Juste entre toi et moi - Marie-Annick Lépine

Episode Date: June 16, 2025

Dans un entretien ponctué de nombreux rires, Marie-Annick Lépine revient sur la genèse de son groupe, Les Cowboys Fringants, ainsi que sur certains de leurs moments les plus loufoques. Elle se confie aussi sur le deuil de son amoureux, Karl Tremblay, et parle de son nouvel album solo, Le cœur est un rêveur.

Music Salut, ici Dominique Tardif. Ah, bienvenue. À juste entre toi et moi. Bienvenue à cette sixième saison de Juste Entre Toi et Moi. Je suis très content de vous retrouver. Welcome to this sixth season of Just Between You and Me. I am very happy to be here with you. We will have episodes here and there throughout the summer, until we return. We will have for you some great names of Quebecois culture.

And my first guest is her. She was part of a big Quebecois group. I say that she was part of a big Quebec band in the past, but she will offer us a kind of update on the status of her band in the interview You will quickly understand by listening to our conversation that Cowboy Fringa is an important part of the soundtrack of my adolescence. Marianic released in March last his fourth solo album entitled Le coeur est un rêveur. She will present it on stage a little everywhere in Quebec this summer, first in the Franco, at the Soda Club in Montreal on June 17. I remind you that you can always consult the written declination of this meeting in the Press Plus, on lapresse.ca or thanks to the mobile press app.

The smokey glasses that Marianic wore that day are worth the detour, believe me. And if you liked this episode, you can leave us a good note or a comment on Spotify or Apple Podcast. And here is without further ado my interview with the rich girl, Marianne Clépin. Entre toi et moi, ça restera Entre toi et moi Pour une fois, ça reste entre toi et moi You're a real professional because when you arrived at the studio, I asked you how you were doing, and you gave me a succinct answer because you didn't want us to waste the pleasure of our real meeting that is taking place right now.

Exactly. It's flat to repeat. And yet we do that often in this job. Every journalist, when you have your you're out with your album, you always repeat the same thing for a big week. But well, we end up getting used to it and trying to change our phrases so as not to get too bored in there. I'm going to try to make you say different things today.

I trust you, Dominique. You're nice. Thank you for trusting me. So how are you, Maghané? I'm fine. I've been on the flu for a while. I had a sore throat in the last month, and it didn't stop. So I took the Streptococcus test, and you're not well when you're on the flu. The viruses are bad. I needed antibiotics, so I'm trying to get the. The viruses are bad. I needed antibiotics.

So I'm trying to get the hang of it. But when you're a month out of the corral, you take a lot of things late. So, in the end, it's the psychological stress that comes with the fact, oh, shit, my show is starting, I have to practice it. And that's not only having the kids in the middle of the day, but also having the old palet to take care of me, etc.

You have some responsibilities on your shoulders. A lot, a lot. But now I'm trying to get rid of myself a little bit, because you don't want to when an event like I lived, where you lose your partner, but the father of your children, and also your band at the same time, you still become responsible for a lot of things, but you no longer have the pleasure of the job, you know,

you take that away from your life. But you have all the responsibilities that we did together that come back to you all alone. And in addition, a succession, all the successions are complicated, but I would say that Carl's was something too. I'm not done yet. I imagine it's even more complicated that he has the music catalog too, that he took care of. Exactly. He was also incorporated, so it's a personal tax report, the company.

In his company, he was a video game company, there was Bob Randolph. So it does a lot of things to me, all by myself, to manage, in addition to my own life and my own business. Yes, and in addition, the important task of thinking your heart. Yes, and the important task, especially, is to be there for the children all the time. You don't have a lot of outings go out if you're not very well organized. And often, my reference is my mom, but with my dad who died at the end of January,

we're on a second succession in a short time. So I help her with that because she's very, very nervous about all of this. Maybe she's not a little more stressed out because she's being stressed out. So every time she comes to our place, she either forgets her keys, her bag, her glasses. There's always something.

So I can't count on her all the time either. But she really does a lot to help me. But let's say I have to be well organized. We say it too little, how successful is it? I have friends who lost a parent recently, and who told me how difficult it was emotionally, because there is already mourning, but there are also all these moments where financial institutions,

for example, talk to us about a person we love, that we love, that is no longer there, and they don't always talk to us with a lot of delicacy. There's that. There's that too. What made me lose the most in the past is all the time, we ask you, can you send us the act of death? It's just that word. I mean, you have it for the day, you get it back. And then the will and other certificates of I don't know what to bring, you have a lot of paper to manage.

And it's paper that you don't want to look at every day. And you'll be reminded that he died for real. We met in Radio-Canada a few months ago when you released your new album. And you seem to be in a state of fibrillity, apprehension. How do you feel at the moment? Well, it's for sure that when you release an album, you've worked hard for it, so you can't wait to see the public's reaction and the media's reaction. So you're always in a state of uncertainty, not knowing what they're going to think about it. And that's why I made a post that said,

I love Sonia Lupien, a very good, vulgarizer, psychologist, who works on stress studies. She described it as a movie. If you don't have a lot of control in the situation, which is the case when you release an album, in the sense that you can't choose how people will perceive it. The album is over, we can't change anything. We can't change anything, that's it. There's the unexpected, there's the novelty,

and there's the ego that can be threatened, of course, if you're late. I mean, we all have an ego. We all don't want to be told that it's a lie. So yeah, there was stress, there was a febrile, but there was also the pleasure was a febrile, but there was also the pleasure of releasing it because I like this album. I'm proud of this album.

It's a beautiful album, indeed. Thank you. I liked it a lot. And it's an album that is surprisingly bright, given what you've been through in the last few months, what the recording of this album has been like. What place does the laugh take up in your life, these past years? Well, it's always important to laugh, and I'm a manly person,

but the lightness side is funny, because I've been taking a step back, because I've been composing two new tunes in the month when I was less fit. Because... So you're unable to really rest? Well, creation makes me feel good. It makes me think of something, just one thing at a time. Which I'm not looking forward to doing normally. And I realize that the last two years have been more sad.

You move forward, you believe that it won't come back. You have to start with the true grief. I think there was a lot of denial in the first year. I don't think I'm the only one who's done that. To be able to survive for the children and to be strong for everyone, well, you put that aside a little. You don't want to think about it. In fact, you try to forget that it happened. And then, in any case, I reacted the same way.

