by Jon Bauer
Nestled inside The Battery – San Francisco’s plush private club whose wood-paneled, hyper-curated aesthetic feels lifted straight from a Wes Anderson film – last night felt less like a standard concert and more like stepping into an intimate, living cinematic set. Against this mid-century backdrop, Quebec’s Flore Laurentienne delivered a transcendent evening of chamber-instrumental soundscapes that proved both profoundly delicate and unexpectedly thunderous.
This marked only the group’s second appearance in San Francisco. Having had the privilege of photographing their local debut—opening for legendary ambient pioneer William Basinski beneath the cavernous vaults of Grace Cathedral – seeing them transition from the massive acoustics of a church to the close-quarters intimacy of The Battery highlighted the remarkable versatility of their sound.
Led by composer Mathieu David Gagnon, who commanded an array of keyboards and warm, analog Moog synthesizers, the six-piece ensemble wove a seamless bridge between classical minimalism and vintage synth exploration. Flanked by a lush string section – three violinists and a cellist—alongside a remarkably inventive percussionist, Gagnon guided the room through an immersive musical narrative that mirrored the vast, atmospheric landscapes of his native Canada.
The set opened gently with “Fleurs,” immediately setting a serene, contemplative tone as delicate string arpeggios floated over warm, undulating Moog swells. The acoustic textures of the strings blended effortlessly with the electronic warmth of the synths, turning the tight room into a vibrant acoustic sanctuary.
As the set progressed into “Régate” and “Petit matin,” the interplay between the musicians became spellbinding. Gagnon’s keyboard motifs anchored the compositions, providing a steady pulse while the violinists and cellist layered rich, swelling harmonies. What truly elevated the rhythmic texture throughout the performance was the percussionist’s organic, tactile setup – eschewing standard kit elements to play an assortment of found objects like bottle caps, wine corks, metal pieces, and sea shells, generating subtle, rustling polyrhythms that felt organic and alive.
Midway through the evening, Gagnon paused to address the room, introducing “Fugue” with an insightful breakdown of the musical form itself. He explained how a fugue relies on repeating, overlapping melodies, paying homage to “the master,” Johann Sebastian Bach, on whom he directly patterned the piece. Hearing the classical, Bach-inspired counterpoint rendered through a combination of live strings, unique percussion textures, and rich Moog synthesis was a clear high point of the night.
This seamless blend of centuries-old compositional rigor and vintage synth textures carried through “À travers les Chablis” and “Navigation IV.” Towards the climax, “Route” and the expansive “Fleuve I” surged with emotional weight, drawing absolute silence and rapt attention from the audience.
Before diving into the grand finale, Gagnon introduced “Fleuve VII,” explaining that the piece was inspired by the majestic St. Lawrence River – the massive body of water running through his homeland in Quebec. Following the gentle, contemplative “Petit piano,” “Fleuve VII” swept over the room like a swelling tide, closing the performance with a breathtaking wall of sound that left the room suspended in a quiet, glowing awe.
Setlist
- Fleurs
- Régate
- Petit matin
- À travers les Chablis
- Navigation IV
- Fugue (Introduced with tribute to J.S. Bach)
- Route
- Fleuve I
- Petit piano
- Fleuve VII (Introduced as an homage to the St. Lawrence River)
