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How Stromae's Multicultural Upbringing Led To A Triumphant Return To Music In 2022

The Belgian singer/producer released his first album in nearly a decade, 'Multitude.' Ahead of his final show of the year, Stromae discusses his culture-crossing sound and why it's still resonating with both himself and his fans.

Stromae went 12-times platinum in his native Belgium — and four-times diamond in France — with his 2013 album, Racine carrée . In the near decade since, fans hadn’t seen a follow-up because he decided to pursue other creative ventures. But after starting his own clothing line and directing a video for Dua Lipa (among many other things), Stromae released the much-anticipated Multitude in March — and he’s right back to selling out venues around the world.

The singer/songwriter and producer recently wrapped a two-night stint at New York City’s famed Madison Square Garden and three nights at Montreal’s Bell Centre, two arenas he last headlined in 2015. He’ll return to Bell Centre on Dec. 14 to close out his extensive 2022 tour, but already has a packed schedule for 2023, playing arenas across Europe.

Traveling the world has been a hobby of Stromae’s since he was young. Born Paul Van Haver, the Belgian-born musician explored several different places with his family — and while that sense of adventure has always inspired him, it comes to life in the curiosity-driven songwriting and global influence of Multitude .

Across the album’s 12 tracks, Stromae’s passionate French rhymes flit over the top of production that combines everything from Cuban dance music to French Antillean zouk. The result is a record with an intimacy and closeness, further displaying Stromae’s fervent desire to connect at a deep level superseding any barrier.

Multitude also thrives in telling complex stories from multiple angles, highlighting humanity in the most intimate spaces and demanding a response — from the sex-worker story of “Fils de joie” to the essential-workers tribute of “Sante.” Though the album’s open-hearted character tales are told in French, Stromae's impassioned intonation and immaculate production helps transcend Multitude ’s philosophical explorations.

As he closes out his 2022 tour, Stromae speaks with GRAMMY.com about his family history of musical discovery, how much of himself is in his songs, incorporating everything from charanga to ney flute on Multitude , and much more.

You have this unique ability to approach countless different musical traditions and styles with what feels like a genuine connection and understanding of where that curiosity can go. Did reaching that balance and sharing that part of your creative self come naturally for you?

First of all, thank you very much for the compliment, because that was exactly the goal with this album. You just try stuff and it's not natural at the beginning, but then it gets more and more instinctive. That’s when it becomes interesting. And I had my brother, who's my video director, and having an outside opinion when you don't have any objectivity when you work on your album is priceless. His advice is really, really important. 

The most difficult part is just to admit that sometimes what you do is not good. I was watching an interview of David Guetta , and he was saying the most difficult part is not to compose good songs, the most difficult part is choosing the good ones. 

You mentioned your brother — I know that your family has been so important to your creative journey. For example, you traveled extensively with your mom when you were a child. In that time, did you already seek out different musical cultures and strands, or was it seeping in subconsciously?

In family parties, we used to listen to a lot of music from Africa, and zouk music, like Kassav' from Guadeloupe. I was lucky, thanks to my mother. We went to Mali, we went to Mexico, we went to South America, to Bolivia, and yeah, it was really interesting to have all those different sonorities. That was really inspiring.

How do you approach musical exploration today, having had that firsthand experience? How do you find the music and the genres that inspire you now?

In addition to my brother composing some tracks on the album, I worked with another producer from London, Moon Willis. I sent a lot of stuff to him and he sent me a lot of new tracks. Something that we had in common was the curiosity of discovering grooves, actually. I have a background as a drummer, so to me, rhythm is really important. 

I remember sending a lot of stuff and receiving a lot of stuff from Moon — a lot of baile funk, music from Brazil. I was like, "Okay, I love this groove. Try something with this groove and mix it with pentatonic melodies to sound a bit more Asian." 

The goal was just to never point to any [one] country. The goal was to just to lose the listener, actually — to make you feel like, "I know this and it comes from there, but at the same time I hear something from somewhere else." 

You not only embrace those styles, but you build the next step by bringing in authentic instruments and experienced musicians. You ensure that the music feels lived in rather than touristy. How did you source all those tools and meet all the collaborators?  

Back when I was composing for other artists, I went in a studio with Julian Perretta, who's an English singer. He introduced me to Moon Willis. I was really impressed by how open Moon is and how much he knew about music throughout the world — and not only the pop world, but also in world music. He's really talented. 

When we were looking for musicians, my brother Luc and my family helped me a lot. For example, I wanted to have a charango player, and I was discussing it with my mother. I said, "Okay, you know very well about Bolivian music, so help me to find a good charango player." 

She told me, "Yeah, Alfredo Coca is one of the best." And he was coming here, I think for the independence day of Bolivia, this kind of big party. We called him and asked him to come and record some charango riffs. The same is true for the Bulgarian choir, the ney flute player Selman Faris, and orchestra arranger Bruno Letort.

At the same time while you are infusing all of these interesting sounds, you definitely kept your intrinsic appeal. Your voice is at the core, and no one's going to listen to it and think it's someone else. Was it a challenge then to ensure that you kept a little bit of yourself there while undertaking all these inspirations and ideas?

Yeah, it's interesting. I am who I am. The worst thing is to just try to imitate. Of course I couldn't be better than a famous band from Bolivia. The only thing I can do is my thing. 

The most difficult part was to find this mix between who I am, the pop music, and the world music. That was the goal — to be in this in between, and never fall too much into pop, or into me, or into world music.

[My last album] Racine Carrée had more of a kick on every bar, and that's the big difference between that album and Multitude . It will be different for the listeners who are used to electronic music, dance music. But I had to be honest with myself and follow my way, what I feel.

I'm not doing music only for the people, I'm doing music for me first. Sometimes it's difficult just to find the in-between for world music, pop music, the public, the crowd, and myself.

You almost have to forget about everything that other people may think about your music. It seems you took that approach lyrically as well. There's a powerful set of characters in your songs, and they’re treated with this refreshing equality. There's a compassion and attention given to sex workers, laborers, people that aren’t often the focus of songs.  

Yeah, it depended on what I was living, actually. For example, "Fils de joie" was inspired by a television show that my wife used to watch about the son of a sex worker. I was so touched by his story, and I thought it would be really interesting to do a song about it. 

Then I took this sample of a teaser for Bridgerton . I was like, "What can I say on this? What about this idea about the sex worker and the son?" I start first with my vocal melodies, usually with the chorus, and then I build all the story around the chorus.

I'm not a French speaker, but I get the joy of having multiple levels of engagement with your music: getting the visceral experience, and then also learning about what is being sung through translation. Does knowing that your music will be shared across the world affect your writing process?

I've thought about singing in English, but I'm not sure I would sound as sincere as I am in French, and as spontaneous as I am in French. It wasn't my ambition to be successful in non-French speaking countries. I was so surprised with my first success, "Alors on danse." It was a French song and went No. 1 in 16 countries. I was like, "Okay, so...Yeah, why not?" And then I started to have this kind of ambition. 

My ambition was to be No. 1 in the French countries, especially in France. That's my mother language. I didn’t even expect to be supported by non-French people. That was a beautiful gift and actually a beautiful barrier that we broke. 

I think there is no barrier, actually. When I had this success with "Alors on danse," I realized that I did exactly the same with English music. I don't even understand a word, but I can jump, I can dance to it, I can just feel, and sometimes translate if I need it. But usually I don't even understand any words. 

I understand people speaking English better than when they sing. But when something touches me, it just touches me, so it doesn't need to be translated. It's the same in French. It's the same in Flemish, in Dutch, in Lingala, in any language.

I also really appreciate you being an artist who has openhearted discussions of mental health in your lyrics, as on “L’enfer.” Is it challenging for you to open those conversations and connections?

To be completely sincere with you, there is a part of me in the songs. I was asking my wife, "Do you think that all those songs are completely me?" And she said, "No, it's not exactly you. It's a bit of you, but there is a lot of wordplays, storytelling." 

I would say it's 20 or 30 percent of me in my songs, but it's not completely me. It's just a story. That's how I see my music. But of course it comes from me at the very beginning, especially when I'm just looking for new hooks, new vocal melodies, new topics. This is my choice to talk about mental health, sex workers, everything I talk about in the album. It's me, and it's my point of view. 

It’s nice then that you can protect a little part of yourself as well in that way. When you performed “L’enfer” on the news program TF1 in France, you launched into the song seemingly in the middle of an interview about mental health, with this incredibly vulnerable stillness. Again, you were able to discuss something very real and raw but with this performative, protective focus.

The idea came from my brother. We were just thinking about how to promote this song. I was impressed because it's the news on Sunday, TF1. That's really important. [Laughs] 

Anne-Claire Coudray, the host, didn't want to stress me out by saying it, but afterward she said, "That was really stressful. I could hide it and I didn't say it to you because I didn't want you to be anxious!"

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Photo: Rob Kim/Getty Images for The Recording Academy

20 Live Events At The GRAMMY Museum This September: Experience Orville Peck, Kate Hudson, Tierra Whack & More

This September, join the GRAMMY Museum for live discussions and performances from Lainey Wilson, Sleater-Kinney, Don Toliver, and many more.

As the leaves begin to turn and the evenings draw in, the GRAMMY Museum is preparing to host an exciting lineup of in-person events this September in downtown Los Angeles and New York City. 

Featuring a diverse array of artists from Big Sean to Steve Aoki , the Museum offers fans unparalleled access to intimate discussions and performances. Whether you're a fan of indie vibes, soulful melodies, or the pulsating rhythms of global pop, there's something for everyone in this season's programming.

Check out the comprehensive list of must-attend GRAMMY Museum public programs for September 2024:

A Conversation With Big Sean

August 30, 2024 at 6 p.m.

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While not actually in September, Big Sean kicks off the fall season in a big way. The legendary rapper joins guests at the Museum’s intimate 200-seat Clive Davis Theater for an evening of conversation discussing his latest album, Better Me Than You , his creative process, and more. 

Spotlight: Faye Webster

Tuesday, September 3, 2024 at 7:30 p.m.

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Join Atlanta-based singer-songwriter Faye Webster as she discusses her latest album and creative journey in an intimate setting.

Global Spin Live: I.M

Wednesday, September 4, 2024 at 7:30 p.m.

Dive into the world of K-pop with I.M, the lead rapper of Monsta X, as he discusses his solo career trajectory and upcoming music, capped off with a live performance.

Read more: Monsta X On Why They Are 'One Of A Kind,' Staying Creative And Being "Tough On The Outside And Soft On The Inside"

The Drop: Lainey Wilson

September 5, 2024 at 7:30 p.m.

Join country music great Lainey Wilson at the Museum’s 300-seat Ray Charles Rooftop Terrace for an evening of conversation celebrating her career, latest project, WHIRLWIND , and more, with a performance to follow. 

Read more: Meet The First-Time GRAMMY Nominee: Lainey Wilson On How Her Stardom Is A Testament To "Believin' And Receivin'"

A New York Evening With Ingrid Michaelson

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The GRAMMY Museum and 92NY are thrilled to host Ingrid Michaelson for an intimate conversation about her album, For the Dreamers , composing music for The Notebook, her creative process, and more, followed by a performance.

A New York Evening with Tierra Whack

September 6, 2024 at 7:30 p.m.

Join Tierra Whack at National Sawdust in Brooklyn, NY to celebrate her debut project, Whack World , with a discussion about her creative process behind the release, her career, and more, with a special performance to follow. 

