With just one day to go before Montreal’s biggest electronic music festival, îLESONIQ, we’re excited to share an exclusive conversation with Évelyne Côté. She’s the driving force behind the programming of îLESONIQ, Canada’s largest electronic music festival, as well as its sister events, OSHEAGA and LASSO. If you follow Canada’s music scene, you already know Évelyne’s impact. She’s a major figure in dance music, with roots in Montreal’s underground rave culture. From spinning records to studying music journalism, she’s done it all. Évelyne sat down with us at EDMTunes to reflect on the journey of ÎLESONIQ. As the festival celebrates its 10th anniversary this weekend, she shared how it all began. From how OSHEAGA helped shape its growth, and how LASSO is learning from both.
The bold text is our questions, followed by Évelyne’s responses.
Thank you Évelyne for taking the time and talking to us especially with how busy these past few weeks have been with OSHEAGA last week and îLESONIQ, LASSO coming up. I know îLESONIQ launched a few years after OSHEAGA—what inspired its creation?
OSHEAGA launched in 2006. I joined the team in 2010. My first edition was the year we expanded to three days and booked EMINEM. That was a turning point—it went well, with a few things to fine-tune. After the 2011 edition, our fifth, momentum picked up. Agents from various genres showed interest. EMINEM brought hip-hop, electronic music, and new trends, expanding OSHEAGA’s indie-rock roots. By 2013, big EDM headliners started calling. Ultra and EDC were booming, and pure electronic festivals were emerging across North America. Artists like Tiësto, David Guetta, and Above & Beyond didn’t quite fit OSHEAGA’s core audience. So, we asked ourselves—could we build a sister festival without diluting OSHEAGA? We believed we could. In 2013, we began shaping the business model.
Now, with LASSO, our country music festival, we aim to spread production and site costs across three weekends—OSHEAGA, îLESONIQ, and LASSO. OSHEAGA turns the site into Quebec’s 12th largest city for that weekend. Hosting high-quality electronic or country festivals in Canada wouldn’t be viable without this model. We reuse stages but target different niches, with some fan overlap. Bookings for the inaugural îLESONIQ was tough. Tiësto joined us, and we’re forever grateful. We started booking in February 2014 for an August launch. Compare that to us booking artists now for 2026. That was the biggest challenge of my career. Seeing fans embrace the brand in its first year was incredible. Most festivals don’t profit in year one, but îLESONIQ did—and fast.
Having that experience from OSHEAGA and then using what you learnt, did that help with ÎLESONIQ?
Electronic music has a distinct culture. It grew from the underground and developed its own codes and tight-knit community. As it moved into the mainstream, things changed. OSHEAGA’s poster lineup used to come together organically. Now, it’s more complex—just like building a lineup for electronic artists. Dynamic pricing and tiered tickets were once rare for rock shows. We saw them more in raves and DJ events, where ticket prices started low and increased. These events became spaces for exploration and innovation. So we did learn but this industry is always evolving.
It has been a great 10 years for ÎLESONIQ, how has the vision evolved since it’s early days?
🔊 Sound Evolution
From the start, we aimed to push production quality. Sound was a top priority. We focused on containing it to the island to avoid disturbing neighbors. Most DJs don’t bring sound engineers, so muddy sound was common. We addressed this early by staffing sound teams properly. Over time, we optimized delay towers and adapted setups for outdoor conditions and weather. Now, we’re experts in delivering high-quality sound in any environment.
🎧 OASIS Stage
In the early years, OSHEAGA had two main stages. For ÎLESONIQ, we used only one part of the site and removed one stage, decorating the remaining main stage. It was already massive—the largest mobile stage available in North America. Then a few years ago, I was backstage with Nick from booking and Duncan, our senior production director. Duncan sketched a hydraulic DJ booth between the two stages—complete with video walls, moving lights, and lasers—on a napkin at a picnic table. It just made sense. We needed to match the scale of major festivals. Fans were coming from Argentina, Belgium, France, the UK, and Mexico. We had to deliver international-level production.
Expanding ÎLESONIQ to both parts of the site, like OSHEAGA, was a major milestone. Doubling the main stage allowed us to host top-tier headliners while experimenting with programming on smaller stages. It gave us the flexibility to push creative boundaries and diversify the experience.
🎶 Programming Diversity
Our goal was to expand beyond mainstream. Today, we cover techno, house, dubstep, and drum and bass. We’ve built credibility across genres. Artists trust our crowd and feel safe taking creative risks. That reputation makes ÎLESONIQ a destination for bold performances.
