2023-06-18 00:58:18
Fourteen years after a first visit to the Stade de Genève, ten years after two evenings in the halls of Palexpo, the Frenchwoman born in Quebec therefore perhaps said goodbye to the Swiss public on Saturday evening. Who will have recognized, when at the beginning of the concert they rose along the cross extending the stage in the middle of the public, the famous scarecrows with the skulls of birds that she borrowed in 2005 from the Neuchâtel illustrator Martial Leiter for the music video Fuck Them All. If the whole concert will be placed under the sign of crows, it is first of all with a tribute to Jean-Louis Murat, who died on May 25, that the evening started. Mylène Farmer has indeed chosen to add to the prologue of the show initially planned the broadcast of the clip of Regrets, the beautiful duet she performed in 1991 with the dark poet from Auvergne. Elegant.
90 semi-trailers
When she finally arrives on stage, she seems very small on this gigantic stage 24 meters high offering a vast stage of more than 130 m2. She likes excessiveness, and her management is happy to point out that the tour trailer has 90 tractor-trailers, which is more than most major American shows! In order to commune with an audience that is sometimes close to devotional loyalty to her, perhaps because of this mystery that she has always cultivated around her, the singer starts her concert alone, the musicians remaining hidden behind imposing curtain screens.
After Timehere she flies over the public on Maybe you et Libertine, carried by rotating cranes. The sound is powerful, too much for her voice, which we know to be tenuous and fragile. Then the curtains open, and we discover a vast decor of a cathedral in ruins. Mylène Farmer melts into a troupe of dancers and performs four titles, including For evera first single from his latest album, The influencereleased last November, and Tristana. Everything is going very fast, too fast, like this medley sent off at full speed by its musicians. There is spectacle, but little emotion… It is then, finally, that the concert rocks.
Acoustic parenthesis
Alongside singer Simon Buret and guitarist Olivier Coursier, who founded the duo AaRON in the mid-2000s, Mylène Farmer performs the moving ballad Rayon vertwhich his compatriots composed for The influence. The ethereal voice of the singer blends perfectly with the darker and more theatrical tone of Simon Buret, this actor who had never imagined becoming a singer. Pianist Yvan Cassar then moves forward in the middle of the cross extending the stage, for a stripped-down version of Dreambefore a few musicians then join them for No time to live. There is something beautiful in hearing the artist’s voice play on an equal footing with the instruments, far from this gigantism in which it is sometimes drowned.
Without counterfeit, Yes but no, That I become…, XXL, Disenchanted… The end of the concert will be placed under the sign of hits, the public sings, their idol smiles at them, the choreographies fill the space nicely. We will leave to the fans the comparative study of Nevermore with the previous shows of the Frenchwoman, while thinking that indeed, this tour could well be the last. We can see Mylène Farmer stop leaving the memory of a strong artist, she who has always been obsessed with her image, even if we would like to see her face like some rock stars her flaws and the passage of time – for example by finding rooms on a human scale for concerts without decorum.
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