“With two free stages and an affordably priced general-admission pass, we’re reaffirming a simple belief: music should be experienced everywhere, by as many people as possible, and generate positive benefits for our community,” said Nicolas Racine, President and CEO of BLEUFEU, “That’s the purpose of our commitment, year after year”. The 11-day full festival pass, for example, goes for $180, tax included.

The headliners include big names like Gwen Stefani, Kesha, Shaggy, Limp Bizkit, Cypress Hill, The Lumineers, Michael Bublé, and Martin Garrix, among others. On the Loto-québec Stage and SiriusXM Stages, concertgoers will see performances by Sean Paul, Omega Mighty, Bricknasty, Na$-T, Bye Parula, and BALTHVS, to name a few.

Hydro-Québec stage (free) will host reggae artists like Skarra Mucci and Manudigital, Cumbia Control and Chicha Libre for cumbia night, hip-hop and electro-pop performances by Calamine, Par Sek, and the Dead Obies. Crave Stage (free) will bring out The Narcotix, TUKAN, Simon Lachance, Afternoon Bike Ride, Héron, Le Ren, and many more.

Late-night shows at Extras FEQ will host a series of 100% electro nights with acts like
SHOPLIFTER, Alba Franch, BAMBII, DJ Raven, Tom DŪNO, Tupi Collective, Amantes del Futuro, and many more.

Learn more and purchase your pass at feq.ca.

Images courtesy of FAQ.

The post FEQ 2026 lineup highlights talent across genres and decades appeared first on Quip Magazine.

Between a wide range of big-name headliners and up-and-coming artists, each night has a bit of a theme, and this year’s electro night closed with no one other than Kygo. The legendary electronic music producers sold out the stadium at Plains of Abraham and turned up with a lineup of guest performers.

Kygo remix of La Roux’s “Bulletproof” is how the fans started this show. Kygo’s selection of tracks included many other audience favourites, from “Stay” feat Maty Noyes, to Shaboozey’s “A Bar Song (Tipsy),” “It Ain’t Me” performed by Victoria Nadine, and “Chasing Paradise”.  Justin Jesso was the first guest on stage. Stepping closer to the crowd, he performed a handful of songs including “Stargazing”. Among the many remixes the crowd went wild for were Marvin Gaye’s “Sexual Healing” and Abba’s “Gimme! Gimme! Gimme!” which admittedly is having yet another moment in the pop culture world. “And this one is for Avicii,” Kygo added before heading into “Forever Yours”. Confetti, pyrotechnics, and vibrant visuals made great accompaniment to this high-energy evening set.

Paris-based, Cape Verdean-born artist Mo’Kalamity brought her flavour of reggae to the free public stage on Saturday evening. Accompanied by a full band, she shared Caribbean and Afro-American rhythms with her excited Québec fanbase.

Meanwhile, down the street, Armani White (aka Armani Blanco) began his set with a DJ warmup before taking the stage. Soon enough, the crowd began the “Olé, Olé, Olé” chant and much like Freddie Gibbs a few years back, Blanco was visibly confused. “I’m not gonna lie, I have no idea what the fuck that was. We need a cultural translator up in here,” he laughed. The attendees of Loto-Québec stage were determined to get their chants in even during Ty Dolla $ign’s set, who naturally had an equally perplexed reaction, especially because this chant started after he offered the attendees shots on stage. The annual “Olé” confusion always gets a good chuckle from visiting journalists, myself included. In time, Ty Dolla $ign’s biggest fan did get to share tequila with him on stage. Best day ever, I am sure.

Ty Dolla $ign (Tyrone William Griffin Jr.) spent the majority of the evening promoting his upcoming record, TYCOON, set to release on September 12th. Between the new tracks, older tracks and covers were sprinkled in. “Paid,” “All In” (“for the ladies,” he commented), “The Business, Pt. II,” and a cover of 2 Chainz’ “It’s a Vibe” all got a wave of cheer through the stage. The latter was naturally accompanied by a blunt. Meanwhile, in the crowd, one by one, people are being tossed in the air like hats, quickly disappearing back into the collective mass. Soon enough, Ty Dolla $ign asked the fans to open uptime a mosh pit, “Just don’t push the ladies, never push the ladies,” he added, observing the fans gleefully obey.

