Willie Nelson

The fun didn’t stop after weekend one at Austin City Limits Music Festival (ACL). The beloved fest returned to Zilker Park mid-October for a second round of performances from over a hundred artists. And while the first weekend brought anticipation and hype, the second followed up with its own share of surprises and standout moments—wrapping up another great festival season. 

Most of the logistics remained the same – C3 Presents hosted local and global acts across seven sponsored stages. Acts like Blink-182, Pretty Lights, and Tyler, The Creator put on epic headlining sets at the Honda and American Express stages. And local and undercard favorites dominated the IHG Hotels & Resorts, Miller Lite, BMI, Tito’s Handmade Vodka, and T-Mobile stages. 

But this time around, some artists switched things up a bit. Blink-182 snuck in a snippet of Chappell Roan’s “Pink Pony Club” during the SoCal trio’s performance of “Dammit.” Chappell Roan donned a new leather look custom made by Lacey Dalimonte. And Dua Lipa repped a Texas Longhorns jersey for part of her set. 

The bill also featured more Texas representation, heavier and hybrid sounds, and some surprise guests. 

For his 15th year at ACL, Steve Galli caught 109 different artists over both weekends. Here’s what his weekend two looked like, featuring the scenes and sets from Oct. 11 to 13. 

Chappell Roan

Dua Lipa

Willie Nelson crashed some sets

Country music legend Willie Nelson made a couple of cameos during weekend two ahead of his own performance that week. Nelson was in town to headline the Austin City Limits 50th Birthday Bash in celebration of the music series’ milestone anniversary. 

Nelson made his first surprise appearance at Chris Stapleton’s set on Friday, day one of the second weekend. The two country stars took the American Express stage and performed “Whiskey River” and “Bloody Mary Morning” together. The two sat front and center campfire song-style and got straight to business as the crowd cheered in sheer excitement. 

Chris Stapleton and Willie Nelson

Nelson made a second appearance at Orville Peck’s Honda stage set on Sunday. Peck and his band welcomed the music legend onstage and proceeded to trade verses on a cover of Ned Sublette’s “Cowboys Are Frequently, Secretly Fond of Each Other.” 

“This song is a special tune—it takes place in Texas, first of all, and it’s pretty amazing because it’s a song about gay cowboys,” Peck said as he introduced the cover. 

Orville Peck and Willie Nelson

Sounds of the Lone Star State 

Weekend Two’s lineup featured a notably larger selection of acts with Texas ties—Austin and beyond.

Leon Bridges, who has roots in Fort Worth, served feel-good soul at the American Express stage. Dressed in all white, the singer delivered his velvety croon as he moved and grooved across the floor. His band of seven provided harmonies and an easygoing flow on songs like “Texas Sun” and “Coming Home.” The former song, and the song “Mariella” are collaborations with Khruangbin, which Bridges performed with the band at its own ACL set on Weekend One. 

Leon Bridges

Over at the IHG Hotels & Resorts stage, Arlington’s Mickey Guyton belted out gorgeous R&B melodies. Her powerhouse pipes were expertly and effortlessly delivered, as her live band turned in some smooth rhythms.  

Mickey Guyton

Performances from Austinites covered a variety of genres, with Theo Lawrence and Bob Schneider representing the local country music scene. Lawrence stayed true to the classic sounds of the genre while Schneider delivered a unique blend that featured rap and rock sensibilities. WhooKilledKenny brought hip-hop to the BMI stage and The Moriah Sisters spread the spirit of gospel at the Tito’s Handmade Vodka stage. 

Theo Lawrence

A spectrum of psych-rock vibes were well-represented by artists like Kalu & the Electric Joint, Molecular Steve, DAIISTAR, and Being Dead. Jon Muq and Hudson Ingram offered pop bliss and Rickshaw Billie’s Burger Patrol served pure rock and roll. 

DAIISTAR

More Texas-based performances came from Bay City’s That Mexican OT and Midland’s Braxton Keith. That Mexican OT’s Chicano rap was a hit at the T-Mobile stage, and Braxton Keith’s country serenades were perfect for a Saturday at the BMI stage. 

That Mexican OT

Michigan connections

A couple Michiganders also took the ACL stages this year, with Grand Funk Railroad at the Tito’s Handmade Vodka stage and Petey at the IHG stage. 

On the road to celebrate the 50th anniversary of “The Loco-Motion,” Grand Funk Railroad performed to a packed Tito’s stage crowd on Saturday, their rockstar chops in fine form. The Flint, Michigan four-piece were in high spirits as they performed songs like “Heartbreaker,” their famous Carole King cover, “I’m Your Captain” and even the National Anthem. Tim Cashion, Max Carl, and original members Mel Schacher and Don Brewer led the crowd through massive singalongs as they delivered their signature hard rock fuzz. And on “Some Kind of Wonderful,” Brewer left his drum kit to sing front and center. 

Don Brewer of Grand Funk Railroad

Don Brewer, Mel Schacher, Max Carl and Mark Chatfield of Grand Funk Railroad

Royal Oak native Petey brought his distinct brand of electropop to his IHG set on Sunday. Instrumentally, his songs mixed in elements of indietronica, new wave, and vaporwave, creating an overall dreamy tone. But his vocals added a brashness reminiscent of modern midwest emo. Petey and his band were locked in, delivering some heavier arrangements on songs off 2022’s Lean Into Life and 2023’s USA.

Petey

Flying solo

ACL saw solo sets from Why Don’t We’s Daniel Seavey and Thrice’s Dustin Kensrue.

On top of being a member of boy band Why Don’t We, Daniel Seavey brought his many talents to the American Express stage on Sunday. He jumped around and danced as he delivered light and breezy feel-good melodies. He performed some songs on the guitar, and at one point, even played an electric cello. Highlights from his set included Seavey serenading his girlfriend on “The Older You Get” and a performance of unreleased song “Second Wind.” 

Daniel Seavey

Thrice’s Dustin Kensrue traded in his post-hardcore tendencies for country during his set at the Miller Lite stage. He performed a handful of songs from 2024 album Desert Dreaming, which had its own tour earlier this year. Kensrue’s vocals sounded warm and matured with a hint of rasp, and went down clean like aged whisky. He and his band created a rich sound that carried some heavy emotions and vivid storytelling. The pedal steel and quieter riffs felt especially poignant.

Dustin Kensrue

Global grooves

From Australia to Europe, ACL celebrated sounds from around the globe with international acts and music inspired by different cultural identities. 

Born and raised in Adelaide, Paul Kelly brought scenes of Australia to the American Express stage by way of his bluegrass and folk songs. He sounded sharp on the acoustic guitar, while his vocals were raw with poetic delivery.

Paul Kelly

Chinese Idol alum Emei performed a 19-song set at the BMI stage on Saturday. Her songs were lush with electronic, dance-pop beats, with many coming off 2023 EP Scatterbrain. Rocking long braids, a moto jacket, and knee-high converse, the Chinese-American singer delivered infection upbeat energy. 

Emie

Ireland’s CMAT and Germany’s St. Lucia leaned into indie pop at their Friday performances. And Hermanos Gutiérrez from Switzerland played Saturday, mixing Latin and Western sounds into their set.

CMAT

Hermanos Gutierrez

Jean-Philip Grobler of St. Lucia

Heavy & hybrid

Variety was the name of the game this year, with sounds that leaned into heavy rock, heavy rap, and a hybrid mix of both plus more genres in between. 

Jeezy hyped up the Friday crowd at IHG with a hard-hitting performance. The Atlanta rapper was strong and sharp with his delivery and had everyone with their hands up on songs like “Way Too Gone” and “Dey Know.” He and his DJ had the speakers shaking, intensifying the energy of the set.

