Lou Babin

Mixed up in Montreal underground music picture since the past due ’70s, singer/accordionist Lou Babin remains among the city’s concealed treasures. Charged having a crude sort of integrity balanced out with a wonderful softness, her tone of voice is of the type you don’t neglect. Still unrecorded like a single artist, she’s collaborated with Normand Guilbeault, Pierre St-Jak, Man Thouin, and several theatre and film directors. She actually is also an associate from the Fanfare Pourpour. Babin resided her 1st musical encounters in the past due ’70s among the music collectives L’Enfant Fort as well as the Pouet Pouet Music group, both road fanfares composed of amateurs and improvisers. Mixed up in music artists’ circles of Duluth Road in Montreal, Babin is definitely one of a small number of performers who advocated music for and by individuals connected with a fantasy-filled life-style, performers who would later on be from the occasions of freak animator François Gourd. Her 1st personal music group was Montréal Transportation Limité, a intensifying pop group that also included long term Ambiances Magnétiques alumni René Lussier and Claude St-Jean. The group cut an EP in the first ’80s before folding. Babin continuing to execute in random groups, creating a little pursuing and amassing tunes she started to present in uncommon single recitals. She found wider interest in 1989 when questionable Quebec film movie director Pierre Falardeau highlighted her in Le Party. Playing the function of the blue-collar bar vocalist she performed Richard Desjardins’ independence anthem “Le Coeur Est el Oiseau.” Since that time she has made an appearance on-stage and onscreen in lots of productions, including Brigitte Haentjens’ Je Ne Sais Plus Qui Je Suis, Robert Lalonde’s Monsieur Bovary, and Martin Dignard’s Le Grand Nord. In 1995 previous members from the Pouet Pouet Music group produced the Fanfare Pourpour, a fresh music fanfare. With this group Babin provides toured Canada and appreciated vital acclaim. The group’s initial album arrived in 1999. Among her tasks with pianist Pierre St-Jak, L’Hôtel du Bout de la Terre, premiered a year afterwards. She also made an appearance in Normand Guilbeault’s musical-historical fresco Riel: Plaidoyer Musical.