2023-07-16 03:51:04
The Saturdays follow one another, but are not alike the Summer Festival. A week following the Foo Fighters’ explosive rock concert, indie-pop princess Lana Del Rey caused a Lanamania on the Plains of Abraham with her melancholic songs that everyone knew by heart.
• Read also: July 15 at the FEQ: Quebecers steal the show at Parc de la Francophonie
Oh that she was expected the tragedian of the American song, of which it was the first performance in career in Quebec.
As soon as the doors opened at 5:45 p.m., thousands of festival-goers – average age in their early twenties, according to our estimate – rushed to the front of the stage to be as close as possible to their idol.
During the long break before his arrival, shouts of joy rang out each time the technicians went to place elements of scenery on the stage.
When the lights went out following a ‘forgivable’ 20-minute delay, thousands of cellphones were waved at arm’s length and roars of approval greeted the 38-year-old star, who appeared in a princess dress, a tiara on head and surrounded by three singers, six dancers and four musicians.
On the giant screen, where we scrolled all evening images of his youth, we might then read “May God bless Quebec”.
Get your hair done while singing
The show started smoothly. In a splendid Edenic setting made notably of a tree, veils, chandeliers and swings, Lana Del Rey took her ease without jostling anything, even letting her admirers sing for her a few lines of Young and Beautiful.
While she was singing Bartendera dancer even combed her hair.
His performance really took off and biting when the guitars took over during Cherry. Pretty When You Crywhich she sang lying on the floor, was also a highlight of the first half of the concert, as was Born To Die et Blue Jeansthe first chords of which once more caused a noticeable rise in decibels on the Plains.
A chat with Lana
Rather distant and with a sluggish gait, Lana Del Rey finally got closer to her admirers, and not nearly, by going down to the floor to meet them, as is her habit, following having sung Ultraviolence.
With a closed microphone, she took the time to speak to a few spectators. A lucky one even left with a photo of Lana and him in his cellphone.
Otherwise, she spoke a few times, except that her interventions, from where we were at least, were barely audible due to an abnormally deficient sound system on the Plains.
At the end of the course, she seemed to take the measure of the fervor of Quebecers. After another moment of vocal communion on Summertime Sadness, she looked at the crowd asking if it was normal for us that there were so many people. “It’s our biggest concert in years, even in life,” she said, thanking Quebecers for their hospitality over the past few days.
She then sang her classic Video Games while swinging, in front of an audience who did not want to see their new princess of the Plains leave.
The War On Drugs: successful transition to the big stage
After The Smile at the Parc de la Francophonie on Friday, the American collective The War On Drugs gave the best musical performance we’ve heard since the start of the Festival d’été, before the arrival of Lana Del Rey on the Plains of Abraham .
Five years following a headlining performance at Parc Franco, the septet specializing in epic and poignant psychedelic rock, led by Adam Granduciel, has graduated on the FEQ’s biggest stage.
At first we had the feeling that The War on Drugs had not been well placed before the softer indie pop of Del Rey. Fortunately, a good portion of the floor ended up being seduced by their soaring melodies deeply rooted in American musical culture, mainly in the home stretch where a formidable Under The Pressurepiece de resistance rendered to perfection.
The War on Drugs in action on the Plains of Abraham, Saturday night. Photo Didier Debusschere/Le Journal de Quebec
Allan Rayman: musical chameleon
After dancing to the beats of Mr. Worldwide on Friday, festival-goers started Saturday evening in good hands with Mr. Roadhouse, nickname of Torontonian Allan Rayman.
A great discovery for some, a reunion or a long-awaited first meeting for others – the young people gathered in front of the stage chanted his name – Rayman is a chameleon artist, who prefers to put his rich grainy voice at the service of all the styles that tempt him rather than to lock oneself in a box.
Photo Didier Debusschere/Le Journal de Quebec
He thus passed with ease from rock to Gunau soul/R&B de Graceland then to the filthy blues of Hello To Me et Mascara. Theatrical on stage, Rayman also dabbles in hip-hop and folk.
A real chameleon, as we said, with beautiful musical colors.
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