Jeezy

Qveen Herby also brought a fiery set to the IHG stage that played into themes of transformation. In a red leather harness and black bubble skirt, the Nashville artist totally dominated with their brand of pop-rap and what they describe as “quirky, witchy shit.” On top of their vibrant rhythms and beats, their stage production was beautifully maximalist. The backdrop seemed to be in reference to the cover art of 2021 album A Woman. After performing “Rabbit Hole,” the artist stepped into a portable dressing room, while the backdrop visuals made it appear like they levitated high into the air. Qveen Herby then unveiled an outfit change, a pinstripe blazer, and proceeded to sing “Mission.” 

Qveen Herby

Other heavy and hybrid sounds included:

Vanilla Is Black at the BMI stage on Friday.

Nico Vega at the Miller Lite stage on Saturday.

Billy Allen + the Pollies at the Honda stage on Saturday.

Amira Elfeky at the BMI stage on Sunday.

Flipturn at the American Express stage on Sunday.

Bakar at the T-Mobile stage on Sunday.

Even more weekend one highlights:

Thee Sinseers at the Miller Lite stage on Friday.

Bre Kennedy at the BMI stage on Friday.

Eggy at the Tito’s stage on Friday.

The Paper Kites at the T-Mobile stage on Friday.

Remi Wolf at the Miller Lite stage on Saturday.

Say She She at the Miller Lite stage on Saturday.

Joe P at the Miller Lite stage on Saturday.

Jonah Kagen at the T-Mobile stage on Saturday.

The Beaches at the T-Mobile stage on Saturday.

Valencia Grace at the IHG stage on Saturday.

Vince Staples at the IHG stage on Saturday.

Emily Nenni at the BMI stage on Sunday.

Teddy Swims at the Honda stage on Sunday.

MisterWives at the Honda stage on Sunday.

Sturgill Simpson at the Honda stage on Sunday.

Billy Allen + The Pollies

Madeline Jarman of Flipturn

Jonah Kagen

Kalu & The Electric Joint

Andre Portillo of Late Night Drive Home

Mandy Lee of MisterWives

Aja Volkman of Nico Vega

Sam Bentley of Paper Kites

Remi Wolf

Say She She

Sturgill Simpson

Teddy Swims

Eliza Enman-McDaniel of The Beaches

Valencia Grace

Vince Staples

All Photos © Steve Galli + Story by : Chloe Catajan

Check out our coverage of Austin City Limits Weekend 1:

Austin City Limits returns to Zilker Park October 3-5  and 10–12, 2025.

https://www.aclfestival.com

https://www.c3presents.com

https://www.facebook.com/fullaccessdetroit

For coverage of Weekend Two go here : https://www.fullaccessdetroit.com/2024/11/20/austin-city-limits-music-festival-acl-weekend-two-october-11-13-2024/

The American Express Stage at the 2024 Austin City Limits Music Festival (ACL)

Welcome to the Austin City Limits Music Festival (ACL) where the population is over 100 artists and 450,000 music fans. The forecast reads sunny with a high chance of great tunes, the food is packed with flavor, and the folks like to keep it weird. The music festival is an extension of the vibrant music scene in the area (and promoter C3 Presents’ home turf).

This year, Austin City Limits returned to Zilker Park for back-to-back weekends in October, offering an expertly-curated soundtrack of local and global acts performing across seven stages. The Honda and American Express stages hosted some of the music world’s biggest names at the moment, while undercard acts and niche favorites shined on the Miller Lite, BMI, IHG Hotels & Resorts, Tito’s Handmade Vodka, and T-Mobile stages. The stages, named after festival sponsors, offered some cool perks like a hospitality area at the IHG Hotels & Resorts, side-stage viewing at Amex and T-Mobile, and a lounge at Tito’s.

For the festival’s 22nd edition, country music was alive and well, hi- met lo-fi, and people danced in the name of disco. This was photographer Steve Galli’s 15th year covering the fest, capturing 109 different artists over both weekends.

Straight from the live music capital of the world, this is what Austin City Limits looked like on weekend one.

Country music comeback

From Southern staples to fresher sounds, the country music renaissance was in full effect at Austin City Limits this year. Headlining sets from Chris Stapleton and Sturgill Simpson filled the American Express and Honda stages, and ACL mainstays Asleep At The Wheel kept the annual tradition of opening day one.

Chris Stapleton performed 20 songs for his headlining set at American Express on day one. He took the mainstage donning a Stetson, a Western shirt, and his Gretsch electric guitar. Only his silhouette was visible as he and his band opened with “White Horse.” The stage lights brightened on the second song, “No One To Blame,” revealing Stapleton’s five bandmates. Together, Stapleton and company delivered a crisp twang with their rhythms and harmonies. 

Chris Stapleton

Speaking of comebacks, Sturgill Simpson headlined Honda on day three in part of his first full tour since 2020. Simpson was sharp with his shredding on songs like “A Good Look” and “Best Clockmaker on Mars.” His band of four—a bassist, second guitarist, drummer, and keyboardist-saxophonist—did an excellent job punctuating every single riff with a heavy-handed grit. Sturgill went on to perform mostly songs off SOUND & FURY and his Johnny Blue Skies project, as well as his famous cover of When In Rome’s “The Promise.” 

Sturgill Simpson

Dressed in red leather with sequined flames, Orville Peck serenaded the Honda Stage crowd with his signature croon. The enigmatic cowboy’s baritone vocals got a lot of woos during the first song alone. He opened with “Big Sky,” a fan favorite off 2019’s Pony; but his setlist had a heavy focus on 2022’s Bronco. 

Orville Peck

Teddy Swims mixed country, R&B, rock, and soul at his Honda Stage set. But his performance? His performance came from the heart. The Georgia singer-songwriter touched on heartbreak and grief with expressive, headstrong vocals. He even delivered a touching message on closure before “Some Things I’ll Never Know.” 

“You’re left with all these unanswered questions, all these pieces of yourself you’re picking back up and I’ve found the only closure you get is internal. It’s accepting things you can’t control…” Swims said, met with cheers of solidarity. “I hope this song is a blessing for you.” 

Teddy Swims

Country meets pop music with Dasha’s American Express performance on day one. The San Luis Obipso singer-songwriter delivered powerhouse vocals, while her four-piece band kept things clean and country—fiddle and all. Her setlist included a few unreleased songs, and ended with her viral hit “Austin (Boots Stop Workin’).” The closer featured a special shout out to the namesake city and a fun honky tonk hoedown at the chorus. 

Dasha

Stunning and haunting all at once, Goldie Boutilier served indie twang to the American Express on day two. Her vocals were magnetic, like a chanteuse from a David Lynch project, and carried a tone that reminisced Stevie Nicks’. Her songs had a cinematic quality, with “The Actress” channeling an old Hollywood glamour and “Body Heat” building up some suspense. 

Goldie Boutilier

“The 24th year in a row, don’t look now, but we’re Asleep At The Wheel!” frontman Ray Benson yelled as he and the band opened their ACL set on the Honda Stage. The local legends kicked off day one in full swing—heavy on the fiddle and honky tonk keys. Their setlist began with “Miles and Miles of Texas” and went on with a handful of cover songs. 

Ray Benson of Asleep At The Wheel

Other folk and country highlights from weekend one included:

Mon Rovîa at the BMI Stage on day one.

Hudson Westbrook at the Honda Stage on day one.

Richy Mitch and the Coal Miners at the Honda Stage on day three. 

Dexter and The Moonrocks at the BMI Stage on day one. 

Tanner Adell at the BMI Stage on day one.

Katie Pruitt at the Miller Lite Stage on day one. 

Cale Tyson at the T-Mobile Stage on day three.

Myles Smith at the IHG Hotels & Resorts Stage on day three. 

Dance the night away

From disco to electronica, Austin City Limits had attendees in a trance to dance. 

