The Bell Stage at the Festival d’été de Québec as seen from Hôtel Le Concorde Québec
All Photos © Steve Galli + Story by Chloe Catajan
LINKS TO FULL GALLERIES OF IMAGES AT THE BOTTOM
The gates of Festival d’été de Québec welcomed upwards to 100,000 people each day for its 2025 return to the Plains of Abraham. Also known as FEQ, the fest is an ultimate haven for music fans of all genres. Over 150 artists played seven stages across 11 days in the heart of Québec City, providing an intensive, immersive, and inclusive experience in the name of live music.
Event organizers BLEUFEU once again curated an exciting musical and cultural fete for FEQ’s 57th edition. Some of this year’s biggest draws included Slayer’s first Canadian performance since 2019, Hozier’s FEQ debut, Canadian pop-punk royalty, and legacy acts Rod Stewart and Shania Twain. The festival also continues to host the very best of Francophone music, and of course, local Québécois sounds, as it has done since its inception in 1968.
Veteran photographer Steve Galli returned for his 10th trip to the Plains and reported highlights from the first four days below.
Legacy acts and icons lead Day 1
FEQ kicked off Thursday, July 3, and featured performances that impressed with powerhouse pipes and a whole lot of soul. From Rod Stewart and Richard Marx to Alessia Cara and Two Feet, Day 1 came in strong with legends, pop stars, and alt sensations alike.
Rod Stewart, in the thick of his One Last Time tour, celebrated the hits with his headlining set at the Bell Stage. Fresh from his performance at Glastonbury, the British soft rock legend came ready to rock in silver chains, a sequined blazer, and equally shimmery pinstripe pants. He took the mic and opened with “Tonight I’m Yours (Don’t Hurt Me)”
Rod Stewart
Stewart’s signature rasp resonated throughout the packed Plains, while his nine-person ensemble complemented his vocals with bright, lively tones. They even wore complementary gold accents. It was a glamorous scene soundtracked to equally exciting songs like a “Do Ya Think I’m Sexy?” and covers of “Lady Marmalade” and “Hot Stuff.” Stewart also included a lovely tribute to Tina Turner with his Kim Weston cover of “It Takes Two.”
Rod Stewart
Richard Marx and Glass Tiger took the Bell Stage earlier in the day too. Marx switched between the guitar and piano, as he and his band turned in each emotional note. It was a serenade of soft-rock power ballads that included ‘80s hits “Right Here Waiting” and “Should’ve Known Better.” Fans sang the words right back, a compelling scene to take in under twilight skies.
Richard Marx
Glass Tiger channeled retro pop-rock riffs with songs like “Thin Red Line,” “You’re What I’m Looking For,” and “Don’t Forget Me (When I’m Gone).” The Ontario rock group were on point with their chops, performing each song with a searing delivery that had fans swaying and clapping their hands to the driving beat. Their setlist revisited albums Diamond Sun, The Thin Red Line, and Simple Mission.
Alan Frew, Carmela Long, Al Connelly of Glass Tiger
Meanwhile, Alessia Cara drew a colossal crowd to the Loto-Québec Stage for her first return to FEQ since 2016. The Mississauga singer captivated those watching with her powerful belts as she performed fan favorites like “Scars to Your Beautiful” and “Here.” Fans matched in volume as they sang along, and even barked. Cara mentioned she was on her first world tour ever, and encouraged attendees to see if they could be the loudest crowd on her entire run.
Billie du Page brought her brand of unapologetic pop francophone to the Loto-Québec Stage, as well, while Meghan Oak combined pop, rap, and an alternative franco sound.
Meghan Oak
For an ultra-curated experience, festival goers could explore different genres across the rest of the stages. For example, the SiriusXM stage leaned into smooth vibes with electro-soul from Two Feet and neo-soul from Katie Tupper. And those at the Hydro-Québec Stage embraced the funk, with the vibrant styles of psychedelic dream-pop duo Petite Amie, cumbia rock quartet Los Bitchos, and the brass-driven symphonic punk of Orchestre Tout Puissant Marcel Duchamp.
