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Quebec's Bill 21 reaches supreme court
Quebec’s secularism bill reached the Supreme Court this week. The highest court spent four days hearing from dozens of groups about the legality of the Quebec government’s use of the notwithstanding clause. The court could take several months to reach a decision.
The bill was introduced by the provincial government in 2019. To prevent court challenges, the CAQ passed the law using the Charter’s notwithstanding clause. The use of the clause allows for provinces to override much of the Charter of Rights and Freedoms.
Bill 21 prevents public-sector workers in positions of authority from wearing religious symbols. These workers include teachers, police officers, judges and prosecutors. Those opposed to the bill see it as a restriction on Canada’s freedom of religion.
Appellants have challenged the use of Bill 21 in lower courts. Those attempts were shot down, as the courts ruled in favour of the notwithstanding clause.
The English Montreal School Board (EMSB) is one of the appellants. President and Chairman of the EMSB, Joe Ortona, in an interview with CJLO, said: “Our position is that the bill is discriminatory.”
He added that their legal standpoint highlights that their rights are being violated.
“We maintain that it's unconstitutional because it violates the English Montreal School Board. In fact, it violates the English school boards’ right to manage and control their school system.”
The EMSB has not been able to hire anyone who wears religious symbols since the enactment of the law.
The World Sikh Organization of Canada is also contesting the bill in court. The organization faces the challenge of explaining to Sikh children what careers they can go into.
“What we're telling them basically is that they have to either choose between their faith and their career aspirations,” said Angad Singh, the Quebec Regional President for the World Sikh Organization of Canada. “We wonder if this is really the message Canada wants to send to the young people of today.”
McGill University legal scholar Pearl Eliadis explains that when it comes to the notwithstanding clause, Quebec does have a right to bypass the charter.
“It’s a majority government elected by the people of this province, and they're invoking the notwithstanding clause,” said Eliadis. “The reason they can do it is because they can.”
Correction: The audio story says the Supreme Court hearing will last over a week. The hearing lasted four days from March 23rd to March 26th.
Redveil refuses to censor himself at Theatre Fairmount
I hold a belief that a good concert can solve any bad day, and Maryland-based rapper Redveil once again proved it. Because even after fumbling an engineering test, I still had a fantastic night.
I’ve known about Redveil since he started making waves with his album Learn 2 Swim. I would get the chance to see him live when JPEGMAFIA brought him during Osheaga 2023 for their song “Kingdom Hearts Key”. He was only 19 at the time, and even in that modest appearance, I could see his passion. So I was definitely thrilled to see him perform a full gig almost 3 years later.
I tend to go to concerts alone, but I always end up leaving with new friends. I find it really easy to bond with others over shared music tastes, which translates quite nicely into other shared interests. That night, I met a fellow Concordia student who told me that he was attending the concert as part of a course. It turns out one of the fine arts electives at Concordia is a course called “It’s Bigger Than Hip-Hop”, taught by Iraqi-Canadian rapper Yassin Alsalman, also known as Narcy. Their assignment was to write an analysis of tonight’s show, how lucky! My jealousy only grew when I heard they had an interview with Redveil just the day prior.
As time passed, more and more students began to arrive, forming an important part of the crowd. But make no mistake, many diehard fans were there, holding signs of encouragement and later singing every lyric word-for-word.
The stage was set up to resemble a cozy living room, with a vinyl stand at the center and an alarm clock on the right. The alarm buzzing signalled the immediate segue into the first track of the show, “Time (a dream deferred)” which also serves as the intro song for Redveil's newest album, Sankofa. And what an energetic way to start! He was jumping around, kicking the air, all while maintaining his breath. And that fire did not stop at the first track.
While Redveil is often labelled a conscious rapper, I felt that his performance didn’t carry that same mellowness that a lot of artists of the genre have. Despite playing slower and more reflective songs from his catalogue, he wasn’t afraid to perform more bouncy songs such as “Drown” and “Mars”. Throughout the course of the show, Redveil would keep that energy up. I find he has an ability to control the crowd whilst still being down-to-earth. At times, I did feel his energy was not totally reciprocated by us. Fortunately, he knew how to get the crowd going and made us mosh to one of his favourite songs, “black enuff”.