Dua Lipa delivered nonstop hits for her headlining day two set at the American Express Stage. Dressed in black leather, the British singer and her crew of dancers started off strong with “Training Season” before breaking into her iconic Calvin Harris-collab “One Kiss.” Lipa was an absolute force with her vocals and choreography, while her band provided hard-hitting live arrangements on Lipa’s disco and dance-heavy set. She alternated between mostly songs off her latest release, Radical Optimism, and 2020’s Future Nostalgia.

Dua Lipa

Porter Robinson mixed electronic beats with indie pop riffs at his Miller Lite Stage performance on day one. Flanked by a live band and a large inflatable cat, Porter Robinson delivered a textured sound with his autotune vocals and the fuzzy tones of his live arrangements. Songs like “Knock Yourself Out XD” and “Kitsune Maison Freestyle” leaned on the sentimental side, but still had the crowd dancing. 

Porter Robinson

MisterWives hit the Honda Stage crowd with a set full of pure dance pop on day three. Dressed in matching red plaid outfits, lead singer Mandy Lee, guitarist Marc Campbell, bassist William Hehir, saxophonist Mike Murphy, and drummer Etienne Bowler had fiery energy. They performed songs mostly off 2023’s Nosebleeds, plus a cover of Robyn’s “Dancing On My Own.” 

Mandy Lee and William Hehir of MisterWives

Other dance-heavy sets from weekend one included:

Jungle at the Miller Lite Stage on day two.

Elderbrook at the Miller Lite Stage on day one. 

From pop power to power-pop

Infiltrate it. Activate it. Austin, Texas city limits. Everybody talk about pop muzik.

A sea of rainbow folding fans and waving hands greeted Reneé Rapp as she opened her set at the T-Mobile Stage on day two. She wore sunglasses, a black tie, and a white dress shirt that read “BLEACH BLONDE BAD BUILT BUTCH BODY” and moved across all ends of the stage as sang “Talk Too Much.” Her setlist included mostly songs off 2023’s Snow Angel.

Renee Rapp

Chappell Roan drew an undeniably large crowd to the American Express Stage on day three. She wore a red and white leather outfit custom-made by Zana Bayne as she performed several songs off The Rise and Fall of a Midwest Princess. The midwest princess herself led a massive dance-along to her hit song “HOT TO GO!” and also covered Heart’s “Barracuda,” nailing the intense vocal range.

Chappell Roan

Currently on the Crash Tour to celebrate the album of the same name, Kehlani leaned into the new release for their ACL set while mixing in a few older favorites. The Oakland singer wore silver tones and delivered stunning vocals as they performed hard-hitting dance breakdowns with their dance crew. Their set was a smooth mix of pop, soul, and R&B, layered with punctuated riffs from the live band. Kehlani also reflected on their first ACL performance eight years ago, a daytime set, and showed gratitude to be headlining the Miller Lite Stage set this weekend. 

Kehlani

Fletcher headlined the IHG Hotels & Resorts on day one and delivered a strong set. Songs like “Sting” and “Serial Heartbreaker” featured ferocious drums and fiery riffage, as the singer belted effortlessly and with incredible range. 

Fletcher

Viral pop sensation Benson Boone gave the Honda Stage an undeniably energized performance full of anthemic choruses, powerful vocals, and acrobatics. The Washington-based singer-songwriter would do literal flips off his grand piano and go back to belting his lyrics flawlessly. Matching in red outfits with his band, Boone and company looked and sounded red hot with their pop-rock set, closing with hit song “Beautiful Things.” 

Benson Boone

Cannons took the American Express Stage on day three, looking glamorous in matching silver outfits. The Los Angeles trio had lush synth-pop sounds, performing songs mostly off Heartbeat Highway, Fever Dream, and Shadows. 

Michelle Joy of Cannons

Sir Chloe leaned into power-pop tendencies for its day one set at the T-Mobile Stage. Their setlist combined a lot of songs off their debut album Party Favors and sophomore release I Am The Dog. They also performed an unreleased song called “Forgiving.” 

Dana Foote and Palmer Foote of Sir Chloe

Also in the power-pop territory was Mannequin Pussy, who performed at the Miller Lite Stage on day one.  Marisa “Missy” Dabice’s vocals roared with rasp and rage, as drummer Kaleen Reading, bassist Colins “Bear” Regisford, guitarist and Maxine Steen were on point with their high voltage rhythms. 

Marisa “Missy” Dabice of Mannequin Pussy

Go with the flow

ACL’s selection of hip hop and R&B acts kept up a good flow all weekend long.

Empress Of brought alternative R&B to the American Express Stage on day three. As a DJ took care of the beats, the bilingual singer-songwriter, born Lorely Rodriguez, had a magnetic stage presence with her flowy choreography and expressive vocals. She sang in both English and Spanish, performing songs off 2024’s For Your Consideration, 2020’s I’m Your Empress Of, and a handful of other releases. 

Empress Of

Other hip hop, R&B, and soul highlights from weekend one included:

Connor Price at the IHG Hotels & Resorts stage on day one.

Brittany Davis at the Tito’s Handmade Vodka stage on day two.

Godly the Ruler at the Miller Lite stage on day two.

Lola Young at the American Express stage on day two.

Shxwnfresh at the Tito’s Handmade Vodka stage on day two.

Chief Cleopatra at the IHG Hotels & Resorts stage on day three.

Deyaz at the BMI stage on day three.

Flo at the Miller Lite stage on day three.

Malcolm Todd at the T-Mobile stage on day three.

Mike. at the Honda stage on day three.

We got the funk

The ‘70s called to say that funk and psychedelia were alive and well at ACL. 

Foster the People’s Honda Stage set on day one brought the hits, leaning heavily into the band’s debut album Torches. The Los Angeles six-piece dressed in monochrome looks and sounded ultra smooth with their synth-pop and neo-psychedelia sensibilities. Three songs from 2024’s Paradise State of Mind, Foster’s first release in seven years, made the setlist too. The new material channeled Chic and Talking Heads—a sound that suits the band well.

Mark Foster of Foster The People

Other psychedelic highlights from weekend one included:

Midnight Navy at the Tito’s Handmade Vodka stage on day one.

Obed Padilla at the BMI stage on day two.

Glass Beams at the Tito’s Handmade Vodka stage on day three.

Classic sounds

Turning back the analog clock even more, ACL offered a handful of retro sounds, from jazz and jukebox vibes to lo-fi earworms.

Dressed in a retro rainbow-striped dress that perfectly matched the stage backdrop, Norah Jones was, as expected, a sensation with her piano and vocals. Her keys, backed by a full rhythm section, sounded vibrant and pleasant; her vocals, rich and full. Jones spent most of her setlist on latest album, Visions, acknowledging that it had been a while since she last saw Austin. She also performed the hit single “Don’t Know Why,” as well as a cover of Kris Kristofferson’s “Help Me Make It Through the Night,” which she dedicated to the late singer. 

Norah Jones

Stephen Sanchez leaned fully into the ‘50s crooner vibe at his day one set. He transformed the T-Mobile Stage into a vintage theater of sorts, as he and his band dressed to the nines in black suits. Sanchez and company’s sound mixed jangly pop with classic and rockabilly sensibilities. The singer’s vocals flowed between quiet moments and belted parts flawlessly, with a gorgeous and resonant tone.

Stephen Sanchez

Branded as  K-indie rock, wave to earth brought its signature lo-fi sound to the IHG Hotels & Resorts Stage on day two. Elements of jazz, bedroom pop, and soul were brought to life by the band’s saxophone solos, careful drums, and guitar-driven melodies. Vocalist-guitarist Daniel Kim sounded smooth at the mic, delivering dreamy lyrics of songs like “play with earth” and “annie.” Their undercard set brought some of the loudest singalongs of the weekend.

Jeon-min of wave to earth

More weekend one standouts

Penny & Sparrow at the IHG Hotels & Resorts stage on day one.

The Saint Cecilia at the American Express stage on day one.

Geese at the T-Mobile stage on day two.

Rett Madison at the BMI stage on day two.

Sawyer Hill at the BMI stage on day two.

