Alexandra Stréliski
We could list a lot of impressive figures to showcase Alexandra Stréliski’s success: 600 million streams, 100,000 concert tickets sold, 10 Félix awards, 2 Polaris nominations, 1 Juno…
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But the recognition the celebrated Québécois pianist enjoys stems more from intangible elements: the evocative power of her ethereal compositions, always infused with infinite gentleness; the beauty of her arrangements, which never fail to strike straight at the heart. Known for his discerning musical taste, the late filmmaker Jean-Marc Vallée, with whom Stréliski had developed a close friendship, included several of her melodies in his projects, from the series Big Little Lies and Sharp Objects to the films Dallas Buyers Club and Demolition, each time sparking strong emotions.
Beyond her creative work, Alexandra Stréliski also moves people through her sensitive, human, and humorous approach to life.
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Though she currently describes herself as being in a “fallow period,” this well-earned break after two whirlwind years of touring will likely give rise to a new, rich, and promising creative cycle.
Alicia Moffet
Alicia Moffet’s highly publicized journey might give the illusion that we already know her.
She’s grown up in front of us for more than a decade, from her YouTube beginnings and appearances on shows like La Voix and Canada’s Next Star, to her influencer career and role as host on Occupation Double. But her latest album, No, I’m Not Crying, reminds us there’s still much to discover when it comes to her music.
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With this third record, and her first on Cult Nation (Charlotte Cardin, Lubalin), the singer-songwriter leans into raw honesty and a clearly defined sonic direction.
Where her previous efforts, Billie Ave. and Intertwine, explored different balances between R&B and introspection, No, I’m Not Crying consolidates Moffet’s sound, blending emotional alt-rock with accessible yet uncompromising pop. The track Choke, which went viral in the spring, captures this approach: instantly catchy, with sharp lyrics and a powerful contrast between the vulnerability in her voice and the roaring guitars.
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Fredz
He looks the part, some might say. Round glasses, bowl cut, soft voice — Fredz looks more like a teacher’s pet than a massively popular rapper.
But behind that discreet appearance lies one of the most distinctive voices in Québec’s emerging scene.
Originally from Longueuil, Frédéric Carrier wrote his first lyrics as a teenager, learned guitar through YouTube, and built a hybrid universe where cloud pop meets melancholic rap, framed by lyrics that resonate strongly with Gen Z.
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His latest album, Demain il fera beau, confirms his status as a unique singer-songwriter. While he shares some traits with introspective rap traditions, Fredz stands out for the way he draws listeners into his world. With a sober but polished aesthetic, he constructs a cohesive universe where each track has its own mood. On stage, he draws a devoted, multigenerational audience on both sides of the Atlantic.In a music landscape filled with clichés and hype, Fredz opts for nuance, softness, and attention to detail. A different way to approach rap: grounded in the real world, and bound to inspire many more in the years to come.
Laraw
With a pop sound that swings from soft to punchy, Laraw defies expectations.
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A Montréal-based artist of Moroccan and Lebanese descent, she’s been making her mark on the local scene for several years now. Her online presence, radio play, and festival appearances have only grown since the release of Quarter Life Crisis in 2024. But behind the image of an accessible pop singer lies a songwriter with a dense and nuanced world, constantly reinventing herself with every release.
Her latest track, Milk and Sugar, reinforces that impression. A bittersweet song about the early days of rekindled love, it features simple yet incisive lyrics, carried by an airy production co-signed by Tim Buron. This return to English after the EP J’ai quitté le Heartbreak Club confirms Laraw’s versatility, equally at ease with the codes of francophone songwriting and global alt-pop.
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In a Québec music landscape increasingly open to atypical and ambitious projects, Laraw represents a new generation capable of speaking to multiple audiences at once. She stands out for her consistent creative vision, unapologetic vulnerability, and her ability to turn doubt into infectious hooks.
High Klassified
At first glance, High Klassified might seem to exist outside the local scene.
A Laval-born beatmaker who came up through Fool’s Gold Records, he’s produced for artists like Future, The Weeknd, Hamza, and Damso, before circling back to lay the foundations of a more personal project. But behind the international aura, Kevin Vincent remains a creator deeply rooted in his suburban home turf, which he both celebrates and transforms in his own way.
With Ravaru, his latest album, he takes on a challenge few producers dare attempt: building a cohesive narrative universe where futuristic textures, R&B melodies, vaporous funk, and Japanese animation influences coexist. Ravaru is “Laval” pronounced with a Japanese accent: a way to reimagine his hometown like a video game, unlocking hidden treasures, shifting between light and darkness.
Rather than capitalize on his star-studded résumé, High Klassified chooses to double down on vision. He invites guests like Zach Zoya, Hubert Lenoir, Ateyaba, and Tsew the Kid — not to rack up features, but to serve a coherent, globally-minded body of work that remains true to himself.