Talking about Montreal, and local talent. How do you balance showcasing emerging local artists with booking established names when you curate your lineup every year?
At evenko, we produce over 1,000 shows a year. We work with international and local artists every week. That gives us a clear view of which artists are ready for a festival slot and who can benefit most from the exposure. It’s a constant dialogue. We collaborate with local champions who support the scene and are great partners.
I know we chatted about the evolution of this festival in the past decade, what was the biggest challenge you faced when you were launching ÎLESONIQ?
We usually announce our lineup in February, but for that first year, we did it in April. By February, 80% of artists already have plans or confirmed bookings—especially in Europe and Ibiza. The festival circuit kicks off with Tomorrowland and runs through August, sometimes into October.
Our biggest challenge was convincing artists to fly to Montreal for one weekend and then return to Europe. We had to make a strong case for why it was worth their time.
What has the most memorable moment been working with ÎLESONIQ, OSHEAGA or evenko?
There have been many memorable moments. One that stands out is the first Friday at noon when we opened the gates for ÎLESONIQ. Seeing fans dressed up, rushing in, and fully immersed from the start was emotional. Every year, I return to the same spot on the terrace to watch that energy—it’s unmatched. After a year of planning, seeing that excitement is incredibly rewarding.
Programming has been both challenging and fun. We’ve expanded into techno with artists like Sarah Landry and Eli Brown. Last year, Sama and Anna played back-to-back—a rare set only one other festival in South America secured. Their reaction to the stage and crowd felt like a coming-of-age moment for ÎLESONIQ. This year, we’re pushing further with acts like Tape B and Levity. We aim to make each edition unique, not just follow the typical EDM festival formula.
At OSHEAGA in 2013, we hosted a Boiler Room event. It was chaotic—production headaches, a small dome, and an unfinished site. As usual with Boiler Room, it was free but hidden. Fans had to find it. Despite the challenges, I loved that project.
Working with evenko feels like being part of a family. We each specialize in different genres, but everyone supports one another. I’m grateful to be part of this team.
The Sama B2B Anna attracted a huge crowd from Toronto last year. You’re a DJ yourself, how does that influence your work in the festival world. And when are we going to see you next behind the decks?
I started DJing about 3–4 years ago, already in my 40s. I had always separated music from business in my mind. Most programmers get into it because they love music, but after 12–15 years, the business side takes over. You spend 40–70 hours a week on logistics and planning.
DJing became my way to reconnect with music on a personal level. As a booker, sharing music is more transactional. As a DJ, it’s direct. It helps me rediscover what I love. I play about three or four sets a year. My next set is in Quebec City at the St-Roch XP festival, happening September 4–6. I’ll be playing on the 6th. The venue is a closed-down toy store called Benjo, which was reopened just for the weekend. It’ll host a series of DJ sets. I’m excited to play there alongside toyandskinny.
Where do you see ÎLESONIQ heading in the next five years?
I want to keep creating surprises and exclusive moments. I already have a few ideas for next year. Our shows have grown into massive spectacles—with pyros, lasers, and video walls. But I’d love to bring the experience closer to the crowd.
Electronic music encourages self-expression. It’s therapeutic—people dance with each other and with themselves. ÎLESONIQ is a welcoming space. If you’re unsure, give it a try. It’s a place to be yourself, with a little extra. Step out of routine and get inspired. That is the spirit I want to keep cultivating.
What advice do you have for someone starting their own festival ?
There are two paths. You either join a large company that has the resources to take risks and absorb losses for a few years until it builds credibility. Or you start small—underground—with friends or a crew. Right now, being in the middle is the hardest place to be.
Last fun, personal one. On the streaming service you use what would be last song you’d be listening to?
I was listening to Spotify’s Release Radar and heard three standout tracks: ‘Falling’ by Alexis Roberts, Bonobo, and Chris Lake; ‘Front & Backseat’ by Michael Bibi; and Max Styler’s remix of Samantha Loveridge’s ‘Backtrack Blow Up.’ Get ready—his Sunday after-party will feature a 360-degree setup at Studio. It’s going to be a treat, ticket information here.
Thank you for your time, any last words for our readers?
Final thoughts: Music festivals are good for your health. If you’re a younger fan, ÎLESONIQ is a great place to start. If you’re a seasoned fan, you’re likely underestimating how much fun you’ll have. Give it a try—you might be surprised.
Hope you enjoy this read and do check out ÎLESONIQ in the coming years, it will not disappoint.