And to the point that I was dreaming all the time that he was alive and that he couldn't get out of the house because everyone knew he was dead. Anyway, it was funny dreams. You woke up, we got to that. Yes, and lots and lots of times, it's recurring as a dream. It's like if I didn't accept his death, so I was more in denial that it wasn't happening. I wasn't angry. I was a little in pain, but seeing how I was letting go of those emotions, they weren't too present in my daily life.

And anyway, I can't always be sad when I have the soups, the pastries, the meals, the lunch, to sleep with the girls and console them too, or help them in their conflicts with their friends at school, or whatever. That's everyone's life. Yes, that's a cliché, but life goes on. That's right, life goes on. And that's it. I think we all know there are steps to mourning.

And I think I've come to a stage where I'm going towards... Sometimes I'm very angry, and sometimes I feel like I'm going towards acceptance. But to get there, I have to succeed in getting back on my feet on my own life. Which means eliminating the irritants or things that are too much. Because an individual can't always make six taxes. I mean, I also live from the old palace tax. One of the great truths of life. An individual can't make six taxes.

No. In addition, for tax returns, for an independent worker or a company, the most complicated, you have to have all your bills. Did you classify your bills well? The bills are really good. That's the problem. I was great at my business. But then, after a year and a half, I forgot about it. And there were a lot of bills that were in his name.

For example, Hydro was in his name, Videotron too. He was the one who received the bills on his email, but I didn't receive them. I didn't know how much I owed. And I didn't know if it was paid alone in an account, together or I don't know what. So now everyone was calling me,

OK, you owe me time, OK, but send me the invoices. Now I'm asking for a pre-authorized payment. He forgot to do it. So now I finally receive the invoice. And I'm like, well, why didn't you take it? Anyway, it's phone calls and you're always waiting to talk to someone. So it's fun days. It's really fun days. When you live through moments of anger, what do you do?

Well, for me, my anger is more of a pain. I'm not very angry, you know, I've never even hit my ear. But it's more of a pain, and I'm going to choke it up too, maybe with a good... A good bottle of white wine. It's a bit of a nightmare. But well, it won't be able to last long, but for now... It's true that it's a period of sadness. It calms the mind.

You're no longer crazy. You think less quickly. So yes, it's unfortunately a remedy for the moment in my life. But we'll see. I'll try to get back on my feet one day. During your promo shoot for your most recent album, you were forced to talk about Karl. Of course. Does it feel good to talk about him or does it feel relaxing?

No, it doesn't feel relaxing. I think we keep someone alive when we talk about him, even with my daughters. At first, I avoided the subject because I didn't really want to manage their own emotions. So I was waiting for them to talk about it, but now, no. He's named for every activity we do. Oh, that, dad, he liked that. Hey, that, girls, remember when dad... We include him in our memories and he will never disappear. Was it more difficult or easier to live that with Quebec in Nantille?

But you can't compare. No, that's it. I had that question, and the comparison is impossible because I didn't live it otherwise. Now, a mourning is a mourning that the person is known or not. And it happens a lot more in the family, in the loved ones. I feel that everyone was touched, but you know, for us, it's our daily life as a whole that has been changed by his death. But it's for sure that being a public figure,

it also changed the fact that we really did shows often, the cowboys, and we had fans who came back repeatedly, so it changed their lives, too. Not coming to the party with us every weekend. Yes, and we remembered at that time how important it had been. I said, I could talk to the game. I remembered how important it was in my life, the Cowboy Fringants, when Karl died.

I published a text in the newspaper, and I received a lot of letters from readers and press, but I also received a lot of messages from friends, from long-term friends, from friends I hadn't spoken to in a long time, and who reminded me of all those moments we had lived, leaving Asbestos by bus, and going to see the frantic girls at the old Cherbrooke bell tower, and going to see you everywhere where it was possible at that time,

where you could see each time you were in the area. And it's moments, all those songs, it's the tramsona. I'm telling you things we've had to say thousands of times, but... No, but at the same time, that's what's beautiful. That's what's beautiful about J.F. Holden writing to touch people, and people associate themselves with the characters of the songs.

And that's what made our success too. And I think there was a lot of attitude on stage that helped to win a lot of public. The attitude here was an euphemism. Yes. Well, you know, the jaded side, the funny side, which is not taken seriously,

Carl who was demolishing tattoos at the time, we had been banned from the Théâtre Lionel Groulx. It was a terrace. He didn't want to have us because he had demolished a tattoo called Lionel Groulx. And then... We were young at that time. There was a Tuto called Lionel Groux. And...

We were young at that time. A Tuto that was expensive in that room. No, no, not at all. We found it for the show during the Wiccaccia. Yes, because there was always an epic moment in the song Wiccaccia, where Cal was improvising a monologue that had neither heart nor mind. Exactly. It lasted a while. But we didn't do it for the last 15 years. Until the Bell Centre in 2003, if I remember correctly.

It was the last time it was announced as such. It will be the last monologue in Hauka-Chican. And so, the Toutou, who is it that insulted that... Well, it was... he found it hard to chew all the little moss everywhere in the room. What a conscience, I wasn't happy with that. But it was part of the show, the Glingui and the Niaiseux of the Kaboyettes. But we finally came back.

But during two years, we were kicked out. We can't say no to the success of the Frankish Kaboyettes for so long. Maybe. We had the power of the number. You were considered the mother of the group? Could we say that? The one who was a bit of an order in the troops? I myself self-proclaimed myself the mother. And since then, guys, hey, the mother of the group!

So they made fun of me with that, but it's a bit true. If I wrote it, I really thought about it. Did you sometimes find that there was a bit too much attitude on stage? On stage, yes, sometimes yes. But I really liked to respect the theater and the festivals that gave us OK, you have from one hour to the next to respect the showrooms and the festivals that gave us OK, you have from one hour to the next to do your show. It's nice to be the frantic cowboys. If they planned that the fireworks would start at 10.30,

it's a respect for the whole organization that you finish by the hour. So it's me who did all the time the order of the songs, and it was planned in my head when we were about to finish. So sometimes it stressed me out a bit because there, all of a sudden, des chansons pis j'étais prévue dans ma tête quand est-ce qu'on était pour terminer. Donc des fois, il me stressait un peu parce que là tout d'un coup, il décidait d'ajouter une toune ou d'en faire une plus croche, plus lente pis là ça changeait tout mon timing. Fait que moi pendant que je jouais, je checkais Mike pis j'ai dit quelle heure, quelle heure. Mike qui est votre régisseur, c'est ça? Oui.

