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July 31 - August 2 2026
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Bibi Club, the Montreal-based indie pop duo of Adèle Trottier-Rivard and Nicolas Basque, has been carving out distinct vibrations since their formation in the late 2010s, operating in the midst of the direct action and sonic intimacy that has defined their creative process from the very beginning. As they have continued to work together, however, Bibi Club and their artistic partnership have evolved tremendously, with their forthcoming release, Amaro, serving as undeniable evidence of that fact.
As young musicians, Adèle and Nicolas shared remarkably similar backgrounds. Both grew up in Montreal, earning their musical chops playing classic rock with local bands. Both, moreover, were later trained in jazz. They studied music in school, and both fell in love, at the time, with the arts of both composition and improvisation. This led Nicolas into the Canadian indie-rock band Plants and Animals, while it led Adèle into a singing career of her own.
The pair met when Adèle joined Plants and Animals on tour as a vocalist, and they quickly realised they had shared musical affinities. Although they were each committed to their work with Plants and Animals, they had also begun developing musical ideas independently, finding a mutual outlet for these creations through their budding friendship.
When Caylie Runciman started calling herself Boyhood, it was a nod to childhood nostalgia. The alias – and the beguiling bedroom anthems – are one and the same. Tough-kid guitar grit and deadpan verses give way to whimsical synth lines and delicate harmonies. But like an off-kilter merry-go-round, or a candy shop in a seedy part of town, there’s a shady layer to Runciman’s perfect pop. Her black magic is raw – equal parts ecstasy and heartbreak. And in among the bright colours, there’s the joy and the pain in knowing what it means to grow up.
Instagram: instagram.com/frankenshredder
Bandcamp: https://boyhoodsongs.bandcamp.com/
Camelot, Jennifer Castle’s extraordinary, moving chronicle of the artist in early middle age, charts a realer place than the legendary Camelot of the British Early Middle Ages, but it too is a space more psychic than physical. In Castle’s Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one’s own nature: “Back in Camelot / I really learned a lot / circles in the crops and / sky-high geometry …
https://www.jennifercastlemusic.com/
https://www.instagram.com/jnfrcastle/
Brìghde Chaimbeul is a leading purveyor of celtic experimentalism and a master of the Scottish smallpipes – the bellows-blown, mellower and more emotive cousin to the famous Highland bagpipes – and she’s taken them to the global stage. A native Gaelic speaker from the Isle of Skye, Brìghde roots her music in her language and culture. She rose to prominence as a prodigy of traditional music, but has since begun a journey to take the smallpipes into uncharted territory. She has devised a completely unique way of arranging for pipe music that emphasises the rich textural drones of the instrument; the constancy of sound that creates a trance-like atmosphere, played with enticing virtuosic liquidity. She draws inspiration from the world of interconnected piping traditions, and her most recent album brings in influence from ambient, avant garde and electronic music. One can talk about Brìghde’s awards (BBC Young Folk Award; BBC Horizons Award; SAY Award nominee) and her wide array of collaborators (Caroline Polachek; Colin Stetson; Gruff Rhys; Aidan O'Rourke...) but after it all, her music speaks for itself.
Haunting, entrancing, breathtaking, beautiful – this open-eared, understatedly virtuosic performer is transforming and creating new definitions for Scottish folk in the 21st century.
Green Eyes, Witch Hands is a folktronica band from Bathurst, New Brunswick, known for pairing acoustic guitars with crisp, crunchy beats. They mix natural, unplugged sounds with innovative electronic layers.They shift easily in tone, moving from songs that feel serious or slightly unsettling to moments that are unexpectedly light and humorous. Their lyrics offer impression rather than direct narratives, giving listeners room to find their own connections.
Instagram: https://www.instagram.com/greeneyeswitchhands/
website: https://www.greeneyeswitchhands.ca/
nina protocol: https://www.ninaprotocol.com/profiles/greeneyeswitchhands
HRT is euphoric hardcore you can writhe to. Sparked in 2018, Ana Westcott and Kirby Lees makeup the transgirl duo of ur dreams. Born and based in the gurgling musical bellies of Montreal, seaborne sirens by way of their Maritime & Atlantic roots, HRT’s electronic sound is forever changing shape. Lees’ piercing gaze and voice cut above the noise, while Westcott nods, wielding the pulsing controls and skittering synths. Their latest work, warm wet stroke of luck, bottles the feeling live from the floor — the sticky, sweaty, the loud, the sheer bodies crashing into each other. HRT leaves not one crossed arm in the house, not one person undanced, not one person uptight. Take your medicine.
Eliza Niemi is a multi-instrumentalist, songwriter and film composer from Toronto. Her lyric-driven, uniquely-arranged music has been described as “slice of life” and “ASMR pop.” Before she became a cellist and vocalist, her father taught her the basics of bass and guitar at home. They would play together by ear, which fostered her deep musicality and a creative ethic that prioritizes joyful collaboration. Collaboration has always been at the centre of her practice — whether it be in improvising, playing in her friends’ bands (Dorothea Paas, André Ethier, Little Kid, Evan J Cartwright), or running her label Vain Mina Records. Her LPs Staying Mellow Blows (2022) and Progress Bakery (2025) were long listed for the Polaris Music Prize.
