Spectators at Céline Dion's concerts at the Plénitude Arena have faced criticism for a range of behaviors, with some reports describing the audience as either too loud or not loud enough, enthusiastic or overly focused on their phones. Fans are divided in their reactions to these criticisms, which reflect the varying expectations people have for large-scale live events. During the fifth night of Céline Dion's residency at the Plénitude Arena on Wednesday evening, fans expressed frustration with journalists' questions. One fan, Sandrine from Albi, said while she was used to being mocked in the media, it was "revoltant" to be accused of ruining the concerts. Recent criticisms of the audience behavior at Céline Dion's concerts have included reports of raised smartphones, loud karaoke-style singing, and a lack of enthusiasm. Some spectators have been accused of spoiling the long-awaited return of the Quebec singer. Among the main complaints are digital incivilities, such as the use of smartphones during the concert. Many music lovers had hoped to experience an unforgettable event but were disappointed by the wall of screens aimed at the stage or themselves. Agnès, a fan, said she was disappointed by the number of lit screens, which she felt spoiled the moment for those filming, those around them, and those watching on social media, due to poor quality and a bad image of the concert. A notable incident occurred during the concert on Saturday, September 19, 2026, when influential agent Magali Berdah, seated in the first row of the VIP areas, launched a live auction on her social media to sell a Céline bag while the artist was performing. This action was met with exasperation from neighbors and violent criticism on X, where the video exceeded 2.5 million views. Berdah responded succinctly, stating, "I do what I want." Another complaint from fans is the "huge karaoke" effect within the hall. While the obsession with selfies is seen as annoying, the decibel war in the aisles is also a point of contention. Thomas from Lyon mentioned that on the song "Pour que tu m'aimes encore," the lady behind him was shouting so loud and incorrectly that he could not hear Céline. However, not all fans share this view. Sylvain stated that if he could not sing and commune with other fans, the point of attending the concert would be lost, and Céline herself had said the singing gave her strength and pride. Beyond the debate on the karaoke effect, grievances on specialized forums focus on the difference in enthusiasm between spectators. Some areas of the Arena have been described as having an icy passivity, with certain blocks of the audience glued to their seats and more occupied with checking emails than applauding. An employee of the Plénitude Arena noted that on very big shows, there are often two incompatible audiences: VIP categories where people remain sitting with their arms crossed, taking photos of their champagne glasses, and upper stands that try to create an atmosphere but are hindered by general coldness. The split is also visible between French-speaking fans, who are passionate about the cult songs from the D'eux album, and the international audience. Agnès remarked that Americans do not like the same Céline as the French, being more into the show and over-the-top hymns, while French fans are there for the emotion and communion. However, she noted that it is okay, as Céline has enough love to give to all her fans. Céline Dion's residency has been described as reflecting the flaws of modern large concerts, with issues such as smartphone use, wild vocal performances by amateurs, and bourgeois passivity. While the Quebec star gives her maximum every night, her hall struggles to create a unified atmosphere.