N NAO Stepped Into the Spotlight at Rouyn-Noranda’s FME — As a project, N NAO has had many configurations depending on the time and the place. At its core sits singer-songwriter-producer Naomie de Lorimier, but N NAO has evolved into an ever-changing amorphous concept throughout the years — and as such, it's been hard to pin down. 
Her creative process is often improvisational and akin to scientific research, working with a motley crew of musicians — including longtime collaborators Charles Marsolais-Ricard and Samuel Gougoux — to weave the metaphysical, the spiritual and the natural into her music. 
Her individual creative prowess is also impressive, as highlighted on her latest dual album Nouveaux Langages (not to be confused with her 2025 Polaris long-listed album Nouveau Language), where one side is dedicated to a series of unreleased pieces recorded on a 4-track during a creative residency, putting her mastery on display.
All that to say: N NAO is not what you'd call a likely suspect for a contest like Nouvelles Ondes by SiriusXM. Launched last spring by the satellite radio giant (and major FME sponsor), the contest was touted as a springboard for three emerging Francophone artists, chosen by a panel of industry professionals, who would benefit in mentorship with Quebec pop star Ariane Moffatt and perform at both the Festival d'été de Québec and FME, where the winner would be announced live on stage. Said winner would win both $25,000 CAD and a trip to France to perform and participate at the MaMA Music & Convention in Paris.
It could be argued that their definition of emerging is somewhat stretched when you look at the careers of all three finalists: indie rock duo Grand Eugène, R&B jazz singer HAWA B, and N NAO. All are signed artists with years under the belt, with Grand Eugène being the more recent project of the three. But even within this context, N NAO stands out; how would her mystical and sprawling rhythms translate to the main stage of the FME sandwiched between her two fellow competitors?
Turns out, incredibly well. While she (spoiler alert) may not have won the contest, she did win the public vote, which would intimate that her project is already resonating with a larger audience. And judging by the reception her performance received on Day 3 of the FME, this might be the beginning of N NAO's long overdue ascension.
Performing as a trio, the production was appropriately beefed up to take advantage of the large stage. They immediately set the tone with "Destin," a beautifully languorous harp-heavy piece  that opens Nouveau Language (and got the remix treatment by the excellent DJ and producer RegularFantasy on Nouveaux Languages). They then slipped into "Miroir," a stunning sputtering experimental piece that highlights N NAO's knack for juxtaposing brilliant vocal layering with field recordings and abrasive sonic textures.
The midsection is where the set really picks up, with the more upbeat electronic productions taking centre stage, allowing de Lorimier to embrace her main pop girl era. She's a commanding presence, whether rolling on stage controlling her own spotlight, or dancing freely to the garage beats of "Fleuron," and it's it's been impressive and satisfying seeing the evolution of the N NAO stage show throughout the years. 
If there were any lingering doubts as to whether N NAO was ready for prime time, de Lorimier and co.'s showing at the FME did wonders to chase them away. After years contributing to the Quebec music scene alongside artists like Klô Pelgag, Marie-Pierre Arthur and Jonathan Personne, Naomie de Lorimier has more than paid her dues — now it's time for her spotlight.