Jean-Michel Jarre on stage at the Francofolies de la Rochelle, July 14, 2024. © Thibaud MORITZ / AFP
The stainless pioneer of French electro Jean-Michel Jarre closed the fortieth anniversary edition of the Francofolies de La Rochelle last night with a visually stunning, musically thrilling show in which he invited the tornado Zaho de Sagazan to cover Les mots bleus.
What still makes Jean-Michel Jarre run? “Curiosity. It’s something you either have or you don’t. When I was in my thirties, I had artist-colleagues who were already resting on their laurels. I don’t reject what I’ve done, of course, but it doesn’t really interest me. I’m only motivated by what I’m going to do.” So there’s no need the day before the show to discuss his past exploits with him – the grandiloquent sound and light shows he’s carried from the Great Wall of China to the foot of the Egyptian pyramids, via the skyscrapers of Houston, in front of the University of Moscow (3.5 million spectators, his record) – or to remind people that he sold his famous album Oxygène to some 12 million synthesizer fans.
Voluble in his enthusiasm, tirelessly passionate, a player in imposing and imposed challenges, the pioneer of French electro music continues to run on desire. An eternal artistic and physical cure for youth (he is heading straight for his seventy-six years while looking fifteen years younger). Even if he had never brought his artillery back to La Rochelle until now, the man was indirectly linked to the festival. “The anthem of the Francofolies de La Rochelle is La Dolce Vita, a song by Christophe that I wrote and composed. My presence actually ticked several boxes, including this date of July 14th which is important to me in my professional career and because my mother’s name was France. And then, I have always been into electro and French song. I collaborated a lot at one time, with people like Françoise Hardy who we are thinking of in particular this year, Patrick Juvet and of course my friend and accomplice Christophe”.
Of the latter, he also said: “Shortly before his death, he confided in me that I had written his fantasy biography, in a way.” Meaning the lyrics of Les Paradis perdus and Les Mots bleus. “I mightn’t come to La Rochelle without paying tribute to him and inviting the most disruptive and unmissable artist of the year, namely Zaho de Sagazan. Her purity of diction makes her Barbara 2.O.” In the middle of a mainly instrumental show, the twenty-four-year-old tornado appeared to perform Les mots bleus in an electro version. Brilliant as usual, but less impactful than on Bowie’s Modern Love, the final piece of her irresistible concert that she had given a few hours earlier on the same stage.
Past, present and future
Jean-Michel Jarre thus took possession of his turntables following the fireworks and a long installation that caused a forty-five minute delay on the initially announced schedule. Atmospheric, spatial, nostalgic, modern, flattering the imagination and the eyes, it plays leapfrog between past, present and future, adorning itself with fascinating, epic, moving electronic melodies.
Accompanied by musicians Claude Samard and Londoner Adiescar Chase, he lends himself to this unique exercise with the brilliance of someone who wants to live and be loved. Unrolls his multiple bowls of Oxygen, his variations of Equinoxe and other Rendez-vous. Broadcasts an excerpt from the speech (on freedom of expression and the dangers inherent in the collection of individual data on social networks) by whistleblower Edward Snowden during the song Exit. Plays Artificial Intelligence to bring to life paintings broadcast on screen. And brandishes his fascinating laser beam harp during the finale Time Machine.
Souchon and son, a treat
Jean-Michel Jarre, still in the game. Just like Alain Souchon, boosted by the presence of his two sons at his side and whose singing tour turned into a real treat on Saturday at the Théâtre de la Coursive. A generous repertoire in capital letters. A voice much more in place than on his previous tour. Emotion, tasty interludes, complicity, songs of eternity.
It’s hard not to also put Damien Saez on the podium, alone in acoustics and who, on a good day, reminds us that he can touch immensity. Or the crazy class of Clara Ysé, offering an incredible emotional palette. In both cases, we vibrated, shivered, bent our spines. Above all, we have never enjoyed finishing a packet of tissues so much.