Now, if you know Redveil, you also know he is very politically vocal. It’s best exemplified by how he ended his Camp Flog Gnaw 2023 set by displaying the names of hundreds of Palestinians who were killed before reaching the age of four. He would do the same that night, urging us to scream “Free Palestine” in unison. Under the echoes of our chants, a special guest rushed out of the back, the Concordia rapper-professor himself, Narcy. To my surprise, and the surprise of many of his students in the crowd, he still had rap in him. He and Redveil began exchanging bars about oppression and martyrdom, with Narcy even letting out a “Shoutout my class!”.
To conclude the show, Redveil decided to finally take a break from all the action and sit down to play the piano. Although I do feel singing isn’t his strong suit, the final song, “glimpse of you” is a touching piece about the pain of being close to someone with mental issues.
But of course, the crowd wanted more, and before we could all scream: “One more song!”, Redveil promptly jumped back to perform his politically engaged freestyle: “Stupid prizes” in which he expresses his raw frustrations at the state of the world and those in power. After the show, he stayed at the merch stand, interacting with fans and taking pictures. As I rode the metro home with my picture of Redveil and me, I knew that Narcy’s students would have a lot to write about.
Save The Crumper: A Review
As a result of my tardy bedroom clock, my arrival at the beloved Casa Del Popolo was an embarrassing fifteen minutes late. My gloveless hands froze in the cold, and my friends stood peeved at my lack of punctuality. Walking past the hurdle of smokers outside the entrance, I slid through Casa’s gorgeous exterior bar and into the intimate performance space. It was Sunday, February 1st, the evening of the Friends of Crumper benefit concert.
Someone stood to the left of the door, scribbling a bold SOLD OUT onto a scrap of paper. After taping it tightly onto the ticket table, I introduced myself.
“Hi,” I said.
“Hi. We’re sold out tonight! Sorry,” she shouted over the music.
“Oh no, that’s okay,” I yelled back. “I think I’m on some kinda list. I’m here to write about the show.”
She took a step back and studied my face. Having walked in during the first performance, we were forced to communicate through shouted fragments directly into one another’s ears. After an intimidating seven-second stare-down, she nodded and leaned into my ear.
“Yeah, I trust you. Enjoy the show. Help the Crumper.”
The Crumper, as I soon learned, is a Montreal jam space built for local bands to perform and practice with ease. The night’s lineup was made up of bands born out of this beloved space, all coming together to ensure that it stays put and accessible. Proceeds from the evening went toward supporting the spot, and friends of the bands came from across the city to show up for their community.
My brief yet kind opening interaction set the tone for the rest of the night. Casa was hosting something warmer than its usual show. The evening felt less like a standard lineup and more like a celebration of what can come from community-led projects. There was an immediate
sense of welcome and an overarching feeling of support from the crowd. My conversation with the trusting ticket booth girl encapsulated the energy of the show: intimate, human.
I began my evening shuffling through the packed crowd and planting my feet in a solid spot southwest of the stage. From there, I could clearly see all four members of the opening act, I, Like You.
I, Like You (don’t forget the comma!), started the night with real force. The lead singer moved sideways as he sang, his body giving in to the intensity of the song. The rest of the band matched that intensity, creating something difficult to look away from. Close to the stage, the crowd moshed, carrying the band’s energy back into the room. They opened the night with a performance that made the space feel connected from the start.
Power-country band the Vauxhalls carried that same sense of connection throughout their set. Their lyrics were playful, paired with sweet melodies shared between two vocalists. By this
point in the night, I had found my previously peeved friends, and it felt natural to dance alongside the rest of the crowd.
It was with one of the Vauxhall members that I later spoke about the Crumper. After running into her in the bathroom, she explained, “The Crumper might not be the prettiest place in the world, but it’s important for a place like it to exist. Where else are bands supposed to practice in this city?”
Sunforger finished the night with a post-punk set that felt tender and well-loved. I didn’t know their music beforehand, but the set quickly won me over. With sharp guitars and vocals that blended easily over steady beats, it’s no surprise the band has already made its mark on the Montreal music scene.
The band that piqued my interest most, however, was Palomine. I’ll admit I was skeptical of the three-guitarist lineup. As someone not especially versed in the technical side of music, I found myself wondering why so many were necessary. But as soon as they began to play, I was proven wrong. Blending shoegaze and indie rock, the layered guitars felt mesmerizing rather than crowded. I left still thinking about their set, eager to see what they produce in the year to come.
