Juste entre toi et moi - Lou-Adriane Cassidy

Episode Date: August 3, 2026

Dans cet entretien enregistré devant public au Festif ! de Baie-Saint-Paul, la chanteuse Lou-Adriane Cassidy explique comment l’effervescence des derniers mois l’a transformée (ou pas). Elle raconte aussi comment Starmania lui a donné le goût de la scène, évoque une rencontre avec Garou et parle de l’avenir de la musique québécoise.

Hello, this Dominique Tardiff. Ah, well, at Just, Between, you and me. Welcome to a episode special of Just Between Toe

and Me Special, because it has been enregistrated in public. It has been the 24 July the

last year during the festiff of Beissin-Poll. Thank you to all those and those and the who were

there. The enregistreement had been in the court of the Hotel Germain at the end of the night of the spectacle of Lou Adrienne Cassidy, because you'll have divined, my invitee

today, it's Lou Adrienne Cassidy. Lou Adrienne present at the festival inspired of his album Trist Animal. It's a spectacle in which I also use also several songs of his album Precedent, the album Journal of a Lou Garoo. I don't know

you recommend to go see this spectacle, Lou Adrianne is on tourn everywhere to Quebec, just in December minimum. It's the first time that I register an interview in a decor as magnificent. We had the mountains Charlevoisian,

we had the vast sky, behind us. You're chite an eye in the press to photo of my colleague Simon the Liberty. And here, without more tardy my entretion with the very capable

Lou Adrienne Cassidy. I'm very content to be here to enregistra the first episode of public of my series

ballado just between you and I'm very content to do this in company of the that has

triumphed yesterday on the grand sign of the festival, um, the first recent galle of the

disc, but it's certainly, it's certainly one of the two voices of the song

theme of just between you can't you can't applauded Lou Adrienne Cassidi.

Hello. You are certainly one of the one of the song of the time of just between you're in

before you do you see, how you're in a night of a spectacle? I'm feel well,

I'm feeling, I'm fatiqued in a sense often, but it's quite, it's quite on the

show, so we're all right in recuperation. Even when I'm on other show the night

we're like, it's, but it's going to do you're going to other

shows yesterday? No, no, no, I'm but I'm, but I'm, but I'm,

I said, and then, no, I'm, I, I, I, I, I, I, I, I, I, I, I, I'm, I'm, I'm, I'm, I'm, I'm, I'm, the end, I'm, yeah, the show, I'm, yeah, the first representation of this grand tourne, there, and then, and I had an immense privilege of having access to loge, because I prepared a a reportage on your tourne, and you were, so far, that, in a state impossible. Of stress, Yeah, it's true. At a certain moment, I thought that you'd

that's exaggerate that you did you say the comedian, and I finished by compend that you were really in this state

of stress, I had to have to put in my bra. Do you think? You know, I said, like,

and in fact, some seconds after, I was absolutely abloied by how it was apparently it didn't

not to do when the spectacle had been to be a spectacle or that it was exceptional?

No, it's depose sometimes, no, I think that I'm a lot of more stress, but I'm always I think I think I think I think it's in the importance of cultivar the

little adrenaline of the debut, that's correct, but at this moment I don't, I think, we're putting too pressure on this spectacle, we had just made two before, and we wanted, like, prove something, I think, with this spectacle, so, there was

this kind of, an idea, to, that, that, that it was more than just a show, I don't know, It's been more than just a show. But, you know, I don't know why I'm so stressed.

It's happened, also, before the Metropolitan of the Royal Rose of the Lou, I was completely intenable. And what's the way, you were you're pretty nervous. And Thierry, he, he was in a state. It was totally relaxed. There, I was almost inquired. At the point he was too relaxed. I had a good to say, Tyrie, that you'll go to play,

that you're going to play, you're going to play. It's all right. It's all right. What you do? It's classic Tyree, so. Yeah,

yeah, it's classic our dynamic at three also, you know, and I'm two little

little bit of head, the anxious and he, like, even when it starts to stress,

he, he quit, he's and he's and he's and he let's anguass so,

so, so, how much? How much? How do you describe the difference between the

difference between the Lou Adriane of the real life, the, the, the same

before me presentment, and the mount on on the scene? I think

there absolutely the transfiguration when we move on the sense where I could not be to be

incarnate what I'm on my everyday, I think I would survive not, it's a

facet and of me and a certain part that I imagine that I'm imagine that I may be the

thing, even, to incarnate something to be more more more far than what I'm in, and I think

there's more to be more than I'm someone who's someone who's not a lot of, I think it's necessarily a default, I think yeah, but I think

when you're on back to get to and you're doing, and for me, it's a switch quite clear in my head. You have been

in the articles, the interviews, the portraits that are consens to consider, at what you don't know, and it's

that I'm really in the sense where me that's the prop of all the artists. So, to do you

It's true. It would be It would be a question. If they're they retien to it, they retien to but I think we, I think

we're doing all the same, I don't know why, it's maybe the, the, the,

the session between, just the I'm going to say, I'm a lot if I'm there's confiant

jet ban, I'm, I'm, yeah, yeah, yeah, yeah, yeah,

yeah, and I'm, in the same, that's not , in the same, that's, in the sense

that, actually, I think we partage a little a little a bit but it's

that I think the difference between me that's like like a I don't know and that's finally when

I'm doing I'm more I'm not, I don't know. Because we would even say that's one who

can't that's that the people in the creation, in the can't be to be able to

to be to be a frame all the time, the doubt but I think that

when you continue to continue to keep to keep to find a way to end up this voice

eventually when I'm when I'm saying I'm saying that's my defy it's a lot I'm doing

who's like we're doing on the we're doing we're like we're there allo and it's a

and it's it's a lot I'm not that it's not too in the way and that's not too

a a a frame to our ideas and our objectives and it's so that

but I think that's important that it's not that that's not too that's not so much that's

that's a first time your first part I said I said, I don't say I'm saying I'd say it's

not that's a very it was quite it was quite it's quite really and she to chant

at some occasions with her yeah yeah yeah yeah is you

do you you tell you you're you that she at this she's

at her she's at some she's like she's like she's like she's

she's not she's not like we're like we, that we're that we're all, I don't know. It's crazy. There's a few. You have to be there.

