Rage Against The Machine at FEQ: Explosive from start to finish

What an amazing discharge of rap metal! After a pandemic of waiting, Rage Against the Machine delivered the ultimate session of collective liberation last night on the Plains of Abraham at its first-ever show in Quebec for Life.

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Originally scheduled for the canceled Summer 2020 festival, this Quebec exclusive show lived up to all expectations and more.

With all due respect to Maroon 5, which rocked the site last Saturday, we’ve seen the most explosive communication between an artist and audience in the Plains since the beginning of this FEQ.

Fifteen minutes after RATM arrived on stage, “hoy, hey” was already being cried out by some of the festival-goers who had filled the Plains. The tension was palpable.

Then, when the quartet picked up hostilities bomb tracklaunched the entire audience into a rage mosh pit which was hardly interrupted during these 90 minutes of music at breakneck speed.


Singer Zack de la Rocha, who was sidelined due to a leg injury he sustained earlier this week, still led the charge with great intensity. At times it felt like he was holding back, braving his injury and throwing himself into the crowd.


At his side, virtuoso Tom Morello enjoyed tormenting his six-string. With forearms hanging down people of the sunwith his teeth during an arson attack bullet in the headwhose slow final crescendo ignited the festival-goers.


The more discreet but no less effective bassist Tim Commerford and drummer Brad Wilk were also integral cogs to the success of this concert, which laid out like a series of rabid rock bombs from the group’s first three albums.


As we could also predict from these revolutionary souls, the giant screen was often used to broadcast images encouraging us to rebel against the fate reserved for the weakest.


after singing freedom, Zack de la Rocha warned the public of the rich and powerful who want to “turn us back”. Likewise, the group has appeared in a series of messages in defense of First Nations rights, which, among other things, have insisted that Aboriginal women in Canada are 16 times more at risk of being murdered by disappearing.

This political interlude set the stage for a rousing finale in which the band and audience sang kill in the name in total euphoria.

To thunderous applause, the band members then sat down next to de la Rocha and waved at the festival visitors for a good two minutes, broad grins lighting up their faces.

Two people then hugged the singer. As he was transported backstage, Zack de la Rocha gave the victory sign.

It was indeed a triumph.

Alexisonfire: full decibels

Whether it’s replacing a headliner on short notice and two days in advance, like in 2018 when Avenged Sevenfold withdrew, or to offer an extra decibel warm-up session before the arrival of Rage Against The Machine, Alexisonfire always responds.


Last night, the Canadian hardcore group bombed the levels. With the possible exception of the northern one (and again!) Alexisonfire tested the resistance of our eardrums during his short but intense performance.

The public response was no less violent. While dog bloodand young cardinals, a mosh pit Giant formed on the ground. The thing hasn’t escaped the notice of singer George Pettit.


“Nobody in Canada does that. Tens of thousands of people for rock music, that’s a hell of a lot (free translation of Fuck) Perfomance. »

Vulgar Machins: as succinct as ten years ago

Has Vulgaires Machins softened after a ten-year absence? No crumb. The quartet is as perceptive and militant as ever, one might say, after spied their first performance in a decade at sunset on the Plains Saturday.

It felt during the introductionbe a like, to see Marie-Ève ​​​​​​Roy set the pace with authority, assisted by Guillaume Beauregard in great form. The kings of Quebec punk are back, hungry and lucid, as Beauregard’s presence demonstrates Triple murder and failed suicide.

“The suicide rate has remained stable in Quebec for the past twenty years, confirming that the next song was useless. »

During his allotted 45 minutes, Vulgaires Machins mostly dwelled on the past and hung up The myth of democracy, abyss and other Count the bodies.


The group played just the excerpt of their new album, which will seal their big comeback, ahead of a tour with Anti-Flag in October I raise my glass. “The worst song on the album, but the most important because it’s a song of solidarity,” says Guillaume Beauregard.

If it really is the worst, it promises.

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