All Photos © Steve Galli + Story by Chloe Catajan
LINK TO FULL GALLERY OF IMAGES AT THE BOTTOM
It isn’t every day that you can dance to Carly Rae Jepsen and then mosh to Killswitch Engage just an hour later, or witness performances from Post Malone and Kansas in the same vicinity. It might sound like a fever dream: 11 days. 6 stages. Over 200 artists from different genres and parts of the globe. But Festival d’été de Québec makes that all a reality.
On July 4 through 14, FEQ returned to the Plains of Abraham in Québec City for its 56th year. More than 750,000 people showed up to see an impressive selection of acts, from 50 Cent and Mötley Crüe to Future Islands and Silverstein. The Bell Stage hosted headliners, Loto-Québec and SiriusXM featured undercard favorites, Hydro-Québec saw music from around the world, and the brand new Crave Stage offered free performances from names to know.
Festival runners BLEUFEU and Stageline even brought new feats to the mainstage, including a display screen nearly double in size of last year’s and an all-Latin bill on the penultimate day.
Many of Québec’s own were represented in the lineup too, while other acts traveled in from the United States, England, Columbia, Switzerland, France, Niger, South Africa, Hungary, Mexico, Congo, Mali, Portugal, Germany, Trinidad, Japan, Puerto Rico, and Cameroon.
And from Detroit, photographer Steve Galli headed out for his eighth year at the fest. See his highlights below.
Thursday, July 4 – Monday, July 8
The first five days had something for the pop girlies, hip hop heads, rockers, and everyone in between.
Day one at the Bell Stage leaned into alternative tendencies, with Nickelback, Arkells, and JJ Wilde leading an all-Canadian rock showcase. Nickelback brought the heat and hits throughout their 16-song performance, closing with “Burn It To The Ground” and a round of flames and fireworks. Arkells delivered a big sound and “Big Feelings,” while JJ Wilde’s pipes of perfection were an absolute powerhouse.
The second day was sent by the rap gods, featuring performances from 50 Cent, Killer Mike, and Connaisseur Ticaso at the mainstage. Meanwhile, Amigo the Devil and The Dead South kept things folky and fresh at Loto-Québec.
The Jonas Brothers, Carly Rae Jepsen, and Diamond Cafe filled day three with feel-good energy—a perfect summer soundtrack. But for those who like their summer to have a little kick, Killswitch Engage at Loto-Québec and Kittie at the SiriusXM Stage served just that.
Day four packed a punch with The Offspring, Rise Against, and Be Your Own Pet at the Bell Stage. But other acts brought their own brand of fierce, with Ava Max delivering dance-pop madness and Vieux Farka Touré shredding the blues.
Alexandra Stréliski, Elisapie, and Beyries stunned the day five crowd with one-of-a-kind sounds. Stréliski created a cinematic escape on a grand piano, Elisapie was magnetic as she sung in Inuktitut and French, and Beyries shined with her sequin jumpsuit and smooth serenades. The entire day offered eclectic energy, including vibrant performances from Future Islands, Mt. Joy, and Lady Wray as well.
Tuesday, July 9
Day six unfortunately saw early evening storms, leading to evacuations and canceled sets for Nas, Hurray for the Riff Raff, TOBi, and Fleet Foxes. Tokyo Police Club were just five songs into their slot, having just performed “New Blues,” when the announcement happened.
When the weather cleared, headliner Karkwa took the Bell Stage and opened up the floor to anyone and everyone—whether or not they were ticket holders. Those who caught the Canadian rock band were also treated to surprise appearances from TALK, Les Hay Babies, CRi, Klô Pelgag, and Marie‐Pierre Arthur. Karkwa managed to turn in about 16 songs, their grungy tones elevated by vocal harmonies from their special guests.
Les Hay Babies played the Bell Stage earlier in the day, the indie folk trio donning red rodeo-inspired outfits. They played an energized set with twangy riffs and groovy basslines.
Violent Ground kicked off the performances at the Loto-Québec stage that day. Two brothers from the Naskapi Nation of Kawawachikamach, the hip-hop duo traded hard-hitting verses over some aggressive beats. Québec rapper Rymz took the stage next, keeping a fierce flow with a live band on rhythms.
Montreal rappers Mike Shabb & Nicholas Craven teamed up to play songs from their collaboration project, Shadow Moses. They delivered a compelling set (and the only set) at the SiriusXM stage.
Dreamy melodies came from performances by Nico Paulo and Night Lunch over at the Hydro-Québec Stage. Paulo, a St. John’s singer-songwriter, played heartfelt serenades, while Night Lunch, a quartet from Montréal, sounded otherworldly when performing songs off recent release Fire in the Rose Garden.
Wednesday, July 10
The scene at the Bell Stage was totally different on day seven, hosting four electronic artists.
