Quebec Summer Festival: Hubert Lenoir is in control

The evening promised to be electrifying and it was. Hubert Lenoir was visibly happy to be playing at home, in his town, at home. It seemed.

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Dressed in a long coat, white dress, cowboy hat and sunglasses, the unpredictable bad boy hit the boards at full speed and slid like a baseball player in full running, to the sounds of golden days.

At that moment we felt that the evening was going to be something special. There was that little something and that energy that you find on the big nights. We quickly forgot a small delay of about twenty minutes when people were shouting “Hubert, Hubert, Hubert”.

The Hydro-Québec stage opposite the National Assembly was packed to capacity for the visit of the enfant terrible. A heterogeneous audience, colorful and quite tattooed.

On the boards it moves and is dynamic. Noémie, his wife, sits on the board. She films images of the stage and audience while dancing, which are broadcast on the giant screen behind the stage.

And suddenly Hubert takes off his glasses and hat and falls into the crowd, when golden days becomes thrash and metal.

Lenoir hadn’t played in Quebec since a stint at the Imperial Bell in 2018 and the launch of the album IMAGE BY IPSE.

“Here is my home. I was born in Quebec City and live here. I never went away After all we’ve lived, here Quebec, it’s our city tonight,” he launched, provoking a string of “Quebec, Quebec, Quebec” chanted by the crowd.

Hubert, it’s Hubert

We were then treated to good versions of secretwhere he seemed disturbed by the behavior of some spectators, When we get to it from Ferland, fromOctober and from sugar and salt. Let’s be honest, it started very well. That vibrationsas they say was more than good.

At the end of the performance it got a bit disjointed with a jam that wasn’t, shall we say, memorable.

“Not long ago, in 2017, right here backstage, I was playing my music on the street for a couple of two piasters to pay my rent. The only thing I want to tell you is that time changes things. There are “toffee bits,” but things get better with time. A year after Darlène was released, everything was fine,” he said, then shot a tip to the media and a poll published in the Journal de Québec and the Journal de Montréal in which he had been identified 8th in 2018e most hated person in quebec.

“I can’t wait to read the review for my Saturday morning show,” he said.

Nobody’s daughter followed and a huge chorus took shape. It ended with a big sonic return, a long thanksgiving and the game PHASE on memory.

Hubert being Hubert, he remarked that he was playing on the smallest stage of the festival when he had already played to more people outside of his hometown, referring to the Americans who performed in the Park des Francophonie.

“The Quebec scene existed because people supported it. Supporting the local scene and giving it its place is important, thanks to program directors Arnaud Cordier and Louis Bellavance. I don’t care about the consequences, I say it for the others,” he dropped.

big grooves

At the beginning of Lydia Képinski’s performance, at dinner, we looked for the blonde singer that we heard during the play The deception, but we didn’t see that on the boards. However, she was among the public there, where she made a few visits.

Lydia Kepinsky

Stephane Bourgeois

Lydia Kepinsky

Lydia Képinski has put away her six-string. Which allows him to wobble. Which she does a lot. Sometimes she was completely overwhelmed. We saw them lying on the boards Two days and lowered his mic stand to sing on his knees as he did so Arbol.

Arbol, chlorinewith the insane synthesizers of Blaise Barboën-Léonard, Waslau and painless roadswith his nod to the series The Mysterious Cities of Goldwere the good moments of this performance.

With the Choses sauvage that followed, the band from Montreal, more precisely from Saint-Eustache, heated up with a funk rock with disco and new wave elements.

wild things

Stephane Bourgeois

wild things

Led by singer Félix Bélisle, the quintet brought out very big and solid grooves. It skipped in front of the National Assembly.

After removing his sweater and camisole, the singer kept tossing his mic onto the stage, then did the same with his mic stand, also allowing himself a few walkabouts.

After temporarily giving the impression of being on another planet, Félix Bélisle managed to get almost everyone to sit down in the final section of The sidewalk waltz. A beautiful moment. Just like the furious finale with gold and silver. The “Hohey” followed. A sign appreciated by the public.

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