In Montréal, Grand Prix weekend is always a very special time of year. It's when you really feel that winter is behind us: the days get longer, patios fill up, and the city hums with the roar of engines.
This year, Bell GPCanada, the promoter of the Formula 1 Lenovo Grand Prix du Canada, is rolling out a project it has been developing for several years: turning the race weekend into a full-scale celebration, running alongside the competition at Circuit Gilles-Villeneuve.
While motor racing remains the soul of the experience, a new format adds a high-profile music program. The new concept, called CGV Experience, combines daytime racing at Circuit Gilles-Villeneuve with evening concerts in the same area, on a section of Jean-Doré Beach at Parc Jean-Drapeau, from May 22 to 24.
“We have been working on this idea for several years,” explains Sandrine Garneau, COO Brand & Strategy for the Canadian Grand Prix. The goal, she says, is to fully integrate music into the overall Grand Prix experience, in line with what is already happening at other stops on the championship calendar. “We wanted programming that reflects the local reality of Montréal and what F1 is aiming to become as a cultural platform.”
Concretely, CGV Experience offers a single ticket that grants access to general admission at the circuit and to a dedicated beachside area. The experience is built around live race broadcasts on giant screens as well as concerts, in an environment designed to host audiences over extended hours. The site includes a curated food offering, dedicated rest areas, and bar service.
When the sun goes down, the format truly shifts gears.
Each day, the music program takes over directly on site. Friday opens with Matt Lang and Simple Plan, Saturday follows with Dean Brody and Bryan Adams, while Sunday features The Beaches and Alessia Cara. A deliberately Canadian lineup, fully embraced by Sandrine Garneau: “For this first year, we wanted a strong local identity, with artists who resonate with audiences here.”
The 2026 Canadian Grand Prix weekend also expands on the sporting side, with the addition of F2, the return of F1 Academy, alongside F1 and the first-ever sprint race in Montréal.
The increased focus on music also reflects a shift in the F1 audience. Driven in part by the success of Drive to Survive, the event now attracts a younger, more diverse crowd that is less exclusively focused on racing. Culture as a whole is becoming as important an entry point as the race itself. “Montréal is already a city of festivals, food and music. It was natural that this would be reflected in our approach to the Grand Prix,” says Sandrine Garneau. With capacity limited to around 10,000 people for the CGV Concerts area, the experience is intentionally kept intimate.
To help our readers experience the Grand Prix at its fullest, Rolling Stone Canada is partnering with CGV Experience to offer a chance to experience this new format from the inside. We will be giving away tickets to the CGV Experience VIP Lounge on Sunday May 24, as well as access to a meet and greet with Toronto pop star Alessia Cara, the headliner of that day’s music lineup.
To get tickets for CGV Experience, visit the official website.
Elliott Smith in 2003.
Why Is Everyone So Mad at Supreme’s Elliott Smith Collaboration?
Earlier this week, Supreme announced an Elliott Smith capsule collection, including a selection of jackets and T-shirts featuring artwork from across the late musician’s career, from his self-titled 1995 album to his seminal 1997 album Either/Or to 1998’s XO and 2000’s Figure 8.
The internet seems to be in a huff over this, relying on a view of Supreme and streetwear frozen in 2008 that was, even then, embarrassingly myopic. The line of thinking goes that Supreme, the brand that was founded in New York in 1994 by designer James Jebbia and that has been a staple in skate and streetwear culture ever since, is an inauthentic purveyor of the ethos represented by Smith and his music. One might cite the brand’s roughly $500 million investment from the Carlyle Group in 2017 or its association with high fashion as disqualifying characteristics. More than anything, there seems to be a sense that taking shots at a nearly 40-year-old streetwear institution is a way to prove one’s unsullied dedication to a sense of anti-consumerism. The anger is misplaced.
In a culture awash in goofy collaborations and corporate cash grabs, Supreme might be one of the few brands still operating from an actual set of beliefs. Its Elliott Smith capsule (which was made with permission from Smith’s estate) is in a long line of collaborations that Supreme has done with musicians. Its first artist collaborator was Rammellzee, the experimental rapper and visual artist whose relationship with the brand dates to 1994, the year Supreme opened. By 2005, Raekwon was posing with a Tickle Me Elmo for the first of Supreme’s commissioned portrait T-shirts. Across its music collaborations, portrait tees, and tributes, the list includes everyone from Michael Jackson to the Velvet Underground, Nirvana, Butthole Surfers, My Bloody Valentine, Daniel Johnston, Aphex Twin, and SALEM.
There have been collections with record labels like Stax, Wackies, Rap-A-Lot, Ruff Ryders, Jah Life, and Duck Down, the last of which put Black Moon and Smif-N-Wessun’s album artwork on clothes. There are shirts and shoes with Peter Saville’s artwork for Joy Division and New Order. The Smith collaboration is so patently in the wheelhouse of what the brand has done for decades that bringing it up now as some sort of “gotcha!” feels more like a product of social media’s tilt towards rage-bait than any defense of an artist.
Elliott Smith, who died in 2003 at 34, has long been a part of skate culture. He was friends with Mike Mills, the skateboarder and filmmaker who designed graphics for Stereo and one of Supreme’s early logos. Mills worked on unused cover art for Figure 8 and later enlisted Smith to record music for his film Thumbsucker. And Smith’s music has been celebrated in the world of skateboarding for many years now. Mark Baines skated to “Happiness” in Blueprint’s Waiting for the World in 2000. Nate Broussard used “A Distorted Reality Is Now a Necessity to Be Free” in Static III in 2007. Dylan Rieder skated to “Coast to Coast” in Alien Workshop’s Mind Field in 2009, and Mark Suciu used “Junk Bond Trader” in Cross Continental in 2012.
Arguing that he would have hated the collaboration, aside from being infantilizing, completely ignores the actual culture around Elliott Smith when he was alive, instead opting for some abstract representation of a person who actually existed in the real world — a particularly Gen Z problem, to be frank.
With these collaborations, estates and relevant parties are always compensated. And that actually matters in an era where an artist can remain a staple for young people for generations, long after they’ve died, while reaping diminishing returns thanks to the paltry payouts from streamers. Meaning, short of throwing him onstage as a hologram or doling out money-grabbing box sets, a tasteful collection with a brand with a real connection to his work is actually one of the better options that exists.
People who want to be mad at Supreme want to separate themselves from some sort of mainstream idea of cool. They want to believe that they have an authenticity that Supreme doesn’t. Sorry to say, the reverse is more likely true. Just last week, Business of Fashion published a report on the brand’s cultural durability. “Supreme isn’t cool anymore” is, in fact, a very uncool thing to say in 2026. And beyond that, the people inside the company are coming from an ethos that has remained steadfast in actually supporting youth culture.
To sit on the outside now and pretend that you’re such an authentic Elliott Smith fan that you’re upset by this is simply to expose how out of touch you are.