There's a lot of yeah. And it's really, really of the same. I think he's also capable, you know, in his

day, she, she's, she, she's, she's, she's, I'm doing that, she's, she, and she, she, she,

and she, she has, she has, she has, she has, had to have a very posed, but in the same time,

it's so much in some in a space of surcharge of energy, I think really that, and the same.

And she's pretty much I'm on what I'm very very touching but she's very much in the first

interview I'm at the first I'm at the end of the end of the I'm also I'm also I'm sure

it's a lot that the artists know I'm at the end of the end of the end of course it's a

maybe it's maybe maybe perhaps I've had all I've I've had all done in the

and so it and she and she she doesn't always she's so it's it's touch

I think, there's something there's a admirable, because it's that in the front of course we're trying to try to we're trying to

but some it's confrontant Yeah, you said on the scene that your life had been much changed over the

last year, is that you could be give some the example of how your life has changed?

I don't I can't not I'm in the sense that I'm, there's not there's

there's not for the moment, I mean, I survive, but it's... It's under control. It's correct. I guard the eyes open.

No, but it's just to be perceived differently, I think, by my milieu and by the public and by the media. There's something

to, you know, I'm not my first album, Journal of a Lugaru, I've got two before, I had a little public I'd rolled my boss.

We'd say, I'd be a bit part to, for having my career that I had already, enviable, respectable, in the sense I was fared to what I had construed.

You were already a very good level of reconnaissance. Yes, it's that, and I'm to attend to it as to be a lantle-accession that would live its, it's high and it's bad, like a total career, but we'd say I'm not to see that I'd imagine to this fashion that.

And, so, we'd say, in having had an experience and in having existed in this milieu that, before, to see what the switch, it's sure that it's it's kind of frappant, in the sense

that I'm the impression I'm in the impression to have made the same to have been more to be more

to make more more than but I'm, I know, I'm, I see that I'm percy by the,

perhaps. What's the have been the more surrealist or or it's, during the

last month, maybe the gala of the disc that's really made the light on you on

the way to be I'm, I don't, I'm I don't if I'm anyct

that, I don't know. You've not received an appell of Paul McCartney Oh, well, the other time, oh, my God, the other time I've crossed Garou,

no, but not Paul McCartney. I'm sorry. I mean, it's Garrow, but it's correct, we like Garrow, yeah. Well, it's so, it's an incredible song.

It's a bit the Paul McCartney of Sherbrook, we could, we could say. Plus or more. No, but I crossed Garoo, and then he made

done his cell. For real? That's, you know, it's almost like if Paul McCartney he had invited to do you. You've got to

to cross it in a context? At a festival at, let him, at Cherbrook. Right,

at the last of the Lake of the Nations. Exactly. And then he were there, and then he

said, and he said, call me, call me. You're not more for the that's not

that you're that's not, I'm not sure that's, in the case, it's a in the case, it's a

in the fact that's not the thing, it's not having to have met the artists that I'm

to have to have the exchange Having an admiration mutual, that's completely, I feel it completely fool. You know, to have an dynamic with artists that I've grown in admiring,

and they can't see something in me, let's see, I think, that, I feel it's a pretty, it's a, fool. To what it would resemble a collaboration between Garou and Lou Adrienne Cassidy? Let's talk we brainstorm, here this morning, in the festive. But, I'd be content

to just do you with him with him another I'm doing that I'm doing for I'm doing for

I'm Gringhoar Which is not a personnage feminine No, no No, no, But it's

He's Bruno Peltier So, That's a That's a That's a So, So, we're

So, so So, we're So, you're So, you're Chathletal The Tenth The Tathedral It's

It's a It's a grand moment In my life. At what you have seen

that the music that's your life? Is it when you have interpreted the

turn of the second to play? It's really at the moment precise.

I think that all the time been there I'm in I'm I'm sure my mother

very in a tourn the music has always that's part of my

life, but I know, but I could be for the musical but it's

not Notre Dame of Paris maybe that it's with StarMania that I

did in second and who? The interpreter who? Mary Janne.

Marjane. I was not Johnny Rockford this time. And I'd listen to MasterMagna the years before, for me and

in book, I had like an obsession I'd know, it's all about a heart, and I see

the rave to make of the comedy musical, the rave to be on Broadway, I had that

when I had studied in comedy musical like in New York I'm not too, at 13,

14, but I think it's there, but the dreams are arrived. I think

I wanted to do the music, the scene that was part of my everyday, but the moment where I had

an espest of the idea of the ambition, it's perhaps that's a time to do to start

to your because it's not a work that's not a very before your name of your

never. I'm remember but I think that it's certainly in the

family of my father, he had talked, we had had asked the album, I'm

remember I've heard I've heard I'm I don't remember not, but I remember that that I'd just that I'd that I'd just that I'd like the edition of

and I tried to imitate the vibrato of Diane Dufrin. What is not a nice of this day, it's hard, he's very lant, so it's more difficult to imitate a vibrato long. Is that you so you do you remember

the first moment where the music you've procured something of something of a grisant? I think that it had been,

maybe it had been before I don't know if it was it was to not if it was to listen

but just the point the power of the point of the core of the point of it's perhaps

on the scene that I that I've that I'm quite I'm so egocentric but

measure the energy that the energy that the scene that don't that the public

it's like I I'd I'd always the music I the spectacles, but I remember

in second-year-one, I had chanted the voice human of Catherine Major at the show at the spectacle of the school. And it's like I had kind of

had kind of an kind of of an energy, like, my parents who had said, my God, it's been saying something.