Alan Walker played a massive headlining set, equipped with lasers and pyrotechnics that punctuated his epic sound.
Loud Luxury played with light, fire, and rain, setting off strobes and flames as the weather provided its own visuals. The DJ duo’s set felt like a huge party, giving fans a generous dose of beat drops and wub wubs.
Berlin’s Lovra turned in nonstop tech house bangers, and Mike Demero had the crowd hyped with his mix of Les Cowboys Fringants’ “Les Étoiles Filantes.”
In contrast, the Loto-Québec and SiriusXM stages were rock-heavy this day.
All Time Low played their usual brand of pop punk, opening with fan favorites like “Weightless” and “Six Feet Under The Stars.” And there was no shortage of sweet, sludgy riffs from Moneen and Cam Kahin.
Toronto The Anti-Queens provided pure punk energy, performing songs off latest album Disenchanted and their 2019 self-titled.
Post-hardcore heavyweights Silverstein rounded out the chaotic energy quite well, playing cuts from all across their catalog, and even a cover of Linkin Park’s “One Step Closer.”
Laurence-Anne opened the Hydro-Québec on a dreamy, synthpop note, layering cosmic rhythms with her wispy vocals.
Valence leaned into charismatic indie pop beats for his set, performing a handful of songs off 2019’s Cristobal Cartel.
Philippe Brach offered some gnarly riffage on top of his chamber-folk stylings. Many songs from 2015’s Portraits de famine made the setlist.
Thursday, July 11
FEQ went country on day eight, with performances from Zac Brown Band, Charley Crockett, and Morgan Wade at the Bell Stage.
Zac Brown Band sounded on point with their vocal harmonies and multi-part instrumentals as they played for a packed Plains of Abraham. The Georgia octet’s 18-song performance included The Charlie Daniels Band, Kings of Leon, and The Rolling Stones covers, as well as crowd singalongs for “Colder Weather” and “Homegrown.”
Charley Crockett sounded sharp, flanked by a five-piece band. Songs like “$10 Cowboy” and “Cowboy Candy” were incredibly fitting as Crockett and company sang with twang and donned Stetsons.
Morgan Wade knocked out the Bell Stage’s first performance of the day, her vocals soulful and strong. Her setlist included a fun cover that combined The Outfield’s “Your Love” and Rick Springfield’s “Jessie’s Girl.”
Some great indie acts took the Loto-Québec Stage, including Montreal’s Sara-Danielle and The Franklin Electric, as well as English singer-songwriter Ben Howard.
Currently on tour for his latest album, Is It?, Ben Howard played a beautiful set full of tender, guitar-driven rhythms and poignant lyrics.
The Franklin Electric layered acoustic folk rock with some pop sensibility, delivering sentimental serenades.
Sara-Danielle sounded compelling with her smooth, soulful vocals backed by instrumentals that reminisced Zero 7.
Atmospheric sounds took over the SiriusXM Stage with performances from New West and Martha Wainwright.
Toronto quartet New West takes influence from the likes of Coldplay and The Fray, turning in cinematic soft rock soundscapes nostalgic for a past life.
Dressed in a royal blue boiler suit, Martha Wainwright, sister of Rufus Wainwright, and daughter of Loudon Wainwright III, put on a sensational set. Her vocals were both compelling and effortless on top of soft folk melodies played by the singer-songwriter herself and her band. She performed songs off Love Will Be Reborn and her self-titled album, and even a cover of Rufus Wainwright’s “Dinner at Eight.”
The Hydro-Québec Stage featured an impressive lineup of artists around the globe this day. Maïa Barouh, a French-Japanese singer and flautist, mixed what she calls the “Nippon blues” and rap beats. Her sound and stage presence was incredibly fierce, and of course, featured some flute.
Trinidad’s Queen Omega had vibrant energy, performing a set full of soul and jazz. Her powerhouse vocals were a force of their own.
Hailing from the French reggae scene, Biga*Ranx delivered a set that combines elements of dancehall and chill hop. His flow was effortless, even with tongue-twister verses. He was flanked by a drummer who played from a platform that looked like a brick wall.
Friday, July 12
Post Malone played one of the biggest sets of the nearly two-week long festival, headlining the Bell Stage on day nine. His setlist consisted of what seemed like hit after hit, including songs from across his catalog. Flanked by constant fog, smoke, and fireworks, the Texas rapper focused on mostly his beerbongs & bentleys and Stoney albums, featuring special arrangements on some songs, like a string quartet to open “Better Now.” The FEQ crowd also got a taste of his upcoming cowboy era with the song “I Had Some Help.”
Jessie Murph was second on the Bell Stage, her raspy, emotive vocals perfect for her lovesick cuts.
