A few thoughtful changes this year included widening of the promenade and moving around of stages to better accommodate the traffic flow. Brand booths offering games and prizes gathered fans in clusters, while others were stocking up on their FEQ merch before heading to the designated stages. Lilly Queen Mojitos and Coors Lights in hand, they patiently waited for the shows to start, some holding up posters made for their favourite acts.

As usual, a few of the acts were rained out. The festival team tried their best to move things around, but unpredictable storms flooding the streets are a fair cause for cancellation, safety first.

The festival is a 10-day marathon with dozens of artists performing each day across multiple stages. Seeing them all is simply impossible, but for three days our team tries their best to find the most memorable acts. Our festival began with an energetic performance by Mimi Webb. BRIT Award–nominated pop singer-songwriter Webb had a deep frontline of fans who clung on to her every word. “I came all the way from Australia to see you!” a handmade poster stated. That’s a long journey, and we’re here to see it eclipse. The stadium slowly filled as she worked through her repertoire of songs, chatting with the fans. “We’re in Québec!” she shouted, “Guys, I’m actually really loving this show, I haven’t felt like myself for a while, and I’m really feeling it now, thank you!” she shared.

Jessie Reyez came next, and her performance stole the show for the night, if not the entire week. Toronto-local Reyez is well known to this publication; we’ve seen her breakout tour in 2017 and the theatrical performance at RBMF, and are familiar with her oversized t-shirt uniform, but today was different. Today, Reyez stepped out on stage in strappy stilettoes, microshorts, and a croptop, curls in full volume moving with the wind. Today, Reyez was feeling herself, effortlessly dancing around the stage, inspiring all the little girls and let’s be honest, grown women, to embrace their authentic selves. “If you believe in strong women, can you say yaaaa?” she demanded participation from the crowd. A wave of loudly pronounced yaaa’s filled the stadium.

For nearly an hour, Jessie Reyez shared stories between songs, reflecting on her past “bulshit” dating experiences, chatting with the fans, and making an effort to say a few things in French here and there, addressing people all the way at the back of the stadium directly. She wanted the fans to leave the show better than they came in, and this was not a hard ask, the energy in the “room” was electric.

Meanwhile, a lineup of spectacular international acts performed at the free Hydro-Québec Stage. July 17th lineup brought out the biggest crowd we’ve seen on this stage in years with Afro-Futuristic-Punk group Fulu Miziki Kolektiv and African reggae artist Tiken Jah Fakoly headlining.

Loto-Québec and SiriusXM stages, located side-by-side, gathered band and guitar-forward music fans. Colombia’s BALTHVS took the stage for a nearly full hour of psychedelic guitar alt-rock, fueled by Middle Eastern melodies and Latin-tinged rhythms. Royel Otis filled the space with their retro-sounding indie beach rock, with fans singing along to “moody” and “Kool Aid“. Groovy Aardvark took things up a notch, nearly causing a moshpit. The band has been around since 1986, so their fanbase runs deep, and the fans turned up today!

Those looking to dance gathered at the Extras FEQ Stage at The Armoury nightly. With record lines stretching towards the Plains of Abraham, everyone seemed to fit in this intimate venue. Much like previous years, the DJ is centre stage, but this year the room had the addition of a mezzanine level offering fans an elevated view of the busy space.

While Brazilian-born and Toronto-based, DJ BIA started a prolonged conversation on what makes a good DJ on July 16th, the July 18th set by The Rocketman had everyone dancing with no complaints. The big-ticket Extras performance, however, was LP Giobbi, who also performed on the main stage the day after, offering multiple opportunities to see her play. DJ, producer, jazz-trained pianist, and activist, LP Giobbi played two individual pieno-infused house sets, tailored to the crowd and environment.

Dutch DJ and producer Martin Garrix filled the stadium to the brim on July 18th. Even from a distance, it was obvious he was having a great time, sweat drops shining in the stagelights. The fans were here for every beat, taking Garrix’s direction at one moment, the entire stadium had their flashlights on, “This is crazy,” Garrix smiled. During this closing set, we heard all the hit tracks, from “In the Name of Love” to “Carry You” and “Animals“. Nearly every song was accompanied by pyrotechnics – fire, smoke, lasers, confetti, fireworks, you name it, the stage crew did it.