Katie Tupper
Isabel Dosal of Petite Amie
Serra Petale of Los Bitchos
The Crave Stage was hip-hop heavy with Lostboy Carlos, Shah Frank, and Statzz, while the Extras FEQ Stage pulsed with house beats from DJs Regularfantasy and MVNGO.
Here’s to Day 2 and to never growing up
Pop-punk, emo—call it what you will. Day 2 was for the young and young at heart, with the Bell Stage packing in a punch of angst and coming-of-age ennui. Avril Lavigne and Simple Plan drew in major crowds, who came prepared in all-black outfits, colorful hair, and fun makeup, ready to scream their lungs out.
Both Lavigne and Simple Plan are not just heavyweights in the scene, but also a living testament of Canada’s early-2000s pop punk boom and the genre’s TikTok revival. Both artists have had songs go viral in recent years, amassing fans across generations that showed up at FEQ.
Lavigne leaned into her alt-princess persona, decorating the stage with fuschia lights, skulls and hearts, and plaid patterns. She kept things feisty and fun on opening songs “Girlfriend,” “What the Hell,” and “Complicated,” and later brought out Simple Plan for their collaboration “Young & Dumb” and a cover of blink-182’s “All the Small Things.” A group of fans were also invited onstage and received signed skateboards.
Simple Plan’s own set was equally high energy, turning in nothing but hits from fan-favorite albums like No Pads, No Helmets…Just Balls and Still Not Getting Any… They brought out Claudia Bouvette to perform “Jet Lag,” as well as an army of Scooby Doo mascots for “What’s New Scooby Doo?” On top of pyro, fog machines, and beach balls, drummer Chuck Comeau crowd surfed during “I’m Just a Kid”—sealing the deal as the day’s most engaging performance.
Pierre Bouvier of Simple Plan
Sébastien Lefebvre, Jeff Stinco of Simple Plan
Chiara Savasta opened the Bell Stage with a fresh take on pop punk, opening with songs like “Bodies,” “Julia’s Song,” “Bike Rides,” and even a cover of Phantom Planet’s “California.”
Chiara Savasta
Speaking of the sounds of youth, Day 2 had its fair share of viral hits and cool, up-and-coming sounds.
The vibes at the Loto-Québec Stage were top tier as Thundercat had fans throwing up hand hearts while turning in the thickest, juiciest basslines on “Lotus and the Jondy” and “Them Changes.” Earlier on the stage, Montreal’s Alicia Clara delivered velvety vocals and dream pop riffs that reminisced Hope Sandoval on songs like “So Cool” and “Nothing Dazzled.”
Thundercat
Alicia Cara
Meanwhile, Québec’s own Men I Trust leaned into latest release Equus Caballus at the SiriusXM Stage, combining the group’s usual mellow dreaminess with a little 1980s-inspired synth and Western twang. They also played fan favorites, “Sugar” off Untourable Album and “Show Me How” off Oncle Jazz. Unessential Oils delivered an equally groovy and guitar-driven set,performing a blend of psychedelic indie and Brazilian Tropicalía influences.
Over at the Hydro-Quebec Stage were different eras of Francophone rock, represented by the modern and maximalist sounds of Allô Fantôme and the iconic Marjo.
Warren Spicer of Unessential Oils
Samuel Gendron of Allo Fantome
Marjo
A mystical and magical Day 3
Word on the Plains had it that the big question on Day 3 was, “How many flips will Benson Boone do onstage?” Boone has been one of the biggest names in this year’s festival circuit, making waves for his theatrical pop anthems, powerhouse vocals, and impressive acrobatics. As expected, his FEQ set was an eventful combination of all three. He’d also mix in some banter, pointing out that he ripped his pants mid-set, and attempting to explain his song, “Mystical Magical.”
“A lot of people have been asking me, ‘Benson, what is moonbeam ice cream?’” Boone said in reference to the viral lyric. “And you know what, in the US, I would say ‘I don’t know,’ but in Canada… I still don’t know.”