At the same time, a few blocks away on the public stage, Blaiz Fayah gathered the dancehall fans in support of his latest record Shatta Ting. On stage with Fayah two dancers dressed in robotic suits with electric lights came and went, adding literal colour to the music.

FEQ closing Sunday was met with unfortunate weather events. Heavy rain and lightning resulted in prompt evacuations, and most of the stages did not even open until the conditions were safe. As the skies settled, Def Mama Def duo from Senegal shared their unique blend of Afrobeats, hip-hop, and electronic sound with a small but engaged audience.

The majority of the attendees this Sunday, however, were here for the Latin performers lineup, singing Farruko’s “Calma” while hiding from the storm.

“Vamos pa’ la playa, Pa’ curarte el alma” echoed through the stadium as it opened, crowds slowly trickling in. Joined on stage by a group of dancers, Farruko had a bit of a cool start to his set, but as the crowd warmed up and packed in tightly to see their favourite Puerto Rican artist, so did Farruko. “Mucho latinos en la Casa,” Farruko noted, looking over the flags and signs in the crowd, listing them out one by one to audience’s cheers. When “Pepas” came on, the crowd went absolutely wild, synchronising with the dancers and the pyrotechnics, singing along in unison.

Halfway through his 90-minute set, Farruko signalled the camera crew to follow him down into the photo pit where he generously shook hands with the frontline fans, end to end, undoubtedly making it “best day ever” for many more in attendance.

On this high community note, 2025 FEQ came to an end with fireworks opening up the gloomy sky. 

The post Kygo, Ty Dolla $ign, and Farruko are among many performing at Festival d’été de Québec appeared first on Quip Magazine.

“I’ve been coming here since I was a teenager,” one attendee shared with me, “it’s my favourite event in the city,” she continued while bopping along to the music.

The moment you land at the QC airport you are greeted by FEQ posters. Temporary bike lanes are placed along the main festival road and festival staff can be seen on every corner, answering questions and directing foot traffic. Grande Allée E, which cuts through most of the city, turns into a pedestrian street, furnished with FEQ performance highlight posters and a row of sponsor activation booths. Want a foot massage? Chevrolet got you. Need a makeup refresh? Sephora is also there.

The global artist lineup is an array of genres from 50 Cent to Nickelback, J Balvin, and Mötley Crüe. Attending the entire 11 days might feel somewhat overwhelming so most people chose a handful of days to immerse in. Much like the previous years, Quip attended three nights of showcases. Much like the previous years, the rugged Canadian weather stole one of the nights from us. This time, however, the extreme gusts of wind and rapid heavy rain were courtesy of Hurricane Beryl rampaging its way through North America. But even in this rainy, somewhat tropical weather, fans came out by the dozens and for electro night danced through the showcases in non-stop drizzle.

Baltimore’s Future Islands played one of the medium stages to a packed and extremely loud crowd. The frontman Samuel T. Herring is a very theatrical performer, adding layers to each track with both vocals and dance moves. From kicks and exaggerated facial expressions to bear walks and polka breaks Herring took very few moments to rest during their 70-minute set. “We are Future Islands. This is what we do,” he proclaimed addressing the screaming fans.

The inner-city stage housed a lot of melodic performances from guitarists to singers/songwriters and alternative bands. Gabrielle Shonk took the stage mid-day with a sunny Sunday morning type of vibe that progressively grew into an instrumental and vocal showcase. Quebecer Elliot Maginot followed her set with a highly anticipated melancholic performance.

After the storm closures in the early evening, Montreal indie rock band Karkwa took it upon themselves to make things up to the festival goers. The group built a tight mini-stage on the festival’s largest stage creating a jam session type of environment, a different approach than this stadium crowd is used to seeing. Throughout their set Karkwa invited a handful of guests to join them including electronic musician CRi, singer-songwriter Talk, and New Brunswick trio Les Hay Babies.

The above-mentioned storm had impacted quite a few hip-hop and rap sets including NAS and TOBi, who we did meet earlier that day for an interview. The night prior, however, Nicole Wray, aka Lady Wray, played a free show on the Hydro-Québec Stage. Nicole got her start in music as Missy Elliott’s protégé and that influence is certainly visible in her performance. In her own words, Lady Wray offers “Aretha Franklin-era soul matched with a Lauryn Hill 1990s hip hop vibe” and that’s honestly the best way to describe her powerful and poetic R’n’B showcase. Nicole was joined on stage by a full band – backup singer, guitar, bass, drums – and every member was bringing it.

