Long-time Le Devoir music critic Sylvain Cormier has released a new volume, Des oreilles au bout des doigts, which compiles his most significant writing on Quebec chanson from 1990 to the present. The book serves as a definitive archive of a 35-year career, condensing nearly 5,000 articles into a single, cohesive record of the province’s evolving musical identity.
Cormier, 65, describes his approach as that of a “fan with a job,” a perspective that allowed him to maintain close professional relationships with artists while navigating the demands of institutional journalism. The collection was curated at the insistence of journalist Louise Dugas, who sought to preserve the historical value of Cormier’s long-running coverage before the archives became inaccessible.
The book covers a diverse array of performers, from legends like Jean-Pierre Ferland and Renée Martel to contemporary figures like Charlotte Cardin and Safia Nolin. Cormier intentionally includes artists who were often overlooked by mainstream cultural outlets, providing a broader scope than a typical career retrospective.
Notably, the collection does not shy away from the professional conflicts that defined his tenure. Cormier recounts his public fallout with René Angélil and Céline Dion—whom he famously dubbed his “Tupperware princess”—as well as his pointed criticisms of artists like Garou and Claude Dubois. By preserving these moments of tension alongside his praise, the book offers a transparent look at the complexities of critical independence in the Quebec music industry.