music

Celtic Music Festival returns to Kinnear’s Mills this weekend

Celtic Music Festival returns to Kinnear’s Mills this weekend

Ruby Pratka, Local Journalism Initiative reporter

editor@qctonline.com

On the South Shore, Irish tunes aren’t just for St. Patrick’s Day weekend, and Québécois reels and sets carrés aren’t just for le temps des Fêtes. Lovers of Irish, Scottish, Québécois and Acadian traditional music and dance will be able to get their fill at the Kinnear’s Mills Celtic Music Festival, which runs from July 17-20 in and around Sainte- Catherine-Labouré Church in Kinnear’s Mills, between Lévis and Thetford Mines.

The festivities will begin on July 17 with an evening variety show of traditional Québécois music by members of the Thetford Mines chap- ter of the Association québécoise des loisirs folkloriques (AQLF), under the festival tent. The next day, La Famille Leblanc, from Bathurst, N.B., will perform under the tent at 7 p.m. Singers and multi-instrumentalists Robin Leblanc and Rebecca Huot and their three teenage daughters, Mélodie, Rosalie and Charlotte Leblanc, are festival regulars and have made a name for themselves in Canada and Europe with their festive blend of Celtic and Acadian music. Their set will be followed by a square dance, called in English by festival organizer James Allan.

Those familiar with Québécois set dancing, Irish ceili dancing or American square dancing won’t be completely unfamiliar with Allan’s dances, but might be thrown off by slightly differ- ent patterns and steps, or by the terminology, called mostly in English with a few French words thrown in, in Allan’s distinctive singsong cadence as he accompanies himself on the piano. “We call the dances ‘traditional dances of down home,’” he explained. “A lot of the time, callers will throw in dances from other regions – they’ll say, ‘Here’s one from the Gaspé’ or ‘Here’s one from Lanaudière’ – but I stick to the ones I learned here. I’ve kept up the tradition of call- ing in English, and there’s a lot of step dancing in these dances, which people get a kick out of.”

On Saturday afternoon, starting at 1 p.m., fiddler Stéphanie Labbé will per- form, followed by Quebec City-based singer and traditional music booster Philippe Guay, Breton trio L’Heure du Bosco and Montmagny-based traditional accordionist Éric Saint-Pierre. The highlight of the evening will be a second square dance, called by Allan at the nearby English School.

On Sunday, an ecumenical church service will be followed by the now-traditional bagpipe concert featuring three pipe bands from around the region, and a closing concert and jig show by Quebec City-based Irish quartet McCool (dancer and percussionist Maude Filion, fiddler Daniel Fréchette, guitarist Dominic Haerinck and multi-instrumentalist François Matte).

Allan, who grew up in a traditional music-loving Scottish family in the region and has been dancing for most of his life, said the festival started more than 30 years ago with a single bagpipe show, and has grown into a celebration of traditional music and dance and of the area’s rich Scottish and Irish history. The events are free, with the exception of the Friday night show featuring La Famille Leblanc ($20 cash at the door) and the Saturday night dance ($15 cash at the door). Regardless of language, age or level of dance experience, Allan said, “Everyone’s welcome.”

The festival is funded by Canadian Heritage, the St. Andrew’s Society of Montreal, Boralex and the town of Kinnear’s Mills.

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MAKE ROOM, MISS DIVA IS HERE