Berlin’s DJ and electronic music producer LOVRA treated Québec City to two performances, one on the main stage and a late-night set at the Extras in The Armoury. With the consistent rain, this was not the easiest electro night but attendees came prepared decked out in rainjackets, rainboots, ponchos, and glamorously trimmed black garbage bags (Balenciaga’s take notes). LOVRA kicked off the night on a high note and each performer who followed – Mike Demero, Loud Luxury, Alan Walker –  progressively elevated the energy and volume. There was fog, there were pyrotechnics, strobe lights. The tricks were pulled, the bling was brought, and at the end of the festival, it all ended with epic fireworks. 

The post Fans of all genres come together at FEQ music festival appeared first on Quip Magazine.

Born in Nigeria TOBi spent most of his life in and around Toronto, Canada, but recently moved to Los Angeles. On this particular sunny afternoon, we met TOBi before his performance at FEQ in Québec City. “Make yourself at home,” he gestured at the sitting area in the mobile green room before settling in on the couch himself.

Kateryna Topol: When did you move out of Toronto?

TOBi: To LA? In 2021. The only reason I left is because it was cold, all the studios were closed, there were no shows, and I was literally getting depressed. So my friend who lives in LA was like, “Bro, this is your chance, come spend six months here and see what happens”

KT: And you are still there, how do you like it?

T: It’s cool … I prefer Toronto, I prefer the GTA, but from a work and creativity standpoint this is where I want to be right now. But long-term …

KT: You’d like to come back? [he nods] Your performance was actually one of the last ones I saw before the closures, it was the SoundCloud showcase

T: Oh yeah! [he nods]

KT: … it was a fun party, what I remember most about it though is this moment during your set, where it got really noisy while you were performing, and you asked the room to quiet down, that must’ve been quite frustrating to you as an artist … 

T: I do remember that, and it was a rare thing, and because that happened I had to address it because I normally don’t do this kind of thing. But this was very frustrating, you don’t want people being disrespectful of not just my time but the other people there who were vibing, because I am looking in the crowd and I’m seeing people who are too shy to tell people to chill and waiting patiently [but can’t hear any performances]. I don’t like that, it’s about respect

KT: For sure, and this was a small space. What kind of venues do you prefer to play?

T: [Thinks for a moment] I do like the intimate sub … 1,500-1,000 [space] because it feels almost communal, even kind of tribal in a sense, you know, like … the sound doesn’t fly too far, it’s contained, it reverberates from the walls [makes a trickling gesture with his hands] so I like that because it feels very close-knit. And there is an aspect that I like to the big shows too, just the sheer magnitude of it. I just love performing period.

KT: You have a new single that dropped not too long ago, “Ego Slide,” and the last album, PANIC, is about a year in now, is there anything new you’re working on?

T: I’ve been working on quite a couple of things [chukles]. I feel free right now… yeah… I feel free to just create and the songs are just coming, the inspiration is just coming so I’m just riding it, just catching it. Obviously, not every song can come out, but I have … hundreds that I’ve done recently

KT: Wow! [“yeah, yeah” he laughs] The sun is working out well for you!

T: I’m grateful.

KT: So what’s your plan, let them keep coming until ten favourites float to the top?

T: I think so. I think so. My direction right now is, I’m kind of liking more soulful songs, you know what I mean, live instruments …. [ponders a bit]

KT: … like Raphael Saadiq kind of vibes?

T: Oh! Raphael Saadiq, oh wow! Yeah, actually that’s a very good reference point, umm…Salaam Remi, NxWorries, that kind of feel, it groves and it feels good, I want people to feel good to this music

KT: Seeing a live band around you …

T: Yeah, yeah, absolutely. More live instruments for sure. And I really love the synth bass, like the deep moves, the roll-ins, the heavy synth bass, that’s my favourite sound. So you’re gonna hear it soon.

KT: Do you have a bit of a timeline on the release?

T: Yeah, fall.