Et puis il me montrait en gros sur son téléphone il était quelle heure, ok on still have time. OK, there's a tune we'll have to remove in the reminder. You have to go to the stars or something. Yes, you have to go to the stars. You don't have a choice. But then I said, OK, maybe. We'll remove that one. So I did that before, during and after the show. Also so that they could go on stage at their own time. What was keeping them in the lodge, your friends? The hockey.

The hockey. The three quarters of the time it was because there was a hockey game. But otherwise, they just didn't look at the time. They were relaxed. Well, it's okay. At the same time, they were getting there in a good mood, and in the humor and the festive side. I used to follow their game, but I was more serious at the beginning.

For me, the scene had to be perfect. But I understood that it wasn't necessary. And that it wouldn't happen anyway. And that it wouldn't happen, but that people, that's not what we're finally seeing. We're seeing... Well, what we were doing was to make people participate

so that there's pleasure. So after that, that Carl was wrong in everything, at least people liked that. It made him human. Anyway, each of the viewers knew the words by heart. Exactly. It's never been a problem.

The last time I interviewed your friend Jean-François Posé, he told me about a show, more than we're in the register of the amazing shows you've experienced, a show in Kelowna, in British Columbia. Do you want to tell me about it? No, but that was still exaggerated. The guys had too much partying, right? Yeah, but especially because it's far away. Yes, practically.

For just a show. And finally, there was no sound in the room. The sound was horrible. I was in the scene for six months. Hey boy! From Pauline. So I was drinking water from the well or flat water. And they drank in a place that... Not from a well.

No. And in a room that wasn't really a show room, where the sound was terrible, they kept making mistakes. And at the same time, they were depressed because there weren't many people in the room. It was really a depressing show. So, I had to fly a plane and drive to finally do a bad show.

And finally, the guys finished the evening because there was a casino in the hotel. Something that shouldn't be in hotels. Fortunately, it's rarer in Quebec. Yes, that's it. So, I ended up sitting alone with my dad in my room, because the casino business doesn't really bother me. And the flight was... I had to leave at 5 a.m. to go take the flight.

So, it was me who woke up all the little gang that was just coming from bed. And I don't know why I managed to wake up JF, because in normal times, it's the worst. But I didn't manage to wake up Jérôme, but I thought he was already awake. He's more into his business, so I thought he had to take the first lift. But then he went to the airport, we realized that Jérôme wasn't there. He missed his flight. Yeah, he missed his flight.

Anyway, a nice stay, a trip to remember. But that one day when someone will shoot the film inspired by the story, the career of the French cowboys, it will be a good scene. It would be a good scene. A good comic scene. It's our worst show of the day. In fact, GF told me this anecdote because I asked him precisely the question, which is your worst show of the day? Oh yeah, well, you agree, okay. But there is another one too, which is your favorite show? Oh, yes, well, he agreed. There's another one, too, called Le Mercredi Noir.

What happened? When we were kids, maybe in 1998. OK, at the beginning. Yes, it was at the old palace, and it was for a family that hired us to do the Tunes of Jourdelen.

So, we got there, and Dom LeBeau, he decides that it's not really important, he doesn't come. But at that time... Your former drummer, he wasn't pointed outau decided that it wasn't really important, he didn't come. Your former drummer, he wasn't pointed out. No, he wasn't pointed out, but the thing is that at that time, JF wasn't ready to follow his rhythm from start to finish without having a drum in the background. So the tunes started super fast, it was like,

I'm a van driver. And then it all ended in a ballad. And then he tried to do some re-takes,, but Karl knew it, he hadn't taken notes, and he hadn't, you know, printed or learned the lyrics. So finally, I think we played the good mandarin wine for four minutes with one verse. Let's go to Paris, empty bottles, the good mandarin wine. For four minutes, seriously, I je voulais me cacher derrière les rideaux.

C'était gênant, oui. Comment est-ce que t'as commencé à jouer de la musique? Moi, c'est à cinq ans que ma mère, elle nous inscrivait toute la gang à des cours de piano. Puis à six ans et demi, je suis allée voir little show where children were playing at the HGB auditorium. And there were little girls playing the violin, so I thought the instrument was beautiful. I asked my mother if I could play it, and I thought it was fun. I could carry it to the piano. So I started violin lessons at the age of seven. And I was a good student, I listened to the instructions, and all that, while being a criminal in my own way.

But, you know, if my mother told me, well, look, I'll pay you for classes, but we'll practice every night. But I practiced every night, even if it didn't bother me. And since I'm a night girl, often it was 10 to 10 and a half, even at the age of 7, that I practiced. Then I had an extraordinary teacher, even at the age of 7, when I practiced.

Then I had an extraordinary teacher, Mrs. Hélène Roberge, who was a great mom already at the time, and who made me love music, because the violin is very hard to play and to learn. It's long before you have a good sound and you do vibrato, etc. It can be painful for people around you while someone is learning the violin. And for yourself. For the person in your life, okay. And that's it.

But with her, I laughed so much. That woman was really a gem. And often, when you're in sixth grade, let's say primary, even high school, you like to finish your school, you go to Repentigny for an hour of class. It doesn't wait for you. You're tired all day, especially if you have time to sleep at night.

So, I was really burnt out when I came back from school. So, all along, I wasn't saying a word to my mom on the road. She would drop me off there, she would wait for me at Repentigny, and she would laugh at me all along with Helene. I would come out of there super motivated, super happy, and then it was time to do my homework, go play outside. Anyway, I was proud of myself at the same time. You know, when you do nothing in life,

you don't play, where can you have pride? I mean, I look at my two girls, I tell myself, Ah, Helene, you know, I did the same thing to them. I wanted us to start with the piano piano because it's a very visual instrument. So if you know where the back is on a keyboard, and then it's a D, you get to another instrument, you know that the back comes before the D.

Visually, it helped me because I'm more visual than the other. So the power of music, you were aware of it very early on, the power to appe down, to have fun. Without that, I'm not sure I'm still there. At this point? I found it hard. I had two brothers. I was in the middle of two boys with a neighborhood that only had guys. Except for another girl who was a year older than me.

