There is something magnetic about Québécois music when it meets Irish ears. It sounds familiar, yet, simultaneously, fresh and new.
Fiddles, flutes, accordions, guitars? Check.
Dance tunes, including jigs and reels? Check.
High energy, rhythmic performances? Check.
A blend of old traditional repertoire with new compositions? Check.
Instrumental sets broken up with lively, spirited songs and slower ballads and laments? Absolutely.
But then comes the twist, when what seems familiar suddenly tilts sideways.
What’s that rhythmic stomp under the melody?
Why are there extra bars in that reel?
What’s the story behind that call-and-response song in French?
It’s that sweet spot between recognition and discovery, isn’t it?
That space where your musical brain says, "I know this!", followed by, "Wait… do I, actually?" This is where curiosity meets comfort. And it’s one reason why the music of Quebec touches the hearts and minds of Irish musicians and audiences alike.
So what exactly is this music?
At the heart of Quebec’s instrumental repertoire is the dance tunes. Jigs and reels abound, but so too do quadrilles, brandys, and cotillions. One of the standout features is the presence of “crooked tunes”. Unlike the symmetrical 8-bar phrases of Irish dance tunes, Quebecois tunes sometimes include 5-, 7-, or 9-bar phrases. This irregularity is part of their charm – think of these as tunes that dance differently!
A hallmark of the style is the driving rhythm. Many tunes have syncopation or accents that fall just outside the expected pulse. And always, underneath it all, is the drive of la podorythmie - a unique foot percussion or clogging performed by the seated musician. This rhythmic and complex footwork does more than simply accompany the melodic line – in its energetic pervasiveness it becomes an actual instrument; indeed, performers use special boards, shoes and/or amplification to ensure that this is featured in the mix as a specific and distinct sound. It really is foot tapping at a whole other level!
Songs too form a significant part of the repertoire, from slower ballads and laments to the more lively and participatory chansons à repondre, call and response songs that that often include elements of mouth music (turlutte) – and, of course, provide another opportunity for la podorythmie!
So, it’s an interesting mix and with a unique story behind it.
Quebec’s musical history stretches back to the 17th century, when French settlers brought songs, fiddles, and storytelling traditions to the region. By the late 19th century, a distinctly Québécois version of traditional music had developed from a diverse range of sources and influences, including Irish and Scottish dance tunes, European dance forms such as the quadrille and waltz, and old French songs, both from France and from Nova Scotia’s Acadian population. Music became a staple of rural Quebec, central to community life, especially at gatherings known as veillées (evening gatherings), where storytelling, song, and dance were interwoven. The popularity and reach of the music continued through recordings, including those by Joseph Allard, whose fiddle playing was heavily influenced by Irish music, Jean Carignan, arguably the best known of Quebec’s fiddlers, and virtuoso accordionist, Phillippe Bruneau.
A number of factors, including urbanisation, led to traditional music experiencing a period of decline in the mid-20th century. However, a powerful folk revival in the 1960s and 1970s sparked a huge renewal of interest. During that decade, the powerhouse band, La Bottine Souriante (The Smiling Boot) exploded onto the scene, positioning the fiddle and accordion at their heart of their sound, balancing instrumental tunes with songs in French (including many chansons à répondre), and giving prominence to the hallmark of French-Canadian music - the full-on foot percussion or seated clogging. As they evolved, the band continued to explore possibilities around presenting Quebec music, adding a dramatic flair with the introduction of a brass section and developing intricate arrangements that showcased their diverse influences from jazz to hip-hop. La Bottine Souriante continue to perform, record and inspire to this day, albeit with many changes of membership over the years. Alongside them, many wonderful new bands have emerged on the scene, among them Le Vent du Nord, De Temps Antan, and, of course, Genticorum, all ensuring that Quebec’s traditional music has continued to flourish.
Genticorum: Tradition, Today
In French, when people have amazing chemistry, they say they have atomes crochus – literally, their atoms are interlaced. Genticorum embodies this perfectly. Their live performances are electrifying: energetic, full of humour, stories, and rhythmic vitality. Formed in 2000 by fiddler Pascal Gemme and guitarist Yann Falquet, and later joined by flute and accordion player, Nicholas Williams, Genticorum is renowned for their magnetic chemistry and intricate, joyful arrangements.
Pascal Gemme is a powerhouse fiddler, known for his precise bowing, beautiful tone, his vast repertoire of old tunes as well as his original compositions. As a tradition bearer he is highly regarded for the significant work he continues to do around collecting, recording and developing resources to make Québécois music widely accessible. Yann Falquet plays guitar and jaw harp (Jew’s harp), often introducing harmonic twists drawn from jazz and global folk traditions. As a flute player, Nicholas Williams is a versatile musician, whose style draws on Irish and Scottish traditions as well as from his studies of North Indian music. He also plays accordion – the piano accordion - which is somewhat unusual in Quebecois music. All three sing in glorious harmonies. There is foot-percussion galore. And they bring an energy and joie de vivre into their performance that is infectious. Their music literally swings, stomps, and sings.
With multiple Canadian Folk Music Awards under their belts, Genticorum has toured across the globe; their third visit to Ireland.
“Traditional Irish music has been very important in the development of our own traditional music. And so, for us, playing in Ireland is something special – a real honour. Ireland is a place that lives its music like we do in Quebec—with heart and soul. We can’t wait to connect and play music with and for you all.” - Genticorum
While, historically, Irish music contributed to shaping the style and repertoire of Quebec’s music, it was only a matter of time before the wheel turned and the music of that region was discovered by Irish players. Many Irish musicians have been inspired by Quebec legends, Jean Carignan and Phillipe Bruneau. Bands such as Buttons and Bows, Bumblebees, and Fiddlesticks have long embraced Québécois tunes (crooked tunes included!) and happily include them in their repertoire, side by side with Irish tunes. Renowned accordion player, Sharon Shannon has long been an avid fan and has popularised many tunes from Quebec over here. She has also collaborated with Québécois musicians, including La Bottine Souriante, and features on their latest recording, Domino! A musical match made in Heaven!
“French Canadian music is like a cousin to Irish traditional music. The melodies are truly mesmerising and the rhythm is infectious. Tunes from Quebec are a pure joy to listen to – and a pure joy to play!” – Sharon Shannon
As you settle in for tonight’s performance, a voyage of discovery into Québécois music, remember that there is enough shared DNA with Irish traditional music to make it feel familiar. But look out for those differences - the crooked tunes, the call and response songs, and the foot percussion! Revel in the impeccable musicianship and the infectious joie de vivre of a musical experience that is, in every sense, where curiosity meets comfort. Enjoy Quebec’s finest – Genticorum!
genticorum.com
Dr Liz Doherty
Fiddle player | Educator | Director I Teach Trad