Read more: The Recording Academy Philly Chapter Celebrates 30 Years With An Inaugural Block Party & Fireside Chat With Tierra Whack

An Evening With Kate Hudson

Monday, September 9, 2024 at 7:30 p.m.

Actress and singer Kate Hudson will share insights into her musical expression showcased in her latest album Glorious , followed by a performance.

Read more: Kate Hudson Is A Singer Now — And She Doesn't Care What You Think

An Evening With Sleater-Kinney  

(Moderated by Molly Neuman)

Tuesday, September 10, 2024 at 7:30 p.m.

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Celebrate 30 years of Sleater-Kinney as they discuss their enduring influence, latest music, and personal trials, accompanied by a live performance.

Read more: On 'Little Rope,' Sleater-Kinney Still Wear Their Hearts On Their Sleeves

A New York Evening with Chris and Rich Robinson of The Black Crowes

September 11, 2024 at 7:30 p.m.

Join Chris and Rich Robinson of The Black Crowes at National Sawdust in Brooklyn, NY to celebrate their 10th studio album, Happiness Bastards, with a discussion about their careers, their creative process behind the project, and more, and a special performance to follow. 

A Conversation With Don Toliver

(moderated by Charlie Wilson ) 

Join Don Toliver and Sickamore to the Museum’s intimate 200-seat Clive Davis Theater for an evening of discussion about Don Toliver’s album, HARDSTONE PSYCHO , their collaboration, careers, and creative process. The conversation will be moderated by R&B Icon and 13 time GRAMMY Nominee Charlie Wilson. 

A New York Evening With Hermanos Gutiérrez

September 12, 2024 at 7:30 p.m.

Join Hermanos Gutiérrez at National Sawdust in Brooklyn, NY celebrating their latest album, Sonido Cósmico , with a discussion moderated by WNYC’s John Schaefer about their creative process, career, and more, with a special performance to follow. 

Spotlight: John Summit

(Moderated by Jason Bentley, KCRW / Metropolis) 

Join John Summit at the Museum’s 300-seat Ray Charles Rooftop Terrace for an evening discussing and celebrating his debut album, Comfort In Chaos , and his creative process and career, with a performance to follow. Attendees will also have an opportunity to enjoy rooftop views and a cash bar prior to the program.  

Read more: Finding 'Comfort In Chaos': John Summit On The Journey To His Debut Album

Sensory Friendly Saturdays

September 14, 2024 from 9:00 a.m. to 11:00 a.m.

Experience Sensory Friendly Saturday on the second Saturday of every month. Families can enjoy our space with less crowding, quieter sound levels and lower lighting on the second Saturday of every month from 9:00 a.m. to 11:00 a.m. Guests can purchase tickets when they arrive at the Museum or they can purchase online for the applicable Saturday.

The Drop: Orville Peck

September 17, 2024 at 7:30 p.m.

Join Orville Peck at the Museum’s Ray Charles Rooftop Terrace for an evening discussing his latest and third studio album, Stampede, his creative process, and more, with a special performance to follow. Attendees will also have an opportunity to enjoy rooftop views and a cash bar prior to the program.  

Read more: Orville Peck's Road To 'Stampede': How The Masked Cowboy Became Country Music's Most Intriguing Anti-Hero

Spotlight: The Marías

(Moderated by Suzy Exposito)

September 18, 2024 at 7:30 p.m.

Join GRAMMY-nominated group The Marías to the Museum’s Ray Charles Rooftop Terrace for an evening discussing their latest album, Submarine, their multiple GRAMMY Award-nominations, their creative process, and more, with a special performance to follow. Attendees will also have an opportunity to enjoy rooftop views and a cash bar prior to the program.  

Read more: The Marías Plunge Into The Depths On 'Submarine': How The Band Found Courage In Collective Pain

Spotlight: WILLOW

September 20, 2024 at 7:00 p.m.

Join WILLOW at the Museum’s intimate 200-seat Clive Davis Theater for an evening celebrating her latest release, empathogen , her rising career, and creative process, with a performance to follow.

Read more: Willow Embraces Herself On 'COPINGMECHANISM': How The New Album Encouraged Her To "Be More Vulnerable Than I've Ever Been"

An Evening With Steve Aoki

September 23, 2024 at 7:30 p.m.

Join two-time GRAMMY nominee Steve Aoki at the Museum’s Ray Charles Rooftop Terrace for an evening discussing his latest album, Paragon , creative process, and more, with a special performance to follow. Attendees will also have an opportunity to enjoy rooftop views and a cash bar prior to the program. In addition, fans will have the opportunity to see some of Steve’s most important artifacts, on display for one night only, such as his original DJ laptop and more!  

Read more: On 'Paragon,' Steve Aoki Keeps Pushing: "This Is By Far The Most Innovative Dance Album I've Ever Done"

A New York Evening With RAYE

September 26, 2024 at 7:30 p.m.

Join RAYE at The Loreto Theater at The Sheen Center for Thought & Culture in New York City celebrating her latest work, “Genesis”, with a discussion about her rising career, her creative process behind the project, and more, plus a special performance to follow. 

Watch: Watch RAYE Open Up About Her Prized Songwriting Notebook | It Goes To 11

Reel To Reel: Angelheaded Hipster: The Songs of Marc Bolan and T. Rex

September 26, 2024 at 7:00 p.m.

Enjoy a special screening of Angelheaded Hipster: The Songs of Marc Bolan and T. Rex in the Museum’s intimate 200-seat Clive Davis Theater with a post-screening panel discussion featuring Marc Bolan’s partner and musical collaborator Gloria Jones, his son Rolan Bolan, director Ethan Silverman, recording engineer Marc Urselli, and musician/author Richard Barone to talk about the creative process behind the film. Following the screening, there will be an acoustic performance featuring Barone and Rolan Bolan to close the evening.

SUNDAY BRUNCH with Ben Platt

September 29, 2024 from 12:00 p.m. to 2:30 p.m.

Join the GRAMMY Museum for Sunday Brunch With…, a fundraising event series in support of our GRAMMY In The Schools education programs. 

The Museum is thrilled to team up with the incredible Ben Platt and the renowned VERSE LA, located in Toluca Lake, for an afternoon of great music and food. Guests will dine on a delicious 3-course brunch while enjoying live music performed by GRAMMY In The Schools education program alumni. Following the meal, guests will be treated to a rare, up close, and personal 45-minute performance from GRAMMY, Tony, and Emmy Award winner Ben Platt to close out the afternoon.

Read more: Inside Ben Platt's 'Honeymind': How Queer Love, Live Performance & More Led To His Most Authentic Album Yet

For more details and to secure tickets to these events, visit the GRAMMY Museum website . We look forward to welcoming you to these inspiring sessions!

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Zedd's Road To 'Telos': How Creating For Himself & Disregarding Commercial Appeal Led To An Evolutionary New Album

'Telos' "isn't going to be that pop album that some people may have wanted me to make," Zedd tells GRAMMY.com of his highly anticipated album — his first in nine years.

At the time of our call, the release of Telos — Zedd 's first studio album in nearly a decade — is just seven days away. Snug in an earthy brown crewneck, the 34-year-old musician joins the Zoom from his new home in Encino, California, with a degree of poise that some might find surprising at this point in the rollout. 

Still, his relaxed body language, decisive, measured speech, and quiet confidence make it clear that any anxiety he once felt about the LP has been replaced by pure anticipation. 

"I am honestly just really excited. I think I've released music in the past that I was nervous about, but it's quite different with this album," he tells GRAMMY.com. "I feel very calm and just happy to be able to release this music that I've been working on for so long, some of which has been in the works as late as nine years ago." 

Out Aug. 30, Telos arrives about four years later than initially announced and about eight years after it was contractually due. Though Zedd confirmed that the long-awaited answer to his second studio album, True Colors (2015), would arrive in 2020, he indefinitely postponed the project at the height of the COVID-19 pandemic.  

"I decided to push back the album to when things are more back to normal," he wrote in a Reddit AMA (ask me anything) in November 2020. "I really wanted it to come out this year, but I put the album on standby because during quarantine, I just didn't feel the inspiration to make this the best album possible."

Timing is everything and Zedd, who counts a clock ticking sample among his stylistic hallmarks, knows this well. Zedd embraced the axiom while making Telos , an album that "isn't for the algorithms" in an era when creative works' cultural capital is largely decided by how well they pander to an algorithm. Telos is decidedly — and in some ways, daringly — non-commercial. "Lucky," alongside singer/songwriter Remi Wolf and "Automatic Yes" with John Mayer , are notably the only two tracks palatable for commercial radio airplay. The 10-track album largely plays like a love letter to classical music (there is an orchestra on the entire LP), with flashes of pop, dance/electronic, jazz, world music, and metal influence. A cross-generational list of collaborators — including 40-year-old musician and composer Jeremy Kittle, who recorded each string for the album one by one, and Gen Z singer-songwriter Bea Miller — further dynamize Telos .

Telos "isn't going to be that pop album that some people may have wanted me to make," Zedd acknowledges. Nor will it be the dance/electronic LP that purists from his name-making run in the early-2010’s might long for. Fans gained during the GRAMMY-winning producer's complextro, electro, and progressive house-heavy era (think "Shave It" ) have been some of his most outspoken critics in recent years, reproaching his stride into commercial pop.

This response is neither surprising nor foreign to Zedd. "I felt the same way about a lot of bands and artists that I grew up listening to when I heard their new music," he reflects. "In the moment, you might be like, I'm disappointed, 'cause I wanted X, Y, Z , and with a little bit of perspective, you realize what an artist has done, and maybe those become your favorite works when you give it time."

Zedd has already proved his ability to craft pop hits with staying power — with help from some of the genre’s most prominent voices. The 2017 single "Stay" with Alessia Cara (2017) and 2018's "The Middle" with Maren Morris and Grey were two of Zedd's biggest smashes in the dance-pop domain post- True Colors . Both singles achieved platinum certification, though "The Middle" has since struck platinum six times. Like "Clarity" — the 2012 breakthrough single that scored Zedd his sole golden gramophone (for Best Dance Recording) — "Stay" and "The Middle" imbued him with the confidence and greater depth of reference to make an album like Telos .

"If I made another album today that felt the same way Clarity felt back then, you wouldn't feel the same way about Clarity today," Zedd reasons, adding that Telos has some of the "internal motivations" and experimentation of Clarity . "It's just a more mature and experienced expression, so I think the people who loved Clarity will find plenty to love on Telos ."

The album's debut single, "Out Of Time" featuring Bea Miller, is likely to serve as one such point of connection. It retains the DNA of Zedd's established, melody-driven sonic identity while still feeling fresh and exploratory.

"It's a really good example of a new version of an old me," he attests. "The real core of what Zedd feels like isn't the sound. It's not the synths, and it's not the kicks you hear at the festival. It's actually really deeply rooted in chord progressions and melodies. Those are well alive, and more than ever, on Telos ."

At nine-and-a-half-years-old, "Out Of Time" is the oldest track on the album, penned just after Zedd delivered True Colors (OG fans will recognize the song's chord progression from the intro to his DJ sets). His motivation to repeatedly rework the track and fashion it into the album opener stems, in part, from the feeling that it was "too theatrical" to be a standalone single.

Telos provided "the perfect canvas to deliver all these meaningful songs to my life and to my career that couldn't just be one-offs," he says.

Zedd’s current musical ethos is born from his disenchantment with the direction of music in the age of algorithms and TikTok, and the resulting Telos is the product of his "decision to really be free musically."  

