The music of Ced Auger, 34, is a phenomenon in Québec, a testament to the power of raw sincerity and unflinching emotional honesty. His upcoming fifth album, Le train, due February 28th, promises to continue this trend, delving into the harsh realities of life on the margins with a vulnerability that resonates deeply with his audience. Auger’s journey, from social worker to chart-topping artist, is itself a compelling narrative, one that informs every note and lyric he delivers.
Auger’s sound defies easy categorization, blending elements of folk, rock, hip-hop, and traditional Québécois chanson. But at its core, it’s his voice – described by some as reminiscent of Éric Lapointe, though Auger himself cites influences like La Chicane, Offenbach, Harmonium, and Pink Floyd – that anchors his work. “There are a lot of people who say that, but if you listen to a song by Éric followed by a song of mine, you’ll see that it’s really not the same thing,” Auger explained, as reported by Le Devoir. That voice, capable of conveying both profound pain and ecstatic joy, is the vehicle for stories often drawn from the streets he once walked as an outreach worker.
From Rap Roots to Intimate Storytelling
Auger’s musical path began in the 2010s under the moniker Elmaniak, a period marked by his engagement with the Québec rap scene. He found accessibility in the genre, a readily available platform for expression. However, a shift occurred when he picked up the guitar. “I got tired of doing rap,” he told Le Devoir. Despite the change in instrumentation, the spirit of hip-hop remains woven into his current work, evident in his phrasing and thematic choices. He continues to address the difficult realities faced by those living on the fringes of society, a commitment that is particularly striking in the lead single from Le train, “Frérot.”
“Frérot” plunges listeners into the world of a motorcyclist entangled with a criminal organization, a haunting narrative delivered with a deceptively gentle tone. The lyrics, as quoted by Le Devoir – “Le vent dans face, le boutte dans le sac / j’roule s’a 40, j’traîne ma vie s’a ’sphalte / Bruit de moto qui perce la nuit / j’roule en enfer avec les anges ici” – paint a vivid picture of desperation and a life lived on the edge. Auger’s intention, he says, was to create a jarring opening statement, to challenge listeners and set a tone for the album.
A Legacy of Social Work and Lived Experience
Auger’s dedication to portraying authentic experiences is deeply rooted in his past. Before achieving musical success, he spent years working as a social intervention worker, assisting individuals struggling with addiction and homelessness in Hull, Québec. This experience profoundly shaped his perspective and informs the core of his artistic expression. His official biography details this period, emphasizing how his work “marks his writing deeply and constitutes the DNA of his work: a sincere, unfiltered music, rooted in reality.”
This commitment to authenticity extends to his songwriting process. Auger reportedly writes songs with remarkable speed, prioritizing emotional impact. “It takes me five minutes to write. If it takes longer than that, I tear up the tune and start another one,” he explained to Le Devoir. While he primarily crafts his lyrics, he collaborated with Jonathan Strasbourg and Dylan Hautcœur-Shaw on the new album, adding another layer to his creative process. The studio sessions were intentionally stripped down, featuring only Jean-François Parisien on guitar, Mathieu D’Andrade on recording and arrangements, fostering a sense of intimacy between the artist and the listener.
Connecting Through Shared Humanity
Auger’s ability to embody the stories he tells, regardless of whether he has personally lived them, is central to his appeal. He creates music that speaks directly to people, devoid of artifice. The song “Mes deux amours,” a preview of the upcoming album, embodies this approach, capturing the anguish of a father who has lost custody of his children. “I put myself in the shoes of a friend this happened to. But I’m so close to that friend that I lived it too, in a way,” Auger shared with Le Devoir. He acknowledges that he doesn’t always express himself easily in everyday life, but finds liberation in channeling these emotions through his music.
His 2021 song, “Asti d’boisson,” also draws from his experiences working with vulnerable populations. The lyrics, “Deux peanuts pour pas mourir d’frette / Fuck the world, ils s’en crissent qu’on crève,” offer a raw glimpse into the lives of those struggling with homelessness and addiction. Auger is mindful of the sensitivities surrounding these stories, acknowledging that fans often confide in him, sharing their own experiences. He approaches these interactions with empathy, offering a listening ear and support, while recognizing the weight of the narratives he encounters.
Auger’s music also explores his own personal journey, addressing themes of heartbreak, lost hope, and healing. “Ton petit gars est lost,” a 2023 collaboration with Montréal rapper Cupidon, is a poignant letter to his mother, expressing a long-held affection. He revealed to Le Devoir that the song prompted a newfound openness in his relationship with his mother, who now regularly expresses her pride and love.
As Ced Auger prepares to release Le train on February 28th, he continues to demonstrate the power of music to connect people on a deeply human level. His willingness to confront difficult truths and share vulnerable stories has established him as a significant voice in contemporary Québécois music. The next step for Auger will be the album release and the subsequent tour dates, which are expected to be announced shortly on his official website.
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