This is the side of Québec City most people don’t get to experience on their faux European vacation, but one you can definitely build a vacation around.

The post The music worlds collide at FEQ, or that time Jessie Reyez stole the show appeared first on Quip Magazine.

Following the iconic “RIDIN” featuring the legendary Lil Wayne, and the upbeat and playful release of “SHUT UP” featuring Big Sean earlier this year, Reyez continues teasing more music on the way with “Just Like That” as a taste of what’s to come. On “Just Like That”, Reyez embraces the feeling of finally finding someone who’s good for you, singing, “The last one left me broken but you came by and revived”. Together, Reyez and Lennox combine their talents for capturing feelings, delivering soulful verses that thematically explore comfort and security in relationships.

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“Driving On The Wrong Side Of The Road” by Franc Moody

The soul-disco melding duo and kings of modern electronica, Franc Moody, headed by Ned Franc and Jon Moody, shared the  new, furiously fun single “Driving On The Wrong Side Of The Road.” Of the cosmic new song, the duo is as funk-infused as ever but reflects on the track as a “bold leap into a new era of Franc Moody.”

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“Bloom” by Maribou State

“Bloom” is a slice of signature Maribou State featuring their trademark guitar lines, drum flourishes that gently recall old-school rave and a vocal refrain from rising Sudanese Dutch singer-songwriter Gaidaa. It’s the second single to be shared from their highly anticipated new album ‘Hallucinating Love’, set for release Jon anuary 31st 2025 on Ninja Tune

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“Do Like I Do” by Peter Dreams

Following a trail of textured sound Peter Dreams‘ song “Do Like I Do” builds into a trance, a weaving of wires pulled from gritty guitars and low register piano. A sparse kick drum gives away for Black Lodge saxophone and synths, while Peter Dreams contemplates the consequences of passing on flaws to an unborn child.

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“Different Way” by BLOND:ISH feat Zeeba

BLOND:ISH has woven a thread of positive messaging through her most recent singles, along with masterfully blending a tonic of genres that aim to beam her compassionate transmissions far and wide. While the late summer mood-lifter “Never Walk Alone” (written to serve as a friend in a time of anxiety or loneliness) called on pop, indie, and soul, “Different Way” combines surf rock, synth pop, and house music. BLOND:ISH’s goal is that these songs push the planet closer to “Happy Happy World” (an inclusive place of sustainable unity, respect, and nourishment).

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“Ten to Twelve” by Bug Eyed

The new single follows their premier track “Backseats,” released last month, which introduced their playful and singular sonic universe. “Ten to Twelve” displays Bug Eyed’s genre-blending and time-warping sound, combining early-aught British pop-rock with modern American pop influence. “Ten to Twelve” and “Backseats” are just the first taste of what is to come from the British band.

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“Mandem & Gyaldem” by Lexxicon

Following his groundbreaking release this summer, with Pink Fraternity, Lexxicon is back with a music video for his brand-new single. A fun uptempo song filled with attitude and energy, “Mandem & Gyaldem” is a love letter to the queer Caribbean community.

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“Rebel Soul” by Michael Kiwanuka

Michael Kiwanuka‘s “Rebel Soul” the fourth and final single from his fast-impending and hotly anticipated new album Small Changes (out November 22 via Geffen Records). “Rebel Soul” unveils the sublime soulfulness at the core of the album; a slow-build mood-setter that crescendos with Michael’s own vocal weaving in and out of focus.

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“Eager Glacier” by Yoo Doo Right

To the beat of turbulent drums, we are guided through sprawling soundscapes of deep synthetic whirs, unrelenting electric strings, mercurial melodies, and distorted reels. With grave aplomb, this escalating and far-reaching piece from the Montreal outfit Yoo Doo Right takes us on a sonic journey across ambient, post-rock and drone metal.