Alicia Anderson, better known by her stage name Miss Diva, has been making inroads in music for almost a decade now. She grew up deeply rooted in music and faith.“I was always in church,” she recalls to the CONTACT, reminiscing about weekends spent between her two grandmothers—one Pentecostal, the other Anglican. Encouraged by her grandmother, young Alicia took her first steps into the choir, unknowingly laying the foundation for what would become her career.
Beyond the church walls, Alicia was immersed in the sounds of reggae greats like Bob Marley, Peter Tosh, and Marcia Griffiths, thanks to jam sessions in her uncle Peter’s basement. “I remember my grandmother asking who was in the basement, and I’d say, ‘Grandma, a lot of people are down there,’” she laughs. That exposure cemented her drive and desire to sing.
At just ten years old, Alicia was introduced to the world of Soca music through Kiddies Carnival, and she fell in love instantly. “My mom married into the Trinidadian culture, and I was surrounded by both Soca and Reggae,” she explains. Her early years saw her crowned Queen of the Band an impressive fourteen times, proving that she was not only a singer but a dynamic entertainer.
As she entered her teenage years, Miss Diva was ready to take her talent to the next level. She underwent voice training with Adessa and gained recognition in a talent show at Westmount School, where she wowed the audience with her rendition of Monica’s Angel of Mine. She expanded her talents to dance and pageantry. At 18, she entered the Dancehall Queen competition—a bold move that set her apart. “All the dancers were skinny, but I was a thick girl. I stood out,” she recalls. She not only participated but won, earning a trip to Jamaica where she danced alongside icons like Ding Dong and Mad Michelle and networked with industry heavyweights.
Yet, her heart was in singing. “I had to tell them I could sing,” she says. Her persistence paid off when, one night at a party, she sang on the spot for a producer who encouraged her to record a demo.
“I had an album launch at three months pregnant, but no one knew,” she reveals. “When my manager at the time found out, they left me. But I never took no for an answer.”
Even at four months pregnant, she traveled to Jamaica, making headlines when she revealed her pregnancy on national television. She continued to push forward, performing on live TV just four months after giving birth to her son, Dream.
Motherhood didn’t slow her down—it gave her new purpose. “When my son was sleeping, I’d be creating music. Social media allowed me to keep working without leaving home,” she shares. By the time Dream turned one, Alicia was back in the studio.
Miss Diva continued to grow her brand, performing on major stages and releasing new music. She made her post-pregnancy debut at Luciano’s show, despite her having concerns about weight gain, she left the crowd electrified.
“I was worried because of the weight but I worked the crowd! I was made for this,” she asserts.
She released her album Number One Girl, collaborating with Reggae stars Macka Diamond and Lutan Fyah. When the pandemic hit, she adapted, continuing to create and eventually launching her 2023 album to critical acclaim.
Her music has been recognized in nominations, including the North of You Awards and the Reggae Exclusive Awards for Entertainer of the Year. Though she didn’t take home the trophies, the experience fueled her drive. “I remember saying to myself, ‘My grandmothers would be so proud.’”
The recognition only fueled her drive. “I have to keep going,” she says. She expanded her reach to Canada’s Caribbean music scene, performing at festivals in Calgary and Edmonton.
In 2023, Alicia dove deeper into the Soca world with the release of Energy Bumper, which received rave reviews. Building on this momentum, she traveled to Trinidad for Carnival, where she performed, recorded new music, and filmed a video for her latest hit, Meet Me on the Road. The track gained traction in Trinidad especially during the recently concluded carnival. “This song is just about my love for the road as a masquerader,” she says. Produced by ICU Studios from Grenada, the track has been met with enthusiastic responses. “I walked out of my house, and someone said, ‘Diva, Meet Me on the Road!’ That’s when I knew it was working!”
Beyond music, Alicia has entrepreneurial ambitions. With a background in hair styling—having managed a beauty salon in downtown Montreal for years—she now takes private appointments at Diva Salon. She is also preparing to launch her lipstick line, Diva, adding yet another dimension to her brand.
Alicia attributes much of her success to the strong women who have influenced her. From her grandmothers to her manager, Angie Goodaz and mother, Pat Dillon Moore these women have been her cheerleaders and mentors.
“The best thing I’ve learned from my mother is to never make decisions too quickly,” she shares. Her grandmother’s words, “Why worry when you can pray,” have been a mantra that continues to inspire her journey.
Currently, Alicia is focused on her biggest project yet: the Montreal Music Festival, set for June 27, 2025. The event will feature reggae heavyweights Montreal and the diaspora.
With new collaborations on the horizon, including one with Trinidad’s Young Bredda, Miss Diva is showing no signs of slowing down. She remains dedicated to leaving a lasting impression in both Reggae and Soca. “I’m here and I’m ready to work,” she declares.

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The sky is only the beginning for those who dream

On February 15, there will be a special Valentine’s Edition featuring numerous emerging artists from Montreal, some of the city’s favorite DJs, and talented artists coming in from Vermont and New York called Lovestruck at the Noel Alexander Banquet Hall. The event will be brought to you by The Jamaica Association and Linkcon Prezzy Demetrius, who will coordinate it.