KT: Exciting! Back to PANIC, you started a virtual fanbase with the album…

T: Yeah, PANiC FM! I love it, I’m gonna keep doing it forever. I want it to be a place where I can talk about things that I love like art, philosophy, you know, psychology, things that inform my music with fans, friends, people who just want to learn more, make it a nice, wholesome community, you know.

KT: Very cool. And your music, it’s very personal, you share a lot of raw stories about your life and your family, how does it feel to tell these stories so publicly?

T: Yeah… I think … it’s healing for me. Because nobody’s perfect, everybody has an interesting past, if you really dive into it, and I think for me to be able to acknowledge what’s going on, it helps me not repeat certain mistakes and patterns. You know what I’m saying? I used to work in social services so I’ve seen a lot of difficult family dynamics, so there is nothing that really phases me anymore because I’ve seen what can be very difficult for people. But I’ve noticed even the most difficult dynamics, they can be resolved, they can be healed through time, intention, care and awareness. That’s how I feel, and that’s why I feel comfortable being vulnerable about things in my life.

KT: … so it’s almost like therapy

T: Absolutely.

KT: It’s great that you were able to turn your passion into a career and you’ve won quite a few awards for your work – congratulations – were there one or two that felt … really special?

T: Umm, yeah I think [Juno] Rap Album of the Year for PANIC and the Rap Single of the Year for “Someone I Knew” which is off PANIC, those meant the most to me because I know what those songs mean to me. The album, PANIC, I made that album for us, for humans, for all of us. Even though I say a lot of personal stuff in there, it’s really for us.

I think a lot of young people live with anxiety, and they are anxious because they are uncertain about so many things, you know. The climate, the job market, the housing market, there are so many things, and I notice because I’m a young person and I talk to young people, and we can’t gaslight them by saying that what they’re feeling isn’t real. And they are so brilliant because they have this [points at the phone], they know everything, you can’t pull the wool over our eyes anymore, you know.

And that’s why if you look at the songs on PANIC  there is a middle part that’s all teen angst. There is a song called “Hoodwinked” and “Flatline” (feat Kenny Mason). “Hoodwinked” is all about teen angst [the lyrics are] ‘you pull the wool over my eyes’ – teen angst, we’ve been hoodwinked since we were kids.

KT: It’s also one of the more … intense songs on the album

T:  Yeah [laughs], it is, it is. It’s honest, it’s how I feel. I don’t know how not to make music that represents how I feel.

KT: Ok, here’s a question – one of the things that stood out to me most about your music is your delivery because if you look at the current rap/hip-hop scene there are a couple of branches: a lot of the new stuff is a bit more … trap-y and hard to understand and then there is stuff that’s still very much inline with classic hip-hop which is where you fall in because your lyricism and enunciation is very sharp, and that’s a skill, is that natural or something you worked on …

T: Yeah, first of all, thank you, I appreciate that. My favourite artists growing up I knew exactly what they were saying. Jay-Z, B.I.G., Pusha T … Phonte from Little Brother, I know what they are saying … Outkast, André 3000, Lauryn Hill – there is no hiding what they are saying, you’re hearing it, and I just respect that. And I think that sometimes I say a lot of words so I want to make sure that they are clear in the mix

KT: … can’t hide behind the beat

T: Right! [laughs] Exactly! Hiding behind the beat is real.

KT: Ok, last one, as you travel on tour, what do you like to do between shows?

T: I love food, I’m a foodie. I love eating the food recommended by locals, I did that a lot when I was on tour in Europe with Mick Jenkins and in the States as well. If we have time, because sometimes we’re only there for one day, if we have time I like checking out a museum or an art gallery, if there is nature to see… And sometimes we like to party too, I like to have fun, you know [laughs]!

I was just in Calgary yesterday, and because I’ve never been to Calgary, it’s my first time, I was like “I gotta turn up” so I did, everything.

KT: So, from classy restaurants, to dive bars and everything in between…

T: Yess, everythiiing, everything. Fancy brunch, crazy hole-in-the-wall bar, everything. And I loved it.

* * *

For a few more minutes we talked about food, the amazing beef dip he had at 1:30 AM after landing in QC and how terrible of a feeling it is to be disappointed by food.