I think it's there that I, I measured that, but also, in the case, I was a good question. I'd had also

a lot of music Keb, at the second age, I'd go to see, I think that's a moment very mark in my life for Marri,

Pierre-Arthew, live a space of a moment of communion with the public. Yeah, yeah, I'm, I'm, I'm sure,

I think my emotion strong, it was in the spectacle schooler that I've ever, and I'm excuse me,

I'll continue my phrase, but it's many of the musical where we're to work on the

group, where I travel to during the whole so I think my rapport to the music and the

the power of music and the scene, it's been to understand that, and that it's it's seen

after, that's we're in the group, it transcends. Utilions these be good words,

yeah, but the transcendence, yeah, I think that yeah, absolutely. You talk

of Mary Pierre Arthur, you've a beautiful a be able with her the year,

the year, this year, with Mary Pierre Arthur, but with, many other grand dame, the music Quebecoise,

Arianne Mofat, Stephanie Bully, with who had interpreted Adieu, here in surprise, it's the

signature of the festival. Is that you can be to be a lot there's plenty of things, many of things

naisoes that's being viral on the radio social, and there's something that's something

that's real of your social, it's your interpretation of your song, adieu. In plus,

I remember I think I had had the flash because we've got at the programation

and, you know, the festival, you have like some stuff special, it's like, it's like,

it's about the artist, you could invite Garrow is not there, but you could invite Stephen Lafleur I don't know

I'm trying to think of that and then we I had seen all the women that I knew that I had were there

was some people who were also some of the people who are people who Aryanne Rue Aryan Moffat Clopelgag

Nau Awa B Lisandre and Rose Perron Peron Exactly and he had all there and he did all a show I think the day

same it was really it was it was fun that we were all we were all righty. And I was like trying to

honestly, they're going to have at least, they're going to have to be two, three, four, they're going to

accept it. It's so I'm saying, and it's that's a fun. And I wanted to make some of

music or the car are really at the center, and the three people who the three people, and it's

in the color of the album. And finally, they all they're all they're all right and they're separated in

notes, it's like if I'm the little chief of choir, and they're allude

I said, we said, we have not a repeat, we're going to something, it's never something, it's not a lot, the stage, I'm a little jammed in the loggled, and finally, it's

a fact what it has made what, and it's a moment really very simple, that for me, for me, that's all, who is all accepted,

to make my tunes, and that's that's been and that I've gone, and with who I I've grown, I, I thought

that, I thought that I'm full. I've seen Ariane Moffat here, this morning, and we, we're just

We've been to have jazze a little, and he said, he said, I'll have to repeat my car for the presentation with you, Adrienne. But, yeah. It's not a jam, it's really these parties precise, and it's at this day a grand honor that he has

just the time to do, because it's not, you know, it's just these tunes, but when you're a spectacle, when you travel, and mounte a new song and then to take, I'm trying to do all the time,

that's not. It's not. It's not. No, no, it's the same. that, so they've they've they've got taken to

so I'm ever very good, I'm sure, I'm sure my favorite I'm sure, I'm not the first of course,

I'm not sure the favorite on your album Trist Animal and you're inspired by your grand taut, you

have you evoked yesterday yesterday, did you have to be to tell the genese of this

song that that talks but that adopt the point of view of a woman who that's app to put

to a woman. Yeah, it's a role because me it's not my attractor

of the writing, write on some of the stories, I'm going to get in some of the

situation, you know, it's often it's sort inspired of my life or or so it's a kind of that's a

question that really a space of a situation precise, exterior to me. And, yeah my grand-a-a-

but there also, a lot of people, there's a friend, an friend, a

man, a person, a friend, many people had been some people there were in the

same time, and it was a, I don't, there, there, there's some in your

way we're like, we're like like everyone is in trying to get to get some people to get to be able to get to see

that, it's a realtor it's a long that I've really used, it's just that she's really she's really

and she had, like I had, like she said, she said, she'd be really there, she's stiqued on these

stories of his own of his own and she she said, she'd be the chien of Anne and then,

and then, she'd a little chien and he was a little chien, he had to gole to the

food in other but she she made and she she said she was that she

he had that she had had been the love inconditional and in her, she had

been a apprenticeship and it and it that it's so that that

that's a thing so benin so if in the life of an

child determined of a choice so so grand that literally

to give your life at the of the life at the and

And it's, it's to be rested the little chien, and this story that, so, I, I,

so, I've come had the idea of, I don't know for what, I thought, I thought,

it's like, it's like, it's a piece of puzzle, I'm a guy, that's a time,

and then I got made, to make a kind of, to make, this kind of, melting pot, that.

Chach Bonner comes with these regrets inattendue, the force to say no, the effort, to say,

it's very beautiful, that. I think it's perhaps it's a Alexander. It's very

beautiful, Alexander, that. At what you say, to say, to say, no?

But I think that's to, to say not necessarily literally accepted some,

but it's large- -priced, it's accepted, and so I think it will be something

something in my life, I'm in a combat perpetual. And,

you have done a album there on we could say that. We could

yeah, we're actually, and I think at the force of the force to say, no,

the force to say the force of the two. And I think it's, so it's we're two

in fact, these phrases that, in the real co-ecriture, yeah, yeah, effectively,

and Alex had had had been the idea of the effort to say, and I think there

there's there there, paradoxalement, the, paradoxalement, the effort of,

to relash this espess of combat perpetual I think I think

I think I think I think it's, I think it that's, that's that's

but I think that's that's that a work a a at lach

prise and to and to let's come the let's let's

let's let's let's see I read-lue the reportage that my colleague Marissa Groguet has taken to the year, perhaps even more, than she has passed with you during the creation