"There was one moment in making Telos that made me realize this is like my autobiography. This is everything I am as an artist, and everything I do musically is for me," Zedd says with conviction. "That was a really liberating moment because I am essentially guaranteeing that I'm not going to disappoint anyone because the only audience is me. I'm making this for myself." 

"It sounds so silly to even say [this album is just going to be for me] because you would think that everything you make as an artist is for you," he concedes. "But really, the truth is it's hard to block out the feeling that people might be disappointed, and the feeling that you could change a song, and you would make so many people happy." 

Telos ' exhaustive creation process was as much a matter of deconstruction as it was reconstruction. About halfway through the first version of "Z3," as the album is known colloquially among fans, Zedd scrapped 90 percent of what he'd written, salvaging only "Dream Brother." The hypnotic interpretation of Jeff Buckley 's 1994 song embodies the musicality that threads Telos — from the texture of the opening guitar chords and piano, to the swell of strings, and Zedd's signature clock ticking sample in its outro. Telos marks the first and only time the Buckley estate has given an artist the rights to the late creative's work. 

"Dream Brother," Zedd explains, was "the only song that felt lik e this is living very much in the world that I really deeply feel ," citing it as "a song that has inspired me since my early days as a musician." 

Between his successes on Billboard 's Hot Dance/Electronic Songs chart and the coveted Hot 100, it may be easy to forget that Zedd's musicality traces back to childhood. A classically trained musician, Zedd began playing the piano at the age of four and still writes his music on the piano first . Telos is a cerebral reminder that it's reductive to think of Zedd as anything less than a natural-born composer.

Elsewhere, "Sona," featuring the olllam, harkens back to Zedd's days as a member of German metalcore band DIORAMIC in its use of the 7/4 time signature. "Sona" is the first song in this time signature that Zedd has made since his days as a band member (he was the group's drummer from ages 12 to 20). 

Still, Telos ' unequivocal pièce de resistance is "1685" with GRAMMY-winning English rock band Muse . The six-minute and 11-second album finale takes inspiration from Johann Sebastian Bach's "The Well Tempered Clavier" — the first classical piece Zedd ever learned to play on piano as a child and as he calls it, "probably the most influential piece ever written in life for me."

Named for Bach's birth year, "1685" extends the full-circle nature of Telos. Both a tribute to his favorite composer and a reference to Zedd's earliest days as a musician (he performed a cover of Muse during his very first concert with DIORAMIC), these connections imbue Telos with authenticity and soul.  

Intricate and lovingly-crafted, Telos is Zedd at his most musically honest. "It's my entire life in one album," he says. "It's truly an evolution of who I am as a musician." 

His decision to eschew trends and commercial formulae to embrace "music for the sake of art" confers a sense of timelessness to Telos . For those versed in gaming terminology (like the multi-platinum producer, a notorious gamer) Telos is Zedd in his final form — a state unlocked only after the successful completion of considerable, skill-building challenges. 

Fittingly, the multifaceted nature of Telos and its creator is reflected in the album's title. The Greek word has multiple meanings, including accomplishment, completion of human art, and the end. He chose the name "telos" 30 or so minutes before he had to submit the LP — an  ironic timeline for a production that took years to conceive.  Yet like all of the creative choices that culminate in Telos , this, too, was part of a thoughtful strategy. Zedd wanted to be sure that the album's title would faithfully capture its concept, even after the LP’s many metamorphoses. 

"I really relate to all of the meanings," he says. "Accomplishment of a goal is one of them. I made this album that I was dreaming of making my whole life with the artists I love so much who have inspired me, so it's a genuine dream come true to make this album." 

With introspection written on his face, Zedd pauses, then continues: "One of the meanings of 'telos' is the end, and there was a good chunk of time where I thought this might be the last music I will ever release. It's kind of like I put all my emotions and feelings into this one album…is there any reason for me to take space away in this universe if this is all I have left to say? And for a moment towards the tail end, I was like 'yeah, Telos is the name for this album because I will never make another song in my life.'" But Telos is merely another beginning, briefly disguised as an end. Zedd delivered the album, had a second to breathe, moved from Beverly Hills to Encino, put a piano in his bedroom, and "inevitably started writing new music." Timing is everything.

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Photo: Austin Screws

Warren Zeiders' Big Year: The Country Star Recounts His Journey From 'Pretty Little Poison' To 'Relapse'

Just 12 months after Warren Zeiders released his debut album, his sophomore set is already here. The singer/songwriter details his milestone-heavy breakthrough year, from a No. 1 hit to a tour with Jelly Roll.

Warren Zeiders has a whiteboard in his house where he writes himself daily reminders. But there's one that always stays: a quote that reads, "Nothing changes if nothing changes."

That sentiment couldn't be more fitting for the 25-year-old, whose life has changed drastically over the last few years. After an injury derailed his plans to pursue a career in lacrosse, Zeiders pivoted to music in 2021, and immediately made waves with the viral single "Ride the Lightning." Just three years later, he's one of country music's most unique new male voices, who has already scored a No. 1 hit and headlined multiple sold-out tours.

"I'm a firm believer, in three years of doing this, that this is what I was put here on this Earth to do," Zeiders tells GRAMMY.com. "I couldn't envision myself doing anything else. It's so funny how things have a way of working out."

What's perhaps even more remarkable about Zeiders' country music success story is that he had never even written a song prior to 2021. Stats aside, it's undeniable that he's a star — from the compelling grit of his voice and his candidly emotional lyrics, to his onstage swagger. Music clearly comes naturally, because Zeiders has already released his second album.

Relapse , the follow-up to 2023's Pretty Little Poison , offers a deeper look into Zeiders' artistry, from the racing, pop-tinged title track, to the impassioned ballad "High Desert Road," to the harrowing confessional "Devil I Know." It further proves he's equally unafraid to be raw in his storytelling and to push his vocal ability, both attributes that have helped him break through in the booming country music scene.

Just four days after Relapse arrived, Zeiders hit the road with Jelly Roll on The Beautifully Broken Tour. The Pennsylvania-born singer will serve as direct support on the two-month trek, which will hit arenas around the United States including New York's famed Madison Square Garden — adding more huge milestones to his already stacked resume.

"It does nothing but motivate me and want me to push that much harder," Zeiders says of the tour. And with The Relapse Tour already set for the spring of 2025, he's ready for things to only keep getting bigger. "I'm a personality that always likes to be growing, expanding and trying new things. So we'll see what the future holds."

Ahead of releasing Relapse , Zeiders reflected on his major achievements over the past year. Below, hear from the budding star himself about landing a No. 1 hit with "Pretty Little Poison," winning his first award and more.

Releasing His Debut Album, 'Pretty Little Poison'

I think a lot of people forget I was an athlete my whole life. I was playing lacrosse for 12 years. That was my livelihood, that was my passion, that was everything to me. Obviously I love music and I love what I get to do, but music wasn't a lifetime goal when I was a little kid. It wasn't until COVID had hit where I started posting videos on social media, and things started to kind of snowball.

I firmly believe that the good Lord always did have music on my heart, because I always loved to sing and play guitar, but it was just nothing that I ever thought was worth pursuing. That all to be said, I think I did have a healthy chip on my shoulder [about my first album]. I did want to solidify myself [as] not a flash in the pan, not just a dude who had a viral moment on social media. I took that and kind of just ran with it, and was like, I know the gift that I believe that the good Lord gave me, and my fan base is growing, and people are showing up to these shows . 

So when it came to making my debut record, I really did take my time on that. I was very selective with the songs, and [tried] to make my first cohesive body of work. It was one of the most stressful times of my life, because I was so hard on myself — and always have been, whether it was in sports or now doing this — but I really did want to prove it to myself, and want to prove it to the people that were already believing in me. 

When that album finally came out, I felt so much relief for a moment. [I also know] that now is the time to continuously push the record and let people know it's out. But it's made me grow so much in my artistry and have more faith in myself.

I actually got really, really sick when my album dropped. The following day, I was like, deathly sick signing thousands of records for fans. I wasn't contagious, but it was just a fun story to look back on. It's God's sense of humor, just letting you know you're still alive.

Earning His First No. 1 At Country Radio With "Pretty Little Poison"

I remember posting it for the first time on Instagram. I can vividly remember the clip; it was of me in the vocal booth singing. That song, I must have sang over 100-plus times [in the booth]. I was beating myself up so much to the point of, like, I'm not believing the person singing this song right now . I was having to get myself back into that headspace [of] when I wrote it.

I took that clip and threw it up on social media. It got a decent amount of views, but it was nothing crazy. It wasn't until almost a week later, when I posted another video of me in the studio, sitting with my engineer at the time, in the studio, listening back. And I remember texting my manager, being like, "Um, this thing's going uber viral right now," and he was like, "I think we got one." 

We were seeing the thing unfold before its release, and then when it came out, through the streaming numbers and the interactions on social media, we knew that we had something special. I had faith in it from the beginning, and seeing what it was doing performance-wise, on the streaming side, I was like, This is a great piece of art to take to country radio… It'll be my first kind of splash into the scene . And lo and behold, 34 weeks on the charts, and it's a No. 1 — a pretty fast climb. 

The night it officially went No. 1, I had my dad out on the road, which was super cool. We were playing a place called Emo's in Austin, Texas. I vividly remember popping off a bottle of champagne after the show and giving a speech, and then we went across the street and played a couple rounds of pool. [And] my momma surprised me when I got home that weekend. She made me breakfast and had number one balloons and everything. 

Shout out to my CEO, Aaron Bay-Schuck, over at Warner L.A. When we first met, he was like, "You get about one victory lap for each win." I'm a firm believer in that, just from my athletic background. It's one thing to soak the win in for a second, but the reality is, the job's never done. As a guy who has been doing it for a short term, but I plan to be for a long time, and I have very high goals for myself — that is, stepping into arenas and stadiums one day myself. It's gonna take time, a lot of effort, but the job's never done.

Making His National Television Debut On "Jimmy Kimmel Live!"

It wasn't that I was nervous, it was just a new experience, and it was trusting in my ability and trusting in my gift and being like, This is another day in the office. The song was officially already  No. 1, and that gives you a little bit more confidence when you're singing it for the first time on live television.

I was actually supposed to play "Kimmel" the year prior, but the writer's strike had occurred. Once they got back on the air, it lined up almost a year to year to the date, of me finally getting onto Jimmy Kimmel. Rather than playing it on live television when the song had recently just come out, ["Pretty Little Poison" was a] No. 1 song, and [had] hundreds of millions of streams, and [it was] double platinum. 

Unfortunately, Jimmy wasn't there by the time we got in to record. And we waited as long as we could to hopefully see if he was going to be back, but, you know, I can relate — we all have our busy schedules. We had to catch a flight. We were flying back to Nashville, and me and some of the guys on my team, we got to watch [the performance] on our Southwest flight. It was super cool.

Winning His First Award, The CMT Music Award For Breakthrough Male Video

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Two days prior, I did some interviews, and they were like, "How are you feeling about your first nomination?" I was like, "I'm excited to accept my award on Sunday night." The only moment of doubt I had was when it finally came down to the nominees for my [category]. I was like, Man, you're up against great competition here . Those few moments were up, and they said my name. And I was like, Okay, that's right .

My mom, dad and sister were all at the CMT Awards — mom and sister were, like, 10 rows behind us, but me and my dad were in the seats with all the artists. My dad has always been my best friend and my biggest supporter, and I attest a lot of my success to how he and my mom raised me — my work ethic, my drive and my faith, and how I view life and what I want to achieve. 