Due to the heavy incoming storm, TOBi’s FEQ show was cancelled, along with NAS and the Fleet Foxes. “Lightning advisory Quebec City. Sorry it’s getting cancelled, but it’s a safety issue. I will make it up! Je vous aime,” he told his fans via Instagram.

The post Chatting with TOBi about being real and giving a voice to the youth appeared first on Quip Magazine.

Admittedly, eleven days is a lot, so most people chose 2 to 3 focusing on their favourite headline acts. Last year Pitbull set a record for early maximum capacity at the Planes of Abraham stage, Nervo and Koffee were also there between the up-and-coming acts.

The festival poster for 2024 created some immediate buzz with the headliners spanning from the likes of Nickleback to Post Malone, J Balvin, and 50 Cent there is once again, something for everyone. Among the many names on the roster are also bands like Future Islands and Fleet Foxes, but indie and rock are not all that this showcase is about. Festival goers can curate their own experience focusing on their own genre preferences so if it is electronic music you seek Alan Walker will be there to spearhead those performances. See the complete day-by-day program on feq.ca.

This year’s lineup garnered immediate attention resulting in general admission passes being sold out in nearly 90 minutes. Eleven days of performances for $150 seems like a no-brainer especially if you live nearby. But don’t you worry, many more passes are still available at feq.ca/en/choose-my-pass. For 2024 FEQ team is adding a new free stage so even if you miss out on passes two free stages will open throughout the entire festival.

The post Québec City’s FEQ festival prepares for another festival season appeared first on Quip Magazine.

It takes a bit over a month to transform the city center into the impressive festival grounds that it becomes for ten straight days. 2023 is an important highlight year marking the festival’s 55th anniversary. People flock from across the province for their chosen combination of days to see their favourite artists. The city is jam-packed with visitors strolling the streets in excitement.

Some terrible weather has taken control a few times and the outdoor events had to be canceled for safety reasons but this year, for the first time in a long time, Plains of Abraham was at complete capacity on the closing Friday weekend. This crowd was there from the opening hours but what brought this wide demographic range together, however, is the one and only Pitbull. Having watched this set through to the end I can say with certainty that Pitbull has found his audience in Québec.

Our team, however, traveled to FEQ to see a selection of primarily electronic artists. Wednesday the 13th was known as the EDM day and EDM we got. Australian twin sister DJ duo Nervo set the mood for the day with their afternoon performance. Having played some of the best clubs in Ibiza, Miami, New York, and London Miriam and Olivia Nervo know how to get that party going. Chopping away at their long list of club’s hottest remixes Nervo brought us vibes on vibes with tracks like Oliver Tree’s “Miss You,” their own take on  4 Non Blondes “What’s Up,” and of course “Squid Game & Do It To It”.

Being the largest stage Bell stage had all the perks and party tricks: fire, smoke, confetti, and even fireworks. Each performer was given an opportunity to choreograph their pyro works but the festival team was always there to pump things up. A set of four screens on each side allowed everyone in this massive park to get a closeup of the touring stars, see them sing, sweat, and dance.

As the EDM night went on we got to see Gryffin and Illenium both of whom turned things up a notch or four. Since his hit debut single “Heading Home” (featuring vocals by Josef Salvat) Gryffin (aka Daniel Griffith) has been releasing banger after banger battling for prime spots on music charts with the world’s best. His FEQ set got pretty heavy setting the perfect stage for GRAMMY® Award nominated Illenium (real name Nicholas Daniel Miller). Illenium’s wild mix of electronic, mellow alternative, dubstep, indie, and pop-tinged bass music was a great fit to close out this day. Fireworks and all.

DJ Bembona (Xiomara Marie Henry), who played the late-night set at the FEQ Extras (basically a club night) was a breath of fresh air with her mix of Afro-Latin-electronic. Born into a musical household with Puerto Rican and Panamanian roots Bembona brought the roof down on this tired yet excited crowd. Set in a large club in the center of the stage Bembona played an engaging and occasionally dramatic set (think piano keys) causing waves of singalongs through the room.

The Latin theme continued with Isabella Lovestory late Friday afternoon. Lovestory is a Honduran pop and reggaeton singer based in Montréal so her fanbase at the festival was thick through the park singing along and shouting in excitement. Isabella has a fun and playful vibe embracing, no, showcasing her femininity for the camera and the crowd.