of your album, Journal, a Luggeroo. And then, you said, I'm not let's have by the fear of being not cool, on niaze, in saying that it's an album

prog. And it's been to think of something that you had said in an interview during the production of your previous album, goodsoor,

you talked of the song between my and you have said that the phrase

don't know for a con, which is one of the phrase very pay paying for in the

show, you have hesitated to the song because she's a nice and it's a little naiso,

but at a way it's correct, it's true. What's we can get,

what we can't get to we're not we're not to be not allowed by the

fear of not quite not, but all all the whole this album but that

it's like the the revelation that we're that we're, but in the sense that's, I mean, I think we're all, the most you're doing, the most

it's a cool, the more it's a cool, I think it's a fact admitted, and there's all, but let's on the voice that, like, but, but, I'm,

my, my, when I do this album, I'm all time, I'm trying to me trair, so I, I'm all the time, I'm all the impression

that I go, that I, that I, quack, what, that's, I'm, I'm not really, Maybe not really

very much that's, it's hard to accept it. I think I'm I'm doing with that. But, yeah,

and I think Lugaru was an album where I had really really want to go to my,

it had there's the kind of on the album, in the songs to which I

do you reference in the sound, in the in the research of the

song, we're I don't, I don't, I think I think I was just

fear of, let's let's let's get a terrorized by this song that. I said it was the most grand a cheque of my life. What's what you did you feel

in this song? It's because that's a good example because when I wrote it's been I said I'm going to write a tune I will

try to render the fun for me all the things that I detest in the music so the sort of

jazz fusion and the blues which has not to be the I mean to say, because the blues at the base,

we're in the foundation of the music popular. Exactly. But, but I'm with my little little little

when I was when I was when I was the reverb and against the solo of guitar blues. But I

know, there's something that I'm so, I'm so the music, and then I'm that sometimes it's always

sometimes, you the blues, it's really like one, four, one, It's a little bit a bit of a bit of a bit of a bit of a bit of a

Yeah, it's, it's, it's my own-goat, that's my engeous, and I just know, I'm that's the effort to say, yes, it's accept, the blues. Yeah, yeah, it's a-wee-oh-wis-oh-wis. But, uh, so, that's that this song that, it's super

nishe, you know, ta-da-da-da-da-da-da-da-da-da-da-da. For me, it was like a sort of solo of scat, nyezee, that was something that I'd detested when I studied in jazz in CGP. And then, non, non,

non, who's like a little in a game pseudo-blose, like, pantatonic. And, so, so,

so, this song that comes to that came to that came to say, but I did some

but I'm not to say, but I'm sorry, so, so, so, so, so,

I'm, I'm saying, I'm trying to do you, I'm trying to do something that I'm trying to

elements that that's, that's, that's, that's, so, so it's a sort of,

it's, I'm afraid to be cool, because for me, it's like the sumum of the that's not,

that's not, that's not cool, in the blue, in the way, you know, if you're, it's not, the blues women,

they're listening, and the blues women, people, but it's so. We, we're in those, we're , so, I think,

it's that, it's a bit, it's, it's, like, it's very, in the emotion, I think that's that also.

The emotion is not cool necessarily to go to the emotion, the adolescence, the nostalgia,

I think the cool is also to be able to all of all all of these affairs, it's a bit,

we're more like in a music, but it had been a moment, in the music, there'd be a energy that,

it'd have to have to get to get to a shirt, I'm just my jeue de t-shirts,

I'm, I'm, like... I've got to be... It's a lot for a girl that's not really...

Yeah, let's... Let's... So, it's in reaction to that a little. When you say that's a part

to tryer, it's... you're afraid of you're afraid of to... ...that you you'd want to have been

something that you would be able to be... I think it's more that's... There's no I'm the first to say that

I'm... I'm... I'm... ...it all... ...it all... ...it all... ...it's something that I'm...

...that... ...that... in my music also. And paradoxically, I'm doing to do mal to be a lot, it's not that's not that

it's not, because one of the time when I'm doing it's always a lot of violence to try to try to work. And I think

that's what that's the that's still that I'm trying that I'm trying to open a spectrum and that's a

comfortable in but there's always a moment where I'm a resistance in me and it's been that's been

in all the projects significant of my I think I think even my second album, Good So far, the first time I've been chanting, I hope, that's

still in a time, it's still, I could not to sing, because it was a long note note, hot, it was like more rock, and for

me, it was it was totally out of my zone of comfort that I had an impression that I had trair something,

so, I'm while, so, in your show, there's many moments where you It's not to have the notes long time, and...

There's a lot of notes. The whole, on redemond. Well, it's that the fun therein' there. In any case... We'd say that Celinda Dionne on have made a career. I reduce a little,

I minimize the importance of the... No, but I'm pretty young notes, but... Effectively. It's the line of that, right? Effectively. And, no, but... It's the fun there in,

it's not just to chant of... But I mean, I think, I think, I'm not sure... I'm not just that I'm not... not capable, but that's not me, and that finally I'm in mind that

I'm thinking that more than what I'm satisfied. It's more large, let's turn. In your spectacle, actual, you

reinventing, rearrange, Sava, Sava, which is one of the great classic of your repertoire, but also

that's been a classic of the new song Quebecoise. Is you're in quite with me that's a

beautiful song, Sava, Sava, yes. A gift of Philharmon-Simone. Filmmon,

Simon, who men in a very great career also, to his own kind of, how you've created, it's he's

he's written, he was composed, but you've collaborated with you, or you have sufled some confidence at the earie?

