We had great times and heard few sour notes watching 26 acts at POP Montreal last week

OMG POP Montreal. Five intense days and nights of shows have just gripped local music fans in their clutches, with hundreds of musicians repping myriad genres loading into venues around Mile End, the Plateau and beyond.

Along with photographer Cindy Lopez, our music specialists Dave MacIntyre, Darcy MacDonald, Stephan Boissonneault and Mr. Wavvy to take it all in. Here’s how that went.

Arabian Prince

Arabian Prince is a forgotten hero of classic hip hop. Despite his groundbreaking legacy as an original member of N.W.A., his set failed to ignite the spark one would expect. His pioneering electro-funk and pop ‘n’ lock anthems, which once defined the West Coast sound, fell on deaf ears, with a crowd more interested in the free pretzels being given out at this opening party. Perhaps playing late-career Black Eyed Peas hits did not work in his favour, either. The retro sounds, when present, still held their groove. However, it was clear that the night’s atmosphere didn’t match Arabian Prince’s historical impact. (Mr. Wavvy)

SO TIRED

With no particular place to go after attending POP Montreal’s opening party at MDP sur de Gaspé, where this year’s edition headquartered its new and improved outdoor site, a random four-act lineup at la Sotterenea seemed like as good a bet as any to get started. 

Enjoying the comfort of a leather couch while a mostly forgettable college band droned on, I couldn’t help but notice a couple of outstandingly cool-looking people coming and going through the basement venue. They turned out to be SO TIRED, whose name alone had been part of the decision to attend this showcase. Once the previous band, their friends and family had moved outside to revel in their mediocrity, they took the stage. 

Hailing from Toronto, the trio oscillated between down-tuned, sludgy rhythms and chaotic bursts of melodic, technical hardcore intensity, with the commanding screeches of bassist/singer Miranda Armstrong (thanks, Bandcamp bio!) jolting the crowd and the band back and forth between both. Guitarist “Expos Cap Guy” jumped flawlessly from rhythms and riffs to twisted soloing, while drummer “Awesome Cows T-Shirt, Dude” kept time and cohesion. For 30 minutes and through however many songs they knocked out, SO TIRED was simply mesmerizing, and anything but sleepy. (Darcy MacDonald)

Crachat

Another major deciding factor in attending la Sotterenea on night one owes a nod of gratitude to technology. After DJ Arabian Prince’s set at the opening party had given way to a playlist, a dirty, distorted, old-school punk jam caught my attention in a fashion I deemed Shazam-worthy. It turned out to be Crachat, top-billed on the lineup. 

Crachat turned out to be three punked-out chicks from la Basse-Ville of Quebec City. With a bra stitched with felt letters spelling out “No Men” wrapped around a mic stand, destroyed red grad dresses, knee-high docs and combats, and their truly sociopathic facial expressions, the threesome absolutely fucking ripped shit up. 

You know what? I’m not even going to try to describe it, other than to say that while the world doesn’t need another Dead Kennedys, if we’re going to get one, these three crazy-ass sisters from QC deserve the honour. Crachat launches a debut album at l’Escogriffe on Friday, Oct. 18. Just go. (DM)

Beverly Glenn-Copeland

The history between Beverly Glenn-Copeland and the city of Montreal is one that runs deep. 

Most notably, Glenn-Copeland studied at McGill all the way back in 1961, one of the first Black students to ever do so. After going to Expo ’67, he made the decision to move north of the border permanently.

But the Philadelphia-bred, New Brunswick-based artist’s return to Montreal wasn’t simply a full-circle moment, but a sombre celebration of his life and art up to now, as the show took place soon after the 80-year-old Glenn-Copeland had publicly revealed his dementia diagnosis. A leg injury meant he needed to be helped up onto the stage at the Rialto Theatre on Thursday, and be seated throughout the performance, too. All attendees (except other performers onstage) were also required to be masked up for his protection. 

His near-operatic voice was in top form, however, and his banter between songs was full of charm and good humour. On a musical level, the entire spectacle was moving and emotionally arresting throughout. 

Glenn-Copeland performed while accompanied by his partner Elizabeth — who occasionally danced, sang and recited poetry herself — and with a team of nine backup singers behind him (including Bibi Club’s Adèle Trottier-Rivard).