Jamaica’s Koffee also took the stage on Friday evening. Joined by a full band and two backup dancers Koffee took Québec on a quick little journey to her home and through her life, cinematic visuals playing out in the background. It seemed like Koffee was having issues with her earpiece or her mic, her vocals cutting out occasionally, but she pushed through the set with her usual enthusiasm. Koffee managed to get through an impressive number of tracks, each song, however, was a little short.

Brittney Denise Parks, better known by her stage name Sudan Archives, might have been the biggest surprise for the Québécois. Sudan played an evening set at the Hydro-Québec Stage (by Parliament Hill) to a generous crowd of curious passersby and a pit of dedicated fans. Sudan was dressed like a warrior princess with her violin bows tucked into a leather case strapped to her back. On occasion, as she took her bow out the sounds would cut like a samurai’s sword. Sudan’s shows are always engaging and this was no exception. She chatted up the concertgoers, played games with them, shared her most intimate thoughts through her songs, and a few times straight-up shouted into the void of the universe. Here for it, please continue.

With that, and a Lana Del Rey performance the night after (which we were sad to miss) FEQ’s 55th edition came to an end. Soon enough they will begin planning for 2024 and we cannot wait to see what the FEQ team comes up with.

The post Highlights from FEQ 55th anniversary edition appeared first on Quip Magazine.

Our first encounter with Millimetrik was a handful of years ago at FME in 2019. It was a chilly night but a group of festival-goers gathered under a small tent, losing themselves in dance in spite of the muddy ground and continuous rain. That night, Pascal Asselin and his drummer Jean-Mi Perrier, created a foggy and exciting environment by playing upbeat, disco-inspired tunes that attracted people from the nearby stages before the opening track ran its course. It was quite impressive, so when I saw that Millimetrik was set to play at FEQ this year it seemed like the right time to meet Pascal for a chat. 

Today, we get lucky, the sun is out and there is not a cloud in the sky. We met backstage after the soundcheck just as the crowd began to flood through the main gates chanting “Olé, Olé, Olé” (common crowd behavior in Québec I notice). A couple of chairs tucked away in the backstage media tent offer us both some comfort in the shade. Having just finished the soundcheck Pascal, dressed in a Toronto Raptors tank (represent!), relaxes for a moment, “I feel like with COVID I haven’t met anyone in person in a long time” – this is nice, we both regard with mild awkwardness. 

Millimetrik’s 10th studio album, Sun-Drenched, is the spotlight of this performance. The record took nearly a year to make and with the pandemic, a lot has changed over that year. In time some of the songs began to take on a darker tone, reflecting on the global environment but when the time came to curate the album Pascal chose to omit the dark songs in favour of those that were more optimistic. “The record is celebrating a year now, I’m really happy about [how it turned out]”.

Asselin’s first dive into the music scene was playing drums in various rock bands. When Millimetrik began to form as a concept he was determined to set the two projects apart, making darker, more ambient music. In time, the life of the rock band drummer took a backseat, “since I stopped playing drums in bands, I’ve brought back the drums on my solo work”. Some songs begin with a piano loop or the synthesizer but many of the songs begin on the drums so naturally, the drums are always a part of the live performance. 

Producing Sun-Drenched with various pandemic regulations in place restricting access to people and spaces was tricky but when the opportunity came Pascal met his collaborators in person. There are many voices on this latest record (Tire Le Coyote, Liana Bureau, Dominic Pelletier, Valérie Clio, Mel Lancet) all of whom got a creative say on their respective productions, including writing the lyrics. This pushing-the-boundaries mentality was present in collaborations as well: “I like to be surprised by the vocalist’s talents, so I push them to try new things,” Pascal admitted. One of these experimentations was having a folk singer (Dominic Pelletier) sing on an EDM track: “we tried a few different things, and after a few versions, we found a good path that we were both enjoying”. Seeing Dominic perform “Sunlight at Bay of Plenty” at FEQ, crowd surfing through the afternoon mosh pit, brought a smile to my face – “yes,” I thought, “he certainly seems to be having fun”.

