The evening promised to be electrifying and it did. Hubert Lenoir was visibly happy to play at home, in his city, at home. He seemed.
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Wearing a long coat, white dress, cowboy hat, and sunglasses, the unpredictable bad boy came at full speed to the boards, gliding like a baseball player in full swing, to the sound of Golden days.
We could already feel, at that moment, that the evening was going to be special. There was this little something and this energy that is found on big evenings. We immediately forgot a small delay of about twenty minutes during which people sang “Hubert, Hubert, Hubert”.
The Hydro-Québec box, opposite the National Assembly, was filled to the max for the visit of the enfant terrible. A heterogeneous crowd, colorful and rather tattooed.
On the tables it moves and is dynamic. Noémie, his wife, is on the board of directors. She films, while she dances, the images of the stage and the audience that are transmitted on the big screen behind the stage.
And suddenly, Hubert takes off his glasses and hat and throws himself into the crowd when Golden days becomes thrash and metal.
Lenoir hadn’t played in Quebec in a stint at Imperial Bell in 2018 and the album’s launch PHOTO BY IPSE.
“Here is my house. I was born in Quebec City and live here. I never left. After all we’ve experienced, here, Quebec, tonight, is our city, ”she launched, causing a series of“ Quebec, Quebec, Quebec, ”sung by the crowd.
Hubert, I’m Hubert
We were therefore treated with good versions of Secretwhere he seemed troubled by the behavior of some spectators, If we got there by Ferland, byOctober and of Sugar and salt. It was, let’s face it, very well launched. The vibrationsas they say, it was more than good.
He got a bit disconnected at the end of the performance with a jam that was, shall we say, unmemorable.
“Not long ago, in 2017, right here, behind the stage, I was playing my music on the street for a couple of two plates to pay my rent. The only thing I want to tell you is that time changes things. There are the “caramel pieces”, but everything gets better with time. A year after Darlène’s release, everything was fine, “he said, then tipped off the media and a poll published in the Journal de Québec and the Journal de Montréal where he had been identified, in 2018, as the 8And Quebec’s most hated person.
“I can’t wait to read the review of my show on Saturday morning,” he said.
nobody’s daughter followed and a huge choir formed. It ended with a huge return of sound, a long period of thanks and the game PHASE on reminder.
Being Hubert Hubert, he remarked that he had played on the smaller stage of the Festival, when he had already played in front of more people outside his hometown referring to the Americans who were present in the park of the Francophonie.
“The Quebec scene existed because people supported it. It is important to support the local scene and give it its place, taking care to thank programming managers Arnaud Cordier and Louis Bellavance. I don’t care about the consequences, I say that for others, ”he dropped.
At the beginning of Lydia Képinski’s performance, at dinner time, we were looking for the blonde singer, who we heard during the show The deception, but which we have not seen on the scoreboards. She was there, however, in the audience, where she made a few visits.
Lydia Képinski put her six-string away. Which allows him to squirm. Which it does a lot. Sometimes she was completely overwhelmed. We saw her lying on the boards during Two days and lower the microphone stand to sing on your knees during Arbol.
Arbol, Chlorinewith the delirious synthesizers of Blaise Barboën-Léonard, Vaslao And painless streetswith his nod to the series The mysterious cities of goldwere the good moments of this performance.
Following Choses sauvage, the Montreal band and more precisely from Saint-Eustache warmed up the venue with disco-tinged funk rock and new-wave elements.
Led by singer Félix Bélisle, the quintet launched very large and solid grooves. He was hopping in front of the National Assembly.
After taking off his sweater and tank top, the singer repeatedly threw the microphone on the tables, then did the same with the microphone stand, allowing himself some crowd baths.
In control, after giving the impression of sometimes being on another planet, Félix Bélisle managed to seat almost everyone during the final segment of The waltz on the pavement. A good time. Just like the final furious with gold and silver. The “hohehey” followed. A sign that the public appreciated.