Then it was playing hockey. You know, my dad was skating in the winter. My parents were very dedicated to having fun and learning things, you know. And everyone had the right to come to our place. It was still... But that's kind of how I am today. You know, I'm single, but I have eight children

who come to our place every weekend. And then I said, why are you always at our place You're the coolest, we're all good with you. It's fun, but I have to go to the bathroom in Moudis when you're going. So that's it. It was even a little bit at my parents' house. But to say that I was bored a lot, and since I was at the high school, there were more people from the high school

than from the high school. So during the week, I couldn't just go outside and I was in high school, there were more people from the school than from the assembly. So, I couldn't just go outside and play with friends from school or from my class, like other neighbourhoods in Repens. So, to spend my nights bored, I played music. And it wasn't necessarily the violin that I chose, it was the piano, and I learned the guitar by myself in my room with keys to my brother. Because it entertained me and it made me feel good.

Either I picked up tunes that I liked from Richard Marx, Neil Young, at the time. From Ketan to less Ketan. That's it, I'm proud to have learned a tune from Neil Younga, at 9 years old, and to have picked it up by ear. Which one was it? It was Philadelphia, which was in the film. Such a beautiful song. All of this to say that it got me out of boredom. When you create a musical piece, I was more into musical creation when I was little. I was proud of myself, and I found it beautiful. It made me feel good. It made me spend my time. Did you already know at that time that that would be your life?

No, because I was born in a place that is not at all in the artistic world. Your father was a teacher. And my mother was a secretary. We didn't believe we could live from that, from living from music in Quebec. on y croyait pas qu'on pouvait vivre de ça, de vivre de la musique au Québec. J'y croyait pas vraiment comme bien des jeunes, bien du monde. C'est vrai que c'est difficile. C'est vrai que c'est... oui. Encore plus aujourd'hui je dirais parce que les conditions ont pas changé,

mais la paigne de lait a plus 90 nations. C'est les mêmes salaires, les mêmes reven per show that there is in 96, you know. So it's a funny job. And we don't sell albums anymore. In any case, you know, the environment changes a lot. There are others. It diversifies other sources of income that didn't exist either, on the other hand. But when you don't write and you're a musician invited, it's still not easy.

Really not easy. Really not easy, I would say. So that's it. That's why I always kept playing music, and I was having fun in punk bands at the beginning. Punk? Yeah, it was called the Luba Lufoc. The Luba Lufoc?

Yeah, the Luba Lufoc. And what did you play in the Luba Lufoc? Violin. Violin? There was a violin in a punk band. Mm-hmm. Yeah. And what was in your repertoire?

It had brillants. It was their recomposition. Yeah. Are there recordings? Listen, I should find Antoine Parent in this world. Antoine Parent, do you have recordings of LouFoC LouFoC? We want to hear them. In addition, it's sure I pronounce it badly.

LouFoC, I'm sure. I can hear them. And I can pronounce their names. Luba, Luba. I don't know. I'm sure it's Lufax. So that's it. And then the cowboys came to my life empty-handed. I was 16. You were 16. Yes.

So that's it. And we started with that. And I discovered a pleasure in creating arrangements. At first, I just followed the line of the voice. I didn't really know how to make arrangements. I learned on the spot. And then, finally, I went to study in psychoducation at the University of Montreal.

Well, I was in the CEGEP at that time. I went to CEGEP, but in human sciences, to study psychology, and I chose psychoducation. And that's it. So basically, I spent two years of my three years of my bachelor's degree. I didn't graduate, unfortunately. But there's a story behind it.

And what is that story? You can't tell me that without me asking you to tell me. That's what I wanted. No, but it's that I had done volunteer work, all my C.G. I had done at the hospital.G. pocket volunteering. I had done it at the hospital for people with a loss of autonomy.

I would also play the violin for them. I would do tons of their time, which one is it? And the violin, they would all be in small pieces. It was nice to see. I would pick them up from time to time and go to jazz with people who were in the T-shirt. Then I thought, where is this? All my life, it's still difficult on the moral, to go and help people lose their autonomy.

Then I did it in a home with schizophrenic people. That was fucked up. It was fucked up in nasty, if I'm allowed to use this expression. You can use everything. Damn, man. There was one, he was jazzing me. I said, what's up? He said, what age am I? I don't know. He said, I'm 56. And then he continued to mime for a little while. And then he said, how old am I?

I don't know. I'm 32 years old. I'm too old to be a cause. Colored character. Yes. He was all very colorful. Anyway, there are other things that don't say to each other, not on the microphone. And then, I also took care of the house, the elevator to the Assemblée for intellectual disabilities.

It was a nice center that we had at home. By the way, the little brother at JF was there. So I went to do music therapy activities at that place. And it was nice to see that you know, you there were some who were very, very disabled, you know, who couldn't speak or who always had their fists tight, tight, tight. And then when I went to play music for them, you know, they had the right to choose the tunes they wanted to sing and all that, but there were some who were non-verbal, who couldn't express themselves, but that one, who had all the fists, he was untying his fists.

He was suddenly untying them. He was untying them, you know. So it's nice to see. But a whole life, I wasn't sure. When I arrived at my internship in psychotoxic, I asked to be with the teenagers. They put me with the teenagers, but in maximum security. They were pretty young, too. I looked young, maybe I was 18 or 19 when I had my first internship.

So you were in a youth center? Yes, Security Maximum, Notre-Dame-de-Laval. I had a golden nose, I had a small gums. They told me all their stuff, but they didn't have the right to tell me. I was always in bad positions. There was one with major behavioral disorders. I had to do an intervention with her, and I told her to think in her room. And she set fire to her room.

So, listen, I was... broken. Broken! I was scared she was on fire. You can't imagine living that. You don't want to live that. So I brought everyone else because the fire system had started. It was minus 30 degrees, we were at the end of February. I took all the other young people outside, went to get blankets while waiting for the firefighters.

Luckily she had nothing, she had set the fire after her curtain. But she can't have a lighter in her room. You know, maximum security. I don't know where she went in. Anyway, I thought I had tried several categories, and none of them pleased me. So I said, I'm going to take a break. And at that moment, we started doing more shows with Motel Capri, and we went to the Unions Break. We were in 2001.

We started writing Unions Break. So, I found a job in the guard service, in the school commission. A job there, which was a super nice job with the children, and all that. I love children. And I hadn't done this age category. And I loved that.