Millimetrik is heavily inspired by cinema and the open road – “it’s funny, but it’s true, my album concepts come to me while I’m driving”. “Every time I’m driving, on new roads at least, I get ideas. I have post-it notes in the car and write down ideas as they come up” eventually, a bigger vision forms. Road trips are a frequent activity in  Pascal’s life, “Actually, I’m leaving next Sunday on a three-week crazy road trip to Utah,” it’s a family road trip but also a place for him to get inspired and create visuals, visuals we are likely going to see on the next release. Or maybe not, we’ll just need to wait and see but as someone who followed this adventure on Instagram, I am for one, excited to see what ideas will form from this journey. A project Pascal is currently working on is the overflow of tracks from his collaboration with the Flip Fabrique circus for whom he produced the soundtrack not too long ago. The album is basically ready, but as far as the creative process goes it would be safe to say that changes will be made before we get to hear it.

“So you’ve been making music for over a decade now, do you think you’ve changed as an artist?” I wondered out loud, “A lot” he quickly admitted. “I was telling everybody here that it’s so cool that I’m playing this huge stage tonight instead of like 10 years ago because my approach is totally different now. Back then I would have tried to just sound like the others but now I just make sure that people really enjoy the set and don’t worry about the trends so much”.

We talk a bit longer about travel, trends, and vinyl, that general appreciation and genuine love of music are in the air like soft perfume. “I have a copy of the record for you today,” he tells me during our chat. Pascal is a collector (I’m not surprised), “it’s the physical components, it is special,” he states like a true vinyl believer, “I think it’s a nice object, plus my kids can play it, and that’s pretty cool”.  The crowd out front begins to get louder, we exchange parting pleasantries and agree to stay in touch. Within the next hour, Millimetrik took the stage with Jean-Mi Perrier on the drums, joined by vocalists Dominic Pelletier and Liana Bureau and two dancers for a spectacular live performance of Sun-Drenched.

The post Shaded from the sun: talking music, road trips, and vinyl with Millimetrik appeared first on Quip Magazine.

With the main stage stretching across the historical battlefield of Planes of Abraham and most others a short walk away the concertgoers could easily visit multiple venues on the same day but sadly were always at risk of getting rained out; luckily during our 3-day visit that only happened twice. Event organizers clearly had a plan in place for such a situation and were very efficient in evacuating the grounds during thunderstorms and then promptly letting people back in and firing up the equipment. Needless to say, a few acts’ sets got affected by the rainfall but such is the sacrifice with outdoor events.

The main stage, being as large as it was, was catered by efficient on-the-move staff carrying beers and straight-up liquor bottle shots minimizing movement and bar lineups. The excited crowds at the front had very little opportunity to get out so this type of “table-service” was very welcomed as people purchased 6-packs of Coors Light or quick shots of Bacardi rum. Security guards in the photo pits were always paying a close eye on the tightly packed fans, handing them water and promptly pulling out anyone who might look slightly unwell. 

Since the viral TikTok debut of “Stuck in the Middle” Tai Verdes has been taking the musical world by storm playing major festivals across North America and receiving praise from publications like Rolling Stone, Billboard, and Lyrical Lemonade. Tai Verdes is known for his positivity-laced tracks and that infectious positivity carries through to his live performances just the same. Playing an 8:00 pm set to a full crowd he kept encouraging us to get loud and wild, demanding that everyone in the crowd gets their hands up, even those far in the back. Verdes continually interacted with the fans between chart-topping hits like “A-O-K,” “Happy Til It Hurts,” and “LAst dAy oN EaRTh”. The most involved sing-along naturally happened during “Stuck In The Middle” – a song describing the all too familiar struggles of young love and dating: ‘But friends turn into sleepovers / And sleepovers turn into love / Love turns into jealousy / And now we both fucked up’.

Tai Verdes crowd also came through for Young M.A who crushed the music charts with her quadruple-platinum hit single “Ooouuu” in 2017, she is still surfing that wave. We, of course, got to hear the track today with an open mosh pit and collective energy busting at the seams. But no event in Québec is complete without an appearance of a local rap celebrity and tonight we got to see Loud. Born Simon Cliche Trudeau, Loud is a hometown hero and his dedicated fanbase always comes through strong. Dressed like a safari guide and accompanied by a great DJ Loud took us through his career highlights with songs from his first solo EP New Phone to the latest release Aucune Promesse. Naturally, a handful of guests (Francis Belleau, 2Faces, 20some, Rymz, Lary Kidd) joined Loud on stage for a few collaborative tracks and a tribute to the late Karim Ouellet.

