Conversation with
These humans and their unique vision of life inspire us.
And we WANT to know more.
Photo: Kelly Jacob
In Quebec, Pierre Lapointe has become something of a national treasure. His talents as a composer and performer have carried him back and forth across the Atlantic for nearly two decades, but he feeds his explosive cocktail of sensitivity and boldness with all forms of art. On the verge of releasing his new album, he opened up to us.
For someone who initially dreamed of art, staging, and artistic direction, what triggered your path toward music?
I started composing melodies around the age of 11. I was taking piano lessons, but because I was dyslexic—never diagnosed, as I was articulate—I couldn’t read music. It was incredibly demotivating. Yet, my teacher at the time insisted she’d never met a student as musical as I was. I half-believed her because the system around me mostly made me feel inadequate. Then one day, I felt a strong pull toward theater and performance. I auditioned, a teacher saw me perform and offered to train me for drama school. That’s when I decided to give up music. I remember my piano teacher’s words that stayed with me: "Musicians like you may leave music behind, but music will always come back for you by the collar." She was absolutely right!
As I started thriving in the more expressive and eclectic environment of theater school, I felt the urge to return to music. I recall a piano in one of the classrooms—it was the first time in seven years I’d had access to one. I practiced for a few weeks, and eventually my theater professors heard me perform at the
Cégeps en Spectacle competition. Three months later, thedirector expelled me! He thought I had the potential to become a good actor but, together with the other professors, was convinced music was my true calling.
At first, I was furious! I had worked hard to afford my studies, but I ultimately followed their advice. Moving back in with my parents—which was tough—in the Outaouais region, I won the first prize in a competition, leading to my participation in the Festival International de la Chanson de Granby, where artists like Jean Leloup and Isabelle Boulay were discovered. I also won the first prize there! That’s when I met my manager.
I had to move past my view of songwriting as a somewhat limited avenue by looking up to idols like Diane Dufresne, Björk, Beck, and Bowie, who combined various art forms into fascinating hybrid works. Songwriting became a medium to explore all my creative desires, which shaped my career. I’ve directed music videos, designed clothes, and collaborated with designers, architects, and contemporary artists. Over the years, I’ve knocked on countless doors that opened quickly. These days, I’m shooting little videos for social media—because apparently I have no choice—and I find it quite fun.
Photos : Andreanne Gauthier ; David Bowie via @pierrelapointe.officiel
Your visual universe is very rich. Do images naturally come to you when you compose, or do they emerge later?
I’d say that when I write, I first feel a very strong and clear emotion, sometimes sparked by a simple sentence. Once several songs are written, I organize them, as subgroups often emerge. Then I put on my artistic director’s hat, and that’s when the visuals appear. Occasionally, images come early in the process, but they don’t always see the light of day because—as a producer too—I need to ensure this visual universe is practical and coherent. A small part of my brain is always thinking about finances and what can be done to achieve an optimal image at the lowest possible cost. In the music industry today, doing what I do with limited resources requires a lot of friends (laughs)! I’m fortunate to be close to extraordinary contemporary artists like Jean-Michel Othoniel and Johan Creten, who have welcomed me into their worlds and allowed me to shoot in their studios.
To sum up, the visuals arise after the music and out of necessity. That said, this lack of resources isn’t a constraint for me—it’s a driving force, pushing me to find
the
right idea.
You love fashion. Can you talk about its role and meaning in your life?
Fashion is both fun and important to me. It’s often dismissed or associated with wealth, but it’s primarily a way to organize oneself socially and position ourselves in the collective imagination. In music, we constantly play with these codes. I think of
Les Cowboys Fringants or Safia Nolin, whose decision to dress the same for events as in daily life sparked disproportionately awful reactions. I’ve also worn clothes that earned me hateful messages! Clothing can express a certain freedom of spirit, and that disturbs people.
I often wear Walter Van Beirendonck, a Belgian designer who’s somewhat of an outsider in the fashion world. His men’s clothing is both eccentric and celebrated. On stage, I find his pieces extremely effective, even violent. I love the idea of the unique, the artisanal, the craftsmanship—the human touch on an object, whether in fashion or design.
Photo: Kelly Jacob
In a career of almost 25 years, what has changed the most in your approach to your craft?
What’s nice is that the professional recognition I’ve received has calmed many things. I still create urgently, but always with joy. Being professionally recognized is essential, I think, no matter the field. Early on, I was told I was a skilled craftsman of music, that I belonged, and that my voice mattered. That bolstered my confidence, and today, when I make decisions, I rarely make mistakes. Experience gives me the luxury of knocking on many doors and surrounding myself with valuable collaborators.
I’ve always had an eye for talent and built an extraordinary network of friends. I’m unafraid to explore different avenues. For me, where there’s creation, there’s no hierarchy. Interesting things are everywhere. Snobbery, rooted in insecurity, creates hierarchies. It’s fascinating to see how people perceive works from a creator’s perspective.
Tell us about your new album,
Dix chansons démodées pour ceux qui ont le cœur abîmé (Ten Outdated Songs for the Brokenhearted), launched on January 24th.
I worked on two albums simultaneously. After the pandemic, I spent a lot of time in France and noticed a real revival of chanson and chansonniers, seen in the success of artists like Zaho de Sagazan, Clara Luciani, and Juliette Armanet. People want that, and I wanted to create an album showcasing my songwriting talent, aiming to craft only great songs! It nods to legendary artists and exudes something bold, rich, and imposing. My goal is to honor French chanson classics while drawing inspiration from jazz standards. It includes deeply touching songs, like one about my mother. I’m always surprised at how instantly it moves people to tears. I try to capture and articulate universal emotions with precision.
What’s the key to your balance?
No alcohol, no drugs, early nights, exercise, and self-kindness—to balance out the work overload. Not partying is easy for me because work feels like a
celebration; I love what I do! But I stay attuned to everything happening
around me through travel, encounters, and gentleness. Being gentle is vital.
If you could hold onto just one moment of pride or joy, what would it be?
It wouldn’t be work-related. (Pauses) My love life. Yes, the way I’ve lived my
loves.
Photos: Kelly Jacob (left) ; from the video "Les fleurs d'une autre dimension", shot during artist Nicolas Party's exhibit at MBAM.
Follow @pierrelapointe.officiel on Instagram to know more about his work, passions and inspirations.