Yeah, well, I was, I'm a point, now, it's probably, but it's

been, it's, quite a dozen, of years. I've had 18, yeah, I've had seen,

in spectacle at, at the festival of the Little Valley, I had had a sort of shock really, I see

not, to see not, to see what, I'm used to see, the sort of, really, really controlled,

the, you know, the, the song, and all that, I, I was a shantor

that were that were sometimes, too, but, or it was really, it's a

matter, I'm really marked, I, this spectacle, that's not necessarily on the

not, but we're on the never rigour. No, and in the phone, it's what to be on the note, it's

what, it's what, it's quite it's really good, me, I'm really, I'm really, I'm regretted to

not have a sort of voice that. I thought it too, I'm feeling, in fact, it's a lot, and

it's like, it's like, I've really had really, a cut of and we're were, and it was a couple

and it's, I think, it's a lot, and I'm, I'm going to at this moment, that I'm going to make a,

a album of songs, created by other artists for me. I wanted to come to bring the interpreter in the

I don't know in the, I don't know in the song contemporary Quebecco's. And I worked on my

beginning, the beginning of my project. And then he had said to him, why you didn't,

why, why not? We're not, we're seen, we've seen seen a psychoanalysis so he's

he made a socialanalyze and we was quite it's quite I'm not in trying to noming an

analyst, but it was I was who were in the old of my 18 years, I'm in my

doubts, I'm talking to my fear, of my report, of my and I'm

in a minute, I was, I was, I wrote, I was trying to connect to, I'm going to connect to,

I know what, and then, I had had a flash that I had a fear of that's

I'm afraid, to be, because it had arrived to me, and I'm I was written, and I'd say like I'd like, I'd like, I'd like, I'd like,

to say, I'd like, and the first phrase, and if I'm not an infant, so, then it's what? And, it's... We're decouled, a tune that when I received, you know, it'd just...

It'd just... ...thellment, perfectly, the do-s, on this kind of... ...sentiment of, perdition, of, the debut of the age adult,

and, at this day, I think, because, as... Because it's a gift I think it's like a... It's like a...

It's rare the songs that you chant that date that have so, you know, that's more so you're

not on the pilot automatic. No, and the fact that it's a gift of, I think that's for

because that I'd see my my default of writing and the the

the kind of when you come to when you come to come to

to write, so that's a great honor, and it's a great honor, and it's like it makes to have this regard that exterior on the

song, and on what we live with the people when I do with the time when I'm pretty preceue in the spectacle, so it's very

very reconnoisseable. Of a manner general, what this that's a tabit in car? You've transcended,

you have transcended, these per there are many there are many certainly not, but because I think that,

I think that this song that can't apply to it's not it's not precise it's not on a situation it's on a sentiment

and I think I don't know if all the people will always have some but I think I think I'm maybe I'm

maybe I'm not not precisely but yeah I think I think I think I think I'm I'm trying to yeah the power to

lose all these friends even if it's irrational the fear of the fear of the fear of his amos the power of

the power of to be alone, to not, to not have to import, you know, like,

to be the role to play in, you know, I'm in resumed. That's so, I mean, so, so I think

we'll start will be, the condition human, unfortunately. It's a good news, hey,

it's a good news, it's a beauty also, I imagine, of the existence. Yes, I'm not

true. Yeah, I'm not long after that that you, that had to have you had to

write some yourself. Effectively. How it's possible? Because the author

compositor grate the guitar at, I'm about 13, 14, and they're already some of the

book of young, but it's a way of more more than a more more than you

yeah, and I'm I'm, she had, she, she, she, she,

she, she, she, she, she, she, at 13, 14,

yeah, um, I thought I was I thought just that I could not write a song but you know it's a

it's a couple conductor in my life and in my career it's me who thinks he's not able and finally I'm like it's in a sense

that I'm forced to do it my first my first song it's because I wanted to participate to a thing

that's destination on Chances Flew which had a parkour for the young

artists emergent at Tadusac at Quebec and in Montreal, we had tested like six to eight artists selectioned, and there were there were there's atollies of writing, and there were

and there were little recital. And for to participate, it had to have written, it had to have at least a song original. And I had one I had one song

that was a song that was a song that was a show of the sur Bully. And it would have that I had my third song of my grand repertoire.

So it's like I've written my first which was Respirations, who's on my first album, and it's been really that. I'm forced, because I wanted,

I wanted to live, and I was selected finally, and it's there that I've started very to write, I've written,

it's called, in this context that also, that's a song that's a song that's on my first album,

and it's there that I, tattie, tantonet, tantonet, it's not tat tattit. I can tattit also,

I've got to know. I've taken the composition and the writing, but I think that the writing has always been more more than the composition, it's more instinctive. And so, so, so it's the moment

I've got to be so much I've been So, you're writing, each one of your songs, you're, you're written with Mr. Alexander Martel? I compose

all, but I've written, in the sense that sometimes that sometimes, we're on a song a little, but, yeah, the text are

always co-ecried. I would have In other Of course, I'd say, I'd like to make it but it's hard

when you really this space of mirror that and the perfect game of ping pong

I'm I think I think it too, I'm per too in the writing the text,

I think it what's what you do you do? I think that I'd say the

sense but not in the sense where it's It's a lot, I think I'm, I

because now we're talking to, you know, the difference between the sound, the sense, and the sound, and this kind of kind of

tie, push, there. And I think that with Alex, we'll never let's go the sense to profit of

something that something that something that we're always, I think there's this, well, like,

like, there's, there may, the rigue, and the, the, the, justness,

you, to make the doad on the thing, to keep to keep in the focus. And I'm

in the same time, I think I'm just a more more more the emotion

and the fluidity, perhaps. I think that's this a mix, in the sense that,

let's see, let's let's, let's go, let's see, that, it's more, it's more,

it's more, it's like, it's like, it's like, it's like, and in time, and in

a way, that it's, that it's that's chente, and that it's a croceau also, in a certain

way, in a certain way, in a time, in a time, it's rare that a lot of the literature French.

But, you, it's not for to say it is more or not but I'm, but I think this dimension

that Alex amends the, it's that, the part the part more literary, the part more, it's so.

