The 37th Francos De Montréal Come to a Successful End [Photos]

The 37th Francos de Montréal Festival can’t be considered anything but a roaring success. I got to spend five days roaming the streets of downtown Montreal. Listening to great music at every stage along the way. The weather ranged from hot and humid to chilly with heavy rain. But the music remained awesome, and the crowds were out of this world.

My final show at the festival began with a rain-soaked party hosted by the South Shore rap and hip-hop collective known as Dead Obies. The clouds had been getting progressively darker the closer we got to their set time. The rain began to fall just as the first verses were sung. It may have been raining, but it didn’t dampen the spirits of either the band or the fans.

“Tony Hawk” got the party started as the band attacked the stage. Snail Kid even came equipped with an adult beverage. Though most of it ended up on the stage. A man possessed, 20Some, stalked the stage from end to end. During the opening salvo of “Waiting” and “Runaway,” the others shared vocal duties as well. For a group that hasn’t been very active over the last decade, they drew in an impressive collection of original fans and many younger newcomers. Did they learn about Dead Obies by raiding their parents’ record collection? Or did they just happen to be there and take in the show? Regardless of how they got there, they got an unforgettable performance.

The clouds slowly parted long enough for people to put away their umbrellas before heading to the Rogers Stage. The massive outdoor venue was looking a little sparse when we arrived for our three songs. However, by the time we walked out of the pit, the area had filled up nicely. Klô Pelgag appeared at the top of a staircase to open the set with “Le sang des fruits rouge.” Visual creativity and presentation are her calling card. Her outfit and the lighting certainly lived up to that reputation.

She marched across the stage during “Pythagore” and became her own camerawoman for “Libre.” Filming herself from all kinds of original angles during the song. The rest of the set mostly featured songs from her most recent album, Abracadabra. She made her way into the crowd for “Les puits de lumiére” and had a special surprise yet to come. For the encore, she shared the stage with Bruno Pelletier for an unforgettable version of “Le temps des cathedrals.” The rain may have kept some people away, but knowing what they missed, I hope they regret their decision.

For my final performance, it was back to the Loto-Québec Stage for a performance by Ariane Moffatt. By this time, the rain and march of feet had turned the grassy park into a muddy mess. Having wet, muddy feet did not seem to bother the crowd one bit. Their energy was still sky high, and they were out for one last party before the festival came to an end.

The energy carried over the barriers as Ariane Moffatt leapt upon the stage. She danced from end to end during “Prologue.” This continued through “Jouer” and the ultra-popular “Je vex tout.” Standing on speakers at the front of the stage, she danced, sang and tossed her sunglasses out to the crowd. “La ministère de la solitude” featured her stellar guitar work. “Poussière d’ange” provided an emotional cell phone lit moment, before the rain was chased away for good during “Sunshine.”

The encore of “Montréal” and “Point de mire” brought the evening and my festival to an end. I didn’t get to see it all, but all that I saw was terrific. This 37th edition of the Francos de Montréal was a tremendous success.