Prezzy is the CEO of Driven Paper Next Level and established The Empowerment House for Independent Artists, which is a modern-day comeback kid in the music business. Despite leaving the music scene in 2017, Prezzy took the time to work on his vision and goals and bounced back in September 2022 with a bang.

With the understanding that some of the biggest brands started with humble beginnings, Prezzy worked on rebranding, relaunching his brand and added upscale merchandise to his portfolio which included his signature shoes “Driven Culture” for men that he designed and is custom made in Italy to his signature beard oil for men or his signature fragrance for women, Toxic Rush. This move was insightful as it has paved more opportunities for him in the new year.

He is very positive about the year, and has confidence in his team, the new ventures and new partnerships. With all this happening, he has his hands full and is working back and forth in Canada and USA with other people in the same business to explore ways of bridging the gap in the industry and how best to support the artists.

Reflecting back on the previous year Prezzy says it was a year, which bore him results. His company, which is a music business-consulting firm that offers record label services and all high-end entertainment needs, introduced extras like Miami Swim Week, The Celebrity Charity Basketball Game, Mansion After Party’s in Los Angeles and much more created a buzz and made an impact in the fast-paced industry.

In addition, he has enlarged his scope and now has access to booking major artists and comedians, new school as well as a long list of household names we all know. Another accolade worth mentioning is that his brand was involved in the new Afrobeats breakout artist Jzyno “Australian Tour” a lil while ago because of his affiliate team Bac 2 Bac Events Group.

He’s excited to work with his new Taste of The Caribbean team he joined forces with last summer who is now ranked as one of the top festivals at this point period, with a whole new addition coming this summer that’s going blow your socks off.

From helping to secure artists with music distribution deals via Sony Orchard, Empire and Roc Nation or record label sit-down meetings with Atlantic Records, Def Jam, Republic, Warner, Epic and many more, there’s not much missing to help artists attain that next level. Also, he decided to start a Network Music Team turned Family where he pooled amazing resources and individuals together in hopes to spread knowledge and awareness with the help of his expertise and Networking skills.

He has been organizing cultural as well as urban music festivals or sponsoring and promoting events with his custom beard oil, being a contributing writer for a couple of magazines, public speaking and mentoring the youth at Batshaw Youth and Family Services and much more.

There is a harsh truth that any business owner has to face; even in the best of times, there is a possibility that the business needs rethinking. For the companies and businesses that become successful, the entrepreneurs have different formulas for reaching their success. For some, connections get them there but for some like Prezzy, it’s perseverance, determination and knowledge.

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MUZ festival brings world music to Montreal’s stage

Maracujá will be among the first MUZ performers on Oct. 3. Courtesy MUZ

India-Das Brown,
Local Journalism Initiative

From Brazilian samba to West African beats, MUZ promises a journey through global rhythms this October

For fans of jazz, world music or contemporary rhythms, this year’s MUZ festival will take you on a journey of meandering soundscapes from Oct. 3 to Oct. 6 at Montreal’s Quartiers des Spectacles. 

The festival is presented by Vision Diversité, an organization founded 18 years ago by artistic director Paméla Kamar and her mother, Aida Kamar.

Seventeen years before the organization’s founding, Kamar’s family immigrated to Montreal from Lebanon. Her mother worked with Francophone ministries upon arrival, helping immigrants from all over the world integrate into Quebec society. The mother-daughter duo soon recognized there were many visionary immigrants without opportunities to flourish.

“There were a lot of people who were talented, but there was no place for them,” the younger Kamar said. “We realized that we had a place for that and there was a credibility with our path.” 

Kamar and her mother decided to push what she calls “a courant of mixed music” into Montreal’s artistic sphere.

“We decided to start [with] little events,” Kamar added. “We had to do it step by step because everybody wasn’t really ready for [mixed music].”

Kamar is driven to help artists find their paths, build their momentum and continue to grow.

“We’ve helped a few hundred artists to take their place [through MUZ],” Kamar said, naming Dominique Fils-Aimé, a Montreal-based singer-songwriter who has won two JUNO awards, among others.

