Someone is surrounded by a group of individuals kneeling on the floor, in the foyer adjoining the Wilfrid-Pelletier room. “It looks like story time! “, our photographer colleague tells us. It is Ginette Reno who is speaking, seated on a chair, overlooking her audience of half a dozen journalists. She has just delivered an opening number (with FouKi, no other) that everyone is talking about, but also received the Félix for album of the year (popular success). We have just spoken with her one-on-one for a few minutes, but we still join the group, because when she speaks, Ginette Reno makes you want to listen to her. How does she feel to still receive so much love from the public and her community? “It makes me want to continue living,” she tells us. It makes me want to continue doing what I love in life: music, people and learning. »
Alexandra Stréliski leaves the Wilfrid-Pelletier room with her Félix for female artist of the year in hand. She is one of the big winners of this edition of the ADISQ gala, as evidenced by her second prize of the evening. “I left it in the room…” she says when a press officer asks her why she only has one with her. The other trophy is quickly brought to him. Then he is escorted to the press room. On the way, she hands us one of her Felixes. “Look how heavy they are! » Indeed, the statuette weighs a ton. “It was very unexpected to receive [the artist of the year award, for the second time], she tells us. It shows that no matter the style of music, it reaches people. And that’s why we do this job. That’s why I dedicated it to the other women named. That’s nice to look at. »
“There is this additional parameter with the passage of time: we are afraid of no longer being relevant, of being in the way. So we work hard. » With five Félix awards in hand after Sunday evening, including that of male artist of the year, Daniel Bélanger has confirmation from the public and the music industry that he is not “in the legs”, that his work is worth it. His trophy for his production of the album Mercure en May, received at the First ADISQ Gala last Wednesday, is the one that touches him the most. Discreet, smiling, his cap matched to his suit, Daniel Bélanger passes on a little of his wisdom to us. He is not yet “the venerable age” of Ginette Reno who, after her long career, still notes that the public adores her, but he still has this same gratifying feeling of seeing his work appreciated. ” I am happy. »
Michel Rivard is congratulated left and right, he hugs people with a smile, but at the same time maintains a completely calm, placid air. This is not his first ADISQ gala. It’s far from his first victory – it’s his twelfth career victory, in fact, the first dating back to 1984, with Beau Dommage. “You never get used to it,” he says. “I told myself it’s okay not to win. The rooms are full, people love the show. But the fact remains that being recognized by the community, by our peers, is always a little thrill. » The singer-songwriter speaks of his show with… tenderness. After a year of touring, he never tires. “I didn’t play this week and I’m just looking forward to the two shows next week,” he says.
This is the first time that singer-songwriter Kanen has won an ADISQ prize. Finally, she ends the evening with two Félixes (revelation and indigenous artist), which we invite her to place in a corner of the foyer during our discussion. “I hope that young Indigenous women who saw me win will be inspired,” says the young Innu artist. We need it so much. I hope that it will continue, that we will continue to shine. » The Félix Prize for Revelation of the Year has a very special flavor. It demonstrates that indigenous music is not just good “for indigenous music,” but that it is good, period, she says, quoting Florent Vollant. In her red dress, with an unfailing smile on her face, Kanen reminds us that it is a question here of ensuring the survival of a culture and a language. “I just came to see some acts and get the chance to wear some nice clothes! But all this tells me that we are on the right path. »
The organizers did not expect that Les Cowboys Fringants and their accompanying musicians would be there on Sunday. Without Karl Tremblay, they still wanted to be present. They have just won the Félix prize for group of the year and are crossing the backstage of the Wilfrid-Pelletier hall in a tight procession, united. No interview, but a photo shoot, in which they participate with a smile, dressed all in black. “We want the musicians with us,” says singer and multi-instrumentalist Marie-Annick Lépine, in a firm tone, as the group sits in front of the canvas decorated with the ADISQ logo. We are not performers without them. »
We saw them coming from afar, with their hats and their beautiful colorful clothes. We could also hear them from afar, as they began to sing in harmony all the time. Any more good humor than that, you die. Their song Salt Water Gin is the song of the year. A surprise, tells us Éloi Painchaud, from Salebarbes. “[This song] just lived its little life like all the others, in shows, then in car rides, in family parties, at the campsite… You can’t get more organic than that. » Did this play seem like a good candidate for success when they wrote it? “We write a song saying to ourselves that we would still find it fun if we had to play it 50 times,” says Éloi. The answer was yes, but it remains a surprise. But we are also surprised by almost all the success of Salebarbes! »
He opened the festivities after the opening number and, behind the scenes, he was the highlight of the show. Louis-José Houde, after his (perhaps) last performance of the ADISQ gala, came down to the press room half an hour after the end of the gala. Everyone was curious to know his feeling when he left the stage. Generous with his time, he confided in this impression of being completely at peace. And also satisfied with this last gala. “I was still more nervous than usual, because I knew that if it was my last one, I wouldn’t have the chance to recover. If I left it there, I would have found it stupid. » He admits that he probably won’t be able to watch the gala next year. “It’s going to feel so weird,” he confides. I’m not leaving because my heart is no longer there, it’s my head. I can no longer provide. » At the time of departure, he was particularly proud: “It’s hard to quantify, it’s not really tangible, but it’s having perhaps shed a little light on Quebec music. »