Performing a stirring, ballad-heavy set (though some songs were from the work he and Elizabeth had done for children), he ultimately closed with “Prince Caspian’s Dream,” a Narnia-referencing track from his newest album, 2023’s The Ones Ahead. Multiple lengthy standing ovations came both right as Glenn-Copeland came onstage and toward the very end, just as it should be. (Dave MacIntyre)

Nap Eyes

Going from Beverly Glenn-Copeland at the Rialto to a much smaller and less refined space — in a good way — at la Sotterenea for a folkier artist is quite the transition, but watching Halifax’s Nap Eyes perform for the first time made it an easy one. Accompanied by Yves Jarvis on synths (you’ll see my review of his set at Casa here, too), the band led by frontman Nigel Chapman played a set very appropriate for the cozy, charmingly rugged basement venue.

Though the Jagjaguwar signees are viewed as an “indie rock” band, I hear more of a roots-driven, folky Americana sound during their set, a contrast to the post-rocky shoegaze of Sunnsetter, the act performing right before them. Kurt Vile and CCR fans will have enjoyed it. Dominated by acoustic guitars with some electric solos thrown in here and there, Nap Eyes’ storytelling-focused songwriting — the kind Bob Dylan made into his trademark — meshed nicely with the instrumentation, and it all coalesced into a hugely pleasant and enjoyable set. (Dave M)

Luge

The Toronto four-piece known as Luge has been one of those bands that many in the experimental/alternative music scene have told me to check out for some time. So here I was at the front of a sweaty l’Escogriffe, packed to the gills with spilled beer all over the floor, ready to jump into the insanity. Usually, I would do my homework and listen to at least an album in full, but for Luge it felt right to go in dry, so to speak. And honestly, I’m not sure listening to the albums would do the Luge experience justice.

This is a weird live band, maybe only comparable to Montreal’s present punk stooges, Crabe — featuring messed-up prog bass and guitar riffs that create a twisting vortex of confusion, only to be brought back by the matter-of-fact post-punk vocals of Kaiva Gotham, who also plays synth when she feels like it. To be fair, I’m still not really sure what was actually played. The whole show felt like a spitfire acid trip and featured synchronized headless guitars, drumming from a madman and a bunch of people in the crowd doing the chicken dance and do-si-do for some reason. So do with that what you will. (Stephan Boissonneault)

City Natives

Warming up the stage and an excited audience gathered early for Montreal musical institution Nomadic Massive’s 20th-anniversary party at MDP de Gaspé was City Natives, an ever-evolving collective of First Nations hip hop artists with roots across the land, with its current lineup, based in Halifax, representing New Brunswick and Nova Scotia.

Rapping over crisp beats fit for the Jeep, the club or the studio speakers, the three MCs mixed skill and stage presence to deliver a set that struck a rare balance. Being largely unknown to the majority of the audience, City Natives did the job of an opening act with grace, rocking the crowd with a memorable performance that stood on its own while also acknowledging that their presence was part of something bigger, both to POP Montreal and the city’s hip hop history. Winning new fans, City Natives now becomes a part of those legacies, too. (Darcy M)

Karneef

Yes, really — Karneef! The Montreal composer/performer/musical savant, backed by a band that can only be described as prodigious, threw down a space ball for the ages, signalling his return to the stage with a command performance that, it can be mythologized, could only happen at POP Montreal. I hate to tell you, you probably missed it. It would be a damn shame if that happened again. With new music in the works for some time, you’d better just hope Karneef gives you another opportunity to catch up. (DM)

Los Bitchos

The best band name on the entire POP Montreal lineup this year is unquestionably Los Bitchos, a London-based four-piece with members from the U.K., Australia, Uruguay and Sweden. Together, they make cumbia-flavoured instrumental Latin rock music with a tinge of funky art-punk and post-punk in certain doses (I bet David Byrne would love this band). Their first-ever Canadian show happened to be at the Marché des Possibles for POP on Friday (with Lisa LeBlanc in attendance), and boy were we lucky to have witnessed it.

Groovy bass lines, occasional bongos and brashly delivered “HA!” chants are among their music’s biggest attributes, and they wore them well during their Friday set. An easy comparison for this band would be Khruangbin or Altin Gün, but Los Bitchos are more expressly Latin-influenced and less focused on vocals than either of those bands. The crowd seemed to enjoy it too, swaying in appreciation for a good chunk of the set. As for me? They had me consistently nodding my head to their tunes, which is one of the biggest compliments I can give an artist. My favourite discovery of the entire festival. (Dave M)

Yves Jarvis

I’m always psyched to review a fellow Calgarian transplant to Montreal, and Yves Jarvis is one of my favourite ones currently making music. Casa del Popolo is also an ideal environment for an artist like him, where his genre-fluid take on experimental indie rock can really shine through. Not only is the artist born Jean-Sébastien Audet an excellent guitarist, his voice sounds noticeably more expressive and vibrant in a live setting than on tape, and he reinvents his older songs in fresh, sometimes unorthodox ways.