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Cover image: Maribou State by Rory Dewar

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The best part about Lollapalooza is the slew of indie artists that get a bump to mainstream exposure. One indie band that needed to be seen live was Franc Moody. The duo, Ned Franc and Jon Moody, joined by a band, brought the funk to Chicago getting everyone in the audience to grove along with them. Tracks like “I’m In A Funk” and “Dopamine” brought a sensation of euphoria that made it fun to dance in the sweltering heat.

Another band I was excited to see was Ekkstacy. With solid tunes like “I Gave You Everything” it’s easy to see why Ekkstacy has made their way up to this stage so fast. Other tracks like “Then I Met Her” are great in their simplicity and struck a chord with the crowd before he finished with my favorite Ekkstacy song, “I Walk This Earth All By Myself”.

An indie artist who stole the hearts of many, however, was Beabadoobee. Having seen the young singer when she was an opening act years ago to now gather a gigantic crowd at one of the largest festivals in the states was beautiful to witness. Adoring fans screamed as she came on the scene and sang along to “Talk” and “Coffee”. It was truly inspiring to see how far the singer has come.

Looking at the lineup this year of Lollapalooza one couldn’t help but get giddy at the site of how many well-known DJs were listed. Producers like AfroJack and Diplo were holding down the Perry Stage giving the ravers a blast from yesteryear. Subtronics and especially Svdden Death filled the stage with a heavily bass vibe that made the vibration shake the ground and fans’ headbang. Sofi Tukker had an elaborate stage display with arches and columns. Tukker stepped in first with a drum pad saying, “Who came to Lollapalooza with their best friend? I did!” and then introduced Sofi as she came out in a fur dress with a guitar.

Alan Walker came out with hits like “The Spectre” and “Alone” before ending with his all-time classic “Faded”. Other DJs often brought guests with them. Odesza, for example, put a spotlight on Izzy Bizu during “Forgive Me” while Dom Dolla had Nelly Furtado come out to perform their newest collaboration “Eat Your Man”.

NBA legend Shaquille O’Neal aka Diesel has been living his best life this summer touring the festivals. If he’s around your area doing a DJ set, do yourself a favor and go! Shaq always has an interesting blend of 80’s rock like “Welcome to the Jungle” meeting Kanye West’s “Power” blending into modern bass. “Y’all ain’t tired get yo hands up!” he yelled out, riling the crowd up.

The selling point for Lollapalooza, however, is the number of mainstream artists you can see over the weekend. Kendrick Lamar was the biggest hip-hop rapper the festival had this year. A massive crowd formed for hours waiting in anticipation. Later Jessie Reyez joked, “If your homie brought you to see me, Hello”. Funny enough this was true for me. Then there was Karol G looking stunning in a Rolling Stones beaded top owning the stage with tracks like “Tus Grafitas”. Red Hot Chili Peppers returned to Lollapalooza once again to be greeted by a sea of fans. They opened up with the classic “Can’t Stop” and “Scar Tissue” ending with an encore “Give It Away”.

However, for my money, Thee Sacred Souls had the best performance. Arriving early to catch their set meant getting rained on but after nervously talking to the trio briefly backstage, I rushed to the main stage to catch their performance. Hiding under trees in the distance before admitting defeat to the weather, I marched with muddy shoes and a soaked shirt to join the crowd of soggy fans. The bandmates were also getting rained on but it didn’t seem to be a bother, “Nothing wrong with a little rain,” pointed out Josh Lane with a smile. As their name suggests, their soulful tunes are smooth and reminiscent of Motown tracks. Songs like “Trade of Hearts” and “Will I See You Again?” are messages of pure love and heartbreak that many can relate to. The band also performed a sold-out aftershow at Sleeping Village. The smaller venue made for an intimate setting perfect for the lovebirds in attendance.

In spite of the weather, Lollapalooza delivered a phenomenal lineup of performances yet again. The crowd was buzzing with excitement the entire weekend and will likely continue to do so in reflection of this epic weekend for a few more days.

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A truly authentic artist who sings from the gut, Reyez stunned the crowd to silence many times with her hauntingly beautiful vocals and emotionally-wrought performance. A fusion of hip hop, reggae, R&B, soul, and Latin flavors, the night went from reverberating and syncopated basslines to touchingly personal, stage-side moments.

