The Cowboys Fringants sold millions of albums and achieved radio success, but it was on stage that they were the most relevant, the most vigorous, the most necessary. Overview of some important dates for Karl Tremblay, his colleagues and their admirers.
November 22, 1999, Le Zest, Montreal
The first steps taken on the sticky floor of the La Ripaille brasserie, in Repentigny, are already far behind the Cowboys, who launched a first album in 1997. In November 1999, the group entered the Les Francouvertes competition and reached the final, won by Loco Locass. Outside Repentigny, far from the corridors of CEGEPs, the buzz is deafening: Montrealers, pay attention to this young regional group. Pleasure guaranteed.
July 9, 2000, Quebec Summer Festival / August 4, 2000, Francofolies de Montréal
The FEQ. The Francos. Pivotal stages in the development of a career. Powered by songs from the album Motel Capri, The Cowboys Fringants receive their first invitations to major summer events. We know the rest.
December 22, 23 and 26, 2000, Just for Laughs cabaret, Montreal
The group caps a year of crazy expansion with a series of Christmas concerts. The holiday season, another happy excuse to celebrate: Les Cowboys Fringants will have greeted white Christmas – or brown, as in the title of a song from the album The nights of Repentigny (2021) — on numerous occasions, all the way to the Bell Centre.
May 5, 2001, Montreal Spectrum
Of course, the group’s first Bell Center, filled on December 30, 2003, has symbolic value. Few local artists singing in French can claim such a feat. But the first Spectrum had another meaning, perhaps more important than confirming what fans already knew. Against all odds and commercial radio stations refusing to broadcast their songs, Les Cowboys Fringants, this small group adored by the young adults that we were, in their image, broke down the glass ceiling by occupying the legendary Sainte-Catherine room reserved for established artists.
They on stage, us in the room – and on stage too, we remember these fans dancing alongside the musicians, like during the finale of their last concert on the Plains – were celebrating a victory. That of theunderground on theestablishment of the music industry which, in the months and years to come, would no longer be able to turn up its nose at the music of these joyful Cowboys. Less than a year later, the group released their now classic album Union break.
December 2002, the “Montreal tour”
A slightly stupid idea, perfectly in harmony with the humor of these musicians, right in the middle of the album tour Union break : give 10 concerts in Montreal in 5 different venues. Way of redoing the group’s stage journey, Sterilized Glasses, rue Rachel, to Metropolis. With stops at the Petit Campus, the Just for Laughs cabaret and the Spectrum. We will soon discover that they have the stature of the great arenas, but their soul has never left the local tavern.
April 2, 2004, Élysée Montmartre, Paris
“We admit that we are a little surprised…” said Karl Tremblay in front of the approximately 1,500 enthusiastic spectators (the majority of whom were French) gathered at the Élysée Montmartre, scene of the first concert given by Les Cowboys Fringants on European soil. The group will then take to the stages of the Olympia in Paris and the Zénith, they will be invited to the Francofolies in La Rochelle and Spa, and at the Paléo in Nyon, in Switzerland. To use the very apt words of Émile Bilodeau, spoken to RDI, “perhaps Quebec did not have a country, but it had Les Cowboys Fringants — that is to say, our culture, our poetry, the things we have to say, it was heard in France” thanks to Karl and his colleagues.
July 17, 2023, Plains of Abraham, Quebec Summer Festival
A few days earlier, the FEQ organization announced the postponement to Monday of the Cowboys concert canceled at the last minute on July 13 due to a violent storm. The event was presented as carte blanche. Special guests? Rare songs on the program? Jérôme Dupras thus revealed the anticipated surprise: “You know, the Cowboys, we have a block of around fifteen songs that we feel obliged to play”, for fear of disappointing the fans. “Afterwards, we make changes to the program. »
Which says everything about the legacy that Karl and his colleagues leave us. Who else, among our artists, has around fifteen songs in their repertoire that they feel forced to perform at each concert? It’s a select club. Jean-François Pauzé composed a phenomenal work that Karl’s disarming talent brought to life and growth.