Mixing his breathy, lighter-sounding vocals with chugging guitar riffs works out beautifully for him, and hints of jangle pop and reggae were on display Friday night. Jarvis’s Canadianness definitely came through both between songs (“Sorry about the tuning, I got this guitar 18 years ago… It’s not in good shape, I haven’t taken it in once!”) and during them, as he makes a lyrical reference to Pincher Creek — a town roughly two hours south of Calgary — at one point. Definitely a more mellow and psychedelic outing than those still at Marché des Possibles were getting with the Fleshtones, but one I’m very happy I went to. (Dave M)

Homeshake

“I moved to Montreal in 2011 to play POP. And I left because I thought I was gonna go crazy. But I still love it here.” With those words, Homeshake frontman Peter Sagar set the tone for the night. His expansive catalogue, which includes two albums released in 2024, has seen him venture into new sonic territories, including hard rock, without straying too far from his signature lo-fi sound. “First time we’ve played a lot of these songs for anyone. I have so much anxiety, you guys are making me feel better,” he admitted. A dedicated crowd rode the peaks and valleys of the past decade with him, offering unwavering hometown support along the way. It was this journalist’s umpteenth time seeing Homeshake, the first being about a decade ago at the legendary Drones Club (RIP). While this wasn’t the biggest venue or the most monumental of shows, there is certainly something to be said for the band’s lasting endurance in the local scene. (MW)

Egyptian Lover

Egyptian Lover’s Piccolo Rialto set transported the audience back to L.A.’s iconic Eve After Dark club, where West Coast electro first took shape. His set was a kaleidoscope of funky vocal effects and analogue beats, starting with a vinyl set and eventually a step to the mic to perform his own classic records. His showmanship was undeniable, effortlessly outshining the rest of the evening’s bill with his charisma and control. There was an almost spiritual connection between the past and present as he spun, reminding the crowd that the roots of hip hop and electronic music remain as everlasting today as they were in the ’80s. (MW)

Mannie Fresh

It had been close to a decade since the last time New Orleans legend Mannie Fresh spun in Montreal. Similar to being bested by Egyptian Lover, his last outing also featured a shinier West Coast star in DJ Quik playing a rambunctious set immediately before him. Fresh’s shortcomings lie in his lack of consistency; his DJ sets are a directionless gumbo of trap remixes, Motown, New Orleans bounce and early ‘00s hip hop. The customer is always right, and the crowd clearly had more of an affinity towards the latter two. Fresh, however unpolished, embodies the creative spirit and carefreeness that made the world fall in love with Cash Money Records some 30 years ago. (MW)

Bastid’s BBQ

With an all-day event at MDP, POP Montreal welcomed a long-past-due homecoming for once-upon-a-time Montreal resident Skratch Bastid, who left an indelible mark on mid-aughts club life in the city, only to leave us craving his special sauce in the decade-plus since. Save for a rare appearance here or there, it seemed the turntable guru had left us behind, especially given the delicious appeal of his travelling carnival of beats, rhymes and grilling that, until Saturday, had skipped putting Montreal on the menu. 

All that jealous, FOMO resentment can now be kicked to the curb. This first local edition of Bastid’s BBQ was a smash, right down to the smash burgers. Entertainment was served up, platter by platter, care of Dr. MaD, Walla P, Nicholas Craven, Mike Shabb, DJ Midas, and other guests as our gracious host MC’d the affair, hyped up the crowd, worked the room and finally took to the decks to put all his powers to work, party-rocking with mass-appeal bangers cut, sliced and butchered by a consummate pro who reminded us why the DJ will always be the key element to a hip hop experience. 

