Here Are the Top 12 Performances From the Montreal International Jazz Festival

1. Mavis Staples opened the festival with familiar favorites

Photo by Victor Diaz Lamich.

Mavis Staples has a different meaning to every generation. In the 1960s and 1970s, The Staple Singers were one of the most dependable names in R&B, while also creating a meaningful impact as voices of authority in the civil rights movement. These days, Frank Ocean covers and Run the Jewels collaborations have opened Mavis up to a new audience, and the singer serves as a dependable elderly stateswoman.

It is only right that such a trusted voice would headline the main outdoor stage for the festival’s opening night. From “City in the Sky” to “Respect Yourself,” the soon-to-be-87-year-old has not lost a beat. After some age-related wear and tear, her voice may be a little more gruff, but her messaging remains just as potent as when she came into the spotlight over 60 years ago.

2. Nas takes rappers to a new plateau through a symphony orchestra performance

Photo by Victor Diaz Lamich.

It only feels right for hip-hop’s most revered body of work to be paired with musicianship that boost its sophistication. Pairing himself with an arrangement put together by Derrick Hodge (who also performed at this year’s festival) and conducted by Orchestre symphonique de Sherbrooke’s Jean-Michel Maalouf, Nas played two sold-out nights of his seminal Illmatic album, backed by a symphony orchestra.

There is no rap performer quite comparable to the experience. This is Nas’ own Sinatra at the Sands. It is only fitting to see such a historic body of work be met with the elegance and sophistication of an orchestral backing.

“I wanted to be an MC and you guys made it happen for me,” the rapper told the crowd as a lush string section dramatized the otherwise laidback “Memory Lane (Sittin' in da Park).” “I thank you.” In turn, Nasir Jones displayed a profound reverence for the esteem of the venue, opting to cut back the cussing (particularly the N-word) throughout the performance.

Following the orchestral Illmatic set, Mr. Jones kept the party going, running through a medley of hits with a four-piece band. From “The Don” to “One Mic,” Nasty Nas kept every attendee in the 3000-person hall on their feet. Each set felt distinctly different. Where the orchestra performance could be likened to the pristine of a fine dining soiree, the latter felt akin to carefree feelings of a summer cookout.

3. Ben Harper stuns solo with a masterful acoustic set

“I care as much about this festival as I do this craft,” Ben Harper expressed in his return to the Montreal Jazz Festival. “I love it so much, always have.”

It is hard to make an opera hall of some 3,000 fans feel intimate, but Harper rose to the challenge. In this solo acoustic set, all he needed was a microphone, piano, and an assortment of guitars to make the room his own. With over two hours of songs and stories, Harper walked his dedicated fans through his life and times. This included many tales of spending time at his grandparents’ music store in Claremont, California, which included regular patrons such as George Harrison and Montreal’s patron saint, Leonard Cohen. A cover of the latter’s “Hallelujah” was especially moving.

Between the beautiful strums of his guitar, we are reminded that Harper is in many ways the prototype for John Mayer. He’s soft with his touch and a true savant, able to play any song requested with only a moment’s notice. His all-acoustic set at the prestigious Salle Wilfrid-Pelletier only accentuated such a notion.

4. Thundercat reminds us that he is more than just his viral hits

Photo by Victor Diaz Lamich.

It’s been over five years since Thundercat blessed his fans with a new album. Inviting a child in attendance to come dance onstage for “Funny Thing” and “Them Changes” suggested the stakes may be higher for when the time comes to release new music, with TikTok taking his popularity to new heights.

However, don’t let the viral popularity get things twisted: Thundercat has not lost touch with his roots. At heart, the funk bassist is still a commanding presence with his instrument, with his fancy fingerwork putting his crowd in a state of hypnosis. Backed by longtime touring mates, keyboardist Dennis Hamm and drummer Justin Brown, the audience was treated to a set consisting largely of new, unreleased tracks. This included a healthy amount of instrumental tracks, along with others co-written by fellow Californian talent Remi Wolf.