And sometimes... You had less chance for someone to set the fire. Yeah, well, that's it. There were teachers, you know. I was a. You had less chance of someone setting the fire. Yeah, well, that's it. There were teachers. I was in the guard service, so there were several of us managing all the small groups. So once the union break worked and we managed to get

a first pay in music, I quit the guard service and went back to school. à avoir une première paie en musique, ben j'ai lâché le service de garde, pis je suis pas retournée aux études. Donc tu y croyais très fort que les Cabins fringants avaient le potentiel de devenir quelque chose de sérieux, même si c'était pas un groupe sérieux. Ouais, j'y croyais dès le début. Ben quand on a fait nos premiers shows pas avant, les premiers shows c'était Sold Out,

pis tout le monde avait du fun avec nous autres, tu sais, tu te dis, crime, cette ambiance-là est cool, it was sold out, and everyone had fun with us. You know, you think, this atmosphere is cool, you know, I hope we can continue to last. At the re-pay, right? Yes, at the re-pay, the first shows, but our first real show in the hall was at the Old Palace of Ascension. That's why I have a attachment to this hall. The hall you're running today. Yes, exactly. But there, you know, with the capacity of my energy now for the last few months. But otherwise, I started to take care of myself in 2021.

So that's it. And so from the first shows, you felt like something was happening? Well, yes. Really, really, really. You know, something was happening. But after that, coming out of Repentigny, it's another game. The first shows, for example, it's the gang ones people who studied with us in our region, who were going to study, let's say, in Saint-Félicien, who were going to study in Chicoutimi or Rimouski or Sherbrooke,

who were bringing our cassette, and then on my couch, he was the one who was on the CD. And the student radio stations were making us play. And that's how we managed to have people at the old Sherbrooke clock, let's say, the first time we were there, but there weren't many people. sorties en CD. Puis les radio étudiants nous faisaient jouer. Puis c'est comme ça qu'on a réussi à avoir du monde au vieux clocher de Sherbrooke, mettons, la première fois qu'on y était, mais il y avait pas grand monde, la première fois. Mais la fois d'après, il y a eu le double, puis après trois fois, c'était sold out. Vous avez conquis votre public, un spectateur à la fois. Un spectateur à la fois. Je me rappelle, Karl disait tout le temps à la fin de show, si tu if you liked your show, bring a friend next time.

And that's what happened. At what point did you say that not only the group had potential, but that it was starting to work out, that you really had put your foot on the right horse? But it's funny, because me and Jeff, we were going to each other at the beginning of the cabins. And he was already not the best... I took a surprise look, but I was aware.

Yeah, that's it. But he wasn't the best student, you know? And me, my big brother, he's a French teacher. Martin Lépine. Yes. So, sir, he likes studies, so he thought that I hadn't chosen a good part. A dropout who might think of doing a company of household maintenance. So then I said no, Martin, you don't understand, he's brilliant, this guy, he's going to do something, I don't know what, but he's going to do something, that's it, that's it. I believe in his talent and his intelligence, he's

so cultivated, it's not like he doesn't care about anything. And I think that... Already, we saw that he had a certain talent in writing, but in My Little One, he proved it with... Even with Banlieue, he proved that he could be a great author. And then, you add in there, every character. You know, he was young when he wrote those beautiful songs. You add, I don't know, what is it that is on my phone?

The guy from the company, you know. One of the first really political songs. It's engaged and it's not easy to write a song engaged. And that it is well perceived, you know, well, in any case, well brought. A little tour, which was a magnificent love song. A little tour, a beautiful song too. So, I was sure he was capable. But after that, sometimes you can have very good ideas for an album,

and after that you're a little in the dark and you can't have juice. But for him, it's always been increasing. If you think about it, The British Union was fabulous. The Grand Mass was perhaps less appreciated by the media because there were too many songs, I think. And it's going in different directions. And JF would be the first to say it. He already said it publicly.

Yes, that's it. But we still have to remember that this album has the stars and all. There's nothing left. There's nothing left. There's eight seconds. Still. It's okay. Just those four songs are enough. It's enough to say if it's a nasty album. And you know that.

And the expedition, I think we went elsewhere too. More poetic, more gentle arrangements. In any case, there was something. It's one of my favorite albums, the expedition of the Cabins. So that's it. Well, in short, I don't know if I sure where I'm going because it seems to me that my answer is long. But at that time, at the time of Motel Capri and the time when you created Breaks Syndical, you continued to work so that Jean-François could focus on songwriting. There was a time when that happened.

Yes, exactly. In fact, the two... That's conviction. The year and a half I worked in the police station, I paid the rent. There was a time when that happened. Yes, exactly. In fact, the two... That's conviction. The year and a half I worked at the police station, I paid the rent. Well, it's true. Look at me, I'm not lying. I find that wonderful.

That you believed them to that extent. But then, you know, a year... The rest gave you reason. There came a time when you could be a pizza delivery person, because that's what he did for a long time. And then, the last year before the break from the union, he started to be embarrassed to sign on the pizza boxes in the sanction, and to be recognized, and to be a pizza delivery man.

And he doesn't mind the pizza delivery, but he still had other aspirations, let's say. He hoped to live off his music. And for that, the creation is long. It doesn't take as long as others. But in Bern, it took him three and a half months to write it. Sometimes you have to sit down, then you stay in your office,

then you work, and that's the way to work at GF. It's from nine to five. But then, we talked to each other at midnight yesterday, and 9 to 5. But then, we also talked at midnight the day before yesterday, and I said, what are you doing? And he said, well, I'm working. I said, oh, OK, now you've changed your schedule a little. You're no longer 9 to 5.

How did you all stay so united, while, as you just highlighted, and I pretended to be surprised, you were linked by different types of relationships, loving, friendly, etc. It's still rare. It's rare that a group survives for so long. And it's also rare in life in general. Oh, that's clear.

But I think we were a perfect team for our job, already on the go, it's big. And the other thing is, there's a way to communicate in life. And Jeff and I, for real, I always believed in him. But he was like my third brother. He was always at our place. So I played with my brothers even though I wasn't there. He was at our place even though I wasn't there. He was part of my life as a friend. Especially a friend, basically.

But a very good friend. We shared our passions together. because when he wrote a tune, it was me who shared it to see my reaction. And if my reaction was good, he knew it could be a success. I will always remember the fall tune, it arrived in the basement at my parents' house, and they said, Marjane, tune is on the faculty. I cried all along, saying, yes, I wrote a hit. I said, well, it's because all the girls would have liked to have a big brother,

a protector, and my big brother would have done that, I would have been pissed off. So how old were you when you met? Well, in fact, I knew J.F. since I was seven years old, because his father was teaching at college with my father. Mario is in French, my father is in math, but they are old colleagues who worked together for 35 years. There were often parent-child activities, teachers who would gather, especially during the holidays at the arena.