Telescreens at the BMI stage on day two.

Zach Person at the Tito’s Handmade Vodka stage on day two.

David Shaw at the Tito’s Handmade Vodka stage on day three.

Medium Build at the Miller Lite stage on day three.

Vlad Holiday at the BMI stage on day three.

West 22nd at the Tito’s Handmade Vodka stage on day three.

DeathbyRomy at the Miller Lite stage on day three.

For coverage of Weekend Two go here : https://www.fullaccessdetroit.com/2024/11/20/austin-city-limits-music-festival-acl-weekend-two-october-11-13-2024/

Stay tuned for coverage of Austin City Limits Weekend 2. Austin City Limits returns to Zilker Park October 3-5  and 10–12, 2025.

All Photos © Steve Galli + Story by : Chloe Catajan

https://www.aclfestival.com

https://www.c3presents.com

https://www.facebook.com/fullaccessdetroit

“We had a really big couple years preparing for the release of our album Relentless, and a huge 2024 with festivals we never imagined we would be able to play. It was all such a trip, getting our on the road and testing our ability to keep the business in the black. We had some adversity on the road, but it was overall a success. At the end of 2023, we did a string of dates with Upon a Burning Body in Texas, and immediately hit it off with the guys in their camp. Danny and I realized quickly we both had interests in entrepreneurship, and other business ventures, so we had a lot of good chats. During that time, we decided we had such good conversations, not to mention that we both really wanted to promote our music without having to do goofy dances on tiktok, we had the idea to start developing a podcast which is in the works now. We are calling it “Not Another Metal Podcast?!” Both bands are pretty business between studio and touring so, once we get a little break we are going to start filming episodes. The idea is, longform conversation about music, culture, sports, and everything in between. We already have some notable guests lined up.

Once we released our album Relentless in 2023, we immediately got back into the studio with our producer Chris Collier (Korn, Flat Black, Mick Mars) and started working on the next record. We have spent about 14 months on it so far. We have over 15 songs in the works and more coming. CONTROL THE CHAOS is the first of many singles on the as yet untitled record, and we thought the timing was perfect and we would ask our friend Danny-UABB to feature on this one. Its heavy, bouncy, crushing and perfect for his style of vocals. It also allowed Joe Ortiz our vocalist some time with Danny, who is great at what he does, to work together on vocals, lyrics and phrasing. We have never collabed with another artist like this, and it was a great experience overall. We are really honored he agreed to work with us, and we know that an artist at his level cant just go through himself out there and feature with everyone that asks. He has a personal brand to uphold, and we understand that, so we are really glad he wanted to work with us.” – Jeff Ogle

Purchase / Stream “Control the Chaos” Online: Apple Music | Spotify

LOCKJAW is a metal/hard rock band based out of Dallas/Fort Worth, TX. While they continue to emerge on the radars of a whole new crop of fans, the group has a history of making music together that goes back more than two decades – tracing back to friendships that began in their high school days. Over time, the scene in which they cut their teeth and the music that came from those early beginnings might look different from the present, but LOCKJAW has never been interested in chasing trends. These talented musicians have the vision to make their own music and truly give it their all. The quintet’s upcoming studio album is a perfect example of their defiant-yet-charismatic approach to songwriting and performance, going for an urgent, no-frills sound that favors the well-honed connection between these musicians, rather than hiding their work under excessive layers of studio trickery. The band’s 2022 single, “Breaking Point”, serves as an unapologetic example of this philosophy. The mix is balanced and detail-oriented, making for a lively sonic approach. Listeners will instantly take notice of the roaring walls of guitar and the energetic rhythm section, but if you dive deeper, there is a lot more to uncover. The dynamic spectrum of the track is very balanced, with a tight yet deep low end that really growls, holding it all together while adding some aggressive edge to the sound. These expressions of creative integrity are the backbone that LOCKJAW intends to build their rise on. In a landscape where others can so easily get caught in the latest tides, this DFW five-piece has keyed in on where their passions lie, and are more than ready to swim against the current. LOCKJAW is: Jeff Ogle – Guitar Joe Ortiz – Vocals Gabriel Ayala – Bass Scott Letz – Drums Justin Paul – Lead Guitar

Connect with LOCKJAW:
Official
Facebook | Instagram | TikTok

Gwen Stefani

Huntsville, Alabama, known as Rocket City, is home base for all things outer space. Here, NASA planted its roots in 1960 with the Marshall Space Center, and Saturn V took off for the Apollo Moon missions. The area stays committed to its stellar history as a hub for aerospace companies, as well as otherworldly experiences from space camps to a quaint arts and nightlife scene. Most recently, Rocket City partnered with iconic event production gurus C3 Presents to launch South Star Music Festival—a place where (rock)stars align and music fans of any genre can find cloud 9. 

For its inaugural year, South Star set up shop at John Hunt Park with two stages that pay homage to local history. The Supersonic stage’s name of course relates to aerodynamics, while the Camellia stage is in reference to Alabama’s state flower. The surrounding spaces had food stalls and a craft market featuring local vendors, as well as a large hall for SEC football fans to tune into games a la sports bar style. Every corner had something for Alabamian attendees to feel at home, and for traveling guests to get a taste of local flavors.

South Star was scheduled for the last weekend of September, but due to Hurricane Helene’s impact on the festival grounds, day two was ultimately canceled. Still, the fest and its goers made the most of a wet and wild day one—relishing in the mud, music, and memories made. 

Headlining South Star, Gwen Stefani gave a performance of pure popstar caliber. She came equipped with backup dancers, outfit changes, and a setlist that mixed her solo material and No Doubt throwbacks. 

Gwen Stefani

About halfway through her set, Stefani changed into a pink harness and skirt set with silver hardware and continued to deliver the hits. Songs like “Don’t Speak” and “Spiderwebs” featured smooth trumpet solos from Stephen Bradley. The latter No Doubt cut also had the crowd in a high, dancing and jumping in sync with Stefani’s high energy. Stefani ended her set with her 2004 hit from Love. Angel. Music. Baby., “Hollaback Girl.” 

Gwen Stefani

Stefani took the Supersonic stage sporting a colorful look, her first outfit of the night Americana-inspired and complete with tassels, chaps, and star-shaped details. She danced as she opened with “The Sweet Escape,” whipping around her blonde hair, which seemed newly dip-dyed black. Her vocals were in fine form, nailing the belted parts in “Sunday Morning” and perfectly delivering the cheeky punch of “Hey Baby.” Her dancers and live band matched that energy on the latter song, giving a feisty performance of their own. 

Gwen Stefani

An hour before, Shinedown took the Camellia stage kicking off their hard rock set with a literal bang. Shots of pyro erupted onstage as the band emerged from the dark and opened with “Devil” from 2018’s Attention Attention. The special effects continued into the next song, “Diamond Eyes,” punctuating each member’s movements. Lead vocalist Brent Smith roared as he captivated the crowd from all ends of the stage. Guitarist Zach Myers and multi-instrumentalist Eric Bass sliced through their riffs with a sharp edge, as drummer Barry Kerch provided hard-hitting beats. 

Brent Smith of Shinedown

The Floridian four-piece went on to perform 13 songs from across nearly all of their albums. On top of fan favorites like “Second Chances” and “Cut the Cord,” the band’s cover of Lynyrd Skynyrd’s “Simple Man” (also heard on Shinedown’s Leave a Whisper album) made the setlist. 

Brent Smith of Shinedown

Nineties babies and R&B fans alike were in for a treat with TLC’s set at the Supersonic stage. Led by original members Rozonda “Chilli” Thomas and Tionne “T-Boz” Watkins, the iconic group delivered a crazy, sexy, and cool performance stacked with classics. From “No Scrubs” to “Waterfalls” to “Diggin’ On You,” Chilli and T-Boz sounded smooth. Their live band added stunning embellishments to the original arrangements people love and know. The group’s backup dancers also made the scene feel straight out of a music video with their choreography. 

