Ronquières, relaxation and music

In ten years of existence, Ronquières has quickly established itself in the landscape of Belgian festivals, keeping the specificity that has characterized it since its beginnings: its family dimension. No other festival has succeeded to such an extent in the challenge of intergeneration. In Ronquières, seeing a grandmother babysit a baby who can barely walk is nothing unusual. You inevitably come across them in the relaxation areas, far from the stages.

“What I like here is the intergenerational side. Yesterday during Orelsan, we saw lots of children on the shoulders of their parents”, testifies François, living in Brussels. Ronquières, we come there with family, in group of friends, it is the exit of the beginning of August for all the region of the Center and beyond. Around the Babord and Tribord stages, relaxation areas have been developed: the hammock area in the grove at one entrance to the festival the “chill” area on the hill at the edge of the Tribord stage where festival-goers can rest while observing what is happening on stage. In Ronquières, we like to enjoy from afar.

To the point that music sometimes appears as an accessory. Saturday afternoon, the stands of sponsors distributing various gadgets cause queues worthy of starting a liquidation or Black Friday in an Apple Store. The public sometimes seems more interested in the collection of diverse and varied gadgets than in what happens on stage. Even though the site is full from the middle of the afternoon, the artists preceding the headliners play in front of fairly sparse plains, where the public, with the exception of the first rows, does not seem to be aware of which occurs.

This Saturday, the public seems more interested in being in Ronquières than in making musical discoveries. We meet old friends, we chat, we pay for a tour…and eventually we post ourselves in front of the stages. Doria D, Bandit Bandit, Delta, Noé Preszow… seem to be of less interest than the climbing wall installed in the Avenue des Partenaires. It is necessary to wait for Charles, and especially Louane to feel an expectation. Clearly, Ronquières does not attract an audience of aficionados, but a family audience, in search of entertainment and a good time. A public which, after all, has a right to its festival, and lives it as it sees fit.

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