Osheaga 2024 Begins on a High Note

Skepta at Osheaga 2024 photo Benoit Rousseau

As originally published on Northern Transmissions.

The 17th edition of Osheaga began on Friday under an unforgiving sun, with a sold-out crowd braving the heat. Spanning five stages and complemented by an array of food trucks and bar tents, the first day of the festival had something for every kind of music fan. Friday’s lineup alone showcased a wide range of genres, from the vibrant fantasy-pop of Melanie Martinez to the raw punk energy of Mannequin Pussy, and the heartfelt acoustic choruses of Noah Kahan. It also seemed like the fest had taken on board suggestions from last year’s iteration: floors installed eliminate the icky muddy fields and the walks from stage to stage seem less like crossing a barren no-man’s land. These were Northern Transmissions highlights from Osheaga 2024’s opening day, brought to you by Stewart Wiseman and Erin MacLeod.

Wild Rivers – Kicking off this year’s edition of Osheaga, Wild Rivers brought a warm, folk-pop sound to the festival. Their harmonies and acoustic-driven melodies stood out on tracks like “Wandering Child” and “Stubborn Heart,” crafting an intimate and heartfelt setting. The band’s chemistry and authentic connection with the audience were apparent, making their set feel like a communal laid-back house-show among friends. Devan Glover’s sincere delivery created a welcoming atmosphere that resonated deeply with the early afternoon crowd. SW

Cam Kahin – Cam Kahin was my big discovery on Friday, and I was left impressed by his band’s emotional intensity. The emerging young Toronto artist showcased an ability to bring a large audience together over anthemic choruses, and he left Osheaga with many new fans on Friday afternoon. Where the quiet-loud dynamic can sometimes come across as formulaic, Cam Kahin’s songs continued to feel fresh and interesting throughout the set. His ability to blend vulnerable lyrics with pounding crescendos created a deeply engaging performance, particularly on standout songs “Whatever You Want” and “Stay With Me.” Be sure to mark Cam Kahin as an artist to keep a close eye on in the coming years. SW

Mannequin Pussy– Mannequin Pussy brought unfiltered raw emotion to the stage, delivering a set that was as cathartic as it was chaotic. Marisa Dabice commanded the stage with an intensity that was both fierce and engrossing. The band tried to draw the audience into their emotional orbit through many (too many) speeches where they railed against “all politicians,” “all wars,” “all cops,” and “all religions.” Some of these interjections were more effective than others, as they started to feel repetitive and staged the longer they went. Songs like “Loud Bark” and “Patience” had an infectious visceral energy, leaving a lasting impression on many in the crowd. SW

Romy – Romy delivered a mesmerizing solo set that showcased her evolution as an artist outside of The xx. Blending elements of electronic pop and house music, Romy’s performance was both danceable and emotionally rich. Her solo tracks, such as “Strong” and “Always Forever,” showcased her ethereal vocals and were taken to new heights through the prowess of her producer/DJ Luca Perry (who was celebrating their birthday on Friday). Romy’s stage presence was both understated and charming, drawing the audience onto her side for the duration of the set. Some of the artists on the Island Stage can feel cold and distant, but Romy easily delivered one of Friday’s most memorable sets thanks to her irresistible positivity. SW

Blonde Redhead – You have got to be impressed by a band that has been around for more than three decades. And even more impressed that the stand out songs in their set were drawn from 2023’s pandemic-informed Sit Down For Dinner. The shimmery, refreshing wall of moody, ethereal sound created by Kazu Makino alongsice twin brothers Amedeo and Simone Pace brought 90s shoegaze into 2024 Montreal summer. A perfect accompaniment to a hot day, the two parts of the title track from last year’s album were a highlight, as was the ultra enthusiastic superfan standing in the front, sporting a Blonde Redhead t-shirt, singing along throughout the too-short set. – EM

Overmono – Overmono brought the sweaty dark club vibes outside, but the heat was sweat-inducing and steamy enough to approximate the experience. The sibling production team of Welsh brothers Ed and Tom Russell (Tessela and Truss, respectively) were the perfect follow up to Romy, what with their turn-of-the-century inspired 2-step thump and samples. It’s hard not to be drawn in when the Streets’ “Turn the Page” gets tossed into the mix. Though it was tough to extricate myself from what was a clearly excellent dance party, it was necessary to run over to keep the UK sounds going with Skepta. – EM

Skepta – The Valley Stage was on fire – literally – when I arrived to see Skepta. It is sometimes tough to be a lone performer on a large stage, but the smoothness of “Gas Me Up (Diligent)” gave way to jump up and down excitement of the classic riddim of “That’s Not Me” and big bass of “No Security“. Pyrotechnics and the images of car and dumpster fires lit up the stage as Tottenham’s finest demanded – and successfully received – energy from the crowd. Central Cee was one of my highlights of the fest last year, and Skepta’s performance should encourage Osheaga to book more UK hip hop and grime artists. – EM

Noah Kahan – This was the clear highlight for the audience of Osheaga. The sheer number of people involved in the singalong chorus accompanying Kahan’s performance and hanging on every word of his casual, easygoing banter, was comparable to the fest’s normal Saturday and Sunday night headliner audiences. As someone who doesn’t really understand Kahan’s oeuvre, this rapturous reception made me want to re-listen to his songs and reconsider why I don’t respond to songs like “You’re Gonna Go Far”, “All My Love” and “Stick Season”, which he performed with Arlo Parks, who’d taken the stage earlier in the day. – EM