As the crowd grew to over 80,000, Boone executed every stunt without missing a breath, and his vocal chops remained flawless. From opening song “Sorry I’m Here for Someone Else” to set-closer “Beautiful Things,” he did a total of four flips.
Benson Boone
Benson Boone
Remi Wolf and Julyan took the Bell Stage earlier in the day with just as much color and character. Remi Wolf moved and grooved across the stage to funky, brassy melodies, singing the upbeat verses of fan favorites like “Cinderella” and “Photo ID.” Julyan did the same with his vibrant pop-rock sounds, making a joke that although he couldn’t do backflips like Benson Boone, he could wow the crowd with a guitar solo.
Remi Wolf
Julyan
Retro rock sounds were also a common theme for Day 3. George Thorogood & The Destroyers, of course, delivered quintessential blues rock with their iconic song, “Bad to the Bone,” while Spencer Mackenzie mixed in some extra soulful sounds into this set.
Spencer Mackenzie
Bloodshot Bill wowed with a one-person setup, performing raw rockabilly while manning an electric guitar, a bass drum, a hi-hat, and vox. And Buddy McNeil & The Magic Mirrors, dressed in their signature sailor uniforms, reminisced jukebox rock sounds.
Other highlights included genre-bending sets on the Hydro-Quebec stage from Sax Machine, whose sound combined soul, brass, and dubstep. La Chiva Gantiva mixed traditional Afro-Colombian rhythms with punk, funk, and hip hop followed up by Australian jazz/funk with The Cat Empire. And disco met punk with Choses Sauvages’ set at the Pop Up Stage.
Bloodshot Bill
Alexis Roberge of Buddy McNeil & the Magic Mirrors
Sax Machine
La Chiva Gantiva
Felix Riebl of The Cat Empire
Choses Sauvages
Riffs, reggaeton, and rap outshine Day 4 rain
Many festival goers came prepared for the heavy rain that hit Day 4, dressed in raincoats and disposable ponchos. Those who weren’t seemed ready to brave the storm, with plenty rocking drenched Def Leppard tees in high spirits.
The hard rock gods started their Sunday service with “Rock! Rock! (Till You Drop).” Joe Elliott’s vocals pierced through the Plains, as Phil Collen, Vivian Campbell, and Rick Savage delivered sharp riffs, and Rick Allen totally dominated on drums.
If anything, the downpour was no match for the already heavy set, making Def Leppard’s Bell Stage performance even more unforgettable. Songs like “Love Bites,” “Hysteria” and “Pour Some Sugar on Me” were extra thrilling under the rain, with fans and the band taking in their surroundings through and through.
Hard rock was in the forecast all day with performances from Extreme and April Wine as well. Extreme had brought searing energy to the Bell Stage, opening with “It (‘s a Monster),” “Decadence Dance,” and “#REBEL.” Gary Cherone was as force onstage as his vocals pierced through the punchy sounds from Pat Badger, Kevin Figueiredo, and Nuno Bettencourt—with Bettencourt fresh from his performance at Black Sabbath’s epic Back to the Beginning concert the night before.
Gary Cherone of Extreme
Nuno Bettencourt of Extreme
Despite the gloomy weather, April Wine reminded the FEQ crowd that “everything will be alright” as they opened with “Oowatanite” and a cover of Hot Chocolate’s “You Could’ve Been a Lady.” The Canadian rockers were tight with their driving rhythms and hearty vocals.
Marc Parent, Brian Greenway of April Wine
Fans at the Loto-Québec Stage had a lot of love for Wyclef Jean, who returned the sentiment. The rapper and founding Fugees member leapt to the barricade to perform his latest track, “Back from Abu Dhabi,” up close and personal. AMMOYE stunned the Loto-Québec Stage all the same with a soulful reggaeton set via her powerful vocals and moving lyrics.
Over at the SiriusXM Stage, Yaadcore was captivating and compelling as he delivered his unique brand of reggae, which combines elements of trap, hip-hop and bassy goodness.
