RSS
The Best Way to Spend a Weekend Sitting on a Living Room Floor: a Review of mai/son's Expo88
After being in Montreal for almost 2 years, I was confident that I had experienced every Montreal venue worth experiencing. From grand theatres with horrible air circulation to gravel pits under graffiti-ridden bridges, if music could be played there I assumed I had had their stamp on my wrist at some point. Though, as I stand here in a living room on Saint Urbain, beer and earplugs in hand (both cost $5), I realize that was stupid. From the outside, mai/son is your average Mile End townhouse. Inside, however, it’s a haven for art of all kinds, a bootleg student-run gallery, and the most well-run house gig you'll find anywhere in the city, all smooshed into a charming 7½. With a seemingly ceaseless blizzard bustling outside, mai/son packed itself full of Mile End nerds this past weekend for what proved to be an unmissable display of everything the neighbourhood has to offer, as well as some truly fantastic sweaters.
Starting off the first night, which I can’t imagine is easy on the nerves, was singer/songwriter Peter Lannon. Lannon’s music reminds me of what my sister would play for me on a road trip; something I am content with floating along to, folky, but leaning towards a poppier sound than some. Armed with only a guitar and notebook paper, Lannon’s down-to-earth set worked perfectly to ease into the concept of mai/son as a venue, and if you’ve ever sat on a living room floor and listened to some guy play guitar, I’m sure you’d agree. Thursday night continued to herald this cozy intimacy with Brad Barr, one-quarter of Montreal Indie-folk mainstays The Barr Brothers, and I feel pretty secure in saying that this set changed my life. With near inhuman pedal precision, Barr spent the better part of an hour unravelling every expectation I hold for a folk show, literally tearing apart his guitar in the process. Barr’s music removes me from any feeling of time and space, placing me instead in a nostalgia-fired vortex of warm, echoing distortion. Very rarely am I so drawn to a set that I take no notes on it, but by the end of Barr’s performance all I had written down was “I need to call my Dad”. After taking a moment to recuperate, grab another beer, and draw a vaguely recognizable Garfield in mai/son’s art room, I returned to the living room’s double-door guarded entrance for the final set of the night. In a flurry of knitted sweaters, pornstaches and synth lines, the four-piece indie up-and-comers Hank’s Dream took to the stage, backed by a thunderous round of applause. Hank’s Dream pumps charming psychedelia into the sounds they create, laying a cloud of haze over crowds akin to a sonic shroom comedown. Very rarely do I hear bright sparkling synth lines and say “man, this could use some steel lap guitar”; in the case of Hank’s Dream, it works beautifully, merging some Lenderman-ish twang with their vibrant indie rock sound. While I was fully aware of my presence in that snowed-in Mile End living room, I could have just as easily been on the backroad hippy town beaches I grew up on, transported there solely by smooth, rolling basslines and sun-baked nostalgia. As the show came to a close, and I trekked through the swampy marshes of the boot room back onto snow-caked Rue St-Joseph, I felt invigorated; not only to thrift more wool sweaters and learn the steel guitar, but to come back the next night to see all mai/son had in store.
Sadly, Friday was not the transportive experience Thursday had been, at least not for me. With all credit to the 55 Bus, I showed up an hour late and smelling like soup. Because of this mishap, I was unable to catch the debut performance from local reverb-wielders Amaryllis and heard only one gut-wrenching track from Sunray Minor. I still urge you to check out all they have to offer as musicians, which is what I plan to do after I’ve finished cursing out the STM. it all works out in the end though, as the band I did manage to catch seemed to have more than enough energy for three performances. The Fake Friends are a five-piece post-punk direct-to-ear delivery system, one of those grab-you-by-the-collar and throw-you-at-the-wall type outfits. Blasting through borderline dance music intended to blow your head clean off, The Fake Friends represent a niche corner of music that remains criminally untapped: what if James Murphy’s side gig was working a deli counter in Snowdon? Their sound is an explosion of influences from all across the board, like an energetic, synth-powered sonic moshpit. After watching lead vocalist Matthew Savage basically peel himself off the living room floor, I left mai/son feeling infinitely sweatier than I had Thursday. Whether this is a good thing is still up for debate.
