2024-03-12 19:25:48
“Yann Tiersen” didn’t worry regarding that restless concert evening in the Gasometer, but played and played and played, above all, for his real fans.
Admittedly, I wanted to finally see Yann Tiersen live once in my life because I have always been a big fan of his The Fabulous World of Amelie soundtrack (like many other people). and admittedly, I had a bit of an expectation that he would at least perform one song from back then. And: that was probably the wrong starting point for this completely different evening. In any case, I was in the gasometer much too early, but with the most suitable company ever, namely a dear friend who had already seen Yann Tiersen live and was enthusiastic regarding his entire artistic work. The best thing regarding it: when someone is enthusiastic, it automatically rubs off on me! and so at first I was a bit skeptical as a support artist “five“ entered the stage and performed a crazy electronic set with very little singing. But thanks to my support, I was able to get more involved in it. Quinquis also talked a bit in between, but mostly she just let us take part in her experimental music world. It was very unique but also quite good!
at some point it came “Yann Tiersen“ on the stage floor and first sat down at his piano and began to play. and he played and played and played. and his piano melodies seemed to never end. They bubbled along, very evenly, without any noticeable melodies. always there, without any intermediate announcements, just endless piano sound. The people present in the gasometer slowly became restless and had a lot of trouble concentrating: instead of looking reverently at the stage, a large part of the audience was busy chatting. That made it a bit difficult as a listening concert-goer: no matter where you went, someone’s mouth was always open.
After almost three quarters of an hour of continuous piano melodies, Yann Tiersen then went to his desk in the middle of the stage. The electronic part of his concert started and there was great relief in the audience area. probably because everyone present was hoping that a little more would finally happen on stage. In fact, we no longer just heard melodies, but also a few light beats. not too intrusive, of course. The light was still rather dim, so it was a good idea to close your eyes sometimes to imagine your own visuals. Anyway: I really enjoyed the electronic set, but above all because I was able to really get involved with it. I liked dancing to it, I liked the visuals I had in my head and I liked the occasional vocals that echoed towards us. It also became increasingly clear to me that we shouldn’t expect any Amelie songs – they wouldn’t fit into the overall concept and that’s why my motto was: celebrate the sounds that we heard!
More and more visitors also realized that they would no longer be able to attend a French Amelie piano evening. At first many people sat on the floor to wait for Amelie songs, but the more electronic the set became, the more the concert goers lost their hope. Little by little more and more people left the concert hall – it became emptier and emptier and I had more and more space to dance! In any case, I can’t remember ever having experienced something like this, a hall being so empty during a concert. Personally, it was fine with me, because of the ever-increasing space but also because of the ever-improving visibility. At the very end there were a few piano pieces, no hits, just the usual, gliding melodies and then “Yann Tiersen” left without any words. final conclusion? The evening was completely different than expected, sometimes a bit difficult, but sometimes surprisingly danceable. In any case, one thing is certain for me: I will watch Yann Tiersen once more, because obviously anything (or nothing) can happen at his concerts!
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