The Festival d’été is only two days old and already a long-standing accusation against artists performing on the Plains of Abraham has returned: the lack of participation and the late arrival of festival-goers from the front-line gold scene.
Quebecois Geoffroy and Jack Johnson both complained about it during their Thursday night performance. The Hawaiian singer even directly urged those in the Gold Zone to line up with those crammed in the General Admission area to his left.
Photo agency QMI, Guy Martel
“Proving yourself. There’s a lot more dancing on this side,” Johnson said, clearly annoyed.
Before the pandemic, however, the FEQ had solved the problem by giving back a portion of the gold zone of about 400 square meters to festival-goers with general admission tickets.
In 2018 and 2019, the entire front stage area was therefore reserved for general admission. The corridor leading from the stage to the control room, which once divided the pitch into two equal parts, had been moved to the south of the site.
MARCEL TREMBLAY/QMI AGENCY
This is the configuration the festival wanted to use this year, but with 24 hours’ notice, due to the rupture of an underground line, the workers assigned to the assembly had to return to the pre-2018 layout with a central corridor to pass the wires.
“He completely collapsed. It was no longer possible to lay the lines underground. However, there is a standard length for the cables that run from the stage to the control room, and since we had to run them above ground, we didn’t have enough length to run them through the 2018 angled configuration,” says Director of Communications, Samantha McKinley .
The latter says organizers would like to have time to fix the pipe before the end of the FEQ to return to the pre-pandemic configuration.
“We keep our fingers crossed. You still need to have the time for this, as this is something you don’t normally do during the event. »
Samantha McKinley believes if the festival can put things right, it’s the best solution for artists and viewers alike. The experience of 2018 and 2019 was compelling, she believes.
“She had responded to this concern of the artists. We found the right balance. »