TLC easily got the South Star people into the groove with their setlist, but the duo also took the time to interact with the crowd in between songs. Before “No Scrubs,” Chilli gave shoutouts to the young kids in the crowd, the fellas, and of course, the ladies.  

“Fellas, if you’re here tonight, that means you are not this type of guy,” Chilli said in reference to the lyrics of “No Scrubs.” “Now all the way in the back, and all the way to the front, [let me hear the] LADIES,” she continued before diving into the song. 

Chilli of TLC

Sets from Tom Morello and Gin Blossoms got things started at the Supersonic stage that day. 

Tom Morello delivered a set loaded with riffs, rage, and everything in between. He performed a mix of material from The Atlas Underground, The Atlas Underground Fire, and Comandante, and also included medleys of Rage Against The Machine cuts and a few select covers. The Rage guitarist rocked his signature red bandana around his neck and a blue work shirt with his name custom embroidered on it. He’d switch between a collection of strats and a tele, ripping through songs like “Soldier in the Army of Love” and “Vigilante Nocturno.”

Tom Morello

“We learned this one special for today—it’s a whole Alabama folk song, ok?” Morello said before jumping into the second-to-last song. “You probably learned it in school, so I’m gonna let you guys sing this one.” 

That folk song was “Killing in the Name,” and the crowd performed their due diligence. 

Tom Morello

Gin Blossoms kept things light and breezy with their alt rock and jangle pop stylings, even as heavy rain poured. Lead singer Robin Wilson took the mic looking cool and collected in sunglasses and in all black, with a tambourine in hand. The band, consisting of Bill Leen, Jesse Valenzuela,Scott Johnson, and Scott Hessel, created a dreamy soundscape with their rhythms. “Found Out About You” and “Hey Jealousy” had fans showing extra love, raising their hands in the air to clap along, and shouting along to the iconic lyrics.   

Robin Wilson of Gin Blossoms

Over at the Camellia stage, performances from Ludacris, Juvenile & the 400 Degreez Band, and Candlebox were a silver lining for hip-hop and rock fans on a gloomy day. 

With support from Lil Fate and DJ Infamous, Ludacris got the South Star party started with a set full of nonstop bangers. Opening with “Rollout (My Business)” and “What’s Your Fantasy,” he jumped to popular collaborations, like Usher’s “Yeah!” and Justin Bieber’s “Baby.” Both his solo material and features pumped up the crowd with no hesitation. 

While performing Usher’s “Yeah!” he switched the lyrics that normally roll called Usher and Lil Jon, and instead gave shout outs to his onstage crew. 

Ludacris

It almost felt like the rain stopped with how immersed Juvenile & The 400 Degreez Band had the early crowd. On “U Understand,” he had everyone grooving with their hands up, doing a call-and-response on the titular lines. The 400 Degreez Band were smooth with their melodies, doing the cleanest transitions in between songs like “U Understand” and “Rodeo.” Juvenile kept a flawless flow and did not shy away from the front of the stage, serenading fans under the incessant showers. 

Juvenile & the 400 Degree Band

Opening a festival was no challenge for Candlebox, who took the stage ready to rock the South Star crowd. Guitarists Brian Quinn and Island Styles and bassist Adam Kury laid on the fuzz and distortions on opening song “Arrow,” as BJ Kerwin kept things tight with his drumming. Lead vocalist Kevin Martin dove straight into his piercing vocals, unleashing an incredible scream during that first cut. He also took some time to ad lib and greet the crowd during an interlude.

“Fuck you rain, stay away,” Martin said—as if to say aloud what everyone in attendance was thinking. 

Kevin Martin of Candlebox

Due to the severe storms, opening sets from Winona Fighter and Dexter and the Moonrocks were cut from the schedule. 
Stay tuned for the 2025 dates of South Star Music Festival by C3 Presents.

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Alice Cooper

Seasons come and go, and after brat summer comes freak fall… at least for Rob Zombie, Detroit’s own Alice Cooper, and fans. The shock-rock icons are back on the road for Freaks On Parade 2024, with support from Ministry and Filter. They brought all the horror and glory to Clarkston, Michigan on August 30. 

The “Godfather of Shock Rock”, Alice Cooper kicked off the double bill at Pine Knob Music Theatre with “Lock Me Up” as the ultimate walk-up song. It started with two figures dressed as plague doctors that rang bells across the stage. A black curtain revealed a giant newspaper with the headline reading, “BANNED IN MICHIGAN! ALICE COOPER,” while a spotlight casted the singer’s silhouette. 

Alice Cooper

“Alice Cooper, you’ve been banned in Michigan for acts against humanity,” a warped voice announced. “How do you plead?”

“GUILTY,” Cooper snarled as he and the band appeared. They proceeded to rip through the Raise Your Fist and Yell song. 

Alice Cooper

As expected of shock rock caliber, Cooper’s set production was incredibly elaborate. The stage design resembled a pirate ship, with two platforms serving as an upper deck. Wooden railings surrounded the drum riser, along with window-shaped video screens. Band members wore tattered and textured outfits, as Cooper played captain in a red coat, tall black hat, and a skull-and-crossbones belt, all while wielding a sword. 

On the second song, “No More Mr. Nice Guy,” the singer traded his hat and sword for a cane. He took on the role as the greatest showman as he and his crew knocked out a roughly hour-and-a-half-long set. 

Nita Strauss and Alice Cooper

While it was easy to get lost in the theatrics, Cooper and his band of five kept the crowd tuned in from start to finish. The lineup consisted of bassist Chuck Garric, guitarists Ryan Roxie, Nita Strauss, and Tommy Henriksen, and drummer Glen Sobel. Together, they shredded and stunned. The drums were big and anthemic, while the rhythms were nonstop fiery. 

Glen Sobel

Cooper, himself, was a magnet. He’d strut his stuff, spin his cane, belt notes, and rile up the crowd. Both his vocal chops and stage presence were in fine form. He and the band went on to perform songs across his catalog spanning 50 years, including songs off 1991’s Hey Stoopid, 1973’s Billion Dollar Babies, 1971’s Love it to Death, and many more. 

Ryan Roxie

The set ended with “School’s Out,” featuring a special appearance from Detroit native Suzi Quatro. 

Alice Cooper

Rob Zombie rounded out the evening with a co-headlining set that was equally a spectacular assault on the senses. A huge projection of his name flashed on a curtain that covered the stage, counting down the seconds leading to the unveiling. The sheet dropped to reveal not one, but twelve video displays flashing visuals of monsters, skeletons, pentagrams, and spirals. 

Zombie appeared center stage, on a tall industrial-inspired riser that had his name carved across it. Drummer Ginger Fish was stationed at the top of the highest riser, while bassist Rob “Blasko” Nicholson and guitarist Mike Riggs stood on the lower tiers. The group opened with the explosive sounds of, “Demon Speeding.” 

Rob Zombie

On the second song, “Super-Charger Heaven,” Zombie emerged from the heights. He sang at a mic stand shaped like Baphomet as anime-inspired visuals took over the screens. Sparks showered from atop the stage during the chorus, with fans reacting by throwing fists and devil horns in the air. 

On top of the immersive displays, Zombie and company delivered a sound that was an adrenaline rush in itself. Rhythms from Fish, Blasko, and Riggs seared with high-voltage riffage. And, of course, Zombie’s vocals were rough around the edges in the best way—a glorious grit, if you will. 

Rob Zombie

Zombie and his crew went on to play material old and new, from 1998’s Hellbilly Deluxe to 2021’s The Lunar Injection Kool Aid Eclipse Conspiracy, and most albums in between. The setlist also included three White Zombie songs: “More Human Than Human,” “Super-Charger Heaven,” and “Thunder Kiss ’65.”

