(Quebec) This is a crowd Heated block by Quebec Redneck Bluegrass Project and clearly conquered beforehand that arose Lisa LeBlanc, Friday night at the Imperial. “Li-sa! Li-sa! Lisa! “Shouted his admirers even before it shows up on stage.
A special intro delivered by the male vocal quartet Quartom somewhat disappointed his admirers – has do we hear here and there “Quessé that?”. Banjo in hand, although the voice asked, the Acadian Rosaireville quickly shown to attack in strength energetic Gold Diggin ‘Hoedown, supported by a solid trio of guitar-bass-drums.
“Jesus Christ, you are quite squeezes you in like sardines!” She started discovering how the crowd seated in the audience was compact. The artist has also seemed to lack words to the overflow of love that she said felt from the room.
Regaining his senses, Lisa LeBlanc followed with Katie Cruel, another title shot of his English minialbum, marked by a heavy and fast pace. Songs slower paced then had the good fortune to lower some small notches over-stimulated the enthusiasm of festival-goers. Phew! It was time!
Back on stage the Quartom quartet, with which LeBlanc then offered Kraft Dinner and J’pas a cowboy, accompanying herself on acoustic guitar. Difficult to assess at fair value the vocal harmonies in the screaming acous-tick the Imperial.
Motel, Diary of a rouspè-Teuse and Downtown, defended with aplomb, quickly and dangerously revived the crowd.
Three titles in English, whose percussive You Look Like Trouble (But I Guess I Do Too) concluded around singing. Lisa Leblanc was of course kept the popular Today my life is the shit for the reminder.
Ode to the bottle
Quebec Redneck Bluegrass Project (QRBP) met the latest four Quebecers and Irish “that make the drinking song for people who drink.” The description read in English on the website of the training is quite the spectacle to which we were treated Friday night. In what we could understand, QRBP is a tribute band to alcohol intoxication and degrading resulting from an excessive consumption. The style is generally thought to Colocs as well as Pen, but the “message”, he is much more raw.
The quintet had the merit to deliver, between sips of beer, and despite the execrable acoustics of the Imperial, a service carried out efficiently and with energy. Chu ben coolest Su’a brush, whose chorus was sung by the crowd, was a resounding success. Among other memorable numbers, it must be emphasized that the violinist climbing – literally! – Bass.