As enjoyable as Thursday and Friday were, Saturday night at Mai/son takes the cake, at least in my opinion. For the third night in a row, I danced around the sludge-filled entryway and into the 7½’s cozy living room. Though attendance was high the entire weekend, the room was packed full on Saturday, with toque-toting, fleece-wearing hipsters. Opening the night was shoegaze band Fleeting Colours, a perfect local warmup for the Slowdive concert later that week. Fleeting Colours delivers everything one might want from a shoegaze show: drowning, distorted guitars, aching vocals, and minimal eye contact. I’ve long said that the best openers are the ones I can stand and sip a beer to while dramatically nodding my head, and Fleeting Colours delivers exactly that. Brightening up the room immediately after were scene newcomers Hearts of Palm, who seem to have this magical ability to make any listener kick and jump and fling themselves around in a joyous, manic frenzy (listen to “Dummer” and tell me this doesn't happen to you). There is a magnetic charm to Hearts of Palm’s music, luring even the most timid onlookers into their wonderful little post-punk world. We love you, Hearts of Palm! By the end, I had had 40 straight minutes of spilling beer and dancing like an idiot and was in need of a break. Thankfully, frown line were eager not to let this happen! Hailing from, surprise surprise, Montreal, frown line have seen wild success in the past 2 years, reaching widespread critical and public acclaim. Regardless of this, the best place to see them play is still a living room. frown line’s soft, fleeting sound feels like a gentle hurt, like a hug from someone who’s forgotten about you. Like the gently falling snow visible through the window behind them, frown line covered the room in a layer of tangible joy, nostalgic warmth beaming out from every guitar line. While I think every band displayed at mai/son was wonderful, I genuinely could not think of a better way to end this kind of festival than a frown line set.
As the last line of “What’s Leftover” rang out, and the sea of knit toques filed back out into the blustery Montreal night, I took a second to consider what I appreciate not just about mai/son, but about Montreal in general. A small, intimate festival put on by a group of friends to showcase music they like is a truly beautiful thing, and I think it's representative of the Montreal scene as a whole; a collection of wonderful individuals who just want to get together and show each other the art that they love. While this would all exist without Expo88, and other festivals like it, they serve as consistent reminders for how lucky we are to live in such a cool place, and with such cool people. I am happy to say I walked out of mai/son with a warm heart and very wet socks, and I will be thinking about my experience here for much longer than it takes for those suckers to dry.
Sam Kitch is the magazine editor at CJLO 1690AM. He is also the host of I Think You Might Like This, a hip-hop show airing Tuesdays at 2:00 PM.
Undergraduate Concordia students vote for BDS
On Wednesday January 29, Concordia’s Student Union hosted a special general meeting, where 885 undergraduate Concordia students voted in favor of two motions regarding the Boycott, Divestment and Sanctions (BDS) movement.
Now that the students have voiced their demands, the board of governors will meet on Thursday February 6 to discuss how they will respond.
Photo by Zita Berger
Wunderhorse at Le Belmont: A Rare and Intimate Night with a Band Destined for Bigger Stages
There’s something uniquely special about seeing a band on the rise in a venue that barely holds a few hundred people, especially when that band is Wunderhorse, — a UK-based rock band that’s quickly gained a reputation for their powerful blend of raw emotion, intricate melodies, and explosive energy. Taking the stage at ‘Le Belmont’ on January 28th, 2025, frontman Jacob Slater and his bandmates unleashed a performance that was as raw as it was refined and captivating from start to finish.
The UK quintet enters the stage without any posturing, dramatic entrance, or even a nod to the audience while Neil Young's "Down By The River" plays through the house speakers. However, as soon as they start playing "Midas," it becomes clear that this band will make an inevitable leap to bigger venues. 
Opening with "Midas," the band instantly set the tone for the night. Slater’s vocals carried a gripping mix of intensity and vulnerability, weaving seamlessly with the band’s sharp, emotive guitar work. The music shifted between delicate melodies and roaring riffs, keeping the audience swaying one moment and thrashing the next.
One of the standout moments was "Purple," a track that perfectly showcases Wunderhorse’s ability to balance introspection with raw power. Live, it took on a new urgency— Slater’s voice stretched to its emotional limits, while the band locked into a hypnotic groove that had fans hanging onto every word. "Cathedrals" and "Teal" were equally mesmerizing, highlighting the band’s effortless transitions between brooding atmospheres and full-throttle rock.
