W9 – TUESDAY JANUARY 14 AT 9:05 p.m. – CONCERT
After two tours, in 2009 (halls and stadiums) and 2013, Mylène Farmer – who had not been on stage for six years – settled in June 2019 in a place chosen for its technical capacities, its dimensions, its possibilities hooks in the heights, depth and width of the stage that can be deployed there. It is at La Défense Arena, in Nanterre (inaugurated under the name of U Arena, in October 2017), not far from the Grande Arche, that the public of Mylène Farmer went, en masse, for a series of nine concerts.
It is 9 p.m. when a dull, swelling vibration resounds in the room. Disseminated above the public, structures welcome screens in threes, the faces of women appear, escape in dust. Then, in stripes of white lights, a black curtain opens, revealing a huge screen in the background. Three circles of spotlights descend from the heights, soon crossed by a cylinder where Mylène Farmer stands, accompanied by the clamor until her arrival on the scene.
It's with interstellar, from the album of the same name, released in 2015, that begins the evening, and not with a song by Disobedience, latest published in 2018. There will be four however, with two moreinterstellar for the most recent titles, coming to be inserted in a repertoire which gives pride of place to the songs of four albums, since And either I… (1988) – of which Without logic, superb surprise. With arrangements sometimes different from the originals, tending here to a rock approach, there to a less marked presence of keyboard effects.
And then there are some rituals. That of Mylène Farmer's movements for the choreography of Without counterfeiting, who must be faithful to the original. That of the intimate passage voice and piano, this time with And either I… And Innamoramento that lead to emotion, vocal tremor. The one where disenchanted stops and the audience continues singing the chorus before the orchestra takes over.
This comes to the heart of a rather successful show, which avoids the escalation of systematically spectacular sequences and permanent choreographies that the place could call, in favor of a sophistication of visual animations and light searches. Even the sound, the black point of the room, ended up, after a few songs, by being tamed.
Mylène Farmer: Live 2019, concert recorded at La Défense Arena in Nanterre in June 2019 (145 min).