I walked in not knowing much about the Crumper, but by the end of the night, I was rooting for the space just as much as the bands. What I witnessed felt like an ode to what can be created when artists are given room to engage with their work without limitation.
The Crumper is special and should be a friend to all. As they put it on Instagram, “Remember when the world was semi-affordable, and bands could practice and record cheaply? Neither do we. We’re like 22. But if you want to fight gentrification and practice in a well-equipped space, the Crumper is your saving grace.” To support it, keep an eye on their upcoming shows, book a practice slot if you can, and show up when it counts. Save the Crumper!
Mama Khan is always present for the community
For the 4th consecutive year, Mama Khan, a Pakistani restaurant situated in the Plateau-Mont-Royal, is giving out free iftar boxes for the month of Ramadan, alongside grocery baskets for the vulnerable. However, the month of Ramadan is not the only time during which they provide free meals. Since their opening, they have created and partaken in a myriad of initiatives fighting against food insecurity. To this day, they are working on making the neighborhood affordable and helping the community during times of crisis.
Nirvana The Band The Show The Movie: A Review
Nirvana The Band The Show The Movie (Currently In Theatres Check Your Listings)
Dir: Matt Johnson
Runtime: 102 Minutes
Having no idea or concept of the ideas behind the premise of Nirvana The Band The Show from creative duo Matt Johnson and Jay McCarroll, led me to do a deep dive into the content of the internet webseries before the release of the film. I could not fathom what I would end up watching, but from the get-go, I was hooked and locked in. What can be described as the absurdity of Bo Burnham’s crooning song internet comedy, Johnson is the more outlandish, and McCarroll is the more reserved, serious as two roommates who create Nirvana The Band. The premise is simple: to get booked to perform at the “elusive” venue, The Rivoli in Toronto. The catch is that they have never written a song, and they have never contacted the management team of The Rivoli to get booked. They use more guerrilla-style warfare hijinx to try to make their presence known to no avail, it seems, after all these years. Each episode parodies a famous television show or movie from Frasier, CSI Miami, Lost and The Wire. This spoke to my popular culture lexicon, and I was transfixed as I got the meta humour of the series. The Canadian content of the series shines through when, in an episode, both Matt and Jay meet with Ronnie Hawkins from The Band to get him to release the rights of the title The Band to them, leaving out the fact that Nirvana is also part of the title. Too bad Courtney Love is unaware of the band’s existence. For this iconic duo, a part of Canadian Pop Culture, there needed to be the perfect send-off. Cue Nirvana, The Band. The Show. The Movie. It made its debut earlier this February as part of the Cineplex Mystery Movie Monday showcase.
Even though I haven't seen the post-web series, the movie picks up where old habits die hard as the duo once again attempts their fate at getting booked at The Rivoli. How are you going to do this in a motion picture? Do it with the most outlandish stunt coordination to get the attention of all of Toronto by skydiving off the CN Tower into the Rogers Center Skydome when it is open during a baseball game. Not to give away the ending to this play, but the creative forces go back to the drawing board, and this time it is a time machine that the outlandish Matt hatches a la Back To The Future, which Jay starts to question when it is enough with the hijinx plans to call it a day and possibly quits. Jay starts looking at booking solo gigs at an open mic slot in Ottawa and is amazed by how easy he can get in, thinking it’s a serious gig after all these years. All I can say is that Matt goes through with his plan to make a time travel machine, which involves a trailer and one last bottle of Orbitz beverages, cue the Canadian central pop culture reference, and the duo end up time-travelling back to 2008 when both enter the RV, not suspecting the other one to be there.
The meta culture of 2008 is on full display as both Matt and Jay discover that the bottle of Orbitz, lightning in a bottle, is the key to the time machine and in 2008, it is a hot commodity that Matt is flush with. Matt and Jay go to their 2008 apartment, inevitably running not only into the bottle of Orbitz but also their younger selves, henceforth the playing with time travel paradox of codes and rules. Some interactions between their past and the future self sees Jay changing the course of his destiny by writing something on the whiteboard that will alter the future. The duo comes back to a different 2025.