They closed with “Dragula” for the encore, unleashing all the works onstage amid deep, saturated red light. There were flames, fireballs, sparks, crazy visuals, and smoke from Zombie’s handheld fog machine. Zombie led the audience through a call-and–response during the chorus, as well as at the end. The crowd chanted “Zombie,” while the band punctuated the closing riffs. 

After all the heaviness, Zombie left on a wholesome note, asking the crowd to take a group photo “to remember this evening.” 

Rob Zombie

Chicago band Ministry and Cleveland’s Filter opened the show with two sets of pure rock bliss. 

Ministry’s riffs and rhythms packed a sharp punch as frontman Al Jourgensen delivered vocals heavy on distortion. When Jourgensen wasn’t serenading the audience from either ends of the stage, he sang from a mic stand that was shaped like a crucifix. Rested on the cross was a skeleton surrounded by a stained-glass motif. 

Al Jourgensen of Ministry

Every song had its own special flavor, whether it was the sick breakdown on “Just One Fix” or the twangy tones of “Jesus Built My Hotrod.” Band members John Bechdel, Monte Pittman, Cesar Soto, Pepe Clarke, and Paul D’Amour layered their parts expertly over each other, creating a chaotic sonic texture. Overall, most songs from the setlist came off newest release Hopiumforthemasses and 1992’s Psalm 69.

Al Jourgensen of Ministry

Filter kicked things off with a snappy and solid set that zeroed in on fan favorites and classic cuts. Vocalist Richard Patrick, guitarist Jonathan Radtke, bassist Bobby Miller, and drummer Elias Mallin appeared onstage dressed in all black—their aura as effortlessly cool as their post-grunge sound.
The band sounded flawless, their tones sludgy, fuzzy, and appropriately grungy. Patrick’s vocals were powerful and on point. In between verses, the lead singer hyped up the early crowd by constantly engaging and checking in with fans. They revisited songs off debut album Short Bus, 2002’s The Amalgamut, most recent album The Algorithm, and of course, the seminal Title of Record.

Richard Patrick of Filter

Jonathan Radtke of Filter

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Ian Paice – Deep Purple

There’s no doubting the impact of Deep Purple’s “Smoke On The Water.” The first chords alone are both a calling card for ‘70s hard rock and a staple for guitarists across generations and expertise. Simply put, it’s got a riff that’s forever embedded into rock history. It’s hooky, headstrong, and a homage to Beethoven— and it’s no wonder this Grammy Hall of Famer’s legacy lives on.

Half a century later, Deep Purple is “Celebrating 50 Years of ‘Smoke on the Water’” by getting back on the road. They played a show at the Michigan Lottery Amphitheatre where the “Highway Star[s]” proved that they still shred. 

Ian Gillan – Deep Purple

While the tagline for the North American tour calls to celebrate the anniversary of their signature song, the show itself covered Deep Purple’s catalog from then and now. Fans got to hear songs off 1970’s Deep Purple In Rock, 1972’s Machine Head, and new material from 2024 release =1. 

The English rockers took the Michigan Lottery Amphitheatre stage by storm after a video intro with suspenseful orchestral sounds queued their entrance, spotlights flashing in a frenzy. Drummer Ian Paice started up the beat as bassist Roger Glover, keyboardist Don Airey, and guitarist Simon McBride built up the rhythms and Ian Gillan broke into the first verse of “Highway Star.” 

Roger Glover – Deep Purple

Each member seemed to be in high spirits as they played their parts with effortless precision. They served up a bright, crunchy sound that spiraled and swirled in signature Deep Purple fashion. And Gillan’s vocals were a force, especially on screamers like “Into The Fire” and “Space Truckin’.” 

Adding fuel to the fire, the band’s stage production leaned heavily into psychedelic visuals that often projected Gilan, Glover, Paice, Airey, and McBride in fractals and kaleidoscopic patterns. The lights punctuated each hard-hitting note, too, creating an experience that catered to multiple senses.

The band got straight to business on most songs, filling the in-betweens with masterful solos from both McBride and Airey. They also took a moment to dedicate “Uncommon Man” to the late Jon Lord. 

New song “Lazy Sod” packed a feisty punch, especially with lyrics like “Don’t mind me coz I’m a lazy sod, you can like it or not.” Fittingly, the band followed with classic cut “Lazy.” 

Deep Purple rounded out their main set with none other than “Smoke On The Water,” before jumping into a three-song encore that consisted of “Green Onions,” “Hush,” and “Black Night.” 

Simon McBride – Deep Purple

Yes and Hannah Wicklund got the good vibes going earlier in the evening. Yes’ performance was full of lush harmonies and a standout live rendition of the song, “The Clap,” featuring Steve Howe on his very own edition of the Martin MC-38 acoustic guitar. He also played the mandolin on “I’ve Seen All Good People.”

Steve Howe – Yes

Currently, the band’s lineup consists of Howe, singer Jon Davison, keyboardist Geoff Downes, drummer Jay Schellen, and bassist Billy Sherwood. Their setlist mostly consisted of songs from 1971’s The Yes Album. Davison delivered a flawless falsetto, while Downes, Schellen, and Sherwood layered their parts to create a symphony of bright, winding rhythms. They closed with “Roundabout” and “Starship Trooper” for the encore.

Jon Davison – Yes

Steve Howe – Yes

Hannah Wicklund performed a stunning opening set, her powerhouse vocals and guitar chops resonating across the amphitheater. She sang with soul while her rhythms stayed true to classic rock and roll sounds. She performed mostly songs off the 2018 album, Hannah Wicklund and the Steppin Stones. 

Hannah Wicklund

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Brooklyn, MI – As we packed up the camper for the adventurous weekend to come, I couldn’t
help but smile. Not only for being able to attend this event with all the traveling I do for work,
but also for the chance to hang with some good people and meet some new ones in the
process. The drive to Michigan International Speedway, about 90 minutes, had me thinking
about how to structure this event review and how I wanted to put it down in writing. The way
that made the most sense to me was to do a day-by-day summary of the artists that I got to see
and meet, and the things that happened or got my attention each day. So, here goes. I hope
you enjoy reading it.

Day 1 – We got a late start getting into the festival this first day with having to get everything
situated, and get our campsite set up so we could get all of that out of the way and enjoy the
rest of the weekend. We got inside to catch Zach Top do his thing and I must say it was a
pleasant surprise. His style of country reminded of the kind that first got me into country music
back in the early 90’s. His music and style really had that traditional sound and his most known
song, ‘Sounds Like The Radio’, is such a flashback to those days. Great set by Zach and the band
and I also really enjoyed the song ‘The Kinda Woman I like’. As with several of his songs, it had
that traditional, old school honky-tonk sound. Great start to the day and the festival in general.

The next artist we caught was Anne Wilson. I didn’t know much about her other than one or
two of her songs but as she went through her set, I was definitely seeing why she’s been
gaining popularity lately. Being this adorable, tiny little thing didn’t hurt either. The crowd
continued to grow as she went through her setlist and they packed into the ‘Next From
Nashville’ stage to watch her do her thing. It was nice being able to see her in a more intimate
setting and hearing her do ‘My Jesus’ and ‘Rain In The Rearview’ were definitely highlights for
me. Keep your eyes open with this one, I think she’ll be around for a while.

Ran into a few friends, got to talk to some festival attendees and then made our way over to
main stage just in time to watch Jackson Dean do his thing. Now this guy is someone that I
knew was going to make it to next level the first time I heard ‘Don’t Come Lookin’. He’s got the
voice, the look and the obvious talent all-around when it comes to writing songs and picking the
right people to write with him. This was my second time seeing Jackson live and his confidence
on stage grows each time. He definitely looked comfortable up there and the crowd was eating
it up as the main stage area continued to fill up. I always get goosebumps when I hear the song
‘Fearless’ played, and especially when I get to hear him do it live. Bonus for me was finally
getting to meet him in the media tent after his set was over. His was genuinely appreciative of
the compliments I gave him, and I told him that I’ve been following him since the beginning.
This guy is going to do big things in the coming years. Don’t sleep on Jackson Dean.