One of the most anticipated rap sets for the week was Freddie Gibbs. Arriving a bit late due to issues at the customs Gibbs entered the stage with a smile and a token “Fuck police!” shoutout, which became an ongoing thread statement between tracks and verses. From day one this excited crowd chanted the soccer anthem when in anticipation (in perfect sync I might add) so naturally they greeted Gibbs with “Olé, Olé, Olé” – Gibbs was taken aback by this behavior but embraced the confusion with a callback (laughingly asking people to shut up) before heading into his next track. Often leaning into a cappella Gibbs brought to his fans tracks from  Piñata, You Only Lie 2wice, and Freddie. “I’ve been doing this shit for a long time” he grinned looking out at the crowd. Close to the end due to a thunderous rainfall Gibbs had to leave the stage a bit abruptly, therefore, becoming the rapper to close this evening rendering Lil Tecca’s set canceled by the weather.

Sometime mid-day as the main festival gates opened the stage was being prepared for the Québec veteran electronic producer Pascal Asselin, better known by his stage name Millimetrik. With nearly a decade-long music career Millimetrik has a lot to show for himself and continually grows and evolves as an artist. One thing, however, that stays constant is the vibrant energy of all his music brought to life by drums during live performances. His latest record, Sun-Drenched, is a summary take on a blend of house, disco, and soul. This also just might be one of the most collaborative records Pascal has produced thus far showcasing the voices of Tire Le Coyote, Liana Bureau, Dominic Pelletier, Valérie Clio, as well as Mel Lancet. Dominic Pelletier (vocalist from New Bleach) and Liana Bureau were both present for today’s set, joined on stage by two dancers. At one point Dominic climbed over the barricade and rolled over the crowd all the way back to the stage while continuing to perform his song, inevitably being dropped on the ground closer to the stage but springing back to life in seconds, causing a riot of a laugh for those who saw it. It was an engaging and entertaining set to watch and an amazing way to start the day. Interview with Millimetrik to come shortly as well, stay tuned.

On July 13th many people came into the city exclusively to see Marshmello (aka Christopher Comstock) at Planes of Abraham. Geared up in branded t-shirts, hoodies, and masks people of all ages packed the venue in anticipation. Performing his entire set solo Marshmello was far and away behind his giant DJ setup. Luckily that ‘desk’ also served as a second stage on which he would occasionally hop up to take a stroll and interact with the fans, holding up a hand to his marshmallow head as if requesting feedback (which he obviously received in bulk). The pyrotechnics added an exciting layer to this showcase causing a loud stir through the park every time the steamy jets went off. Marshmello played a range of original solo tracks (mostly from Shockwave) as well as a few well-known collaborations like “Here With Me” feat Chvrches and “Numb” feat Khalid eventually wrapping up his set with “Happier”.

The Armoury was home for the FEQ late-night extras including a memorable showcase by multi-platinum DJ/producer Felix Cartal. It was a bit of a slow start but when Cartal got going the party also took off. His latest LP  release, Expensive Sounds For Nice People, has carved out a niche within the electronic music genre exploring love, loss, and heartbreak in a rather upbeat manner and his signature indie-tinged house. Late-night FEQ attendees got to dance to the tracks like “Over It,” “The life,” “Worry” (from Next Session), and a remix of Euphoria’s “Still Don’t Know My Name”. 

Five Alarm Funk also made an appearance for a late-night special at The Armoury, taking over the tiny stage with a full band. Their all-encompassing marching band energy filled every corner of the room. With five acclaimed albums under their belt, this 8-piece band certainly know how to create an environment for a sweaty dance floor. 

After 3 full days of events, with a dash of city exploration, FEQ came to an end for us but continued to surprise and entertain audiences for a few more days. Admittedly 12-days straight is a lot to expect of any music fan but when the time allows, with the festival pass priced well under $200, you could pick and choose events as you wish while continuing regular activities with minimal interruption. Or just dive head first into full programming on select days, like us and many others. To each their own but there is certainly something for everyone.

The post Highlights from FEQ, from late night electronic to legendary rap performances appeared first on Quip Magazine.