Jay's alternative plans have worked so it seems because he is now a very successful musician living in a mansion, and Matt is the drummer in a Jay McCarroll cover band. Matt confronts Jay at a concert, but Jay says he doesn't know Matt and has no knowledge of the time machine. Feeling that this is the best possible outcome for his life, Jay smashes the last bottle of the discounted Orbitz beverage so the time machine will no longer have the lightning it runs on. Jay finds out how lonesome and hollow being in a successful band can be and decides to play a game with his bandmates that leads to a tragic accident. Now on the run from the law, Jay realizes that he made a crucial mistake playing with time and needs Matt’s help for the duo to go back to 2008 and fix their mistakes.
Nirvana, The Band, The Show, The Movie continues to have all the meta-cultural references that the web series was known for, being a strong comedic focal point and being clearly Canadian. What I think the movie integrates well is the participation from actual people on the streets who might be aware or new to the antics of Matt and Jay. Matt and Jay have to be an iconic Canadian friendship duo, for better or for worse, and this movie provides the perfect epic conclusion to their friendship. The film goes to prove there is no Jay without a bit of Matt in your life.
⭐⭐⭐⭐/⭐⭐⭐⭐⭐
Remi is the host of At The Movies along with regular Co-Host Danny Aubery every Tuesday morning from 9-10 AM only on CJLO 1690 AM. They cover local film festivals, have interviews with directors and actors, and talk about a new film or the classics. They also cover the iconic sounds of present and past film scores and soundtracks. Follow Remi on Letterboxd.
Are You Ready (Ready For The Time of Your Life): Laundry Day in Montreal
Two nights ago, I learned that freedom floats through musical decades. When I was younger, I could find it within the hearty bellows of texan-native Janis Joplin. As time passed in the lyrical world, freedom filled its walls with reflections of blistering rhythmic palettes.
When I faced the February cold after a 7-hour shift, New York-based band Laundry Day became the chicken soup to my soul. As I stepped into Café Campus, the walls rang with anticipatory chatter and echoes of 4 Non Blondes serenated the atmosphere. Just two days prior, my friend Kaitlyn and I rode the train home when she told me they were in town. Who knew that 48 hours later, we'd be swaying around to the sounds of friendship?
As the night wound down, vocalist Jude Lipkin blistered our hearts in melodic warmth during “FRIENDS” from their 2019 album HOMESICK. Inviting the crowd to hold those they cherish close. An ode to the people that pull us through, those we are lucky to grow up right beside.
Was I ready? Not much could have prepared me for the perpetual blast that was Laundry Day.
When the lights went down, Montreal drowned in ear-splitting melodies. In harmony, we bumped our heads and waved our bodies to the songs of EARWORM, released in October of last year. For a brief moment, my fears dissolved when I saw you in the dizzying lights. When your arms coddled the microphone with the young adult ecstasy that came out of you, as your soul hovered around the room. Your cheeks were flushed with warm exhaustion, and your smile welcomed the crowd. Into the night, we were invited to let go, wave goodbye and embrace. The time of our lives began when none of us were ready. Yet, with Laundry Day by our side, we knew how it went down that night. We couldn’t stand jaded on the hills of musical thrills by heavily enthralling basslines and striking lyrics. Instead, like the open road, freedom found its shape in rhythmic grooves and whimsical beats. Just as we had connected, it was time for the band to depart. We were just the fourth stop on The Time of Your Life tour.
Sawyer Nunes, we heard you tearing it on drums and singing the woes and joys inside you. Henry Pearl, we melted at your quiet, misty sound as you gently plucked the bass strings. Under your mustache revealed so much more than you let on. Henry Weingartner, how can we forget your compelling guitar on the edge of musical mania? Jude Lipkin, you have marked that stage so profoundly; you engaged in the lyrical frames of your mind.
Thank you for stepping out onto the edge. Montreal loved you!
An Interview with Will Oldham
On The Alley, host and music director Aviva sits down with Will Oldham of Bonnie "Prince" Billy to discuss his new album We Are Together Again, out March 6, 2026. Listen to them chat about songwriting in this political moment, Louisville music, connecting to childlike wonder, and more. You can tune in to The Alley, every Friday at 11AM.
At The Movies: An Interview with Stefan Verna
The National Film Board of Canada is celebrating Black History Month with a spotlight on documentaries and films in their Black Communities in Canada, a free collection of films awarded by black filmmakers, creators, and allies of the black community, which detail a rich history to better understand the present. As part of this collection would be the documentary Night Watches Us from Stefan Verna. Through documentary styles, street art, and spoken word, Night Watches Us examines the systemic forces that caused a young man’s tragic death. On today’s show, we speak to director Stefan Verna.
