to scream as loud as you can,” commanded guitarist-vocalist Bela Salazar, moments before vibrantly flailing during a strobey instrumental break. “I want us to get kicked out of the frickin’ venue.” The friendship between the four teens was palpable, and their appreciation for punk rock and its motifs of eccentricity lit the stage the whole night. Between coordinated sways and jittering struts, the group carried themselves with coolness that felt easy to absorb.

Eloise Wong, Bela Salazar, and Mila de la Garza of the Linda Lindas

Mila de la Garza and Bela Salazar of the Linda Lindas

What arguably felt coolest of all, however, was the Linda Lindas’ youthful sincerity. Guitarist-vocalist Lucia de la Garza rambled about homework with a shyness that felt all too familiar, and Salazar shared two goofy bangers about her beloved cats Nino and Monica. The Linda Lindas are nobody but themselves—Riot Grrrl apostles waiting on high school diplomas—and their authenticity made even the small talk about Montreal’s chilly weather feel charming.

The show came to a close with two numbers that shook the walls. “Racist, Sexist Boy” has garnered pandemic infamy with its rendition at the LA Public Library, but its disparaging grit hit Rialto with an authoritative new sheen. The audience kicked and screamed with bassist-vocalist Eloise Wong and drummer-vocalist Mila de la Garza as everyone slayed their own visions of racist, sexist boys. Closing out the show was a cover of Bikini Kill’s “Rebel Girl”, a mainstay of their shows that made it all the way to Amy Poehler’s film MOXIE!. Wong’s sheer joy in relaying the lyrics hit every heart in the venue. I found myself humming the song and reliving my own memories—juvenile cruises in my high school car, which I named after Kathleen Hanna—the whole way to the Diving Bell.

When the show wrapped, myself and many others lingered to reckon with the force of what we just heard. Gathered at the stage’s edge were many of those same kids, hoping for one last memory of their heroes before they jetted back Stateside. I smiled at one girl’s “Vive les Linda Lindas” sign, which made it onto the stage (with the band’s genuine appreciation) sometime in the evening. Another beret-capped girl was still glowing, swarmed by her friends to touch the guitar pick that Salazar handed her near the end of the night. As the four musicians waved their final goodbyes, Mila de la Garza asked Salazar which child made the “Vive les Linda Lindas” sign. Salazar pointed, and the duo smiled and waved. The pure hope and the punk rock fire in that preteen fan’s soul—two sensations that the Linda Lindas have proven can be compatible—surely never glowed quite as bright.

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The Linda Lindas

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Rebecca Judd is the features editor of Also Cool Mag.

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Isabella Lovestory, Magi Merlin, and Mitch Davis Reignite Montreal's Music Scene (POP Montreal / Bar Le Ritz)

via Isabella Lovestory on Twitter

If there's one thing I know for sure, it's that Montreal is coming back to life. The streets may still be full of half-defrosted garbage, but the music scene is in full swing. I was feeling pretty discouraged about going out (as I'm sure many of us are), but the POP Montreal show at Bar Le Ritz last night reminded me why I love this city and seriously gave me hope for what's to come.

Mitch Davis by Richmond Lam

The show began with Mitch Davis, who brought a smooth and jazzy energy to the stage, having just returned from playing SXSW. By the end of their set, the venue was almost full, with friends slowly recognizing each other and reuniting after a long winter. (It's really hard to see who anyone is in the dark when everyone's wearing a mask — I had more than one "OMG, HI! I didn't know you were here!" moment.)

Magi Merlin by Feng Jiang

Magi Merlin was up next, having also just returned from playing in the States. From the beginning of her set, it was clear that something had shifted since the last time I saw her play. Magi has stepped into herself as an artist, bringing fiery confidence and maturity to her performance. Alongside her songs from her last release, "Drug Music," she shared some new music that embodies a heated punk-rock energy. Magi's band heightened this energy, amplifying her ability to transform her anger about racism, sexism, and fake friends into a mesmerizing performance.

Isabella Lovestory was the night's headliner and brought the pulse of the room to another level. It was my first time seeing her live, and it's safe to say that I'm obsessed. As a Mexican-Canadian, I've found the complete lack of any Spanish music genres and Latinx people in the music scene completely unacceptable, which is why I was excited to see Isabella gaining so much support. Her music intersects pop and reggaeton, making for a high-intensity performance. It's perfectly bitchy, and a great addition to any perreo playlist. If you're into La Goony Chonga, Ivy Queen, or La Materialista, you'll love Isabella Lovestory.

I was standing outside with some friends after the show, and someone said that this is the kind of show we'll look back on in five years with disbelief that all of these artists were on one bill for $13. I look forward to a Montreal music scene as diverse, high-energy, and community-oriented as this show was, and I expect nothing less from the promoters booking right now. The talent is here, and I think we've all had enough of all-white guy lineups.

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

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