So my brothers played hockey with J.F. and half of the skater was reserved to me, who was doing artistic skating, and the other moms who didn't want to play hockey. So that's it. I have a GF on pictures, I'm really small, in my photo album. And after that, we met again as a group at college.

We worked together as a group, as a student job, and it became a bit of a real job. A piece of his life. But I hope it won't be hard. Fortunately, there are a lot of self-taught people. Yes. So that's it. And we met again in high school. I was in high school, and he started the CIGEP.

We had five different school years. And that's it. And at dinner, we played music together at one point. And I was in a time where I practiced a lot, and I was still in classical music. So I had a little bit of an impression by playing the Schindler list perfectly well, in 13th position at the last page. And they stopped playing guitar after.

So I said, well, that's it. So I was like, come on! So it was because of that that the band left with Cal, who asked me to come over for dinner. I know her from the violinist. Yeah, it was dinner time. She was like, I'm going to get a concert. I said, we'd like to have some violin in our tune. Would you like to come and try that?

How did you start writing your songs yourself? Earlier you said that when you were a child, you already wrote melodies. Yes. I had composed a little thing, almost an album, but that never came out because the technician never came back before he disappeared. I was at the CGM.

Then after that, with the girls, even though J.F. was the great composer, I think it's obvious that I was bringing a touch of value to the arrangements. So I really like creation, it's my life motto. So, since it was filling me up a lot in the first few years, because we did five albums in six years. Five albums in six years! And you do shows, so it doesn't necessarily let you write other things. But between 2004, the Grand Mass, and the 2008 expedition, we did shows until 2006. But when you only have shows to do,

you don't have any more creation because your show has been ruined. So that's when I got bored at home, like I did when I was a teenager, when I got bored and played music. So I started writing my first album like that. At the end of the line.

At the end of the line. It was released in 2007. That's right, I started writing in 2005 when the was over, and we weren't in a creative process. So I did that. I left in 2007, a little before the expedition. And during that time, I did shows with the thing Claude Larrivée had inaugurated, which was great. It was all the guys, all the girls. Yes, on the and it was cool, like, the story was about improvisation on other people's songs. It was, anyway, but I was a little nervous before those shows.

I don't like knowing what I'm going to do about it. Who did you sing with in that tour? Often, it was with Marat, Catherine Durand. Who became your two great friends. Well, that's it. That's why they became my great friends. Ginette Ayer, there was Catherine Major, there was Mélanie Auclair, once with Diane Tell also, a magnificent lady. Yes, really magnificent.

I remembered while preparing this interview that it must have been in the summer of 2007 or 2008, I saw you in a show at the FME, the Festival de Musique Émergente, in Rouen, so you were promoting your first album, you were playing that repertoire. Yes! So I told him that. But I had never noticed that if Carl was there, it was perhaps because it was not just to support the violinist of his band. There was perhaps a relationship of another nature that united you. Listen, we called him the show-fire, but he was called the fire because he didn't do anything in the tour. But I would say more that he was the show than the fire. But he liked that, come to the fire. But he liked it. He liked it.

A show atmosphere, a lodge, no show to do. It was his dream. Just the benefits, no responsibilities. For real, it's been since his death that we say to ourselves that we're going to reserve a show room for the whole team to just stay in the lodge all night and realize our dream. There are several very beautiful songs on your recent album, and there's another very beautiful one on the last album of the French boys. I don't want to use that word, but the most recent one, let's say, not royal.

The song Les Cheveux Blanc. Yes, thank you. I think there are several people who are listening to this interview right now and who remember the first time they heard this song. Who remember the tears. I'm talking about myself again. I remember very well the moment I was listening to this song when the album was released at midnight. The tears started to flow. How did this song come about? I started writing it before his death,

but you know, Carl, I think everyone saw that his body was really weak the summer before his death. And we were trying to have hope, but he needed blood transfusion, there were brain metastases, it didn't go in the right direction. So when you see that go, you're like, there's really no treatment crisis that worked.

We're going towards the end, and there was like nothing... There was a little hope because we were going to do a genetic test that was more advanced in the United States. But to be honest with you, I don't know why. It's the Lachnay gang who thought of doing that at the end. Why didn't it happen in 2020? I mean, they had done the genetic test in Quebec, but they evaluated 52 genes, and the one in the United States was 325.

And in the 52 genes, there were plenty that were not conclusive. So the answer to this test was given on November 5, the evening of my party, and it showed that all the chemistry that was done was doomed to failure, because its genetic mutation was very, very particular. So it had crossed that for nothing. Well, if we had done it before, there was no big problem for that, but there was still a research protocol in Iceland, and a drug that could become something homologated to the Jewish hospital.

So we got on board, it was called the BAT. The Monday before his death, we arrived at the hospital, and there were a lot of tests the week before, to get involved in this treatment, which had 35% of the chances of making it last much longer. It was still a lot, even though Monday we learned that metastases were also in the liver and lungs. But there were people who had done this treatment that it really helped them to continue. It bought them time. It bought them time.

Because we just had to buy time. It was fatal when we got it. So that's it. Then on Monday, he told Dr. Archambault, Perfect, if you go through the week, Carl, we start the other treatment, and you say, perfect, I'm ready to go to the bathroom. It means that his sense of humor accompanies him until the very end. Listen, every time I went to a meeting with Dr. Saad at the gym, he was a serious man, the world's top.

The oncologists are sometimes serious. But everyone loved Carl, it was crazy, the whole unit, you know, he was there and... Well, Carl, well, look, Dr. Sade, do you want to be alive next week? Well, yes, Carl. Well, that's fine, that's all I wanted to know, thank you. And while you were going through those moments

that were full of laughter, but I understand that it was difficult, you were still turning to your instrument to write the lyrics of that song. Yes, well, that's right. What I find the hardest is the children in there too. But the loss of a father, we didn't separate. He's not seeing him for a week or two. He's not there anymore. So I think that for her, you know, I can't wait to see how they'll evolve in there. But, you know, the cry of my daughters when she gave her last breath, I can't... I could never live well with that.

It's so, so disturbing. And you can't... Anyway, you want their best, you little cuckoo. Sorry. So that's it. But they're so strong. They're so strong. They're resilient, really. But it's going to bring them other challenges. I know my grandmother, she's very wise.

So she's living well with that. And yet I'm questioning her because I was worried, but no. She really understood that he was sick. She understood that he was better because he suffered a lot in the last few months. The little girl didn't understand anything. So, she's in anger, in abandonment, she easily leaves school. So, I have a lot of work to do with this little girl. She's so intense, but so funny and wonderful.