And on the Hydro-Quebec Stage, Virginie B brought the fun with her hyperpop meets nu-disco style.
Wyclef Jean
Ammoye
Yaadcore
Virginie B
A little bit of everything and more
French-Canadian artists shined on Days 5 and 6, representing a variety of music scenes. Québec’s own Sudden Waves brought a high-voltage hardcore set to the Loto-Québec Stage, while Les Hay Babies channeled Francophone folk-rock on the Bell Stage. Salebarbes also leaned into folk-rock, but with elements of traditional Acadian music fused into their infectious sound.
Sarahmée, a leading force in the local rap scene, delivered a sharp flow on the Bell Stage on Day 6, while Canadian country took over the Loto-Québec Stage with performances from Matt Lang, Alli Walker, and Fred Dionne.
Day 7 was electronic-heavy with Kygo headlining the Bell Stage. Confetti, flames, and fireworks illuminated the Norwegian DJ’s set as he performed a thrilling selection of hits, including “Whatever,” “Firestone,” and “Freeze.”
Day 8 and 9 offered a lot of guitar-driven glory. Hozier headlined Day 8, his grand and gothic chamber-style folk echoing all around the Bell Stage. Songs like “Too Sweet” and “Take Me To Church” started massive singalongs, while “Cherry Wine” and “Unknown/Nth” were decidedly intimate and performed from a B Stage.
Meanwhile, surf rock met punk when Pixies took the Loto-Québec Stage. Their set felt like nonstop hits, a testament to the band’s impressive catalog, with songs like “Here Comes Your Man,” “Ana,” and “Where is My Mind?” making it early into the setlist. The band had immaculate cover song selections, including The Jesus and Mary Chain’s “Head On” and “In Heaven (Lady in the Radiator Song)” by David Lynch and Peter Ivers. Kurt Vile and the Violators also took the Loto-Québec Stage and delivered Vile’s signature brand of intricate guitar work. Vile played a different guitar for nearly every song in his set.
Day 9 was decidedly heavier with Mastodon and Slayer both taking over the Bell Stage. Even though Mastodon opened with “Tread Lightly,” the band did the exact opposite with their sound, unleashing some serious shredding, snarls, and hard-hitting snares. Slayer took over and brought the heat for their first Canadian performance in six years. Pyro, showers of sparks, and starball lights heightened each melodic punch and piercing verse.
Day 10 felt like a nod to the recent trend of rap meets country, with performances from artists of both genres. Shania Twain and Maren Morris brought some twang to the Bell Stage. There was no shortage of Stetson hats and singalongs as Shania Twain sang hits like “That Don’t Impress Me Much” and “Man! I Feel Like A Woman.” The country pop icon rocked a glittery romper and sounded flawless. Maren Morris was also on point with her powerful pipes, performing hits “The Middle” and “My Church” with impeccable delivery.
Ty Dolla $ign had fans at the Loto-Québec Stage going hard, with mosh pits forming during songs like “DO IT” and “CARNIVAL.” Armani White had the SiriusXM Stage crowd equally hyped with explosive verses on songs like the viral “BILLIE EILISH.” The Philadelphia rapper seemed to win hearts when he referenced the “Olé, Olé, Olé” sports chant.
While severe weather conditions on Day 11 caused the cancellations of daytime sets, headlining artists made the most of their performances. San Farafina, Moonshine, Nico Paulo, Def Mama Def, Isabelle Boulay, and Farruko were able to continue with their sets. Marie Denise Pelletier, Ariane Roy, Martine St-Clair, Lou-Adriane Cassidy, Brigitte Boisjoli, Safia Nolin, and Rita Baga also joined forces to perform a beautiful tribute set to Celine Dion’s D’eux album.
Next year’s Festival d’ete de Quebec returns July 9 to 19, 2026.
See our coverage from last year’s Festival d’ete de Quebec here : https://www.fullaccessdetroit.com/2024/07/17/festival-dete-de-quebec-feq-quebec-city-canada-july-4-14-2024/
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All Photos © Steve Galli + Story by Chloe Catajan