“When’s it coming out?,” an audience member heckled. The Brainfeeder signee was coy with his reply, “A lady never kisses and tells…,” he joked.

5. Kid Koala plays puppetmaster to our heartstrings

Photo by Victor Diaz Lamich.

Hometown hero Kid Koala, best known as one-third of Deltron 3030, returned to the Montreal Jazz Festival for six performances of Storyville Mosquito, his immersive and ever-unique puppet show, which first debuted in 2019.

With eight cameras, 75 puppets and 20 miniature sets, Storyville Mosquito is a unique story. Koala developed the story “Before I had the budget for a marketing team. I was later told that the mosquito is one of the least liked bugs,” he revealed to an eruption of laughter.

The multidisciplinary show tells the story of a mosquito who uproots his life to a booming metropolis in hopes of breaking into the music industry as a clarinet player. Along with the aforementioned technical specs, Storyville Mosquito is brought together by live instrumentalists, including Koala on the turntables.

Kid Koala is a jack of all trades, and this performance incorporates all of what he does well. Above all, Storyville Mosquito is a story with tremendous heart that is sure to bring a smile to children and adults alike.

6. Anomalie succeeds in spontaneity alongside Snarky Puppy band members

Photo by Victor Diaz Lamich.

In the true spirit of jazz improvisation, Montreal piano savant Anomalie’s series of concerts at the festival saw him pairing up with a different member of famed jazz fusion band Snarky Puppy each night. The catch? He had never played with any of the other performers beforehand — practice or otherwise.

“He’s incredibly talented on the keys, but beyond that, he’s just a massive artistic mind,” explained Keita. “The whole thing really speaks to the essence of collaboration…These musicians often use the festival as an opportunity to collaborate with artists they admire or dream of playing with. We have the perfect platform to make that happen.”

Despite never playing together, Anomalie and drummer Larnell Lewis made for a seamless pairing. With the former leading the charge, the pair explored a diverse sound palette, with the jam veering into funk, techno and beyond. Watching the Montrealer’s fingers weave through the keys was simply intoxicating, as was Lewis’ adept ability to complement everything he played. Trust is the foundation of any successful collaboration. In their first and perhaps only time playing alongside one another, Anomalie and Lewis created lightning in a bottle.

7. The Budos Band ride off into the Montreal sunset

The Budos Band is an all-star selection of Daptone Records royalty, with various members having played in backing bands for the likes Sharon Jones, Charles Bradley and Lee Fields over the years. Budos Band are a blended family who, thanks to several placements throughout the first season of The Bear, are at long last getting their own moment to bask in the spotlight.

The horn-heavy ensemble sounds akin to Charlie Brown dropping acid in a room full of his teachers. They are country western meets blaxploitation, what would be the soundtrack to Dolomite riding off into the sunset on a stallion. Two decades deep into their run as a band and it’s hard to comprehend how The Budos Band are yet to score a film or series, but their performance at MTELUS was nothing short of cinematic.

8. Christone "Kingfish" Ingram carries the legacy of blues greats before him

Photo by Victor Diaz Lamich.

Christone “Kingfish” Ingram is having a year. From his cameo in Sinners, to a world tour, and a new album out in September, it feels as if the Mississippi talent has the world in his hands.

Ingram is an ultimate showman. Talent aside, his on-and-off-stage antics are at the intersection of Action Bronson and Jimi Hendrix. From playing the guitar with his tongue, to waddling through the crowd for a solo, the outdoor evening set for several thousand fans was nothing short of entertaining.

No gimmicks were necessary to make this a compelling show. Kingfish plays with tremendous soul. His eyes are closed the entire time, maneuvering his guitar in such a way that it bares a voice of its own.

Following his performance, Ingram was honored with the B.B. King Blues Award, joining the ranks of genre greats such as Taj Mahal, George Thorogood and his longtime mentor, Buddy Guy. It was a moment that signaled a passing of the torch, elevating this king to a certified guitar god.