Perhaps the most unforgettable moment came during "Aeroplane," when the band stripped everything back, leaving Slater’s lyrics and delivery to take center stage. In a packed yet silent room, his voice carried a weight that was impossible to ignore. It was the kind of moment that reminds you why live music matters—pure, raw, and deeply felt.
As the night ended with "July", the energy in the room reached its peak. The band held nothing back, pushing the song to its absolute limits. Slater’s vocals teetered between control and complete abandon, his voice raw with emotion, while the guitars crashed in waves of distortion. The small venue amplified every note, making it feel like the walls themselves were pulsing with sound.
For a group travelling from across the Atlantic, playing in such a small room so far from home only added to the night’s magic. This wasn’t just another stop on the tour—it was a shared moment, a connection between band and audience that felt immediate and deeply personal. From the second they walked on stage, it was clear they weren’t phoning it in. Every note, every lyric, every glance between bandmates carried an energy that thrived off the closeness of the crowd.
Every so often, you catch a band at the perfect moment—right before they break through to the next level. They’re too big for the space they’re playing, but they still perform with the kind of drive that says they’ve got something to prove. There’s no need for gimmicks or grand gestures; it’s all about the raw power of the performance, a band giving everything to connect with the crowd. That’s exactly what Wunderhorse delivered—pure, unfiltered energy that left everyone in the room feeling like they’d seen something unforgettable. The studio recordings are just a taste—live, Wunderhorse unleashes the full power of their music, transforming each track into a thrilling, raw experience that can’t be replicated anywhere else.
Wunderhorse’s live show is a testament to rock music at its most powerful—passionate, dynamic, and completely unfiltered. If they’re coming to your city, don’t hesitate. See them now, while you still have the chance to experience them in a setting this intimate.
Hard Truths - A Review
Hard Truths (Currently playing Cineplex Forum VOA/Cinémathèque québécoise, Cinéma Moderne, Cinéma Public, Cinéma du Musée VOA with STF)
Dir Mike Leigh
Staring: Marianne Jean-Baptiste and Michele Austin
Runtime: 97 Minute
Hard Truths from director Mike Leigh, is a family drama with a mix of dark humour focusing on the Afro-Caribbean community of London. It is my first introduction to the director with hopes to log more of his films on Letterboxd soon. Leigh reunites with his past collaborators Marianne Jean-Baptiste and Michele Austin (Secrets and Lie 1997) as two sisters grieving the loss of their mother, who could not be further apart in character, however, their bond as sisters is what connects them. We don’t get to choose our family, we must learn to accept them and show them unconditional love even at times when they don’t reciprocate or acknowledge it.
One of the strong highlights of the film that is getting critical praise is the performance of Marianne Jean-Baptiste as the central character. Pansy distances herself from the outside world, normally bedridden in her pain and gets irritated very easily. Working the night shift as a nurse for a retirement community living center she rarely ventures outside, with those around her and society being an irritant in her life. Living with her would be her husband Curtley (David Webber), a shell of a man behind his lingering sad eyes, and Moses (Tuwaine Barrett) her 22-year-old son who lives at home with no career or educational prospects besides going on his daily walks. They receive most of Pansy’s criticism and anger directed at them, which leaves them with little to say in response. When it’s not them, Pansy talks to them about her gripes and grievances with those she encounters over their family dinners. She is never afraid to speak her mind when out in society mostly in the stores and medical appointments, think in the vein of Larry David from Curb Your Enthusiasm with a lot more anger and hostility. Speaking about pain Pansy is always in a state of pain and seeks the medical experts' advice where she gets more irritated and hostile, without focussing on what is causing the pain.
Chantelle ( Michele Austin ) Pansy’s sister is more level-headed and works as a hairdresser, where she interacts most with Pansy. She lives with her two daughters Kayla (Ani Nelson) and Aleisha (Sophia Brown), and we do see in their work lives how they are not always valued for their contributions. Chantelle is probably the character that connects the most to Pansy, as she comes to the hair salon regularly. Tension is fraught between the sisters when Chantelle wants Pansy to come visit their deceased mother at the cemetery for Mother’s Day, to which Pansy tries to ignore the request or makes the excuse that she doesn't know how she will feel when the Sunday rolls around. At the cemetery, both sisters share a bonding relationship moment and feel that their mom, being a single mom, did a good job of raising both of them. This is also a type of healing moment for Pansy who later joins her sister, her sister’s daughters, her husband and her son for a Mother’s Day lunch at Chantelle’s house. The men keep to themselves by not saying anything, with Curtely not responding when Chantelle asks about his mom. Moses offered something of an olive branch and a sign of love by buying his mom some flowers for mothers day, possibly forced into doing so by Chantalle’s daughters who try to get Moses out of his shell.