But I'm like you talk of the rapport between the sense and the sonority because it's

that it's true that it happens that we to listen the radio, by example,

and the the music, and the music, but when we're in the ear to the song say,

sometimes we're a bit dissu. Just add to what, excuse, because I think I'm not, I'm not

very much that in the collaboration, there's, especially in Lugaru, it's an album where

there was a lot of, I'm talking about too, too proche to me for having

a good regard on that, and I think, many of the phrases more

directly of the album, finally, it's he was he's got because he had this regard that on me where he

could be able to maybe he would maybe able to go to the place, I don't not, not not the place that's a

place that's a person, I think when you see, when you see, when you're maybe we can't

say that Alexander you know because it's not only your collaborator but you're also your

chum, so, so you're so, exactly. So you're you're going to you're

I'll let's, I'm exactly, Yeah, well, it's the end of the moment Ecovedette of this interview. We'll go ahead. Excuse me on.

No, no, it's me who said, excuse me. No, no, it's me who's me who's going to say, I'm going to be my Josalito. You know, I'm not at a time. You talked about some of the multiple definitions that we can accoled

to the question, it's what well, you know, is what your response to you, to this question? Well, no, but I think it can

take several forms, I think we're not all to search the same in a way. I think

clearly what I think clearly what I'm the emotion in the sense has always been so I'm

it's a voice and a portoise of emotion perhaps of intensity I don't know

so, let's let's let's let's let's the ability and the I think

now I I've I've since I've started to I've started

to start to to learn and then I try to develop my joy, I'm

my voice. The two can't all over. My voice and my voice, I have

more of admiration and of respect for that. But I think what I was

I was the the part the part of it's it's,

it's that it's transparent but I think that it depends, it's,

it's, I think there's there's there's there, there's, there's the best

better of and vice versa. There are people who think the voice that's the voice and there's absolutely

aggressive. Yeah, it's the voice I'm never never quite, the people who think they're really

that's really for who's it's the case it's very personal in fact, I think the voice is to this color

that's, it's very, it's very, it's very, it's, I'm it right in the car. Yeah,

we know, we know, we're doing when it's it's quite a little voice when it's And I think that, in case, for me,

it's sure that it's sure that's quite the imperfection. That I think even in the person who have the most great agility,

it's just this little cat sur there, this petite hesitation that, the voice that tremb, at a moment of a day,

I think that's these things that that are the specificity. I think that, at the time,

I'm listen plenty of songs pop, I adore that, but, But, there times in the truck

ultra-processed we're talking we're sure we're trying to we're trying to like a song, but I'm not sure

we're not sure to have more the impression to have access to an arm to the interpreter. Yeah, well,

yeah, is that I'm doing something but I'm doing that so much. The way, you're going to

be concerned, but I'd say it's not personally it's not your fault in the case.

We've learned that there's only 7% of the They're just on the platforms in line that are attributable to to the titles

Quebec, which is, I see there I'm these men of deconfitte. But, you, you're all, you're all of the Amateur of Chances of Chances, Francophone,

yes. We're in good place for that. Yeah. But, visibly, the festivaliers of the festif

are not representative of the rest of Quebec. I've, I'm like, to ask you to ask, and I'm any of any

any of any, But, to have how you react when you learn these things like that? I don't know. I'm like surprised and not, in the sense where I think we're at a period very contradictory in this moment in Quebec because I, and I'm the impression

that it's like the two extremes are said, and we're like that they're right, you know, there's people who are the age of love of the music Quebecoise, there's never had so much of great music and that's so it's so I think

even fevereur in the spectacle that's something not ever had clearly he's had been, but we've seen,

and there's something that's that I think that's true. And I'm observe of my view, but I think

we can, we can, we can't also, you know, the milieu cultural is in crisis,

and I, and I think that's true also in the sense where we can not be able the face,

and think that all the people are some fans of the festival but it's But, you know, I think the people, I don't know

if they're not access, I don't know if they're more curious, I don't if they're not if they're not more rejoined or if

he has just put this envy that to get to, to, in the phone. I think it

has said something on, we, we're, we're, on the, Quebec, I think it.

It's, it's especially Fierre of who we our culture. Exactly, exactly. it's like

if we're not the chance really. But at the time, I think that's the people,

I think not that's the good thing to do you know, the people have two jobs of their

family, they have other to do you to find the music to discover, yeah, yeah,

that's who who's who did the fact, that's, you know, that's, I think

we can't that we're not to ask, so there there's something, there's something that of profound

to reconstruct and I I know what's what again. But I think that's on talking about to this, with Alex here, but there's a... It's a lot of,

it's a lot of, perhaps, of what we're, in the fact, I'm going to, I've lived with me when I was adolescent,

to hear that you'd be to the music Quebecoise, it was the affair the more cool to the world, and it's been the caboy

fringant to be the group the group the popular. And then suddenly, everyone were to listen to the carboys

and they're going to be their refrain that could not be not a few people who are there's a lot of people who live

with your music and with the music of the music of various artists Quebec these days but we're the impression

that's not just an impression the statistics that's not the point that's that's a fact that's that's so,

and I think it's a invalidate not you know, I think also that Terry had said that

Manny and it I'm touched, you know, you know, we're not not

not to not to be not to not the to be able to get to get to the music

over the garage of the young or to like, like, and you

know, you have to find a way to the discovery, and that there's

an idea of and that they're there there's a lot to discover

and to understand, and that they can be able to be very large. But I think that sometimes we have this

piece of discourse, my God, it's the crisis, it's absolutely... It's a finish like an animator in a telethon. Well, yeah, and it's not paternalism, but it's what the word, but, you know... Othin?

Well, we... We're saying, you would have you ever be able to say, it's not a sense of the devour. And it's correct if you'd like an artist Quebec.