9. PJ Morton shines on the solo tip

It is somewhat baffling to wrap your head around PJ Morton being a keyboardist for a band as banal as Maroon 5 when his solo work is so full of texture and richness. His songs feel handcrafted and made with love in contrast to Adam Levine and company’s descent into empty radio drab.

For his performance at the TD Stage, the musician took Montreal to church. Morton wears his Stevie Wonder influence proudly on his sleeve; you can hear the influence in practically every note and musical direction. He emphasises this in the setlist, declaring his collaborations with Wonder, including 2022’s “Be Like Water,” among the highlights of his career. Morton’s six-piece band feels tight-knit and coordinated, offering the crowd musical soul food to end the festival’s first weekend on a high note.

10. La Reezy makes his case for a future dominant force in hip-hop

Photo by Victor Diaz Lamich.

Fresh off of cosigns from both Tyler, the Creator and Kendrick Lamar, La Reezy was ready to live up to his high praise. At only 19 years of age, the New Orleans native has a catalogue deep enough to sustain an hour-long set. He already has five projects under his belt, including the recently released collaborative EP with mentor PJ Morton, Pardon Me, I’m Different. As animated as he is lyrical, it comes to no surprise of how he has charmed some of rap’s most elite.

I am buying my La Reezy stock low. The performance I witnessed from the young talent asserts why he is worthy of the world’s attention and a name to watch in the coming years. Praise from powerhouse names, especially Tyler and Kendrick, does not come a dime a dozen. His elite pen game and crowd control offer a compelling case for his potential. The rapper seems well-positioned for world domination, all he needs is for the world to latch on.

Local rappers elevate their craft for the festival stage

Photo by Victor Diaz Lamich.

“Part of our role is helping artists understand how to exist in a festival ecosystem like ours, one that values live performance across genres,” says festival programmer Modibo Keita on the responsibility of the festival.

“Mike Shabb is a great example. He usually doesn’t perform with a live band, but we worked closely with his team to build a format that would make this performance feel special.”

Originally hailing from Quebec’s Eastern Townships, Mike Shabb moved to Montreal at age 18 to pursue a professional career in music. Similarly, rapper Nyota Parker bounced from Cape Town to New York City before eventually landing in Montreal. Both took their talents to the intimate outdoor Club Montreal Loto-Quebec stage for inaugural festival performances.

In each case, the artists understand the prestige of the fest, each opting to incorporate live bands in their performances and in Parker’s case, even a squad of b-boy backup dancers.

The performances offered both rappers the shot to expand their reach to their hometown crowd. While Shabb’s street elegant sounds offered an ample nightcap on Canada Day, Parker’s Native Tongues-inspired sound fit right in for her late afternoon appearance. Montreal has no love for losers, and both artists built a compelling case for future fans in the city in which they reside.

12. Esperanza Spalding closes the festival with charm

Photo by Victor Diaz Lamich.

Among some of the most baffling and misogynistic lyrics from Drake’s For All the Dogs came when Esperanza Spalding caught strays on “Away From Home,” with the rapper airing his grievances over losing the coveted Best New Artist award to her in 2011. And although Drake may perceive the loss as a chink in his armor, Spalding’s talent speaks for itself.

From the opening notes of "I Want it Now," the audience is introduced to a true showwoman. She moves with intrepidness, with vocal chops and rich instrumentation akin to a Broadway performance. Spalding shifts between vocals, upright bass and bass guitar, a true talent on all fronts. She woos the crowd not only with song, but with a plethora of interludes in between.

“I spend more time on my phone than praying,” she confesses at one point of the night. “I would like to take a moment to sing to your spine,” she declares at another moment. Such shower thoughts feel akin to what one would find on an André 3000 jumpsuit during the OutKast reunion tour.

Nearly 15 years later, it’s clear that the Grammys got it right. Esperanza Spalding is a golden child of contemporary jazz, and having her close out the festivities for the Montreal Jazz Festival’s 45th edition only felt right.