Valley opened the Bell Stage delivering pop rock vibes that reminisced Lauv and Del Water Gap. The Toronto quartet drew in a packed crowd that relished in coming-of-age anthems like “Lost In Translation” and “Have A Good Summer (Without Me).”
The Loto-Québec Stage this day called back to rock sounds from different eras, with Solipsisme kicking things off with psychedelic tendencies. Playing songs off 2023’s Labyrinthologie, the francophone quartet were on point with their retro riffage.
Quebec’s The Box dialed things back to the 80s, playing songs off their iconic self-titled album, as well as All the Time, All the Time, All the Time… They filled Loto-Québec with rockstar energy, their onstage charisma radiating throughout the packed festival grounds.
Kansas brought all the classic jams to their set, sounding absolutely on top of their game. The Topeka seven-piece were sharp with their parts—every riff hit hard, every harmony on point. “Dust In The Wind” sounded intimate as ever, with each band member playing isolated parts. And of course, the band closed with the epic “Carry On Wayward Son,” leading a massive singalong from the crowd.
Classic rock vibes also took over the SiriusXM stage with performances from Mystery and Kim Mitchell. Both prominent figures in the Canadian music scene, Mystery delivered a hypnotizing set of hard rock cuts, while Kim Mitchell mixed prog-rock riffs with his signature ballad-style vocals.
The Hydro-Québec Stage featured a mix of eclectic sounds with North African techno trio Zar Electrik, electronic poptimist Rich Aucoin, and the hip-hop-meets-reggaeton collective L’Entourloop.
Saturday, July 13
Day ten at the Bell Stage hosted an all-Latin lineup, with GALE and Ivan Cornejo kicking things off. GALE’s vocals were stunning, taking on a fierce attitude when melodies were intense and empowering. On softer cuts, the Puerto Rican artist’s vocals seamlessly switched to a tender tone, capturing a more vulnerable sentiment.
Ivan Cornejo followed a similar tender approach, delivering romantic serenades as gentle guitar strums punctuated his vocals.
J Balvin headlined the night, totally flipping the mood with an explosive, party-ready set. The Colombian singer knocked out a 32-song performance as he traipsed atop a huge cube-shaped platform that projected colorful visuals. Dressed in a shiny green leather jacket, J Balvin also danced across all ends of the mainstage.
His setlist included the live debut of “Gaga” and his banger Skrillex collaboration, “In Da Ghetto.”
Sets at the Loto-Québec and SiriusXM stages leaned into roots, country, and soul with performances from Canadian artists Joffrey Charles, Sass Jordan, Blue Rodeo, The Hello Darlins, and Amanda Marshall.
Meanwhile, the Hydro-Québec Stage was a phenomenal representation of Québec’s hip-hop scene, featuring artists Sensei H, Aswell, and Alaclair Ensemble.
Day ten also featured a panel with Rush bassist-vocalist Geddy Lee at the Grand Theatre in promotion of his new book, My Effin’ Life : In Conversation. He was first interviewed by musician Jason Rockman and then Québec media personality Geneviève Borne.
Sunday, July 14
Mötley Crüe headlined the Bell Stage on the final day of FEQ. The heavy metal legends played for roughly 80,000 people, knocking out nonstop riffs, breakdowns, and Tommy Lee’s signature falsetto.
While the band was on fire laying on the tuneage, fans did their parts too, crowd surfing and pumping devil horns at any given moment. This made for an especially epic scene during “Shout at the Devil.”
The band even performed a mega cover medley featuring “Rock and Roll, Part 2,” “Smokin’ in the Boys Room,” “Helter Skelter,” “Anarchy in the U.K.,” “Blitzkrieg Bop,” and “Fight for Your Right.” Grosse Pointe’s own John 5 was sharp on his telecaster, delivering tones with a satisfying crunch and distortion. Before filling in for Mick Mars, the Detroit native played guitar for the likes of Rob Zombie, David Lee Roth Band, Marilyn Manson, Loser, k.d. Lang, and Rod Stewart.
Sunday service at the Bell Stage was heavy on metal, featuring earlier performances from Lee Aaron and Seether as well.
Big sounds were all around as Maten and Marie-Annick Lepine leaned into roots and stomp and holler vibes on the Loto-Québec Stage. Lepine had also performed her own surprise pop-up show the day before.
Maten’s and Lepine’s sonic grandeur was rounded out with Michel Rivard’s cozy, softer folk stylings.
Over at the SiriusXM stage, Hauterive and Les Soeurs Boulay gave fans a double dose of dream pop sensibilities.
And closing FEQ’s Hydro-Québec was a gorgeous showcase of global sounds from the Afropop and Afropunk styles of Valérie Ékoumè and Ibibio Sound Machine, plus Saharan rock from Bombino.
Next year’s Festival d’ete de Quebec returns July 3 to 13, 2025.
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All photos by Steve Galli
