Kendrick Lamar was genuinely touched by the number of people — upwards of 50,000 — who came out to see him headline the second night of the festival.

Michelle Drown

Kendrick Lamar was genuinely touched by the number of people — upwards of 50,000 — who came out to see him headline the second night of the festival.

Festival d’ete de Quebec

Canada’s Oldest Summer Music Festival

Long before music festivals became de rigeur summer fare, Quebec City was filling its streets with multiple stages and myriad musicians for its 11-day music extravaganza. Celebrating its 50th year of existence, this year’s presentation was fitting for a golden anniversary, with some of music’s biggest headlining artists slated including Pink, Kendrick Lamar, Muse, and The Who.

I arrived in 411-year-old city on Friday, July 7, as the first weekend of festivities was in full swing. Unlike many festivals, Festival d’ete de Quebec (FEQ) music doesn’t kick into gear until 5 p.m., but once it does its nine separate stages come alive with a stellar selection of local and imported bands, an aural potpourri from which to choose.

By Michelle Drown

Pink and guitarist Justin Derrico stripped it down on the Janis Joplin song “Me and Bobby Mcgee” and Pink’s “Perfect.”

On the Imperial Bell stage, for example, New Orleans-based cello player Leyla McCalla performed her folk-style music that draws on the traditions of Haitian, Cajun, and classical techniques. A former member of the Carolina Chocolate Drops, McCalla came to FEQ in support of her latest solo record, A Day for the Hunter, A Day for the Prey, with her band mates guitarist Daniel Tremblay and violist Free Feral.

Also on the slate for the evening was the Quebec indie rock band, Plants and Animals, consisting of Warren Spicer, Nic Basque, and Mathew Woodley. The group, whose first full-length record, 2008’s Parc Avenue garnered them a Juno Award nomination, drove up from Montreal to play a 7 p.m. show at the Scene Loto-Quebec stage. They were followed by The New Pornographers, with headliners Wolf Parade closing out the evening.

At the Scene Bell, the festival’s largest stage, the headliner that night was Grammy Award-winning artist Kendrick Lamar. I strolled up sloped streets bordering Parliament — a late 19th century architectural stunner built in the Second Empire style — that led to the Plaines d’Abraham, a gorgeous 240-acre urban park, where Lamar was scheduled to go on at 9:30 p.m.

Kendrick Lamar emerged from cloud of dry ice smoke that enveloped the stage to the shrieks of adoring fans.
Click to enlarge photo

Michelle Drown

Kendrick Lamar emerged from cloud of dry ice smoke that enveloped the stage to the shrieks of adoring fans.

I merged into the stream of people entering the Plaines to see the rap artists and found a nice standing spot a bit back and to the left of the stage. The air was charged with excitement as tens of thousands of folks awaited Lamar’s performance. Before the 30-year-old emerged, a seemingly Christian-themed, slightly bewildering video set the mood for a spirited performance by the superstar. Widely considered one of the most brilliant rappers of today, the singer was humbled by the crowd’s adoration and spoke genuinely of his appreciation of his fans.

As the clock neared 11 p.m., Lamar concluded his show and bid the crowd adieu. With an air of collective joy, the audience filed out of the naturally occurring grassy bowl subbing as a concert arena, and dispersed back onto Grand Allée, the street where merchants, food vendors, and sponsors had set up shop to entertain FEQ attendees.

By Michelle Drown

Kendrick Lamar fans raised their hands in delight as the hip hop artist ripped through an intense set from his catalog.

A visual treat awaited those of us who took Avenue Honoré-Mercier in front of Parliament: Surrounding the Fontaine de Tourny, giant marionettes were inflating into life thanks to the French artists collective Les Plasticiens Volants. Created specifically for this year’s FEQ, the giant puppets grew and then meandered slowly off, with the help of their “handlers,” into the night to surprise and delight pedestrians roaming the Grand Allée.

I headed back to the Hilton, the sponsoring hotel at the epicenter of the FEQ, and took the elevator to my fifth-floor room. With a brilliant view of Parliament from my floor-to-ceiling window, I drifted off to sleep as midnight came and went. I’d not even been at the festival for a full 24-hours and I’d already had a magnificent day.

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