A quick run back to the campsite to grab something to eat, change into some evening attire and
then it was back over to the main stage for Cody Johnson. I got turned on to Cody a few years
before the he really started that rise to where he’s at now. Most people in this region, and
Michigan in general, didn’t start hearing about him until late 2018 or early 2019 but a friend
who knows my taste in country and knows that I’m picky in what I like told me to “Check this
Cody Johnson guy out”. That was late 2017 and I’ve been a huge fan and supporter ever since.
Although I missed running into him in the media tent by 5 minutes, his live show, like every
other time, is just something all real country music fans need to see. The energy and chemistry
that Cody and his band have is like no other. Playing not only the fan favorites and radio hits
but also a surprise or two, I couldn’t help just looking around in amazement at how much
people love this guy and how much we needed someone like Cody Johnson in country music.
No matter how many times I’ve see him live and listen to him do the patriotic/who I am speech
during each show, it never gets old. This guy is such a proud American and it’s just another
thing that I love about him. The last time I met him was in Dec of 2021 in Columbus, OH. I told
him that day that ‘Til You Can’t’ was going to be number one by spring and that 2022 and 2023
were going to be his years. He smiled and said “I appreciate that man, I hope you’re right”. Even
though I knew I was right, I’m also glad that I was.

It was just before 10pm and it was time for night one’s headliner, Jelly Roll. By this time the
whole main stage area was packed and all surrounding areas were full as well. I have to admit I
was a little buzzed by this time and was hoping I wouldn’t tag out or even leave early, especially
since I’ve seen him several times already and it was such a long day. But him taking the stage
actually had the opposite affect and gave me the energy and the excitement to make it the rest
of the show. The crowd was so loud and as usual, Jelly was so appreciative and so enamored by
just how much people are into him and actually ‘get’ what he’s trying to do and say and what
he now feels is his true purpose here on earth. So many great songs, so many emotions from
not only Jelly Roll, but so many in the crowd. It was another show where you could just look
around and see all the people that have been affected by his music, some who have actually
been saved by songs, some who were thinking about loved ones they’ve lost to addiction of
some kind. I always love hearing ‘Save Me’, ‘Son of a Sinner’ and ‘She’, but also really enjoyed
hearing ‘Bottle and Mary Jane’, and his new song ‘I’m Not OK’. Which was the first time most of
us had heard it live. My evening was made when Jelly had Cody come out and join him on stage
to do ‘Whiskey Bent’, a song they do together on Cody’s latest album. Such an Incredible first
day of Faster Horses and I ended that night wondering how the next 2 days could even
compare.

Day 2 – Day two had a slow start for all of us at the campsite but breakfast and just relaxing for
a few hours made it all better. A slight delay as we headed in to catch our first artist of the day,
but we got there just in time to see the last few songs from Alexandra Kay. Another act that I
didn’t know much about but thoroughly enjoyed the songs we saw her perform and the way
she interacted with the crowd. She was a natural up there and watching the crowd sing along to
‘Everleave’ let me know that she definitely deserved to be up on that stage playing this festival.

Next up for us for the day was Annie Bosko. I have to admit I hadn’t heard of her before but
looked into her a little, read some of her past, and I thought she was super attractive, so I had
to go see what she was all about. I’m glad I made that decision because I was really impressed
with her look, her stage presence and the way that she owned that stage for those 45 minutes.
Annie is a ‘California Cowgirl’, which is actually the title of one of her songs, and it was a breath
of fresh air to see a female not trying to look or be like so many other in this industry that are
trying to get noticed and make it. Annie Bosko is another one that you may want to keep your
eyes on in the coming years.

I was so excited to see Sawyer Brown again, it had been many years since the last time, but I’ve
been a fan since their early years. Unfortunately, due to a miscommunication and a delay with
happenings in the media tent, I was only able to hear them and not actually watch the show.
There’s something about watching Sawyer Brown and watching Mark Miller get into it. Great
front man and he is so entertaining when he takes the stage. I still enjoyed at least hearing
them again as they went through playing some of my favorites from them like ‘The Walk’, ‘Six
Days On The Road’, ‘Some Girls Do’, and ‘Thank God For You’. So glad to see that these guys are
still going and still sounding amazing live.

A run back to the campsite for food and a change of clothes and it was time to head over to
main stage to catch Old Dominion. It was my first time seeing them live and I have to admit, it
was much better than I was anticipating. The crowd was going crazy for these guys and I totally
forgot just how many hit songs and familiar songs they actually have. Most of their set had the
crowd singing along loudly with the band and at times, even drowning them out a little. I was
looking forward to hearing ‘Memory Lane’ but also enjoyed hearing ‘Hotel Key’, ‘No Hard
Feelings’ and a few others. The next time I see them announced for headlining a larger venue I
will no longer not understand why. These guys are true showmen and they put on an incredible
show. I guess you could say they now have at least one more new fan after their performance
that night.

Day 3 – By the third day we are all starting to really feel it and to top things off, this was the
hottest day of the weekend. We all took a little longer to get over to the action, but we finally
made it over as Ashley Cooke started her set on main stage. I knew a little bit about her and
really love the song ‘Never Til Now’, but it was also great hearing her do ‘Your Place’ live. She
was a natural on stage and did an amazing job entertaining the crowd and with showing
everyone just exactly what she was all about. You’ve only been hearing about her the last year
or so but I think this is girl is here to stay.

I was excited walking over to the ‘Next From Nashville” stage because I’ve really been wanting
to see Josh Ross and he was up next. Words can’t describe how much I enjoyed his set. His
performance had the most people I had seen in that tent all weekend. Not only was the entire
tent over filled, they were spreading out into the surrounding area. Such a great performer and
his tribute to 90’s rock with a medley consisting of Creed and 3 Doors Down songs had the
crowd going crazy. He sounded amazing doing his hits ‘Single Again’ and ‘Trouble’ and after
having several people yell it out, did his version of ‘Iris’ by the Goo Goo Dolls. Something you
need to find online and listen too. He does such an incredible job with that song. I’m telling you
all now, you’re going to be hearing a lot about this guy. Excellent job, Josh.

Next up for us was Riley Green. I will admit, I’d only heard a few songs from him, mostly
collaborations with other artists, but damn, did I enjoy his set. I got to meet him right before he
took the stage and he was very personable and gave a me fist bump as I told him to have a
great show. I guess I never knew just how many great songs he had out there. ‘There Was This
Girl’, ‘Different ‘Round Here’, and ‘Mississippi Or Me’, all great songs that I guess I just never
knew were Riley. I also need to tip my hat to the simply incredible tribute he did to Toby Keith.
Very well done and the whole thing just screamed ‘American Pride’. I really think Toby was
looking down smiling for those minutes of that tribute. Well done, Riley. You also have another
new fan and thank you for being so cool before the show.

Last act of the last night of Faster Horses and we were all so ready. It was time for Hardy. I’ve
seen Hardy twice before but never a full headlining set and damn, was it something to see. A
total mix of country show and heavy metal show. The lights, the pyro, the vibe. All totally
expected, but yet not expected, if that makes any sense. I noticed a few people leaving during
the set, probably because he did a few straight up hard rock/heavy metal songs mixed in with
the others, but as a lover of country, rock, metal and pretty much everything else, I was in
heaven. Incredibly talented band, great stage show, stage presence from Hardy and the band
and the crowd were just full-blown eating it up and going crazy. Hardy also had some nice
patriotic words to say and showed us all just who he is. I of course loved hearing ‘Jack’, ‘Wait In
The Truck’, ‘Rednecker’, and ‘Truck Bed, but it was so intense when they played ‘Sold Out’.
Everyone still there was just fist pumping, screaming the words, and totally fired up. Let’s just say that everyone left the show that night thinking, wow! As expected, Hardy and the boys did
not disappoint. I was also luckily enough to meet him a few seconds before he got ready to play
and like Riley, was very personable and friendly, and even paused his golf cart driver a few
seconds so we could get a quick picture. Thanks for that, bro. See you at the next one.
Another crazy but successful weekend at Faster Horses. Thanks to those who were part of the
weekend and thanks to the folks at Live Nation Nashville for once again approving Full Access
Detroit for covering the event. It’s always and honor and it’s always appreciated. Looking
forward to Faster Horses 2025.