Instagram: https://www.instagram.com/eliza.niemi/
Twitter: https://x.com/elizaniemi
Facebook: https://www.facebook.com/elizaniemi
Ribbon Skirt is a Montreal-based post-punk band led by Anishinaabe musician Tashiina Buswa and lead guitarist Billy Riley. The band released their debut album, Bite Down, on Mint Records in April 2025. Produced by Scott Munro (Preoccupations) and mixed by Greg Saunier (Deerhoof), the album marks a shift toward a darker, more introspective sound, exploring themes of memory, grief, and Buswa’s connection to her Indigenous identity and cultural practices.
Ribbon Skirt has performed at major festivals across North America, including New Colossus, Sled Island, Sappyfest, and Pop Montreal, sharing the stage with artists like Dehd, Ombiigizi, Packs, Wombo, Marnie Stern, Enumclaw, and Chad VanGaalen.
Leanne Betasamosake Simpson’s music is an act of re-worlding, a record of struggle, a nuanced and complex shore combining a surprising influence from formative alternative music with a vital Nishnaabe presence to create a fugitive and expansive space of relationship and affirmation. Simpson’s latest album Live Like The Sky joins a growing body of emergent creations from the Michi Saagiig Nishinaabeg writer, scholar, artist, including the Hilary Weston Writer’s Trust Prize for non-fiction winner, Theory Of Water, the letter-exchange-as-manifesto Rehearsals For Living (with Robin Maynard), and the Dublin literary prize short-listed Noopiming. Present in all of these is a deep engagement and response to the world, the wild fire smoke, the genocides, the driving fascism.
Musically, Live Like The Sky draws directly from Simpson’s personal history, growing up in rurally and discovering alternative music, punk, new wave, and goth through the static and poor reception of the distant alternative station broadcasting from the city; this music offered an escape from the ubiquitous country music and hard rock, offered difference, offered possibility; offered an otherwise. In the space between the aesthetics of the lyrics and the aesthetics of the music, Live Like the Sky was born, carrying the undercurrents of resistance alongside a celebration of (still) being here.
“In a fraudulent world of misused traditions and teachings it’s so compelling and refreshing to see honesty and truth have a place in our guilt ridden colonial grant system. Not only am I blown away by this human being as an artist but the music she surrounds herself with always cuts so deep into any empathic teenage heart. This record contains the beauty of stories and words that will help the teaching of what so many of us don’t understand. Once again Leanne has made a stunning album” Kevin Drew, Broken Social Scene
With a name that demands attention, Status/Non-Status is a band that boldly explores Indigenous identity, politics, and ancestry. Their music blends folk rock, psychedelia, post-rock, and grunge into powerful soundscapes that resonate with emotional depth and cultural significance.
Adam Sturgeon—lead singer and Anishinaabe community worker—is the driving force behind Status/Non-Status. Defined as “non-status” by the Canadian government, Sturgeon’s identity is rooted in the complex history of his family. His grandfather enfranchised to join the Armed Forces and become a Canadian citizen, creating a legacy that Sturgeon confronts in his music and work. His artistic journey is deeply intertwined with raising awareness about the impact of colonization while striving to reconnect with his Anishinaabe/Potawatomi roots and community. Committed to analyzing and questioning colonial systems of oppression, his work reflects the struggles of his people and offers a path toward healing.
Zamani is a sonic storyteller—writing, producing, engineering, and performing every note she creates. Hailing from Halifax, Nova Scotia, Zamani weaves together R&B, Neo Soul, and Urban Jazz into a vibrant soundscape that celebrates self-love, optimism, identity, and unapologetic Black girl magic. Her musical passport spans the U.S., Europe, the Caribbean, and Africa, lighting up stages alongside heavyweights like London’s Estelle, Jamaica’s Tarrus Riley, and R&B icons Mya and Genuine. She also shared the bill with pop legends UB40 at the renowned St. Lucia Roots and Soul Festival.
A fearless collaborator, Zamani has crossed genres with Classical, Gospel, Pop, Hip Hop, and Jazz artists, co-writing with Grammy-winning Canadian songwriter Gordie Sampson and hip-hop pioneer Tracey Lee.
Known for her magnetic live performances, Zamani has electrified international festivals including Toronto Soul Fest, Boston Tree Lighting, Rotterdam’s New Skool Rules, Canada’s Juno Festival, and the St. Lucia Roots and Soul Festival. Her evocative songwriting and steady stream of singles from 2019 to 2024 have earned her an impressive collection of accolades: the Stingray TD Jazz Rising Star Award, SOCAN’s Young Canadian Songwriter Award, Atlantic International Film Festival’s Best Musical Score, and Emerging Lens’ Best Music Video Award.
A six-time ANSMA Award winner—including Artist of the Year, Single of the Year, and Songwriter of the Year—Zamani also holds four ECMA Awards, including African Canadian Artist of the Year and R&B Recording of the Year. Recognized at the highest levels, she is a proud recipient of the Queen Elizabeth II Platinum Jubilee Medal for excellence in music.
With every beat, lyric, and performance, Zamani continues to push forward—one unforgettable song at a time.
http://www.instagram.com/zamanifolade
Youtube Channel: https://www.youtube.com/channel/UCpWQkjDtTF-pJ1YTrVV3U0w