That being said, I did get emotional when I accepted my award. I stood up and gave [my dad] a really big hug, and I could already see him tearing up. And when I went to take the stage, I was like, Just make sure you give thanks to God, and keep it short and sweet. I want to make sure I thank the fans a lot. And it was second nature to say something about my dad.

I have a wall dedicated for "Pretty Little Poison" plaques, and then I have some mantles in my kitchen/living room space. I've got the CMT award next to my first vinyl of the Pretty Little Poison album, my Opry sign from when I played it for the first time, my letter that I wrote to my fans when the Pretty Little Poison album dropped. Just a lot of cool, fun stuff. It's the inner athlete of me. [ Laughs .]

Creating (And Releasing) His Second Album Amid His Breakout Year

I was [still] learning my voice. Your voice is a muscle. [Singing is] my daily grind of working out — the time and the energy, and just putting in the hours of work. My voice had developed so much from posting videos on social media to then going out and singing night after night. You're constantly growing and figuring yourself out.

The same applies to the writing mentality. The more you do it, the more you know what you want to say. It's been a lot of fun, and I've really gotten a good grasp on what I wanted to say on that first record, and now, this new one.

I like to say there's a lot of different facets to [my] artistry. I'm really excited about this album, but there are definitely other things in the works for the near future. So let's just say what's coming out in August is a great sampler — some tastes and flavors of what's to come. 

Obviously, there's music in this new [album that's] a reincarnation of Pretty Little Poison , lyrically and musically. But then there's stuff that's acoustic driven, like "Addictions," [which is] meant for you to soak in the words that I'm saying. But then there is stuff like "Relapse" that fits more into that modern — I don't even know if I want to say pop, but it's a different side of me.

I've been very hands-on with my producers on this music. And whether somebody likes this song or doesn't like this song, they can find something in this project that they like. It's gonna keep the fan base that's already pre-existing and it's going to bring in a new side too, which I'm really excited for.

Hitting The Road With Jelly Roll

View this post on Instagram A post shared by Warren D. Zeiders (@warrenzeiders)

Here's what I'll say: it won't be new to me in numbers. What'll be new to me is the atmosphere.

I've been doing the whole headlining thing since I started hitting the road, minus, obviously, festivals and stuff like that. But these will be the biggest arenas I've stepped into, and being direct support for Jelly Roll, who is having an iconic year , I think it just was a match made in heaven for us to come together and hit the road.

The rooms are getting bigger, but it just gives you that much more of a taste to be like, Let's go put on a hell of a show . Before you know it, you keep working your ass off, and we'll be playing these places and headlining them ourselves.

I've gotten a chance to talk to Jelly Roll and his bandmates quite a bit, and they're just good people. I'm sure there'll be a bunch of fun going on behind backstage and in the parking lots — I guess he's bringing a portable gym, ice baths and saunas. And I'm like, "Dude, you're speaking my love language." So I'm sure there'll be a lot of stories to tell — and not tell.

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Living Legends: Beres Hammond On His Enduring Career, Timeless Music & 'Brand, Jamaica!'

Beres Hammond has had a lengthy career in reggae, both as a member of Zap Pow and as a solo artist. The two-time GRAMMY nominee discussed his enduring popularity and what he hopes younger artists can learn from his story.

Prior to performing his first song at Reggae Sumfest 2024, Jamaica’s largest music festival, legendary vocalist Beres Hammond shared a concise but important message.  "Jamaica," he bellowed, seemingly as a greeting, which he followed by shouting "brand." "We are a brand! I am, you are. Brand! Say it," he instructed. "Brand, Jamaica!"

Throughout his July 20 Sumfest set , Beres interspersed the catchphrase "brand, Jamaica," as if reminding the audience of 15,000 (and the younger artists backstage) at Montego Bay’s Catherine Hall, of Jamaican music’s significant legacy and widespread impact. Countless musical gems comprise brand Jamaica, but few, if any, are more precious than the songs of Beres Hammond.

Born Hugh Beresford Hammond in the small fishing village of Annotto Bay, the two-time GRAMMY nominee first gained notoriety in the early 1970s fronting reggae/R&B fusion outfit Zap Pow. As a solo artist, Beres’ songs primarily explore the erratic complexities of romantic relationships; his charismatic, powerfully granular vocals have been likened to that of soul legends Otis Redding , Teddy Pendergrass and Sam Cooke .  

"I never thought I’d reach this point," Hammond tells GRAMMY.com. "Even now, I still show respect to the folks that helped me to grow and are helping me to still be relevant."

At Sumfest, accompanied by his superb Harmony House band and three flawless female backup singers, Beres delved into his beloved catalog, as the audience, spanning three generations of fans, loudly sang along. After performing his first No. 1 single, the 1976 soul nugget "One Step Ahead," which held the top spot in Jamaica for over three months, Beres reminisced onstage, " People thought I was an American guy. It was my first taste of success, but I had no money, I couldn’t even ride the bus. I was broke!"

Beres released a spate of popular singles beginning in the late 1970s into the mid-1980s yet he continued to struggle financially. His situation improved with his initial release on his own Harmony House label, the 1985 hit "Groovy Little Thing."

A sequence of hits followed recorded for various Jamaican producers including 1987’s "What One Dance Can Do," which spawned several answer records (including Hammond's own "She Loves Me Now"). His 1990 defiant social critique, "Putting Up Resistance" , produced by Tappa Zukie, remains one of the biggest reggae songs from that era.

Working with producer Donovan Germain’s Penthouse Records, in 1990 Beres laid his vocals over a riddim called "A Love I Can Feel" (after singer John Holt’s 1970 hit, itself a Temptations cover). The resultant "Tempted to Touch" topped reggae charts internationally and commenced a stream of Penthouse hits for Beres that also included "A Little More Time" and "Who Say," collaborations with a gruff-voiced teenaged sensation, Buju Banton .

As his fan base expanded throughout the Caribbean and reggae Diaspora, alongside increasing acclaim for his stellar songwriting and passionate, pliant vocals, it was inevitable Beres would attract major label interest. He signed to Elektra Records, for whom he released just one album, the outstanding In Control , in 1994, featuring the sublime, sultry R&B flavored single "No Disturb Sign ."

Between 1996 and 2018 Beres released seven self-produced studio albums through his Harmony House label’s joint venture with Queens, NY based VP Records , including two GRAMMY nominated titles in the Best Reggae Album category. Beres received the nod for his 2001 album, Music is Life at the 44th GRAMMY Awards and again at the 56th GRAMMY Awards for his 2012 album One Love, One Life .

Beres has collaborated with dancehall superstars Sean Paul and Popcaan , and his work has been referenced by Jamaican artists including singer/songwriter Tanya Stephens and sing-jay Mavado . Although he hasn't had a U.S. mainstream hit, Hammond's music is nonetheless recognized by some of the industry’s biggest names. In 2012 Rihanna tweeted the lyrics to Beres’ "They Gonna Talk,"   obliquely addressing her then rekindled relationship with Chris Brown ; at an event in Barbados, she was seen singing along to a medley of Beres hits. Drake conveyed his fondness for the iconic vocalist by retweeting a fan’s declaration that she’d like Beres Hammond to sing at her wedding. Wyclef Jean conclusively expressed the veneration due the bespectacled songster on the outro to his 2001 duet with Hammond "Dance 4 Me," bluntly stating, "All you fake singers, bow down to the legend."

Beres Hammond's most recent single "Let Me Help You" was released on May 3; VP Records says a new Beres project is possibly due by the end of 2024. In between rehearsals for a spate of performances in the New York tri-state area,  Beres Hammond sat down with GRAMMY.com and discussed his enduring popularity, his messages to younger artists and the meaning of "brand, Jamaica."

Welcome back to New York City. I was at Reggae Sumfest and I saw your wonderful performance. There’s something extra special about your performances in Jamaica, seeing, hearing different generations of fans singing along to your songs.

 What I like most is when the young folks, teens and 20s say, "My mom used to listen to you when she’s in the kitchen working, that’s how I know these songs." They still love them, still sing them. It makes me feel like I came out here to do a job and everything’s been accomplished. 

Why do you think your music has such vast appeal among various age groups?  

I think it’s the way I present my songs. I make it so easy for everyone to have access. I don’t use Wall Street words; I make it A-B-C. I just do my thing in the simplest manner so everybody can sing it! 

You just performed two sold out shows at the Coney Island Amphitheater and the New Jersey Performing Arts Center part of your Forever Giving Thanks tour . So many decades after you started out, that must feel extremely gratifying.

 Everyday feels like a new day on the job. I’m giving thanks that I’m in good health and I’ve still got some voice left. All the folks around me, like the band and crew, they’re treating me as if we just started. When you have people around you like that, it’s almost like the journey has just begun. 

Have you been working with the same band members for all these years?  

For a lifetime, almost. Some have been with me for over 30 years. For the newest members, it might be 10 years.

Throughout your Sumfest performance you intermittently shouted, "brand, Jamaica!" What does that mean?

I was talking about me, what a beautiful brand, but also Jamaica, itself, to the world. Helluva brand! I join the folks that still have Jamaica on the world map as a brand to be reckoned with. Because we nah go nowhere. We deh yah! [We’re here].

I’ve always thought of myself as a brand and upcoming artists should recognize the legacy that’s left here for them. I say "brand" again, to make them understand the role they’re supposed to be playing in what was handed down to them. Be proud of what you’ve got because you are standing on some broad shoulders; be careful how you step on those shoulders.

Coming up in the 1970s and early '80s, whose shoulders did you stand on?

What introduced me to wanting to sing was a few voices including Otis Redding, Sam Cooke, Stevie Wonder , he’s still amazing. I used to love Aretha Franklin and I still love Patti LaBelle . I listened to those voices and said, "Yeah, I would love to sing like them." Then checking on my Jamaican folk, Alton Ellis, Delroy Wilson, hearing those voices, I thought, there must be something out there for me.

Learn more: Remembering Coxsone Dodd: 10 Essential Productions From The Architect Of Jamaican Music

  Are there any artists you are mentoring, artists that are standing on your shoulders?  

Some of them come up to me and say Father B — they call me all kinda names, Father B, Dada, and they give me some nice accolades. I don’t seek them out, they find me and I always have the right things to say to them, if they ask. Kids still want to learn and being around me, you will learn many things. 

Thirty years ago, in 1994, you released your album 'In Control' for Elektra Records. It's still one of my favorite albums.  

At that time Elektra went into some merger. The beautiful Elektra crew working with me — some got fired, some went to other places; it was a mess, man. That had a great effect on what the album should have done and really turned me off from Elektra and major labels. This is how people with their big bag of money treat people, come in, push us around. But through the years, I’ve learned that [Elektra] took my music to places that I don’t think I would have reached, so it helped me along. 

You continue to have a very successful career, but I can’t help but wonder, had 'In Control' received the push it should have, would your music be better known beyond a reggae audience?  

I don’t know, but I know where I stand now and where we are still aiming to go. That never came out of our focus because, hey, the sky’s the limit.

Where are you aiming to go, what are some of the things that you’d still like to do?

I’d like to sing that song that makes the whole world sing along. I’m not sure if I’ve made that one yet.

I hope that my Jamaican brothers and sisters who are making music take it seriously and remember, you’re an influence. Ask yourself, what kind of influence do you want to be to the next generation? Do you want to be the one to make them have a better education? Do you want to be the one that makes them aspire to be leaders?  Or do you want to be the one to send them to prison?  

Is there any place that you haven’t yet performed but would like to?  