All the way from L.A., legendary Jurrasic 5-er DJ Nu-Mark, Bastid’s chosen headliner, made a similar impact statement with his unique display of prowess. But I can’t front. This was, through and through, Bastid’s BBQ. (Darcy MacDonald)

Jane Penny

Best known as the lead singer of TOPS, Jane Penny’s solo performance showed flashes of brilliance but felt hindered by a bare-bones setup. “I’m a little nervous,” she confessed when introducing new material. While her talent on vocals, keys and even flute was undeniable, the absence of a full band created a void that was hard to ignore. This wasn’t karaoke. Penny’s solo work has potential, but the lacklustre production quality dampened what could have been a more captivating performance. It’s hard to decipher whether there is a specific reason for no backing band. Is this an attempt to set herself apart from TOPS, or simply a lack of resources? Penny clearly has the talent to stand on her own — her EP Surfacing is one of the best Canadian projects of the year — yet the execution here fell just shy of the mark. (MW)

Fireball Kid + Ura Starr

I mean this as the utmost compliment: Fireball Kid + Ura Starr sound like they belong in a Battle of the Bands scene of a 2000s Disney Channel original movie. This was certainly aided by the dozens of young people that poured into the venue upon the start of their performance, and getting said audience to sing Happy Birthday to one of their mothers in attendance. Suffice to say this was a stark contrast to a scattered audience talking loudly over the previous act. With heavy doses of Auto-Tune and a sonic landscape that feels ripped straight out of a PS2 skater game soundtrack, Fireball Kid and Ura Star’s set brought a youthful, rebellious energy to the night. (MW)

Dresser 

I darted into the Dresser show at the Rialto Hall on a whim, about halfway through the Stars set next door, and damn, am I glad I did. Nothing against Stars, but POP is about seeing bands you know next to nothing about. However, this is not completely true in my case. I’ve been wanting to see Dresser, a local spindly art rock band, since their 2021 release Seventeen Blocks and Then Some. 

As I stepped into the darkened hall, a calming wave of arpeggiated guitar chords backed by thick bass and a steady drum section made way for the poetic vocals of Finn Dalbeth—whose style reminded me of listening to the Modern Lovers if led by the National’s Matt Berninger. The whole set was kind of a hushed one (no flashy lights or showboating), but just a well-rehearsed band playing their music. Songs like “The Ringer” — from the latest album, Fuel (wait for my review) — have the right amount of angst and heartbreak and feel like they could be the score for a scratchy A24 movie about an escaped con down on his love and luck. (SB)

Päter

It’s a tough gig being a touring musician booked at a festival that hosts over 100 musical acts in three nights, especially if your show coincides with the Stars/Dears anniversary shows, but Päter gave a spirited set nonetheless. The quaint room of le Ministère was blessed by the musical ramblings of Päter — a group fronted by one Parmida Vand, an Iranian Toronto-based singer-songwriter and multi-instrumentalist whose music falls under the constantly evolving genre of alternative pop rock. 

There were two thematic phases of the Päter set: the flowery indie phase made for summer, with songs like “Nicotine Hallelujah,” and the duskier gloom rock phase (set to tone by an almost a cappella poem, if not for the bass guitar that Vand switched to for one song) — all songs from the new album 4-7 Company. The whole set felt more like a stage play, diving into the inner workings of Parmida’s vulnerable mind in real-time. Themes like identity, femininity versus masculinity and nostalgia rang true, and the music was oh-so-sweet. (SB)

Ribbon Skirt 

The band formerly known as Love Language has gone through a spiritual and musical transformation and is now back as Ribbon Skirt. The new music seems a bit more brooding, but still features some huge guitar work that dives into post-punk era jangle pop. But if anything, the lyrics from Tashiina Buswa feel more confident as she unpacks some of her Indigenous identity and cultural practices. Safe to say I can’t wait for the debut album next year.

The band was also significantly tighter than the last time I saw them at la Sotterenea (although that may have mostly been on the sound mixer) and was completely in sync, almost lost in their own collective world. I also have to say the new merch, like the Cabelas-inspired hunting hat, is straight fire. (SB)

Nabihah Iqbal 

The set by London (England)’s guitar-wave artist Nabihah Iqbal left me in a haze of trance-like euphoria. She looked too cool in her punk rock jacket and flat cap as her light shoegaze guitar and dream pop vocals, bathed in wave after wave of light, filled the room. The spoken word verse was like that of Slowdive or Lush, two artists Iqbal must hold in high esteem. Yet there was also a pull to ‘80s U.K. electronic music as she played songs from last year’s Dreamer album and some of her earlier work. 
Iqbal has a very eloquent way of pulling her listeners forward. Almost on autopilot, I felt myself taking steps closer and closer to the stage, while the tangible notes clung to the air. We also got a little DJ set to open up for Ouri, a very POP Montreal move. (SB)

For more on POP Montreal, please visit the festival’s website.

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