Like a surfer quickly coming out of the wave before it closes in on him, the Transmusicales de Rennes held their 43e edition, from 1is to December 5, when a new epidemic wave began to threaten the near future of cultural events. Friday December 3, the I Love Techno festival, scheduled for Pérols (Hérault), from December 10 to 12, announced its postponement (from April 8 to 10). At the same time, that of Eurosonic, a flagship gathering of European music producers scheduled from January 19 to 22, in Groningen (Netherlands), declared that it was renouncing concerts in public. in favor of a streaming edition. This did not prevent the Bretons from celebrating in style.
With 56,000 spectators announced by the organization and two out of three evenings being sold out at the Parc Expo – the place where most of the programming is concentrated – the event regained the momentum of its best years, after having been forced to l ‘cancellation in 2020. “We felt the fervor of the reunion, the excitement of enjoying it when there is still time and also a benevolence specific to moments that are built in adversity. A bit like the 2015 edition which followed the Bataclan attack ”, analyzed, Saturday, December 4, Erwan Gouadec, the delegate director of the festival.
As much as potential last-minute health constraints, it was the cancellations of artist visits that worried the organizers. Faithful to their cosmopolitan habits, the “Trans” welcomed this fall, nearly 80 groups or singers of 34 different nationalities. Only seven names ultimately had to be dropped from the poster. These include South Africans from Urban Village, Australians from Amyl and the Sniffers or English from Wet Leg. In solidarity, the compatriots of the latter, the post-punk Mancuniens of Blanketman, resumed on stage Lounge chair, the irresistible single from their sisters.
Thirst for sharing encouraged by the context
A wink of good spirit, characteristic of a 2021 vintage dominated by a festive and colorful euphoria, testifying as much to the bias of the artistic directors, Jean-Louis Brossard and Mathieu Gervais, as to a thirst for sharing encouraged by the context : whether it is the New Orleans rock fanfare fantasized by the Londoners of Tankus the Henge and their leader, Jaz Delorean leading his cabaret to the sounds of jazzy brass and funky guitar, closer to the Mississippi than to the Thames or to the 100% feminine vitality of Barcelona women in Maruja Limon. In bright green and turquoise blue shirts, the six Catalans drew their energy from the dynamics of flamenco, the solar impulses of Latin rock, crossed by funk and Cuban sound. Powerful women who seem to have escaped from an Almodovar film, they seized the Bretons so as not to let them go.
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