~Howie Herula

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“Better Days” are here again with Graham Nash in town. The iconic singer-songwriter, and partial namesake of Crosby, Stills, Nash & Young, brought “More Evenings of Songs and Stories” to Detroit’s historic Royal Oak Music Theatre in part of his summer US tour. 

Within the walls of the historic art-deco venue, Nash kept his stage production simple. Tapestries and a large red rug were draped all across the stage. Flameless candles were placed high and low, and even atop instruments. They flickered sepia tones as the house lights faded in and out throughout the night. It was an intimate scene that let the music have the spotlight.

Nash took the mic from center stage with his acoustic guitar and occasionally from an upright piano. Touring band members Todd Caldwell, Zach Djanikian, and Adam Minkoff provided rhythms on the keys, bass and electric guitars, and drums. They opened with Crosby, Stills & Nash songs “Wasted on the Way” and “Marrakesh Express” and then revisited some tracks off Nash’s 1971 solo album, Songs for Beginners. Though Nash put out a record last year, 2023’s Now, most songs that made the setlist were from the CSN and CSNY catalog, Songs for Beginners, and 1973’s Wild Tales.

With nostalgia in the air, Nash and company gave the classic tunes a refresh in their live arrangements. The riffs on “Military Madness” had cool distortions, and harmonies on songs like “Immigration Man” were tight and compelling. Instrumentally, everyone’s chops were loud and clear, yet incredibly cohesive altogether. The group played off each other’s energy well, and Nash, himself, was a radiant force onstage. His vocals were tender when need be, like on the song “4+20” and thunderous on cuts like “Immigration Man.” The latter cut also featured some shredding from Minkoff, who had traded places with Djanikian on the drums at that point. 

In between songs, Nash engaged with the crowd often, telling stories to introduce what came next in the set. It was a sweet touch that made already-familiar songs hit even more close to home. Before performing “Our House,” he gave a shoutout to fellow music great Joni Mitchell and shared a fond memory from when they dated in the late 60s. 

“I’d taken Joni to breakfast one day at a delicatessen in Los Angeles,” he said, describing the day as cold and rainy. The couple later visited an antique store after dining, where Mitchell purchased a vase. When the couple returned to their home in Laurel Canyon, Los Angeles, Nash said to Mitchell, “‘Hey Jon’, why don’t I light a fire and you put some flowers in that vase you got today?’”

Nash then dedicated the song to Mitchell and sang the opening lyrics: “I’ll light the fire/ You place the flowers in the vase/ That you bought today.”

Nash and company rounded out the night with a three-song encore that consisted of “Chicago,” “Find the Cost of Freedom,” and “Ohio.” The house spotlights were in full effect, shining across all ends of the stage, and the band laid out clean, clear-cut harmonies as the crowd jammed along. The Royal Oak Theatre resonated with immense energy as Nash’s evening of Songs and Stories ended on a high note.

Adam Minkoff, Zach Djanikian, at the Royal Oak Music Theatre on August 21, 2024 in Royal Oak, Michigan

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All Photos © Steve Galli + Story by Chloe Catajan

A wise man once said,

“We can dance if we want to

We can leave your friends behind

‘Cause your friends don’t dance

And if they don’t dance

Well they’re no friends of mine”

But it wasn’t just any wise man—it was Men Without Hats. Their 1982 song “Safety Dance” was an anthem for freedom of expression at the time. It embraced unconventionality and dancing to your own beat.

It goes without saying that the 80s were a decade for dancing. It was poetry in motion. Everyone Wang Chunged and everyone had fun. And while TikToc is just now tapping into the movement, Totally Tubular Festival is here to remind us that 80s new wave is forever.

Totally Tubular is a traveling festival dedicated to new wave greats. This summer, it made stops in 23 cities, with the historic Meadow Brook Amphitheatre in Rochester Hills, Michigan being the third to last date. The scene at the amphitheater was close to capacity. Nearly 7,000 fans, many dressed in neon and Memphis design prints, showed up ready for Eddie Munoz of the Plimsouls to take the stage first.

Munoz performed four Plimsouls songs, “Everywhere at Once,” “Oldest Story in the World,” “Now,” and “A Million Miles Away.” He kept things tight on his Rickenbacker as his band, dubbed “the Plimsouls Collective of Random Bitchin’ Musicians,” ripped through their riffs. 

Tommy Tutone had four songs on his setlist as well, including a cover of Cat Stevens’ “Wild World.” Rocking a pair of wayfarers, a fedora, and his Fender strat, Tutone was just as sharp in style as he was with his chops.

He also took a moment to introduce the real namesake of his hit song “867-5309/Jenny,” which ended up being his guitar. 

Bow Wow Wow was up next, with singer Annabella Lwin leading the crowd in a singalong to their famous cover of The Strangeloves’ “I Want Candy.” As all sets were at this fest, Bow Wow Wow’s was short and sweet—but with an extra dose of spunk. Songs like “Love, Peace and Harmony” and “W.O.R.K. (N.O. Nah No! No! My Daddy Don’t)” especially bumped up the bpm. 

“For those who arrived late,” as lead singer Ivan Doroschuk said, Men Without Hats treated fans to “Safety Dance” twice. They opened with the song, revisited other songs from Rhythm of Youth, Pop Goes The World, and Folk of the 80’s (Part III), and circled back to the hit as a closer. The Canadian quartet showed up chic in all black, and sounded equally cool. Ivan Doroschuk moved across all ends of the stage, his baritone vocals iconic with every note. And yes, everyone danced because they wanted to.

Wang Chung brought synth bliss to the Meadow Brook Amphitheatre during their set. While songs like “Wait” layered on heavy riffs for a punchier sound, “Dance Hall Days” had tones that were smooth and heavenly. You couldn’t help but feel nostalgic. 

The English new wavers rounded out their set with a cheeky cover of “Should I Stay Or Should I Go,” replacing the titular lyrics with “Should we Wang or should we Chung now?” before leading into “Everybody Have Fun Tonight.” 

Modern English rocked the stage with their range, from the crunchy distortions of “Gathering Dust” to the rawer punk elements of new cuts like “Long in the Tooth” and shoegaze sounds of “Hands Across the Sea.” The Essex band played a couple songs off 2024 release 1 2 3 4 and revisited After The Snow, Mesh & Lace, and Ricochet Days the rest of their setlist. 

Naturally, they closed with a love song for the ages, “Melt With You.” 

Tom Bailey of the Thompson Twins brought a cosmic sound to the Meadow Brook stage for the second-to-last set. Flanked by a trio on their own risers, Bailey and company looked formal and futuristic dressed in all white. The trio provided synths, drums, and bass guitar, as Bailey delivered his iconic vocals and leading riffs. His setlist included “If You Were Here,” which was famously featured in John Hughes’ Sixteen Candles, as well as another epic love song, “Hold Me Now.” 

Thomas Dolby rounded out the evening by kicking things off with New Order’s “Blue Monday,” a cover fit for new wave festivities. In his signature military coat, he opted for a trance-heavy rendition of the song and went on to play songs mostly off 1982’s The Golden Age of Wireless. While most acts came with touring bands in tow, Dolby impressively held the stage down by himself, alternating between his keyboard, drum pads, and Macbooks on his sounddeck. 

Dolby’s set continued with a hauntingly beautiful cover of David Bowie’s “Heroes” and closed with “She Blinded Me With Science” and “Hot Sauce.”

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