BET À DAY
We knew it. It was written in the sky. A little after 7 p.m., festival-goers were advised that the Parc de la Francophonie site was about to be filled to capacity for the Finger Eleven, The Tea Party and Three Days Grace bands. .
A cut-and-paste of Matt Walst's tape appearance at the 2014 Summer Festival, where the site was taken over. The formation of Norwood (Ontario) is still so loved in the Old Capital.
Before the arrival of Three Days Grace, we warmed up the crowd with the anthem Jump Around, of House of Pain.
“Quebec, get the fuck up!” launched singer Matt Walst, before starting, with energy and intensity, So Called Life, from the new album Explosions.
Animal I Have Become then set fire to the place, where it jumped and lifted hands in the air all over the place, followed by Home, with the big guitar tones of bearded Barry Stock, giving it a “ZZtopian” feel.
It was going strong. Enough for the party-hungry crowd to quickly begin chanting Three Days Grace, with a few water bottles flying through the air.
After a very good Neurotic,singer-guitarist Matt Walst recalled the unforgettable concert of 2014 at the Parc de la Francophonie.
“I've been in the band for 10 years now and it was one of our best shows. Because it felt like home. Rock lives in Quebec”, launched singer-guitarist Matt Walst, asking the public to immerse them in this atmosphere with Painkiller.
We then offered a semi-acoustic double with < em>The High Road and World So Cold. A double interrupted by the traditional “Ohé, Ohé, Ohé!” sung by fans, when the singer-guitarist said that rock lives in Quebec.
“Quebec is one of the most beautiful places in Canada. I should come more often personally,” he later added.
Just Like You, from their debut album, released 19 years ago, The Good Life, I Hate Everything About You, sung loudly by the public, Never Too Late and Riot. A boosted atmosphere. The case was in the bag. All that remained was to hand them the keys to the city.
The Tea Party inspired
Canadian and especially Ontario rock was in the spotlight during this evening, which began with a short downpour. Rock declined in all ways.
There was the pop-tinged rock of The Man Who, from Toronto, the experimental and progressive rock of Crown Lands, from Oshawa, the alternative rock of Finger Eleven , from Burlington, the elaborate and rich rock of The Tea Party and, finally, the rock full of testosterone of Three Days Grace. Stuart Chatwood and Tea Party drummer Jeff Burrows kicked off their stage tour with the The River, from the album Splendor Solis, which introduced them in 1993, featuring bars from Sober, Tool.
< p>“Hi Quebec. Hello my friends,” said the singer-guitarist, who seemed to be in quite a festive mode and slid the bow on his guitar during a long version of Save Me.
It was definitely the night of the insertions: after a vibrant interpretation of The Messenger The Tea Party continued with Heaven Coming Down which became U2's Me or Without You.
The trio put on a big show. An inspired and very rock'n'roll performance which ended with the oriental sounds of Sister Awake, embellished by Paint It Black, the Stones, and Heroes, by Bowie.
Scott Anderson and his Finger Eleven pals, who haven't released a new album since 2015, have managed, room after room, to pick up an audience that was there for Three Days Grace.
The excellent One Thing generated a great moment, where we felt a good communication with the public. The band offered a few lines of That's All,from Genesis, followed by Paralyzer with chords that became those ofBack in Black, from 'AC/DC, at the end of their performance.
One of the great discoveries of this evening was the duo Crown Lands, a cross between Rush and Led Zeppelin.
The guitarist, bassist and keyboardist Kevin Comeau looked like Jimmy Page with his white pants and jacket with fringes. Cody Bowles sings while behind the drums.
Crown Lands ended his performance with Context: Fearless Part One, a tribute to Rush. Everything was there: the keyboards, the two neck bass guitar, the drums and even the voice of the drummer not far from Geddy Lee. A performance that unfortunately went a little unnoticed.