Located in the small northwestern Québec town of Rouyn-Noranda, Abitibi-Témiscamingue—a place now best known for hosting Festival de Musique Émergente (FME) and other festivals thanks to its vibrant arts scene and dedication to uplifting artists—this year’s 23rd edition of FME felt especially unique.
Not only did it gather an eclectic mix of emerging artists eager to share their music with welcoming audiences, but its theme also centered on debunking myths.
From “unicorns don’t exist” to “Elvis is dead,” the festival celebrated imagination, possibility, and hope—reminding us that maybe unicorns, a living Elvis, or even aliens could be real. Something we could all use a little more of these days.
For the indie and folk crowd, performances unfolded at intimate venues like Café-Bar L’Abstracto and Les Mooses. Those chasing electronic sounds gravitated toward Cabaret de la Dernière Chance, Le QG, or Petit Théâtre du Vieux Noranda.
This year pushed genre boundaries even further than the last, featuring everything from darkwave to psych-rock, conscious rap, experimental electronica, and of course, plenty of punk-fueled energy.
Below are five acts that stood out live—each transporting the audience and proving they sound just as good on stage as they do through your headphones.
In no particular order, here are artists worth diving into with an open mind—because you never know what you might discover.
Population II
Genre: Pyschedelic Rock
Photo Credit: Angela Cook
Hailing from Montréal, Québec, psych-rock trio Population II is made up of singer-drummer Pierre-Luc Gratton, guitarist-keyboardist Tristan Lacombe, and bassist Sébastien Provençal.
Their live set was equal parts trippy, grounded, and curious.
Singing in French, they transport listeners straight into the ’70s with shrieking guitar lines and crashing drums that are impossible to ignore.
With seductive top-line melodies wrapped in mysterious instrumentation that instinctively draws you in, Population II is best experienced live—where their music completely takes over the space they’re playing.
Baby Berserk
Genre: Dance/Electronic, Pop
Photo Credit: Christian LeDuc
Founded by producer and bassist Mano Hollestelle, singer Lieselot Elzinga, and background vocalist/keyboardist Eva Wijnbergen, and hailing from Amsterdam, Baby Berserk is as visually striking as it is sonically compelling.
They push the envelope by blending a contemporary nightclub energy with the dynamics of a live band, creating a seamless dance between performance and pulse-driven club music.
With a darkwave-tinged yet dance-forward sound, Baby Berserk delivers an instantaneous beat you can’t help but submerge yourself in from the moment they begin.
However, it’s frontwoman Lieselot Elzinga who truly steals the show, commanding attention with every move, a performer at her very core. A must-see live and an act that keeps you guessing about what’s next.
Overall, they’re a group to watch—one to remember as a cool emerging act you discovered early.
Crasher
Genre: Electronic Punk
Photo Credit:DMC Photographe
Next up is Montréal-based electro-punk outfit Crasher, fronted by singer/producer Airick Asher Woodhead, with Kai Thorpeon bassist, and Tyrin Kelly on drums.
While Woodhead’s previous work with Doldrums and collaborations with Austra, Portishead, and Grimes have earned him recognition, Crasher isn’t just about him—it’s about the synergy of this stellar three-piece.
Live, their energy is infectious, yet in person, they’re some of the chillest, most down-to-earth people you could meet.
On discussing the departure from the Doldrums sound and the inception of Crasher, Woodhead explains:
“I think I really wanted Crasher to play a more collaborative role than Doldrums and to do something that was truly live. Doldrums was about sampling and a lot of production, which was really interesting. But during COVID, the idea of being with other humans and creating something really alive felt both crazy and exhilarating. So we started during COVID. We were bubbling together—literally bubbling—and I had a lot of restrictions on what I wanted to do. I didn’t want to do too much production: just a drum machine, singing, live bass, live drums. I had an idea of what I wanted.”
It’s clear that Crasher is both collaborative and a tight-performing band, with Woodhead leading while the other two members add their own distinct magic, amplifying the rock-tinged electronic sound they’ve crafted. A must-see live whenever they’re in your town.
Nadah El Shazly
Genre: Dance/Electronic
Photo Credit: Angela Cook
Originally from Cairo, Egypt, and now based in Montréal, Québec, artist, producer, and film composer Nadah El Shazly delivered a set so otherworldly that it was nearly impossible to divert your attention from the stage.
An electric harpist joined her on stage, adding to the ethereal, magical quality of her performance.
As a powerful songstress and performer, she had the audience transfixed, swaying in place, completely immersed in her sound.
It didn’t matter if you couldn’t understand the lyrics—the emotion was undeniable.
At one point, El Shazly announced that her computer had stopped working, and she decided on the spot to continue the performance with just her vocals and the electric harpist.
She leaned into an improvisational transition rooted in Arabic music, including a style from Egypt called taqsim—a melodic solo that often uses quarter-tones and regional scales, or maqamat, to create a deeply emotional and cathartic experience.
Vocally and melodically, her performance set her apart from the other festival acts. Nadah El Shazly is a woman so commanding live that you feel every lyric and melodic thread almost instantly, even without understanding the words.
Automelodi
Genre: Synthpop/Darkwave
Photo Credit: Christian LeDuc
Officially formed in 2006, Automelodi is in fact the logical continuation of the electro-pop approach started in the late 90s by Xavier Paradis under the pseudonym Arnaud Lazlaud.
Often described as Impossible Folk, Automelodi blends twentieth-century influences with modern experimentation.
Imagine the poetry of French singer of avant-garde artist Brigitte Fontaine recited over off-kilter Italo-Disco or layered atop manipulated Japanese synths, creating a high-energy exchange.
Live, Automelodi commands the room—his world unfolds, and the audience is simply along for the ride.
Closing the festival as its final act, Automelodi earned this spot for good reason—his music is a trance-like, uplifting party where you’ll realize your hips are moving before your brain catches up.
Automelodi offered more than a performance—he delivered an experience, one that makes it clear why he’s been doing this for so long.
Final Thoughts
As always, compiling a list of favorites is no easy task. With over 80 scheduled and pop-up performances across this year’s festival, there were countless intriguing shows to choose from.
Honorable mentions go to artists like Super Duty Tough Work, Bibi Club, Magi Merlin, Ariane Roy, Baby Volcano, Alice, Oui Merci, Wizaard, The OBGMs, and N Nao.
Returning to cover FME for the second year, it’s safe to say I’ve caught the festival “disease,” as locals call it—the irresistible urge to keep coming back for more
Connect with the artists: Population II, Baby Berserk, Crasher, Nadah El Shazly, and Automelodi
