Now, more than ever, it’s easy to feel lost. Disillusioned. Overcome by fear, by anxiety, by rage. One of the best antidotes, if given the opportunity, is to step outside the usual day-to-day. I’m so grateful that I was able to do just that by attending POP Montreal this year.
In its 24th year, POP Montreal continues to prove it’s the little international festival that could. Across five dynamic days of programming it showcased a diverse mix of genres and backgrounds through more than 200 artists, offering a much-needed escape and release for concertgoers stomping up and down Boulevard Saint-Laurant, Rue du Parc, and beyond. While the festival also featured film, comedy, and a symposium, it was the music that firmly had me in its clutches — shocking, coming from the Music Director, right?
It was the tender and comforting moments that really struck a chord: effervescent full-band performances from Thanya Iyer and Hand Habits, and a stunning piano set from Zola Jesus.
Circuit des Yeux with Alan Sparhawk delivered a breathtaking intimate performance with intricate guitar picking and otherworldly vocals. You could hear a damn pin drop in between songs. Near the end of the set, Haley Fohr (aka Circuit des Yeux) shared a vulnerable moment when she introduced herself as “Circuit des pregnant,” acknowledging how uncertain the future seems and how lucky she felt to be in that room playing music with us all. Then, the pair jumped into one final gut-wrenching song.
It was the minimal, experimental expressions that offered a necessary reset and jaw-dropping respite, with an artful avant garde set from Fashion Club, and ambient sound explorations from Rani Jambek.
Shn Shn, with her looping magnetic beats, striking visuals, and captivating vocals, stopped me dead in my tracks. Before her closing song, she described its origins — how she’s always been searching for belonging, feeling like home is always somewhere over the horizon, and her hope that one day she’ll find it. She wished the same for anyone else still searching. The meditative song that followed, “Home Is Another Place,” put me in a trancelike state.
It was the energetic, euphoric releases that unlocked something in my soul: an electric dance party with Bolis Pupul, a vibrant theatrical performance from US Girls, and a joyful yet poignant set from Palestinian hip-hop outfit DAM.
Angine de Poitrine took the rooftop stage in elaborate black-and-white polka dot papier-mâché costumes to rip through a dada-esque set of angular, groove-laden experimental rock. Their spellbinding guitar work, emphatic, distorted vocals, and intoxicating rhythms had the crowd engaged from the first note to the last.
It was the ripping local acts that filled me to the brim with excitement, including thrilling sets from Nennen, Sasha Cay, Witch Victim, Mirella, and Narcy.
WORKS (formerly known as Girl Arm) is a noisy post-punk outfit that piqued my interest instantly through their mathy guitars, intriguing arrangements, and compelling bilingual vocals. It was a short but oh-so-sweet and entirely gripping performance that left everyone in the crowd wanting more.
It was the most perfect festival closing set from Do Make Say Think that unleashed the joy I’ve been stifling for far too long. Dear reader, I was floating. These legends hadn’t performed in Montreal in over eight years, and the excitement for their triumphant return was palpable. Their cinematic walls of sound claimed every inch of that space and every ounce of our attention. In a rare vocal moment, their repeating chorus — “standing up, or standing by,” — echoed through the theatre with the crowd joining in, serving as a reminder that staying present requires intention and action.
Though it was my first year attending the festival, I couldn’t shake the feeling of nostalgia. It was as if I were returning to a long-lost memory, and I was thrilled to get lost in it. I was over the moon to immerse myself in the city, the music, the fans, and the undeniable talent radiating from every performer. It was so refreshing to be in a festival setting where the appreciation, admiration, and respect for the artists were so deeply felt in each room.
I had a tear in my eye taking off from the Montreal-Trudeau International Airport — a tear filled with gratitude, an immense love of music, a deep appreciation for community, and a firm belief that art can connect and save us all. I’m immensely grateful that my home over the horizon for five unforgettable days was found at POP Montreal.