People have asked me, what’s my favorite place to perform? I still don’t know. My favorite place is anywhere in the world; once you gather to see me, oh God, that’s my favorite place.  

How has the music industry changed in the years that you’ve been in it?  

You have to brace to face any new challenge in music. But all I’ve ever wished for is, no matter what kind of changes the music goes through, keep the thing positive so the people can learn. I can’t tell the younger generation what to do. I had my time and did what I had to do; you have to allow them to be themselves, too. Whatever changes the new generation wants to make, I’m there with them; just keep those values and you’re good. 

  On Jan. 1, 2023, you and Buju Banton put on a very successful concert in Jamaica called Intimate. Any chance you’ll bring that back?  

They just talked to me yesterday about it. [ Hammond  imitates Buju’s resounding voice ] "What ‘appen? What are we saying? Second leg? Father B, give I the green light." So, we are looking forward to bringing that back in January 2025.

Read more: Buju Banton's Untold Stories: The Dancehall Legend Shares Tales Behind 10 Of His Biggest Songs

You’ve recorded many songs with Buju and in 2023 you released another collaborative single "We Need Your Love" ; an album was expected to follow. Are there any release plans for the Beres/Buju album?

We’ve already recorded 12-15 songs so when them ready, they will tell me. I did songs for Buju and he did songs for me. 

  Earlier, you mentioned turning on the radio to hear a song that everyone will sing along to; do you listen to Jamaica’s radio stations to hear the latest music?  

I listen to talk shows to tap into what the country is doing. You have people calling in, talking about what the prime minister is doing, how many people died today. Music is around me through my kids, my friends. I’m up on everything; without actually listening to it, I’m hearing it. 

You have six children; some are pursuing music careers. Tell me about them.  

One of them, DJ Inferno, he’s always on the road with me; he plays before I perform, and he mashes up the place all the while. My son Rasheed is in production, trying to establish his own label, he’s ready to start releasing music. One of my daughters, Nastassja, they call her Wizard, she’s a writer, artist, producer. My other daughter, Andrene, is an actress (Andrene Ward-Hammond stars on the CW Network’s "61st Street") and she’s on tour with me looking after my personal needs.

Sometimes I am out here with all six of my children. It’s a beautiful thing. They make me proud.

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• 1 How Stromae's Multicultural Upbringing Led To A Triumphant Return To Music In 2022
• 2 20 Live Events At The GRAMMY Museum This September: Experience Orville Peck, Kate Hudson, Tierra Whack & More
• 3 Zedd's Road To 'Telos': How Creating For Himself & Disregarding Commercial Appeal Led To An Evolutionary New Album
• 4 Warren Zeiders' Big Year: The Country Star Recounts His Journey From 'Pretty Little Poison' To 'Relapse'
• 5 Living Legends: Beres Hammond On His Enduring Career, Timeless Music & 'Brand, Jamaica!'

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Stromae Announces North American Tour

As Belgian musician Stromae prepares to return with Multitude , his first new album since 2013’s Racine Carrée , he’s announced an accompanying tour. After appearances at Coachella in April, he’s got dates from October to December across North America. Find the itinerary below.

Multitude is out March 4 (via Mosaert /Darkroom/ Interscope ). The full-length includes Stromae’s comeback song “ Santé ” and the more recent “ L’enfer .”

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04-16 Indio, CA - Coachella Valley Music and Arts Festival 04-23 Indio, CA - Coachella Valley Music and Arts Festival 10-21 Vancouver, British Columbia - Pacific Coliseum 10-25 San Francisco, CA - Bill Graham Civic Auditorium 11-21 New York, NY - Madison Square Garden 11-25 Montreal, Quebec - Bell Centre 11-26 Montreal, Quebec - Bell Centre 11-29 Toronto, Ontario - Coca-Cola Coliseum 12-03 Washington, D.C. - The Anthem 12-06 Boston, MA - Agganis Arena 12-11 Quebec City, Quebec - Centre Videotron

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Concert Review: Stromae Brings a ‘Multitude’ of Genres to Boston

“Bonsoir ! Vous allez bien ?”

Those were the first words Belgian singer, rapper, and songwriter Paul van Haver, better known by his stage name Stromae, said to greet his fans in Boston’s Agganis Arena on the night of Dec. 7. The multi-hyphenate artist stopped by Boston University for the last date of the U.S. leg of his “Multitude” tour, named after his latest genre-bending album.

The audience answered Stromae’s question — translated as “Are you doing well?” — with resounding cheers. While addressing the crowd conversationally, Stromae alternated between English and French, but of course performed his entirely French discography in his native language. Whether or not audience members were fluent in the language was ultimately a nonissue — they were still hanging on his every word.

Stromae appeared in person after an animated version of himself was shown on screen wearing a lab coat and making music alongside robots. This lighthearted, imaginative intro set the tone for the rest of the night — it was a creative, playful, and completely original concert experience thanks to Stromae’s magnetic stage presence and uniquely mesmerizing visuals.

It’s difficult to define Stromae by genre — it would be reductive to say he is just an EDM artist, or just a rapper. He has the unique ability to amalgamate many genres into a sound that’s all his own; “Multitude,” released earlier this year, is more reflective of this than ever. His supporting band also reflected his dynamic sound, with musicians from all over the world playing alongside him.

Stromae kicked off the concert with “Invaincu,” the first track off “Multitude.” “Invaincu,” which translates to “unbeaten,” has a soaring chorus fit for an arena, which hyped up the crowd to an even higher excitement level.

Stromae explicitly acknowledged that he would be switching between his new and old tracks. Within the first few songs, he performed “Tous les mêmes,” one of his most popular songs to date, off his 2013 album “Racine Carrée.” The minor-key, upbeat EDM track brought the audience to their feet as the synth horns of the chorus swelled and Stromae danced across the stage. “Tous les mêmes,” French for “you’re all the same” shares contrasting male and female perspectives of an arguing couple. Stromae brought all the satire and whimsicality of this energetic chart-topper to life on stage. Throughout the concert, he infused both his vocals and his movements with his highly animated performing style, embodying the varying emotions of each song with his signature vibrato and lively dancing.

Stromae also performed back-to-back two complementary tracks from “Multitude,” which appear alongside each other on the tracklisting: “Mauvais journée” and “Bon journée.” French for “bad day” and “good day,” Stromae used a reclining chair as a prop to reflect the opposing sentiments of these songs. He slumped low in the chair while singing the listless lyrics of “Mauvais journée”; he was then immediately reinvigorated for “Bon journée” and stood on top of the chair as it slid across the stage.

“Boston, are you happy?” he asked in time with the trap-inspired beat.

Other songs performed from “Multitude” included “Mon amour,” which features beautifully blended harmonies in the chorus and “C’est que du bonheur,” a song he wrote about his son. “J’tai donné la vie, toi t’as sauvé la mienne,” he sang in the first verse; “I gave you life, you saved mine.”

“C’est que du bonheur” is a touching song about his love of fatherhood and the circle of life — indicated by an animation behind him portraying a man in all different stages of life, from a crawling baby to a hunched elderly man with a cane. The production design was similarly impressive for “Pas vraiment,” a song about a couple questioning why they’re together; the performance was accompanied by background visuals of domestic moments seen through windows, as if the audience were peeking into their relationship. At the same time, colorful spotlights panned across the arena, showcasing audience members dancing to the song.

Stromae’s hit song “Papaoutai” — translated to “Dad, where are you?” — was one of the biggest crowd pleasers of the night. The profound lyrics, which meditate on his father’s absence from his life, are juxtaposed with the lively synth-heavy track. The lighting and stage design, including several moving screens with shifting geometric patterns, aligned with the increasingly heavy dance beat and further enlivened the performance. The stage design was also quite dynamic for “Formidable,” another fan favorite.

Stromae’s last song before his encore was “Santé,” another track off “Multitude.” Before the performance began, however, the audience was led in a dance tutorial displayed on screen with an animation narrated by the recorded voice of a female instructor. “Step to the right with your right leg, and close your left leg,” she said as the band also demonstrated these dance moves on stage. This quirky instructive interlude was a unique way to get the crowd actively engaged in “Santé,” a high-spirited song featuring a cavanquilho (a small Portuguese guitar) and a bouncy synth melody the audience couldn’t help but dance to.

After “Santé,” Stromae eventually returned to the stage for a highly-anticipated encore. The singer saved his most well-known song for last — “Alors on danse,” an international hit known for its hip-hop/house fusion, an infectious faux-saxophone melody, and an endlessly catchy hook. He built up anticipation by playing another animation on the screen, in which his animated avatar walked up to a keyboard and played the first few notes of the song, which were instantly recognizable to the crowd. The screen went black as Stromae suddenly reappeared: “Do you wanna dance?” he yelled.

The beat dropped and the stage immediately lit up with neon lights and moving screens as the audience screamed in response. “Boston, do you speak French?” he asked before launching into the first verse. A large part of the audience could, in fact, speak French, and anyone else could undoubtedly sing along with the three short words that make up the chorus,“alors on danse” — “so let’s dance.”

Following the unrestrained high energy of the climactic “Alors on danse,” Stromae and his band revisited “Mon amour” for their final performance of the night. This time around, they gathered close together for a stripped-down a cappella version. The audience grew quiet to hear their voices blend together, an intimate experience as their vocals reverberated across the large venue. The serene performance was a fitting coda to the night.

Stromae maintained his humor throughout the entire concert. After their final performance, he told the arena of fans, “It’s over now. You can go.”

In spite of Stromae’s parting words, fans filed out of the arena reluctantly, finding it difficult to leave after such an entertaining, larger-than-life concert experience.

—Staff writer Jaden S. Thompson can be reached at [email protected]

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Stromae  

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Euro-pop sensation Stromae was born Paul Van Haver on 12 March 1985 in Brussels, Belgium. He quickly established himself as one of the most prominent electronic musicians within his country and soon after went viral in Europe.

His catchy blend of lounge hip-hop and deep house beats first hit the mainstream in 2009. During a stint working for a Belgian Radio Station he created his first smash hit, “Alors on Danse”. The track won over the manager of the station and eventually ended up on the air. The song was met with overwhelming positive reactions from those tuning in and soon after became a number one hit in the artist’s hometown. It then swept across the continent hitting the top of the charts in France, Denmark and Greece to name a few. As of 2014 the track is not far from breaching 60,000,000 views on youtube!

Before Haver was known as Stromae he ventured into music at the age of eleven and went on to study music history, theory and percussion at Académie musicale de Jette. He later developed an interest in hip-hop music and started to create his own music under the name Opsmaestro when he was 15 years old. Three years later this project evolved into a rap duo entitled Suspicion, but this project would soon dissolve with the departure of Haver’s counterpart J.E.D.I.

Haver went on to pursue studies at a film school in Brussels, but still remained busy writing material. Although this time around he was penning music as a solo artist. Shortly after he released his debut EP “Juste un cerveau, un flow, un fond et un mic...”

After Stromae’s release of “Alors on Dance” his celebrity status became crystalized and his career seemed to be escalating on a constant incline. Stromae released hit after hit such as the gender-bending chanson “Tous Les Mêmes” and the seemingly autobiographical angst ridden “Papaoutai”. The latter track could be seen as a parallel to Haver’s loss of his father to the violence culminating in Rwanda.

Stromae continues to test new styles and has perfected the art of combining unlikely sounds such as the classicism of french pop and the hectic bustle of EDM. Sometimes his songs will feature an alternation between styles or merge them together into a unique conglomeration. His influences are far and wide and have had a large impact on his eclectic sound. He is just as likely to name the American rap group Swag+5 as an influence as he is French legend Jacques Brel. His image also reflects the dress aesthetic of Brel, as he is frequently spotted in clean cut suits and suave looking bow-ties.