Remi is the host of At The Movies, along with regular Co-Host Danny Auber,y every Tuesday morning from 9-10 AM only on CJLO 1690 AM. They cover local film festivals, have interviews with directors and actors, and talk about a new film or the classics. They also cover the iconic sounds of present and past film scores and soundtracks. Follow Remi on Letterboxd.
The Long-Awaited Steeple / Plus! / Palomine Crossover Episode at L'Esco
As per the title of this piece, this show was very much long-awaited for me. Anyone who knows me knows I am quite the Palomine superfan, but I’ve also been a huge fan of Steeple for at least a year now. Their first EP was actually recommended to me by a friend, so I knew a handful of songs already. Steeple has been performing semi-often in Montreal, yet I hadn’t managed to see them until now (embarrassing!!!). Let’s just say I was not surprised by the incredible show that they put on.
It is worth mentioning that this show took place at the most beautiful venue, maybe ever. I’d never been to L’Esco before, though I had heard great things. I immediately understood the hype as soon as I got there. It was spacious, with fantastic lighting and decorations, and the stage was massive. Normally, I don’t go to a show without my camera, but of cours,e this had to be the show I decided against it. I was so jealous of every photographer there, as this venue was perfect for concert photography. I could actually see the drum kit and the drummer, which is a rare find nowadays. I will definitely be returning to this venue soon, camera in hand. I can only imagine how good it felt to play on the stage, with all the lights and space to move around. Every band that graced the stage used the space well, yet Palomine definitely needed it the most.
I've already written about Palomine, since they were at Lilith Fair in January, but this show was something special. First of all, they were headlining at L’Esco, which is arguably a huge deal for anyone, and secondly, they have yet ANOTHER new member, a cellist, who is already in two bands in Montreal. At this rate, the Montreal music scene is becoming something akin to the Royal family tree. However, I am not complaining. This new addition puts Palomine at six members, which had the stage pretty full. I am always impressed with this band’s sound; they’d already been experimenting with the banjo, but the cello was definitely the cherry on top. They also did an encore this time, which I’ve never witnessed from them, and I have seen Palomine four times now. Lastly, they announced they’re finally recording some songs in the studio, which is majorly exciting, especially for people with all-new music radio shows…. So all in all, big night for Palomine and Palomine fans alike.
I’d never seen Plus! before, but I was expecting a good show. They recently did a Toronto show with Palomine, so with this in mind, I anticipated a very solid set. Much like every band that performed, Plus! was extremely well-practiced, and their energy was great. During their set, I made the astute observation that someone in this band (maybe all of them?) has to be the top listener of The Strokes since the resemblance was uncanny. I do get down to The Strokes, though, so this wasn’t a negative thing at all. Another great example of the constant Montreal band crossover is that the guitarist of this band is also a member of Palomine. Insanity. But overall, great set, great band, great time.
Of the three bands performing, Steeple was definitely the one I was anticipating the most. Not to diss Plus! or Palomine, they are both amazing bands as I have said – do not get me wrong. However, Steeple had a unique continuity to their set. Every song fit together effortlessly, with creative rhythms and riffs that had me positively delighted. As a four-piece, their sound was astoundingly full, and you would never know there were only four people onstage. Especially since the singer was not playing an instrument, each musician had to be exceptional, which they were. I will say the drummer was maybe the most essential asset; this guy was locked IN. I was giddy for the entirety of their set, and I kept turning to my friends to scream about how good it was. The guitarist was also so impressive and clearly knew his instrument very well. It did help that Steeple’s music is kind of my favourite genre ever: indie bordering on math-rock with some screaming here and there. A single guitarist in a band of this genre is surprising, but Steeple did it expertly. I honestly could not recommend them enough. They are definitely one of the most creative and practiced bands I’ve seen recently, and I will be looking to see them again soon.
I will for sure be returning to Esco as soon as possible, seeking out a night as good as this one. Keep an eye out for new Palomine music and check out Steeple’s EP!
An Interview with Christopher Owens
This past week on Lektor Decoder, Hayley and Jason sat down with Christopher Owens off the tails of his Taverne Tour show, February 12th. Owens talks with our DJs about his band Girls, creative inspirations, and the importance of maintaining vulnerability. Listen to their heartfelt chat here and check out Lektor Decoder every Monday at 9 PM.
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