She's really a character. And everyone sees her at the minute you meet her. She's wonderful, but annoying, as it can't be. That's it. So I have to keep my energy because she's so energetic. Every morning, so I don't have to go to school, every evening, so I don't have to do my homework. There's just something about our kids that we can say. They're wonderful, but boring at the same time. Oh yeah, really, really. But for real, Simone is like an angel.

She's capable of being a baffler too, but with a little smile in the corner. Did you hear the songs that specifically concern you? The white hair and your new album, Don't Suck Me Up, which is very beautiful. Yes, I heard it in Simon. Or do you adopt the point of view of one of your daughters? Yes, I heard it in Simon even before the recording. I was taking a little model, voice and guitar. And she found it beautiful. It's not bad.

But you know, she was inspired really, because she hung on a painting that was written, Don't worry, I'm full of tears. And me too, at the islands of Madeleine, Louis-Boutreau, so I said to myself, my grandmother, she's not big palate, but she lives things inside. And that's it. I was listening to an album that made you appear in 2016, an album for children, for the whole family, called J'ai Brodé Mon Coeur.

And on this album, there is a song called La Vals qui console, in which you sing, all the birds are birds that fly with the echo of my piano. It sums up a good part of what you've been telling me since the beginning of our conversation. You've been aware of the power of music for a very long time, since you were young, but what did you learn from that,

through what you've been through, Karl and you? Because you said it, in the last months of his life, he was very weak. But despite everything, he went on stage on several occasions and he was able to sing songs. Which is difficult to explain. It was... Kahl was a showman, you know, born there, a hyper-charismatic being.

And the desire to have a good evening with people and give them pleasure was really his reason to live. So he was lucky to meet JF, me, Jerome, you know, so that he could live from this need, to be an insect in his life, to be in front of people to entertain them. In adolescence, there was a little girl who would go up in front of the cinema screen to go and say, yeah, yeah, yeah, I'm there, I exist. It was a tanner, but he needed to draw attention, but never badly.

He was lucky to live that way, and that's why I think people have associated with him, because he was really one of the best entertainers that Quebec recognized, even worldwide, I would say. He had that in his blood. So I think that when you're born for something and life gives it to you, you'll enjoy it until the end. And it was good for you for real? Yes, yes. Really. The fact that it was difficult, but after that,

we canceled several shows that summer, but at the Isles of Madeleine, we did Jean-Carl, it lasted three hours. That's the duo of Jean-François and Carl's duo, in which you also participated. All the time. Obviously. And that's it, but he was sitting,

it was less demanding than standing up. The turns, we did them less, he didn't need to push his voice, so he found it less difficult in his physical condition. So listen, I think it lasted three hours, but he was fine, he was happy. Yeah. physical condition. So listen, I think it lasted three hours, that show. But it was good, it was happy.

Your latest album is called Le coeur est un rêveur. It's a good title. Yeah, I love it too. That's great. The opposite is a little flat. Yeah, that's right. What are you dreaming of? Well, listen, Le coeur est un rêveur. You know, in fact, it heart is a dreamer. In fact, it's also a song in the album where the girl is completely dysfunctional, that her shower mat and the cat's pee, etc.

But after what I understood, it's not quite a self-portrait. It looks a lot like me. But it also looks a little like my mom. Her mat and her pee, because she doesn't have two dogs and two cats like me. But she's not very good at eating and you know, she has to do the food and everything. She must be happy that you're making that precision so that we don't imagine that. Yes, that's it. But yes, it looks like me.

But you know, it's in the sense that I wanted to put a little humor to the album. The heart is a dreamer, in the sense that the lady in the picture is fake, but she sings the same. She doesn't stop. She sings even if she's not good. Everyone should do that. It's good to sing. Even when you don't know the lyrics, I sing any lyrics when it's in English. I sing with all my heart. And then I realize that my two daughters are the same.

Every time I cry, the words that they can invent when they sing their song in English. So, in short, the heart is a dreamer. What am I dreaming of? To be honest, Dominique, to be honest, I loved doing shows with the

girls because there was atmosphere in the room. It was really creepy. For me, solo, it won't be the same atmosphere, but I hope to make them dance, smile, then cry, then think with me what the girls have managed to do with the songs. I want to make them participate, I want it to be pleasant, but for that, there has to be people in the room. My biggest dream right now, following the reception of this album and the fact that I have no choice with my cowboys, my biggest wish would be that people would have the desire to discover me in a show. And I've been working hard on this since 2021, since the release of Ante Bourg-Rivage, L'Ange Gardien, my other album, because I realize that whether you're the cowboy's daughter or anyone else,

it doesn't change the fact that people want to listen to what you do solo. It's the cowboys who like it, you know? But if you start to get known, I used my social media, if people start to get to know you as a human, as an individual, then you start to detach yourself from being the cowboy's violinist or the cowboy's daughter. You become a human being apart from yourself who has opinions and who has his own life. So I started to take care of it to promote a little bit

the show of Ante Bruvage de l'Ange Gardien. It started slowly because I had 1,500 followers. Now I'm at 127,500, plus Instagram, which has 40,000, 50,000 followers. That's a lot of people. That's a lot of people. So when I announce something or I succeed my post, I will reach close to a million views. So that, I tell myself, it can be helpful,

because people there, they learned to know me, because how I use them. It's rare that I do my own promotion. It's rare. You're telling us about life's strangeness. It's life's strangeness. I don't do my own promotion necessarily. I do life's strangeness. I promote a book, I promote a psychologist, I promote... I put a sentence from an artist that I like, going to present some stars, artists that I find interesting, while talking about other things, and that it stays personal,

because people would care. I think that if you want to be known, you have to go out with your heart and be human, too. And I think I'm doing it well. There are a lot of people, social media specialists, who use the word authenticity. What you need to aspire to is to be authentic, but you don't have that much difficulty in your case. No.

But anyway, I don't change. I'm still the same person. It's funny, it was a little bit, I hadn't seen much. And then I saw him at the funeral ceremony of Louis Logault. Yes, who is a director. Director of the expedition on Anan des Déjà Vus and Duvent. He made three albums with us. I met him when Steve was recording the course of the days,

because I was playing on that album. I don't know. It was Carl Bastien and Louis Logaud who recorded at Studio Victor. So the ceremony was there. And then I arrived and he was shocked because he was really close to Louis Logaud. And I said, we're all sad in these events. He wasn't old, he was younger than me, Louis. Cancer too.