I mean, it's perfect, there's no problem. It's more that, that's that's not considered at the same level. It's like this space of that

that's a that's that's a mind. And that I think sincerely that's

it's true. But I think it would be that the people they're and I

see not exactly how to find that I think with the Roe La Rose

Leau and with the spectacle it's a bit that we try to to be

to be to be to be to be to be to be to be

things possible, I don't know. Is it can conclude this portion of the interview in saying, live the music Quebecuas? Yes, absolutely. Live the music Quebec. Is it, is that with a,

is it a sort of responsibility that's to know that to see that there are many, the young

people in these halls, many, I would say, of young women, of the people,

who are the first spectacle in certain case. Well, it's really really emmovement.

I don't know. It's not too much I think, because it's a little laugh. I'm sorry.

I was in my first week when it's the baby and it's been making. It's so. It's

fool, but it it's a responsibility. Yeah, I think that I think I, I

think that I think that I think that I think also the power of what I'm going to do

what I'm to have to have the most to be as fidel to me and what I want to

do have and in the same to have to have quite a because I'm really to

privilege this link that's like it's like I'm like I'm recently that you

know, sometimes I think some people could be a collar there sometimes in the rapport

with the public and a judgment on to dogement on the years

and the last year, and the real years this rapport that privileged. We'd say that with these eyes different,

not be in the sense that I never really really liked that, but to be able to take care of this line that, because it's really a chance

and it's really a privilege, and I don't know, the link with the public is not like its own industry or with the media,

there's something of very pure in this exchange that, and I think that I, I don't measure not to

this way before to live. I'm quite quite a few my friend of my name

Marge Jose who had seen the disc and the regard that she had in the impression that she

will be that's that I'm in the same I'm too I'm too Joseph Finne. We love

Josephine? We love Josephine. You've Vue with Uber Le Noir that's

accompanied in tour during the tourn Darlene D'A there were great moments of effervescence

for Uber and also some of had been difficult at certain agar because it was an

object of an way in an way inexplicable of a lot of you're not to be the

object of the sentiments but you have a great moment of effervescence presentment and there

there are there's many people who have many of those like they've been they're

because it's because it's many of many people that they're not not quite they've

they've been the impression that they've been repress the citron and that after they they're

are sent to, I don't let them make some about the word in the same,

how is it about this moment, is you guard certain things in head for not

not come in certain times. I think I heard the same stories, and I

got and I got used, Huber, and I've been always kept that in the

person, and I'm a same, you even when I've made the voice at 18 years,

I had this fear, to me to be able to I'm going to oh my God I'm, I'm,

I'm going to I'm, I'm not, the, not the success but the, the, the,

the, the light of the projector? Yeah, I don't know to be sure to try to be sure,

to be a monster. Exactly, to be a monster, I've always been very quite

to be very and I'm and I'm heard of the impression that I instinctivement, I know that

the good thing to I think the things the things central, central, it's the

entourage to guard people who to guard, and who you guard, and who to ground

and and to be to rest entoured and to not have a word to say

in the fact I think I think I'm that I think that I'm

that inevitably because you talked about to feel like to be posthew to be able to you know this kind of

kind of that that's a thing that where I'm I don't know if I'm not if I'm

dispossed but there a part of me clearly that maybe my

partien but I don't in the is that is that is that is a

grave that? No but it's It's not a part of me that's not a partying

or it's just a double that's apparel and that's in the fact, not that's, not that's... You're not

a problem of the person to... No. But more, but more, in the sense that,

well, that the people come in me see, it's, it's not who I'm who's not

a good, and it's not that's the sense that's who is who I'm, but what I'm sure that's a,

it's a, and certainly, more positive than what that I'm for real, because I have been able to do the default

than it's on the same, but I think there's a phenomenon that that's a particular, but I'm trying to,

I try to be at the end up, I think that's that will be the next month, and the, the next

year, it's, it's, because there, all these artists, don't you have, but I've been

finished, I'm fine, to that, and I think there will have the moment, you, like,

like, post-t-tour- -tour- -to- in evaluation personal. Where you will degris

Yeah, but I'm not if I'm interesting, I think I'm not I'm not sure you know, even after

the disc, it's a problem, I've got to have done to be able to try to sincerely, to me

to be there in this space of I, I don't be full of me, but I'm

the impression that would that would say, it would it would be, it's, it's tragic, but we've

already have already some or the same or even some of the past, and I think

it's normal. There's like when this switch that's the way that the people are more turned to turn to

turn to it's normal, and to be to be to be to be to actually, that's really interesting,

but we're not more than, that I'm I think, I'm, I'm trying, I'm trying,

but you're fine, but in the sense parelyment, you you're saying. That's what I'm saying. No, but before we you know

you know, you'd have afraid to say or to have a bad thing, but before we're going to say, we're saying, we're right, we're, we're not, we're

no, we're not, I'm, I'm, I'm, yeah, no, but I'm there's actually even in an interview, it's a, a trick

on which I, I'm a lot time, but for long time, I want just to do the thing, and try to understand,

that person, who doesn't want, to understand, what I'm, in the font, that's something on which I work with which I work very

very confrontant. There's a song on a journal of a lougarou who's intitule prayer cotidian. Well, I

devine that you pray perhaps not every day, and you know, every time, you know,

you know, you don't know to say? It's not a second. I pray not in what you think?