She kicked off the night with the aggressive, carnivalesque “Shutter Island” and sang the lyrics ‘my straightjacket’s custom made, though!’ with a thunderous intensity that carried into the rest of the night. Dressed mainly in an oversized t-shirt, shorts and sneakers with her signature half-up hairdo, she stomped across the stage with a playful authority that told the audience that, while her music can be deeply personal and hold a weighted message, she’s here to have a ton of fun!

She continued to rev up the crowd with explosive renditions of more tunes from her two EPs Being Human in Public and Kiddo, like “Gatekeeper,” “Fuck It,” and “Dear Yessie.”

But amidst all of this in-your-face intensity, Jessie didn’t shy away from sentimental, personal moments. Revealing a more vulnerable side, she gazed upon an ex-lover embracing another woman while singing the mournful “Cotton Candy,” and sits at the lip of the stage to sing a tender acoustic version of “Sola,” the only song of hers written in Spanish. I was even brought to the brink of tears when, as part of one of the dramatizations, a young mother screamed as three members of ICE ripped her child from her arms, leading into the heartbreaking R&B track with a political message, “Far Away.”

Jessie Reyez is an honest musician who knows how to create emotional levels through her live performance and delivered a truly special show This concert took me from extreme, adrenaline-pumping highs to touching, contemplative lows. Her full-length debut album is dropping in 2020, and I predict incredible things! A gifted songwriter and intuitive musician with a piercingly expressive voice that will wrench your soul, she is destined for greatness. I can’t wait to tell people, in five years when she blows up (if it takes that long), that I saw her in this cozy 1500-seat theatre, “way back when.”

Images by Drew Yorke for Red Bull Music Festival

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Now that we’ve got a bit of important history out of the way, let’s talk about the live show.

Last Friday Toronto’s Mod Club open its doors for Jessie Reyez’s last show on the Kiddo tour. The show was sold out, packed wall-to-wall with excited fans patiently waiting for Reyez to take the stage. As soon as she did it was clear the audience knew exactly what they were there for, nearly everyone knew every word and on more than one occasion Reyez let the audience sing the song. The room was vibrating with all sorts of positive emotions and radiating support. Reyez thanked her parents, her friends, The Remix Project, and a thousand times the adoring audience: “My gums are gonna hurt from smiling at the end of this show – thank you, thank you, thank you!”

Each track came with a personal story, something about her life and childhood, something about the music industry, and a lot about her emotional state, love, and relationships. “Can I talk to you for a moment? I want to talk to every single one of you, be quiet… seriously shut the fuck up!” she smiled, and as the room went quiet she proceeded to give an inspirational speech about being strong, fighting for what you want, and never letting anyone hold you down.

As the show went on Reyez played through Kiddo, her favorite covers, a few unreleased tracks, and more than one surprise that got the audience to freak. Right after talking about The Remix Project, in which she participated last October, Reyez brought out on stage King Louie with whom she collaborated on a track, “Living in the Sky” at that time. Reyez ran off stage giving the spotlight to King Louie for “Live & Die In Chicago.”

The next surprise on stage was Toronto’s own Allan Rayman, another up-and-coming musician who has been taking the city by storm. Rayman and Reyez have also collaborated on a track recently, “Repeat,” an equally bare, emotional track mostly performed by Allan Rayman. Once again Reyez left the stage leaving Rayman in the dim spotlight to be himself.

Opting in to do another cover Reyez began singing Alessia Cara‘s “Here,” something tells us another experience she can personally relate to, but let’s be real, we’ve all been to this party. A few lines in another voice joins in and no one other than Alessia Cara herself steps out on the stage to sing through the track with Reyez.

“I’ve been dreaming about being a singer since I was [a little girl], you being here, buying my shit makes me so happy!” Reyez wrapped up the show with “Figures” and a highly energetic encore with “Blue Ribbon.” After raiding the merch table the energized crowd flooded out on the street, and each one was handed a red balloon.

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