So Steve said, and how are you, Marie? I said, it's a monoparental flat in the spring. He said, yeah, I'm cured. He stopped and said, you'll never change. But that's what made me go through that day. I had to organize my day to go to my artier's with my archive.

I bought a new keyboard because the other one had been flooded last month. Because your shop was flooded too. Yes, that's right. The local shop had been flooded. So I had the Luthier, the ceremony, go back to Luthier to get the archive. After that, I bought a keyboard, all in the beautiful traffic of Montreal, nice. And after that, I went to get my big round-trip while my little girl was supposed to be with my mother at my...

You know, you understand, I mean, at my age, it's really organization all the time. So yeah. That's what came to mind when I answered Duma. So we laughed a lot. He said, you know, you won't change the film. I'm going to ask you a question that I know you can't really answer, but I have to ask it out of professional concern.

Oh yes, okay. There are a lot of people who wonder if, because we're going to go see you in a show, we want to realize your dream. Thank you, cool! I went to see you in Franco last summer. And I'm going to go back in Franco last summer. And I'm going to see you in Franco again this year. Yes. But could the Fregants' Cabins, in a different form,

be on stage again? When I was asked that question a lot when my album was released, I hesitated to answer. And even then, it's not just about me. My answer is yes, I want to. After that, will everything make sure that we're going to move forward in two years? In a year and a half? In four years? But yes, I believe in it.

I believe in it because GF sings very well. I know that he still doesn't trust his voice 100% because he's always been the one who made the harmony. But when you listen to the American Plurals, you can hear the same voice theme in GF as Karl, because they sing together throughout the song. And it was two incredibly beautiful voices together, it's crazy, because they are similar and similar. So I heard a new tune at GF, and sincerely, they have very similar voices. Now, it's clear that Karl's charisma, the presence on stage,

the fact that he was free to act too, you know, a front, six feet, one, 240 pounds, you know, that has no instrument in his hands, that moves, you know, there's no instrument in the hands that moves, you know. Ready to climb on anything. On anything, you know, visually, it was disgusting, you know. With that, there would have been no more, that's for sure. But compared to making the songs well, I think GF would be able to do it. What state of mind were you in last summer before going on stage in Franco?

Before your comeback to the show. I asked him if he could help me. I was a little stressed. It was my first summer show since his death. I asked him to help me. It was good. I was good. But I was well surrounded. Well, I think so. And I was well surrounded. Mara and Catherine on stage with me, and my three musicians who were with the cowboys,

also that I've known for years. You know, chemistry is there. And they know me, they know me as if they had tinkled with me. In the sense that I'm an open-minded person, so they know if my sound is shitty. It doesn't sound like it, but he can feel it. It's for sure good musicians. It's Jean-Sébastien Chouinard, the guitar, Pierre Fortin, Daniel Lacoste, the multi-instrumentalist.

With whom you worked on your most recent album. Yes, and Pierre too. Great musicians, very good creators. They had great ideas, I think, on my new songs. So we really complemented each other well, the three of us. What state of mind are you in when you're on stage and the sound is to your liking? Ah, well, it's always pleasant to hear, to be honest. I've been in the business for 30 years, Dominique.

Sometimes, when you feel bad, there's something about it. When things are going well, what state are you in? What state of mind are you in? I've been trying for several years to make the most of it. At first, I was very stressed, even with the Kabbalists. I need time to adapt to the stage, to the people. I think I had a certain social anxiety about it, and an anxiety about performance,

about showing that I was good enough, but I wasn't sure. My first solo show, I found that scary because I didn't trust my voice, because I didn't sing cowboys that much. So I didn't sing that much in the cabaret. So I didn't have enough experience. But at the same time, it's like putting yourself in... Not the lion's mouth. You have to get started.

You have to get started somewhere. But I was quite eager to do it. My mother would never be able to get on stage. But I was quite eager to do it, even if I didn't trust myself and I was really afraid I wouldn't be good. But it's experience that you add to your little luggage. And that's why I made a youth album. After that, I said, hey, kids, you're going to stress me out as an audience.

I'm going to regain my confidence again in a show where I'm going to laugh with the little brutes and I'm going to make them discover nine musical instruments in nine songs. There was a fabulous story. Did you see my show, Jeanette? No. I listened to the album, but I didn't see it. It was really good. Anyway, I should record it and even make a little book about it. Because there's a whole story about the little kind witch. And it was beautiful, and it was about friendship,

but that her heart was bigger than hers. Can you have a heart bigger than yours? No, you can't! So, it was very well-thought out and it worked really well. So, in short, today I really trust myself for the solo scene. I trusted myself with the cowboys from the end of the first decade, 2000 let's say. And when you also receive a cancer diagnosis, well, you say to yourself, Crim, if you don't like what you're doing right now,

if you're not able to appreciate 100% what you're doing, well, Carline, you'll never be able to enjoy it. You know, life can turn so much on its side without us noticing it, without us wanting it to come. So I'm going to try to enjoy it. And I'm going to be frank, I'm going to be humane, as I am in life, on stage too. But it's for sure that the outdoor shows, I like it when the turns are in sequence,

the cabins were that too. So there won't be so much blabla, but the outdoor shows, it's going to be nice. A blow of the nose and we change the sidewalk and show us that life is a meteor. Yeah. Did I say that right? Did I say it right? Yeah, a blow of the nose and so on. And so we change the sidewalk and show're shown that life is a meteor. Yeah.

That's it. That's it. It's beautiful. It's in the song The Other sidewalk. Yeah. Yeah, I really think it's a beautiful song. If happiness comes from the wind like the wind, does the pain do the same?

Did you find an answer to that question? Unfortunately, it doesn't go that fast. No, it doesn't come from the wind that easily. No, she doesn't turn around that easily. Let's enjoy moments of happiness. Marie-Anne, this walk is entitled Just Between You and Me. Is there one last thing you'd like to tell me that would stay just between you and me? Yes. I'm not quite a noon enough to believe it's about you. Did your brother end up apologizing for doubting Jean-François's talent?

In any case, he was wrong. He was wrong. No, for real, he became a fan, finished with his writing. Thank you, Meganic, for proving to us that it is possible to have a bigger heart than it is. Oh, thank you. Thank you very much. Thank you. Merci, Meganic, de nous prouver que ça se peut d'avoir un coeur plus grand que soi. Ah, merci! Merci beaucoup. Merci.