Stromae’s influence on others seems to spread just as far as those who influenced him. He has caught the attention of superstar rapper Kanye West, who went on to remix “Alors on Danse” and contributed a rap verse to the revised version. Stromae has also impressed the Black Eyed Peas’ artist will.i.am and there has been much rumor about a possible collaboration between the two. More recently Lorde announced her admiration for Stromae and invited him to appear on the Hunger Games Mockingjay, Pt.1 soundtrack. Stromae provided the song “Meltdown” for the score, which features high profile artists such as Pusha T, Q-Tip & Haim.

Live reviews

I brought my wife and four of my most motivated/advanced high school French students from the Albany area to this concert. The students (who had bought their own tickets) worked their way to the front of the floor while my wife and I relaxed on some seats in the other half of the theater which still provided a fine vantage point. It’s a great venue for young and old alike (some attendees appeared to be about 6 years old). We’ve been studying Stromae’s music and videos in class for a couple years so this was an amazing opportunity for me and my students to see one of the major performers of the francophone world of pop music (he had three number one hits in France in 2013 and was this year’s NRJ Music Award Winner for best francophone song and best francophone male singer). He certainly didn’t disappoint with his special talent to involve the audience in the performance. The majority of the audience spoke French so the night was in French with little breaks for some English (“New York à l’eau!!”). The lights, videos and cartoon vignettes gave just the right amount of “show” to this concert. I only wish there had been merchandise to purchase! I’m so proud to have been at Stromae’s first concert in the USA. It was a total, rocking, dancing blast! Merci Stromae and thanks to Songkick for making me aware of this concert in the first place! As soon as your website alerted me, I bought my tickets for what was a sold-out show!!

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Stromae is boss. The guy has put up quite the show. The crowd tagged along with all his antics which were pretty funny. The ending was a bit boring with all his "merci, merci, merci..." (but i guess that's alrite since it was the last show of his tour). Played all his hits, but i really think he should get away from playing his first record (really dislike his eurodance days (I grant you that he needs to play (Alors on danse). All with an impecable taste i gotta say and heaps of class. My place was the only thing really wrong about the all thing (was miles away from the dude; to recognize his face had to look at this huge screen that was on top of the stage). Bravo Paul

This was the best concert I've ever been to!! Stromae was amazing! He told jokes and stories about his arrival to America, and they were quite funny. He introduced his entire band and said their nicknames and where they were from, which showed he knew the whole show depended on him AND his band. The tbest part (other than the music) was he had this applause sign and was waving it around and just having so much fun with it! The show was put together really well he had this huge screen behind him and it played all sorts of animations that he played along with. Great concert, great experience, and I will for sure be going to the next one! Je t'aime Stromae!!

It's so rare to come across an artist who can bring everyone in one room. Whether 5 or 55, french speaking or not, everyone just has such a blast. I was, and always have been moved by his strong lyrics and upbeat music. He's truly a sight to see and so talented. Not many artists will dance with a messed up foot and perform two acapella songs after a long set just to please the crowd. I hope I get the chance to see stromae perform live again some day soon. What an amazing night I had been waiting MONTHS for!

Stromae couldn't have given a better performance! This is by far the best concert I've been to. Stromae is an excellent singer, songwriter, and surprisingly a fantastic dancer!! The Best Buy Theatre was great and I really loved the crowd and the energy! Even the staff were friendly. I was lucky enough to enjoy 2 hours of song and dance from the front row! Couldn't recommend going to a Stromae concert enough! Well worth the trip to NYC! He will leave you in awe!

Second time in a year seeing Stromae...the act is similar, so it lost some of its magic; however its like seeing an amazing movie again when it re-released into Theatres....still a sensational and memorable performance. He is a breath of fresh air from so many other performers today; taking time to interact with the audience no matter how large and give his full effort up on stage. Incredible!

Stromae is like everyone knows a very eccentric personality. His performance in the Ziggo Dome 20 November of 2014 was like his famous song "Formidable"! Not only his singing skills were extraordinary, his dancing was even more inspiring. Not to mention he made the crowd laugh and feel comfortable. I had a really good time and I really hope I can go and enjoy his beautiful voice again soon!

Je ne m'attendais pas à un show Thechno avec autant d'artifices que cela. On ne voyait pas assez bien l'artiste souvent pas assez éclairé ou perdu dans un éclairage trop fort en intensité. Je trouve qu'il fait à l'occasion trop chanteur des iles au Club Med. Mai cela dit très showman super voix, super textes et musicalement trop poussé (en Show).

This was the most positive surprise for me at Fest 2022. His performance was incredibly artistic, enthusiastic, and he performed his songs superbly.

Major shoutout for thanking all the staff at the end. Very few artists do this.

Had a great time, and would strongly recommend attending.

I knew his musical talents but had never seen him on stage before. He is absolutely amazing, terrifically brilliant!!! I could go see him or anyone performing like him,every night !! He is definitely over talented. Can't wait to see him again !!

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Stromae - Multitude Tour

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Save the date: Stromae Multitude tour announces Vancouver show

In 2015, he entered the history books as the first French-singing artist to sell out Madison Square Garden

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Stromae multitude tour, save the date: stromae multitude tour announces vancouver show back to video.

When : Oct. 21, 2022

Where : Pacific Coliseum

Tickets/info : On sale Feb. 25, 10 a.m. at stromae.com

Belgian singer, writer, designer, director Stromae, a.k.a. Paul Van Haver, will open his Multitude Arena tour in Vancouver on Oct. 21. The date follows the global singing star’s appearance at Coachella in April.

In 2015, he entered the history books as the first French-singing artist to sell out Madison Square Garden, but Stromae was already well-established globally. His 2009 hit Alors on Dans not only hit #1 in many European countries, but gained raves from everyone from fashion icon Anna Wintour to former French president Nicolas Sarkozy and Kanye West. His debut album Cheese and the follow-up Racine carrée sold millions and paved the way for appearances at major festivals and collaborations with everyone from Lorde to Haim and Q-Tip.

Then Stromae went semi-silent from music for an eight-year period to develop the creative label Mosaert which made award-winning videos such as DGAF by Dua Lipa and Hostage by Billie Eilish. He has continued to release limited edition fashion collections as well.

Stromae’s third album, Multitude, is due out on March 4 and has already generated the hit singles and videos for Santé and L’enfer. His performance of Santé on The Tonight Show starring Jimmy Fallon is super stylish.

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Vancouver concert-goers fortunate enough to catch the artist’s local debut at the Vogue Theatre are well aware of how great his live performances are. Even with a freshly broken foot, he went on stage and gave his all through what was clearly significant pain.

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Stromae – ‘Multitude’ album review: a bold return to the stage

After stepping away from the spotlight, the Belgian artist's return is filled with invention, and unearths an important glimmer of optimism

Stromae might not be a household name but his music is universally adored. 2010’s chirpy EDM banger ‘Alors On Dance’ topped the charts in 19 countries while a second album ‘Racine Carrée’ three years later proved that the Belgian singer/songwriter was far more than a one-hit wonder.

With uptempo dance tracks that tackled everything from the Rwandan genocide that killed his father (‘Papaoutai’) and lazy gender stereotypes (‘Tous Les Memes’), Paul Van Haver’s raw, and emotional music saw him collaborating with Lorde on ‘The Hunger Games: Mockingjay – Part 1’ soundtrack and bringing out Kanye West at Coachella 2015. Later that year, however, he cancelled tour dates in the Democratic Republic of the Congo’s capital Kinshasa and Kigali in Rwanda, due to “an adverse reaction to anti-malaria medicine”. In the seven years that followed, he largely avoided the spotlight save for an appearance with Coldplay (on ‘Arabesque’ from 2019’s ‘Everyday Life’) and helping out behind-the-scenes with videos from Dua Lipa (‘IDGAF’) and Billie Eilish (‘Hostage’).

That said, new album ‘Multitude’ isn’t a tentative step back onto the global stage. After announcing his return at the start of the year by performing candid lead single ‘L’enfer’ in response to a question about his mental health during an interview on a French news programme, the rest of ‘Multitude’ is just as dramatic, veering from hyperactive europop to pulsating reggaeton and dreamy hip-hop.

Opener ‘Invaincu’ is a powerful track about survival, powered by triumphant beats: “as long as I’m alive,” Haver sings, “I’m undefeated”. The squeaky synths of ‘Santé’ meanwhile see Stromae raising a glass to the under-appreciated and underpaid essential workers that carried on throughout the coronavirus pandemic. Throughout ‘Multitude’, Stromae frequently plays with character (the bubbling rage of ‘Fils De Joie’ sees Haver taking on the role of the son of a sex worker) but it’s never cartoonish. Instead, tracks like the deliberate ‘Déclaration’ explore gender roles in parenthood ( “It’s still a better deal to be a bastard than a slut” ) while the vulnerable cinema of ‘L’enfer’ balances depression and loneliness with knowing he’s not the only one who sometimes feels that low.

As intricate and affecting as the wordplay is, you don’t need to speak French to feel the emotional heft Stromae loads into each of ‘Multitude’s tracks. The vocals are as limber as the glitching, swaying soundscapes and the whole album is a mesmerising listen that constantly surprises. It even ends with a glass-half-full banger ‘Bonne Journée’, which sees Haver choosing joy. 12 years after his breakout hit encouraged the world to take to the dancefloor to forget their problems, Stromae is back to get people moving once more.

Release date: March 4

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The Disappearance and Return of Stromae: ‘I Needed to Live a Normal Life’

• By Tomás Mier

For the last seven years, fans around the world have had one question on their minds: “ Stromae , où t’es? “

That’s how long it’s been since the Belgian singer was last seen making waves around the world with his honest lyrics and electropop sound. In the U.S., many encountered Stromae’s music in high school. (“Were you really ever in French class if you never had to translate a Stromae song?” read one tweet .) For others, it was the way his songs provided commentary on gender equality (“Tous Les Memes”), the effects of social media (“Carmen”), and the Rwandan genocide that killed his father (“ Papaoutai “). The success of his second album, 2013’s  Racine Carrée , led him to sell out stadiums in Canada and Europe, bring out Kanye West at Coachella , and have the instrumental “ Merci ” featured on the Hunger Games: Mockingjay soundtrack with Lorde, Pusha T, Q-Tip, and Haim. (Yes, all on the same song .) Then, at the peak of that success, the musician born Paul Van Haver shut it down.

“I just needed to live a normal life,” Stromae says over Zoom from his cozy Brussels office after struggling to get his webcam to focus. “I needed to be inspired.”

The result of that creative break is his third album, Multitude , out March 4 — a 12-track collage of sounds from all over the world, laced with the storytelling and brutal honesty only Stromae can deliver. “People know me not as a depressing singer, but as one who loves to sing about really dark issues on dancing tracks,” he says.

After 2015, public sightings of Stromae were rare. His social media accounts went blank, he stopped releasing music (except for a one-off single in 2018, “ Défiler “), and quit giving interviews. But through it all, he continued to collaborate musically with other artists behind the scenes. During his musical hiatus, he directed videos for Dua Lipa and Billie Eilish , and he provided vocals on songs by Orelsan and Coldplay . Alongside his wife and creative director, Coralie Barbier, he continued building their fashion label, Mosaert . Above all, he says, “I had the chance to get married and have a baby. And that’s something really important. Just to live, normal stuff. To tell new stories.”