That's that my question. Oh, my question. One of my questions preferring. I would I would really

I'd really like that it's not to have the faith I'd really like that not necessarily

I'm not in God or in something of a more in a I'm in a

I'm like you have to you're not there's a there's a there's a people who are

there people who have been I'm still I'm still I'm just to a I'm not

to the but, you know, that there's no choice that's worth than that's worth and that's every time in this kind of

in this kind of of a kind of I'm a bit big back to so. And the times I'd like that

there's a little voice that's a good thing to a good thing in the but that's very,

I'm, I'm, I don't if it's, I don't know if it's, I think that's that can't even,

you know, I think, I'm, in the power of, well, to, I don't know, I'd say,

but, you know, of the music and the communion. And I think that's Nick Cave, that said the spectacle rock,

that was the last place of a gathering, spiritual, you know, the last moment, of, it's that,

there's something with the scene that's very metaphysical and that's, it's not, it's not, it's not, in,

in, I don't, I don't, I'm, in that, because when I'm on a scene, It's not, I don't, I don't know,

it's a, it's an exchange of energy to, oh, below to, oh, to us, more than we, so, that's, that I think, and that I feel, and that's, and I think that's, for that I've always

made the music, I've always been to, because I think it's the only, the sole, the sole, I don't know, I don't know, but, it's deep, but, yeah, but, yeah, but, yeah, it's for so,

that, I'm, for so, that, I'm always go to watch, the spectacs, and I, I'm the impression that many of the performers have lived that, is that you

seem to sometimes to arrive to, correct me, but to sort of your car or live a moment or something

something of more than what, when I'm, when I'm in the full, and suddenly I have the impression in fact is that

is that my monologue interior is very, very puissant, and I'm the difficulty to me

to departing, to be fair and the moments where it the most of the part of the time, is when I'm

in a the show of the spectacle, to be an artist, and that I'm completely, I'm completely in fusion with the moment present. But it's that, you've talked to

talk about to transcendence tantal, but it's really, the transcendence. I've been to be a lot. No, no. But, no. So, what is,

what is, what is the transcendence? But is, is that you start of your on the scene? No, I think that

I'm more in my car than never. It's more that, in fact, but it's not necessarily non-metaphisic

for a But no, I think that's one of the only places where I'm also my monologue interior is a lot of and it's one of the only ones, I think and not always,

I mean, we're all in the sense that, I'm like, I'm like, I'm doing, why I'm doing this, why my foot my foot, my note was late,

but I'm really really some of my moment where I'm in something, and in my car. So, yeah, I think, more than,

well, not the contrary, but, yeah, the two in the same, in the same, I don't, I don't, and not,

No, but no, really In fact, in the In fact, in the In fact, In fact, Is it, you said that After the disc

It had been Difficed During the Gala, it's been difficult to live the moment Presence?

Is it kind of a little in profit of what you see, of the very beau

presentment? But I can't in the spectacles. It's really there that I

know, I'm because I think the, the, the, the, the press,

the resources or, whatever, you know, there's something a lot of much more abstract,

and it's in the spectacle that I see, when I see, when I see, when I know the people after the I think that's the

real to be able to we're all all the time I'm sure that I aspired to a to a success like a

like a lot of I think to live and to be to be able to get exactly the same it's like

the same the time you're like well I'm in the whole I'm in the sense that sometimes

I'mgoise and I'm I'm my spaghetti and I the condition human that's

the condition human will always be in in air, plan. But it's not a bad thing. I'm glad

to have learned that you've got to keep on spaghetti kind of. She's still Alex, it's he's like, it's like,

but I'm but I'm still, but I'm still on the social social. Well, yeah, it's on the radio

social, it's true. It's true. Well, I've put that for the cash. In the no, no,

it's right, it's true, it's true, it's right, it's very, you know, well, I see, well, I'm well, I'm I'm just like,

but I'm, I'm the stuff technical. You know, I just like to get to get to get to

get to my own my own my theory is that you there are two types of people

on this time, just two. And there's those who when they do they do they

constructs what they they're and they follow the and I see the

livery to and I'm sure a great satisfaction and the pastry

and the part of the piece of the best of the good time of repos it's the

good number of plie, and there's something of when you plie the pot, in the brief. We're going to

see, we're something that I think there's something that's really very satisfying and maybe because I'm a work that's not a lot of

and that's in the imagination and the intangible. So we retien that for live the transcendence for go to

that, we can make the music, we can believe in God, but that's it's a bit difficult. It's complicated.

Or we can do a patricery. We can absolutely, yeah. I've made a crock in bush in a few of, it's like a tour of little choo, like a tour of little chou in a tour of caramel. A gross affair. Bravo.

I'm pretty impressed. Thank you. This ballade also is entitled, Just Between You and Me. Well, now it's difficult because we're not just between you and me.

No, it's sure. But is there a last thing to like you'd like just between you and me there's a lot of today. Thank you for your Thank you, thank you.

Thank you very much. Yeah, really. Thank you. But it's what I think I'm quite sure if I'm if I'm still doing, I'm doing, I'm all made my arm,

I've vomied my arm in this micro. I'd have not chosen this verb that. In other case, it's a very beau vommies. I've been to

have nothing to have to be here. No, I'd rather a little proposition. It's what your proposition? I've always

something in my pocket. You know, you know, Maybe it's Alexander Martel and Lou Adrian Cassidy who chant and who have created the song theme of Just Between You and Me. It's an immense honor

that's accepted to create this song for me. I'd have given a pen some directives. In fact, I'd have invited the song Just Between You and Me of April Wine, a grand group rock Canadian. And I'd like it would say, I'd like it resound a bit of that, but it's not that because we can't

not offer the rights of the author of this song. And you have filled the command of a fashion magnificent, merveewee so I'm

wondering if you would be able to you know a cabellone at a capelne even me well,

you can't be it at time uh yeah uh ah yeah

uh... ah, he's up, he's let's have by the appellations

uh is he will be more maybe uh... okay so

I don't know. I think he will never to the pardoned in fact. Okay. Hello,

Alexander Martin. It's a way, I'll give my microphone. Oh,

my God. But, in the way, it's not long, you know, it's a minute,

do you know, I'm I'm a I'm to let's my micro. Yeah, na,

na, na, na, na, nah, just just between you're just

between you and me, okay, it will will be between between

Just in you and me It's just between you and No, no, no No Thank you Thank you Just

between you and me