Before he’d even reached adulthood, Émile Bilodeau had established himself as a musical force by winning a number of song contests, which rapidly propelled him to the forefront of the Quebec music scene. While his second album, 2019’s Grandeur mature, suggested a certain amount of growth had taken place since he debuted, little could contain the Montreal-area singer-songwriter’s exuberance. There’s just as much vibrance to his third album, Petite nature, but it’s a departure in several respects. “It’s less like dance music, and more nuanced and orchestral, particularly because of the string quartet,” Bilodeau tells Apple Music. Throughout it, he explores the theme of vulnerability, using plenty of references to fauna and flora. “The expression ‘petite nature’ refers to someone who is physically or mentally weak,” he says. "And that’s how I felt, right in the middle of lockdown, at my new home, when I found myself living alone for the first time in my life. It was a very difficult period for me as I’m a very outgoing, social person.” Here, he goes behind each of the tracks on the album. “Métamorphose” “It talks about changes that have taken place at various different levels, but above all, my ideas. Because of the crises we’ve experienced and that have highlighted many great injustices and human tragedies, I had to rethink my political opinions. I took a more left-wing stance; I became a citizen who wants society to be more inclusive. I’m also trying to grow as a man, both in love and friendship.” “La jungle du capital” “This song is sheer madness, and a real treat! I had fun pitting ecological concepts against economic ones. To make my point, I use images of animals to portray characters. The whole thing is divided into two parts: the first is very rhythmical and the second is very progressive and slower, to depict our declining and crumbling society.” “La chute du capital” “It’s a sort of continuation of the previous track. It’s a huge, psychedelic jam in which I describe a paralyzed world where the internet and money no longer exist. I picture the collapse of our model and the chaos that would ensue.” “Ma maladie mentale” “This song tells a story that I witnessed, about a friend of mine who went into hospital a few years ago because he was in a really bad way. They laid him on a stretcher and put him in a room with beige walls, alongside elderly people suffering from dementia. In other words, the worst environment for trying to overcome depression. It therefore talks about the underside of mental illness and how it’s managed. The refrain, with its nonchalant rock, is like a cry for help.” “Le dernier festin” “This is a track that starts off straight away with lots of punch. I’d never done that before—begin a song with strong and intense notes. It describes the painful and heart-wrenching side of a failing romance, where there’s no longer any hope. I love the unbearable crescendo leading up to the refrain. I think what really sets this song apart is its intensity.” “Nounou” “This time, I’m talking about friendship. It’s the story of two characters who are good together, but a storm breaks out. A rift opens up between them. They try to recapture what they had, but the bond they shared is no longer there. And despite all the good memories, it’ll never come back. We often talk about heartbreak, but I think it’s also important to examine the heartache you can experience with friendships.” “Je me souviens” “‘Nounou’ brings a relative calmness, a more measured tone, and that sets the stage for this track, which I think is very thought-provoking. Using a very sober and simple melody, I reflect back on images that have affected us, like the death of George Floyd and Joyce Echaquan. It’s distressing, but I feel it’s important that we take every necessary step to prevent these types of events from happening again.” “L’île zolman” “The title of this song is a play on words and an allusion to the concept of isolation. In Montreal, we were badly affected by the pandemic, and at times we felt as though we were in prison. Being alone can have repercussions, and I think that talking about it, writing a song about it, can help. Musically, I love that James Bond feel about it.” “SQDC” “I thought it would be interesting to talk about that kind of establishment [legal cannabis stores]. After all, the legalization of marijuana is new in our society. Everyone’s got their own story to tell about it—those who consume a little, a lot, or none at all. It democratizes it. With humor, I draw a parallel between the drug and a loved one…someone you feel good with.” “Mille agneaux milléniaux” “It all started with a connection drawn between these two terms, which are similar. It talks about the notion of sheep, about following the herd. About not wanting to stand out, but instead to blend in with the crowd. The first verse talks about influencers who are like sheepdogs tending their flocks. I then go on to talk about the wolf that’s never been seen but embodies the fear of change, of difference, and also about my support for Quebec sovereignty.” “Ours polaire” “This is a true pandemic song! I talk about La Banquise restaurant on Rachel Street, about Michel Rivard’s ‘ La complainte du phoque en Alaska,’ and lots of other things relating to nature and endangered species. Certain animals, but also the human race. It’s a somber track, but one that says a great deal.” “Cowgirl” (feat. Sara Dufour) “It’s my girl-power emancipation song! I talk about the place of women, be it in terms of decisions, sexuality, politics. I couldn’t have found a better person than Sara Dufour to participate on this song. She’s one of the first friends I made in the industry.” “Souffleuse” (feat. Joanie Tremblay) “The lyrics are especially intense. And I share half the song with another performer, something I would never have done in the past. The guitar texture and melody create a kind of introspection and reflection about a relationship that’s come to an end and another that’s beginning. I think this song is going to get people talking. And I hope it consoles a lot of people too!” “Des vrais, des faux” “This song is a sort of rock waltz, and the follow-up to the one just before. Basically, I explain that it’s no wonder the girl left with another guy. I lay bare my faults, which I’m a bit ashamed of, but they’re part of my personality. Just acknowledging them could be a good start!” “Petite nature” “I wanted to advocate on behalf of nature and allow nature to speak out to us by personifying it. She tells us she’s upset because she’s being hurt. So, it talks about the relationship human beings maintain with their planet. It culminates on a high of violins, which conjures up all the orchestrations that are on this album.”