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It wasn’t until 2018, months after he penned the lyrics to “ L’enfer ” — a haunting, piano-backed single about grappling with loneliness and suicidal thoughts — that he decided it was time to think about making an album. This came after countless social media pleas from fans asking him to give the world something, anything . “It’s funny, because my wife was next to the door when I was writing the track,” he remembers. “She was touched by the song and told me that she was so happy to hear me composing again.”

That year, Stromae and his other creative director and brother, Luc Van Haver, started to work on Multitude . Stromae says the new record takes “some ingredients from everywhere in the world” and was inspired by the backpacking trips their mother took them on across South America and Africa. “Even if we didn’t have a lot of money when we were young, travel was something very important for my mother,” says Stromae. “Music also.” On the record, the Van Haver brothers intertwine stories and sounds for a mosaic of lyrical portraits.

The album opens with “Invaincu” and its sample from a Bulgarian choir featured in the 1995 manga film Ghost in the Shell . On “C’est Que Du Bonheur,” Stromae takes inspiration from Latin America’s electronic cumbia (“I’m a little bit exhausted with the reggaeton groove, to be honest,” he says with a laugh), while other tracks on the LP feature sounds from the charango, an Andean string instrument, and the two-stringed Chinese erhu.

Making the album feel cohesive was a challenge. “At the beginning, everything was a little bit too calculated,” Stromae admits. But by the end, the record ended up feeling like one complete experience, he says. Multitude also introduced a new way to work for the singer, as he made a 180-degree shift from how he recorded Racine Carrée and his 2010 debut, Cheese . “With Racine Carrée , I remember working until 7 a.m. Suffering,” Stromae says. “Now I know that I don’t need to suffer to create good songs.”

This time, he worked on the LP “like a normal guy,” writing and making music during a typical, 9-to-5-style workday. “I can have a balanced, normal life — and still compose,” he says, adding, “To me, tour life is not inspiring. I cannot write songs on a tour bus.”

Most of the album builds on what Stromae knows best: lyrical storytelling from the point of view of a fictional character, in a style that can recall Mexican  corrido . In making the record, he took inspiration from great Francophone singers Édith Piaf and Jacques Brel. “I think our job is to tell stories. That’s how I see [it],” he explains. “I play with words… It’s a balance between personal and universal. It’s important for me that people can relate to my songs. If it’s too personal, I don’t think that’s really interesting.”

“Mon Amour” follows a man as he cheats on his partner, and “every time he’s in a relationship, he fucks everything up,” Stromae explains. “Fils de Joie” is sung from the perspective of a sex worker’s son, who’s defensive of his imperfect mother. (“She’s a hero. And I will always speak of her with pride,” Stromae sings on the track.) “C’est Que Du Bonheur” was inspired by the joys and toils of parenthood, a new experience for the musician, as he sings, “if you knew how much I love you,” but also blames the child for being the reason why “we only have time to do it once a year.” Elsewhere, “La Solassitude” and “Mauvaise Journée” tackle the woes of loneliness.

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Seven years away from the public eye allowed Stromae to simply live his life. And, as a result, he’s returned with a fresh taste of the musical gift he stowed away for so long. “I’m a bit anxious and happy,” he says about coming back. After his album releases, Stromae’s schedule will be packed once again with scheduled performances at Coachella, a tour across the U.S. and Canada, and an already-sold-out European tour in 2023. “To be honest, it’s just one day after another,” he says. “I have a healthy, balanced life now. I’m going to take it step by step.”

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Hibla Gerzmava at Kazan Autumn: a woman's story

The second concert of Kazan Autumn International Opera Festival held by the State Symphony Orchestra of the Republic of Tatarstan ended in Kazan. The State Big Concert Hall was full, this time art director of the Tatarstan Symphony Orchestra, art director of the festival Aleksandr Sladkovsky invited one of the best world sopranos Hibla Gerzmava to take part in Kazan Autumn. Realnoe Vremya tells the details.

Prayer for 'holy goddess'

Kazan Autumn has been traditionally opening with a luxurious gift from Aleksandr Sladkovsky to citizens of Kazan for 8 years already – the maestro invites music fans to an open-air concert near the Agriculturists' Palace on 30 August. Admission is free, of course, and one can listen to good opera music for 2 hours. The concert ends at 22.00 to the sounds of fireworks by the Republic Day and the City Day when the orchestra is giving a bravura performance of Salikh Saidashev's March. So was it this year too.

The next concert of the opera festival moves to the State Big Concert Hall of the Republic of Tatarstan where a full-house performance was forecasted last Saturday. The evening was dedicated to the owner of a soft soprano that seems to consist of melted old gold – Hibla Gerzmava, who has already performed with the Tatarstan Symphony Orchestra and maestro Sladkovsky many times.

Apart from having an amazing voice, Gerzmava is artistic, beautiful, smart and charismatic. She knows how to instantaneously transform onstage, instantaneously switch from one psychological state to another. She doesn't allow the audience to distract by constantly drawing attention to herself. In general, when she was on the stage, she had only one rival. More about that a bit later on.

The overture by Verdi's Nabucco was performed by Sladkovsky like a small play where musical themes became plot lines

Going ahead, we'll say the overture by Verdi's Nabucco was performed by Sladkovsky like a small play where musical themes became plot lines where almost the actors' characters were distinguished. This all alluded to the famous choir of Jews like a gold pre-dawn smoke. It's a great secret how the maestro managed to do it. Back to the evening's main character.

The first appearance of Hibla Gerzmava on the stage was greeted with a big round of applause, the singer was incredibly elegant in a strict sparkling floor-length black dress. She was focused and distracted – Casta Diva from Norma was played, a prayer for the ''holy goddess'', a very complicated aria in the world opera repertoire. How delicate, how passionate was Aleksandr Sladkovsky at this moment! He seemed to be afraid of any negligence to destroy this mysterious, praying state of the singer.

Gerzmava was different in the concert – tragic Desdemona who hoped to be happy, suffering Adriana Lecouvreur, tender Clara from Gershwin's Porgy and Bess . The silk of the black dress with crinoline in the second part of the concert made noise like Blok's The Unknown Lady . The singer was either desperately dramatic or recklessly merry, naughty. It seemed the poet said about her: it's a great step to be a woman, heroism is to make go mad.

Gerzmava was different in the concert – tragic Desdemona who hoped to be happy, suffering Adriana Lecouvreur, tender Clara from Gershwin's Porgy and Bess

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Realnoe Vremya is an online newspaper, providing business news and sectoral analytics, up-to-date information about the development of economy and technology in Tatarstan, Russia and the whole world. Every day Realnoe Vremya’s Editorial board prepares materials and interviews with the leaders of different sectors and markets on the most relevant topics.

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Kazan Travel Guide - Perfect Your Travel Itinerary

Home / Russia Travel Experiences / Kazan Travel Guide – Perfect Your Travel Itinerary

Craving a one-of-a-kind, awe-inspiring trip to a place of ancient histories, visually spectacular, and spiritual marvels? The Kazan Travel Guide has everything you need to get just that.

Kazan is the capital of the Tatarstan Republic, also known as Russia’s third capital. Just an hour-and-a-half flight away from Moscow, this beautiful and thriving metropolis has a centuries-old history. Founded in 1005, Kazan is one of Russia’s oldest cities (older than Moscow) with sites and architecture reminiscent of its glorious 12th-century reign by the river Kazanka. The multiethnic region is famous for the harmonious co-existence of many different religions, whose sculpted sacred sites are some of the world’s most beautiful buildings. You’ll find a sublime fusion of Tatar and Russian culture in this city, creating a glorious melting pot of different cultures. Whilst predominantly Muslim, you will find all religious backgrounds within the republic. Discover how easy it is to be entranced by the captivating Kazan – it is even worth making a detour on the Trans-Siberian Railway for.

This Kazan Travel Guide will help you plan everything down to preferred months of travel according to seasonal highlights, main attractions, meals from our pick of Tatar cuisine delicacies, methods of transport, and activities from morning until noon.

Table of Contents

Why travel to Russia’s Kazan?

Kazan kremlin.

This UNESCO listed fortified citadel is the most familiar landmark of Kazan. Kazan Kremlin is full of cozy parks, picturesque streets, delectable foods, and beautiful sites. Take a tour through the only surviving Tatar fortress in Russia and lose yourself in its Middle Ages era splendor with this heritage-listed site. Many of the Kremlin’s architectural wonders are sculpted by the famous Postnik Yakovlev and Ivan Shirjay, recruited by the Tzar. Kazan Kremlin is also home to the Söyembikä Tower and museums, where Kazan’s extensive history and legends take centre-stage. Many also flock to the multi-faith place of worship for its glorious sculpted sacred sites such as Kul Sharif Mosque.

Söyembikä Tower

Kazan’s tiered tower of Soyembika, also known as the leaning tower or ‘Khan’s Mosque’ is the highlight of Kazan Kremlin. Its construction is recorded by scholars to date back as far as the 16th century, whose age-old history is expressed in some of its majestic colonial architecture. The colours are stunning in summer, and even in winter, the snow creates a fairytale-like scene. Once inside, you should pay attention to the haram carpet and elaborate details on the ceiling. Romantic and mystic legends surround the tower and the only woman to rule the Kazan Khanate for which it’s named after. It is said to be the same tower that led the beautiful Princess Syuyumbike to her death, built for her by Ivan the Terrible who seized Kazan in 1552 and then demanded they wed. Others tell a different history of a Soyembika forcibly detained here by Muscovite forces, before being taken to Kasimov where she died. For those interested in its story, be wary of self-nominated guides- the official Kazan guides are a purchase worth making. Despite its tragic history, many locals believe if you touch the tower and make a wish it will come true.

Kul Sharif Mosque

The Kul Sharif Mosque is Kazan Kremlin’s main mosque and one of the city’s most beautiful buildings. You will hardly be able to take your eyes off this one-of-a-kind structure. This attraction is not just for Muslims. It is open to all Kazan’s travellers, but it is preferred that women have their hair covered during their visit. The Kul Sharif Mosque takes the place of a former mosque conquered by Ivan the Terrible in 1552. From outside, the majestic lotus-flowered dome landmark sits atop a hill overlooking Kazan. Inside, it’s fitted with a modern yet classical interior where you can pray with the names of 99 gods inscribed on ceilings and window glass. On the ground floor is a Museum of Islam, where a tour in English may be available if there’s an English-speaking docent on shift. Otherwise, there are booklets in English that explain the whole exhibit. Whilst everything is free to all visitors, they ask you pay 3 rubles for shoe slip-covers to help keep its floors clean. It is recommended you go in the morning to avoid a queue to visit the Kul Sharif Mosque, boasting a reputation as one of the best mosques in the world.

Temple of All Religions

For those interested in the spiritual marvels of Russia, it is also recommended you see the Temple of all Religions located along the Volga river of Kazan . This is under construction, so it’s not a must-see, but worth the visit if you have time to kill before taking a train or bus. It boasts 16 towers all for various different religions- a stunning sight to behold from the outside.