MUZ’s 14th edition will present 17 groups with diverse backgrounds and rich influences. Among the headliners kicking off the festival on Oct. 3 is Maracujá, a four-member ensemble self-described as “the undisputed standard-bearer for Brazilian music in Montreal.” 

Elie Haroun, Maracujá’s singer, first discovered Brazilian music through the band’s drummer, Sacha Daoud, almost 30 years ago. 

“I fell in love with it because it just has a natural happiness to it, from as much the melody standpoint as the rhythm standpoint,” Haroun said. “It’s just a type of music that is universally appreciated, universally loved.

Maracujá takes a bossa nova, samba approach to the wide umbrella of Brazilian music. 

“[Our music] is very tied to the sound of the ‘60s and ‘70s, but has a very strong prominent jazz influence because of our pianist,” Haroun said. “And it’s never gone out of style.”

Haroun believes that playing in a festival like MUZ, which is specifically created to showcase cross-cultural music, means that Maracujá’s sound is less diluted than in a larger festival like the Montreal International Jazz Festival.

“It gives us a chance to put more value on the kind of music that we do,” Haroun said.

“I really feel like it’s a festival that revolves around helping the artists and […] putting the artists at the forefront,” added Daoud, who has performed at MUZ before as a sideman for other projects.

Another aspect that makes MUZ unique is its short set times of around 20 to 25 minutes, compared to a festival where artists play hour-long sets, according to Daoud. 

“You have to bring out the best of what you do and have, that will have the greatest impact,” Daoud said. “It brings another kind of thought process and a way of building your show for that kind of event. And I think the public is lucky because it’s […] able to taste a bit of different artists in one evening.”

“Psychomusical tapas,” Haroun interjected, both he and Daoud laughing.

Maracujá is inspired by traditional Brazilian repertoire, as it is inspired by what Daoud describes as “a great musical diaspora” in Montreal.

“Brazil is such a big country, and there’s more than 150 rhythms in Brazil. If somebody comes from southern Brazil, his tradition and his ears are completely attuned in a different way than somebody that comes from the north or Amazonia,” Daoud said. “[It] influences the variety of rhythms and interpretations of Brazilian music that exist.”

Maracujá hopes to embody a sense of pure joy, kinship and communion in their performance on Oct. 3.

“[We have a] sixth sense of how to communicate amongst [each other],” Daoud said. “I think that’s always something very strong that transcends the stage and really reaches the public, because I feel like people can really have a very strong sense of that kinship, and […] it’s infectious.”

“If music is not about people,” added Haroun, “if music is not about getting together and having some sort of community together, then I don’t know what music is for.”

Haroun and Daoud are excited to see MUZ’s other acts and mingle with people who are in the same vein of music as themselves. 

“It’s always great to be inspired by other people,” Daoud said.

Among the other artists performing will be Carine au Micro, who will be on stage Oct. 5 for the second time with MUZ—the first being in 2015 at the beginning of her music career.

“I find in this girl a really beautiful voice,” Kamar said, emphasizing her words. “Really, you should hear her.”

Carine au Micro is from Benin, in West Africa. Her roots are integral to her music, manifesting in its rhythms and language.

“We are not that many artists from that part of the world,” she said. “My music is a mix of different styles. It’s a mix of gospel—because in gospel, you have a certain strength in the voice. And then I mixed that with jazz, because my parents were very interested in jazz. […] And then I mixed that with my African origin.”

Carine au Micro’s onstage performance will comprise only four people and two instruments—the acoustic guitar and a traditional African percussion instrument called the calebasse. She will be joined by a deaf artist who will interpret her singing into sign language in real-time.

“It’s just a try,” said Carine au Micro, who will be incorporating sign language into her show for the first time. “If it works, I want to keep proposing a show like that. […] For me, it’s important to put different people together.”

MUZ is an immersion of musical worlds, including but not limited to Brazilian music, African music and Carnatic music from southern India, along with instrumentals, guitars, flamenco and ancestral hand percussion. It is a festival founded on rhythmic diversity, blending the modern with the traditional—a true celebration of musical fusion.

“Just during a night, you can do a trip all over the world, but from local artists who are not well known [to] the large public,” Kamar said. “During an evening, you have like six universes. That’s what makes the beauty of these evenings.”

This article originally appeared in Volume 45, Issue 3, published October 1, 2024.

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