Over the tracks on the platforms since 2013 and invitations launched by the most adventurous fringe of a French-speaking scene crushing the sounds of electro and R’n’B (“featurings” with Flavien Berger, Varnish La Piscine, Myth Syzer, Walter Mecca…), the slightly clownish surname of Bonnie Banane has become synonymous with intriguing thrills. Confirmation, mid-November, with the release of a first album, Sexy Planet, inhabited by an eccentric tension and a character with a theatrical song, dipping his convictions in surrealism.
If a week of residency in the Parisian hall of La Boule Noire had prepared her for concerts finally postponed to 2021, the 28-year-old young woman – who is currently abandoning her real name, Anaïs Thomas, and her first profession as an actress – is not unhappy to publish her record in these troubled times.
“A chaotic album in phase with a chaotic period Bonnie Banana assures, floating in a loose tracksuit, wavy hair held up to either side of her pale blue eyes by long barrettes. The alluring planet, “Generous and welcoming woman”, has been so violated that she loses her temper and takes revenge. “More ‘foxy’ in the end than sexy”, remarks the singer, alluding to the “cunning woman” (Foxy Lady) celebrated by Jimi Hendrix.
This anger of Mother Earth, her character with the first name of a gangster woman, embodies her with a slightly crazy authority, a loose diction whose cruel game clashes with environmental abuses, but also those of machismo, racism, police violence, ‘homophobia… Indignations that she is certainly not the first to claim, but that the singer evokes without literal heaviness, preferring to “twist” these themes with an imperious oddity. « I don’t match the profile too much “mimi” », notice the one who, in Limits, seems to whip up a sexual harasser, propelled by the vindictive groove of electro producer, Para One. “I prefer people to be afraid of me. People are not comfortable with a dangerous woman. “
Catherine Ringer and Brigitte Fontaine
This strong sensuality, this mixture of self-control and poetry flirting with the absurd, this refusal to play with sentimental facilities while disclosing the harshness of the world will recall the singularity of Catherine Ringer, able to evoke, while dancing. , the cancer (Marcia Baila) or deportation (The little train). If Bonnie Banane says she adores the singer of Rita Mitsouko, pioneer of alliances of funk, rock and song, she also claims the inhabited extravagance of Brigitte Fontaine.
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