Some of the Hard Truths in Mike Leigh’s film are about family. They are the ones who will love and support you unconditionally no matter what pain you are in or your personality flaws that may clash with other members. Even though some members of the family don’t get the resolution at the end of the film, we see other characters like Moses come out of their shell. Maybe there is hope for Curly and Pansy who are on the fence about separation. Even though Leigh highlights the Afro-Caribbean community of London in this mellow drama, it’s not as robust a history as director Steve McQueen’s Small Ax anthology series which I recommend alongside Hard Truths. In the end we don’t get to choose our family, and the fact that our family chooses us might be one of the hard truths Pansy needs to hear.
Remi is the co-host of At The Movies, on air every Tuesday 8-9 am
Image courtesy of Métropole Films
Discordia 04: The 2002 Netanyahu Riot (Part 2)
On September 9th, 2002, Israeli Prime Minister Bejamin Netanyahu was scheduled to speak at Concordia's Hall building. The speech never happened. Protestors turned out in waves to block the event's attendees. Classes were cancelled, police pepper sprayed students, and 5 were arrested. It's now known as the Netanyahu "riot."
This episode is part 2 of that story.
Discordia is presented by CJLO 1690AM, made with the help of volunteers at the station, and funded by the Community Radio Fund of Canada. New episodes air Mondays at 6pm on CJLO.
By Sydney Sheedy and Piper Curtis
Art by James Fay
The Last Show Girl - A Review
The Last Showgirl (Currently in release at Cineplex Forum (VOA), Cinema Du Parc (VOA with STF)
Dir Gia Coppola
Staring: Pamala Anderson, Jamie Lee Curtis, Dave Bautista, Brenda Song, Kiernan Shipka, Billie Lourd
Runtime: 88 Mins
What is the legacy you leave as an entertainer, both as an artist and a cultural icon? This is the primary question in Gia Coppola’s new film The Last Showgirl, starring Pamala Anderson as Shelly, a showgirl who has performed for 3 decades in a classic French style revue at a Las Vegas Casino on the strip, Le Razzel Dazzel. Now at 57, Shelly faces an uncertain future after finding out that the show is scheduled to close with a penultimate performance later on in the week. The film looks into the industry's generation gap, and what it means to be a showgirl.
Shelly, as part of the old guard of Le Razzel Dazzel, is seen as a mother figure to the new generation May Ann (Brenda Song) and Jodie ( Kiernan Shipka ) and, at times reluctantly, gives them advice while reflecting on the decades past of Le Razzel Dazzel. In the same boat as Shelly is her friend Annette (Jamie Lee Curtis), who once was part of the revue, but now is a cocktail waitress on the casino floor, who is seeing her shifts cut and the younger generation working more hours. The scene that highlights this the most is a dinner amongst friends where Jodie, who is 19, keeps talking about retirement as something she is looking forward to, while Shelly and Annette have no prospects of retirement. The generational gap of the industry as a whole doesn't hit Shelly until the end of the film when she auditions for a casting call where the director (Jason Schwartzman) bluntly tells Shelly she is not a dancer and was hired more for her youth and looks, humiliating Shelly in the process. Another person with an unclear future in the aging industry is the show’s producer Eddie (Dave Bautista).
Le Razzel Dazzel in Shelly’s eyes is seen as an integral part of the cultural and artistic landscape of the Las Vegas scene, and she sees herself as an artist first and secondly an entertainer. Even when she had the opportunity to audition for a role with the New York Rockettes, there was something special about the Las Vegas scene and being part of Le Razzel Dazzel. The form of entertainment is called into question for being explicit, especially by her estranged daughter Hannah ( Billie Lourd ), who Shelly tries to reconnect with, eventually leading Hannah to go to see some of the final performances at Le Razzel Dazzel. Hannah feels that she was always sidelined to Shelly’s career in Le Razzel Dazzel, often ending up waiting outside. As for the future in the entertainment dance industry, it is more driven as an industry that wants to be provocative rather than artistic integrity. We see this highlighted as Shelly is flabbergasted and somewhat appalled by the routine that Jodie performed at an audition, she would never do that type of a routine.