Baumana street

The Baumana Street is the main tourist and pedestrian zone between the Kremlin and Tokai Square. Tatarstan restaurants, stalls of street painters, boutiques, souvenir shops, fountains that fulfil wishes and kiosks are just a few of its gems that are ready to assure your every need and charm your socks off. Monuments and fountains make for a perfect photo backdrop, with statuary ranging from a bronze carriage of Catherine II to the “thick lazy Cat of Kazan”, a tribute to its feline protectors who fended off mice. Whilst mingling with the locals, the rich chimes of Kazan’s bell tower help bring the vibrant Arbat to life. Baumana street’s historical attractions include houses of the 19 th century, a monument to Feodor Chaliapin, and a Russian baroque style Epiphany cathedral. For opportunists seeking for the perfect Russian souvenir, Baumana street is the place to buy everything: Matryoshka dolls, Tatar folk costumes, and one particular favourite of tourists is the Tatar national male headwear “Tubeteika”. This is a street that never sleeps- when the sun sets, it becomes a hub for nightlife.

Palace of Farmers

The Palace of Farmers is a vast and regal building like something out of a fairytale. Despite being a recent addition to Kazan’s collection of ancient sites, it looks to be built well over a century ago. This eclectic architectural piece boasts elements of Classicism style, the Second Empire, and the Belle Epoque. A magnificent, 65-foot tall bronze tree sculpture grows in the archway of the palace’s façade- a sight that makes for a mesmerizing photo backdrop. This is a governmental building related to agriculture, so the interior is not accessible. However, it’s worthwhile just to see its magnificently sculpted exterior. Located adjacent to the Kremlin and Kazan river embankment, the Farmer’s Palace makes for beguiling scenery for your riverside stroll. Manicured gardens out front create a serene, relaxing space in the summer sunshine, the site’s most popular season. When the sun sets, the Palace of Farmers comes alive with an array of spectacular light displays.

Raifa Monastery

Whilst known as one of the largest monasteries in Russia, Raifa Monastery had humble beginnings as a place of solitude where monastic followers could dedicate themselves to God. Found in a serene location by Sumy Lakes in a lush pine forest, this centuries-old site has been rebuilt time and time again. Its history tells of temple destruction, brutal plundering, arson, and has once made a home for juvenile delinquents. The history behind the monastery’s name is no exception to this trail of tragedies. In fact, the hermitage was established and named in memory of holy fathers tortured in Sinai and Raithu. Abandoned for over half a century, the ruins have been given new life with well doted on additions. This includes the Holy Trinity Cathedral, the Cathedral of God’s Mother of Georgia, the Church of the Ss Reverend Fathers and bell tower, with beautiful onion-domed architecture and intricate iconography. It’s free to wander monastery grounds, where small shops and cafes populate the area. Arrive at this stunning rural monastery via a 40-minute drive from Kazan (with some free parking available), bus tour, or a scenic boat trip.

Sviyazhsk Island

Sviyazhsk Island, or “Conqueror City”, began as a fortress for Ivan the Terrible in 1551 when Kazan was an unassailable fortress. Frozen in time, visiting the Island is like going through a time machine with no fewer than 37 cultural-historical monuments. Its religious marvels are a must-see. Trinity Church is the last of its kind in Sviyazhsk- a wooden structure dating back to the time of Ivan the Terrible. Axe marks made by Yaroslavl carpenters can still be seen. The Dormition Cathedral boasts a glorious collection of 16th-century frescos. Its most famed is St Christopher with a horse’s head- a fresco that tells the story of a saint so handsome he pleaded to God for ugliness, to avoid unwanted attention from women. However, these monasteries have seen their fair share of horrors- the Soviet political repression saw them turn into prisons, concentration camps, and psychiatric hospitals. A local museum, Sviyazhsk State Museum of History and Architecture, is no stranger to these horrors. Here, inmates and prisoners were executed and their belongings are still on display in abandoned cells inside. A monument to the victims of political repression forms a two-meter-tall marble slab on the island.

The Ancient City of Bolgar

Not far from Kazan, Russia’s mysterious Muslim City, Bolgar, dates back to the 7th and 15th centuries. With such a powerful history, this Eurasian metropolis is one of Russia’s first UNESCO listed sites. It’s served as the capital of the Mongol Golden Horde, ruled by the founder of the Timurids Empire, and even the Prince of Moscow. A 1969 excavation for the State Historical and Architectural Museum and Reserve saw the city turned into a huge open-air museum.  Stone citadels, mosques, and tombs are some of its jaw-dropping remains from its glory days. Other attractions include the Khan’s palace, White Mosque, the hidden healing well of Gabdrakhman, a 700-year-old burial chamber for Bolgar nobility, and an interactive bread museum. The city of Bolgar has great religious significance, once the center of Islamic civilization in Europe. Here, you can find the largest printed Kora in the world weighing at 500kg. Bolgar remains a sacred pilgrimage destination to Tatar Muslims. The city of Bolgar is a three hours’ drive from Kazan along the scenic route of the river Volga.

Kazan from a boat

Kazan’s river station is flocked to by tourists eager to experience the scenic water route along the city’s shores. Travelling through Kazan with a Volga River boat trip is filled with incredible landscapes and jaw-dropping scenes. Gorgeous views of some of the city’s beloved icons include the Kazan Kremlin, whose structure sparkles like a jewel in the sun in all its Russian glory. The comfortable steam-ships on the rivers and lakes of Russia depart a few times a day to make for regular service (12:00, 15:00, and 19:00 on most days). Two-hour boat trips without stops, with a guided tour along Kazan’s coast. A total of 9 dams choke the river and halt its waters to a standstill- a glistening, magical scene that is a magnet for artists, writers and explorers. By its shores, the Volga river is a favourite for camping, relaxing, fishing, and swimming.

Kazan Cuisine Guide: A Foodie’s Haven

Kazan is the central home of Russia’s Tatar cuisine, boasting many restaurants and cafes that have earned its keep in the hearts of foodies across the globe. This Kazan Travel Guide will convince you why this is a haven for Russian and eastern cuisine.

Museum of Chak-Chak

The Museum of Chak-Chak (Çäkçäk) is named after the mouth-watering honey-baked balls of doughy goodness, a delicacy served at celebrations and festivities. This museum-turned food establishment is dedicated to traditional Tatar foods and drinks, particularly their national sweet foods. Bashkir dishes, chak-chak, bursak, and kak-tosh made from almonds are some of the recipes derived from Tatar enlightener kayum nasyri. These are only some of the most popular must-try dishes that cannot go unsampled. Here, guests drink tea and sample desserts whilst guides tell stories of the ancient Tatar people’s way of life, tradition and customs. If you want to learn the secret to cooking the perfect Tatar dish, this is the place to be.

Dom Tatarskoi Kulinarii (restaurant)

Dom Tatarskoi Kulinarii, or House of Tatar Cuisine, is one of the oldest national restaurants that has earnt its place in the heart of foodies from across the globe. Its dishes are based on Yunus Akhmetzyanov’s time-tested recipes and traditions – a beloved local guardian of traditional Tatar cuisine. Here you can find confectionary like Tatar sweets, and authentic dishes such as:

• Echpochmak: These are triangle-shaped pastries stuffed with mince and potatoes. A small hole remains at the top of the stuffed and folded dough. Halfway through the oven baking process, the pastries are filled with a spoonful of broth, ensuring that the meat (stuffed raw) is moist and tender.
• Gubadiya: Layered pie which contains cottage cheese or quark, minced beef or lamb and boiled egg, which is combined with raisins or mixed dried fruits (such as figs, prunes and apricots). This filling is then covered with melted butter before being baked into a mouthwatering dessert.
• Kazylyk: Originating from Tatar nomadic culture, this dish is a horse meat sausage which has been traditionally cured by air-drying in the sun and wind. It is often spiced with coriander or cumin, served in thin slices with pickled sliced onions
• Talkysh kaleve: This intricate dessert involves honey and sugar spun into a stringy fairy-floss which is then moulded into miniature cones and coated with a powder of melted butter and flour
• Manti: Tatar dumplings made from either spiced lamb, beef or horse meat, which can be mixed with pumpkin or squash depending on the region. They can be boiled or steamed in their own juices, typically served with butter, sour cream, onion sauce or red pepper powder.

In the evenings, your wining and dining with this Bauman street food will be accompanied by live music and the opportunity for master classes about preparing national dishes.

Kazan Travel Guide: Summer Highlights

Months & temperature.

  June, July, August: +24 – +27 C

Summer is by far the most popular and most frequented time of year to trek to Russia’s glorious Kazan city. The bustling, sunny and comfortable seasons of June, July and August are some of the best months to travel here. July is its hottest month at an average of 27 degrees- the perfect time to bask by the mesmerising Volga River.

The Sabantuy Tatar National Festival in June is jam-packed with competitions, sports events, dances, feasts, and music. This holiday hallmarks the end of spring crop planting and draws crowds of up to 40,000 in Kazan’s village of Mirny. Competitions of sportsmanship draw contenders near and far, both amateur and professional, in games like the egg-and-spoon race, sack races, horse races, and wrestling matches. Contenders for the more professional scenes like wrestling can earn prizes varying from home electronics to cars. The wrestling champion is declared ‘Batyr’ and lifts an overweight ram onto his (or her) shoulders for the cheering crowd. This festival is a marvel to behold, especially witnessing it for the very first time.

Similar to this: See also International handicraft festival ‘Spasskaya Yarmarka’ in August, Elabuga city

Kazan Travel Guide: Winter Highlights

  November, December, January, February – 0 to -10 C

For those far-reaching globetrotters, here is your chance for a true white Christmas- Kazan in Winter gets especially chilly in November, December, January, and February, the coldest months to travel. In November and December, there is a high chance of snow. Besides public holidays, winter outings mean fewer crowds, fewer queues and a more serene, quiet atmosphere.

The Nardugan Pagan Holiday Festival is popular in Kazan as an annual celebration honouring the winter solace. According to the ancient Tatar calendar, the birth of the Sun is December 22. This begins weeklong festivities and celebrations acknowledging the awakening of nature and the beauty of life. Dancing, traditional costumes, theatrical performances, Tatar baker’s delicacies, and fortune tellers are part of the joyous festivities.

For those creative art buffs interested in the sophisticated art forms of ballet and opera, see Kazan’s Shalyapin International Opera Festival (February), and the International Festival of Classical Ballet, Rudolf Nureyev Dance Festival (May).

Kazan Travel Guide: How to Get There

Kazan international airport.

Kazan’s international airport in the Laishevsky district is the only one in Russia that secured a win in the World Airport Awards of 2018. It’s equipped with paid and free parking, medical facilities, free Wi-Fi, shops, cafés and restaurants, a post office and more whilst being English friendly. The train terminal of inner-city travel is located within the airport. Find out more about travel options via the air through the Russian Official  Kazan Aero site, Aeroflot Airlines, or plan your trip with Google Flights.

Railway station

For visitors travelling to Kazan from within Russia, the Russian railway is connected to the city’s two main stations: Kazan-Passazhirskaya and Vosstanie-Passazhirskaja station. Trains from the Russian cities  Moscow , Yekaterinburg, Nizhniy Novgorod, St. Petersburg , Novosibirsk and Adler pass by these stations. The railway stations are fitted to meet your every need, supplying luggage storage, baby changing facilities, tourist info desks, ATMs, cafes and more.

Trans-Siberian Railway

Kazan is one of the top must-see stops on the Trans-Siberian Railway . The traditional Russian Trans-Siberian Railway route stretches from Moscow to Vladivostok, and has Kazan as one of its main stops. Even if you weren’t planning on visiting Kazan but will be making your way through the Trans-Siberian Railway, this is a detour you won’t regret making. Kazan is a 1000-year-old ancient city, still full of life, and the perfect place to lose yourself in (but not too lost, because their diverse transport system will be sure to get you back on track).

Enjoy a short Kazan city tour via this entertaining video:

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