Music is an integral part of the film. A great use of a needle drop moment comes in with Bonnie Tyler’s Total Eclipse of The Heart, seeing Annette have her moment and dance to the song in a spotlight. In the closing scene of the final performance, an original song from Miley Cyrus, Beautiful That Way, puts a perfect endnote to Shelly’s final performance with Le Razzle Dazzle. My only critique of the film is that the film's short run time does not let certain scenes breathe, or allow Pamala Anderson’s character a chance to breathe in between scene transitions. Highlights of the film for me alongside the music score composed by Andrew Wyatt, would be the supporting performance of Jamie Lee Curtis as Annette and Dave Bautista as Eddie.
Photo courtesy of Metropolefilms
Machine Girl: A Sonic Revolution
Machine Girl, the brainchild of Matt Stephenson, emerged from Long Island, New York, in 2012. Drawing inspiration from Japanese media, notably the cult classic film The Machine Girl, the band has carved out a distinctive niche in the music world. Over the years, Machine Girl has released 11 albums, each brimming with energy and novel, genre-defying sounds. Their most popular album, WLFGRL, catapulted them into the spotlight, while their most recent release, MG Ultra, has been the centrepiece of their latest tour, which concluded in Montreal on December 19th.
The band currently features Matt Stephenson as the ferocious vocalist and Sean Kelly who provides the pounding rhythm on the drums. Together, they deliver a sound that is a chaotic blend of alternative, electronic, breakcore, and digital hardcore. This eclectic mix defies conventional categorization and creates a visceral experience that resonates deeply with fans of experimental music.
Machine Girl’s performances are nothing short of revolutionary. Known for their dynamic and interactive shows, they blur the line between performer and audience. Stephenson doesn’t confine himself to the stage; the entire venue becomes his playground as he dives into the crowd and surfs waves of vivacious fans. Their live use of electric guitar modifies and enhances their original electronic sound, adding a raw edge to their live sets. The use of lights was nothing short of intense as they consistently switched between red, blue, green, and white, illuminating an electric crowd. The result is almost a sensory overload; a fusion of sight, sound, and emotion that leaves attendees eager.
The audience at a Machine Girl show is as much part of the performance as the band itself: energetic, lively, and tireless. The crowd’s spirited moshing mirrors the band’s explosive energy on stage with tangible enthusiasm, creating an atmosphere that is as unpredictable as it is exhilarating.
With MG Ultra, Machine Girl has once again proven their ability to push boundaries and redefine their sound. Much like their performances, it is a whirlwind of frenzied brilliance, challenging listeners to embrace the unconventional. Their unrelenting creativity ensure that Machine Girl’s future will be as thrilling as their present.
Listen to Machine Girl's new album, MG Ultra, here
Israel-Hamas Ceasefire Rally at the US Consulate
Serena Abouljoud reports from the scene at the US Consulate where a celebratory rally welcomed the newly struck ceasefire deal between Israel and Hamas.
Discordia 03: The 2002 Netanyahu Riot (Part 1)
On September 9th, 2002, Israeli Prime Minister Bejamin Netanyahu was scheduled to speak at Concordia's Hall building. The speech never happened. Protestors turned out in waves to block the event's attendees. Classes were cancelled, police pepper sprayed students, and 5 were arrested. It's now known as the Netanyahu "riot."
This episode is part 1 of that story.
Discordia is presented by CJLO 1690AM, made with the help of volunteers at the station, and funded by the Community Radio Fund of Canada. New episodes air Mondays at 6pm on CJLO.
By Sydney Sheedy and Piper Curtis
Art by James Fay
This Friday: CJLO's 25th Anniversary Celebration
Join CJLO this Friday, January 10th at La Sala Rossa, for a night of Montreal music in celebration of the station's 25th anniversary! Headlining the night will be local indie icon Land of Talk, with the show opened by Montreal dreampop act Bodywash and art rockers Dresser. Throughout the show, you'll hear tunes DJ'ed by CJLO alum Jasamine White-Gluz (of No Joy) and there will be comedy from local celebrity Eve Parker Finley. After the bands, CJLO alums Flat Cola Collective will be spinning, so stay for the party all night long!
Doors at 7:00PM // Show at 8:00PM. Grab your tickets now via Blue Skies Turn Black!
Pages
Staff Login | Advertise | Our Location | RSS | Contact Us
