The readers of Temps know it: since the publication of Bedroom Walls (2022), great debut album, November Ultra is one of our beloved artists. So much so that, several months following her appearances at the Montreux Jazz Festival, then at the Saint-François church in Lausanne, we came back to greet her during her hook by Antigel, four days following she was crowned revelation by the professionals. of music business French. Immediate consequence of this distinction: the Casino-Théâtre de Genève full to bursting and a public of the great evenings decided to shout their affection to a musician in majesty.
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“I have a funny laugh”
But first, Nnavy gets involved. Of her, it is said that she is one of the “young souls” in Europe. Recently, she joined the chic women’s agency Inouïe. His first EP was announced in May, preceded a bit earlier by a nice publicity stunt on the web, as we know. Afro cut, open blouse on an ebony navel and this immense, absolutely devastating smile that she offers, the Lausanne woman conquers as effortlessly everything that moves and breathes around. Accompanied only by a keyboard player, her fingers seeming to sculpt the air when she grunts, we admire her who deploys fleecy ballads with a singular coolness. One thinks of Gregory Porter. Just that! And to think that Nnavy’s career has only just begun…
Then November Ultra finally appears on a scene that looks like a bedroom. No sooner had she set foot there than Geneva began to howl. From a seasonal crush, the 34-year-old Parisian has become a role model. Lavender printed dress, hair put anyhow and Gretsch half body in hand, “Nova” (her nickname) savors the moment. She will try to make it last, playing her songs very slowly, to the point of exaggeration: the lullabies Bedroom Walls et Thelma & Louisethe ballads Honey et Over & Over & Over.
Strangle with emotions
It’s all tasty, it’s true. Sweet, adorably melancholic and pleasantly talkative too – “I talk too much, I know,” she jokes. However, when it comes to “papy Ramon” (“addicted to TikTok”), as with each of his recitals, we begin to fear that this concert will run smoothly until its end, satisfying our affection for the Parisian but without sticking us with shivers.
But knock then Mary from O’, poisoned piece, built on dry samples of stacked voices. Suddenly becoming authoritarian, downright creepy to be honest, the singer tells the story of a disgraced gypsy in Spanish and leads her dazed audience to a wildly worried place. Apotheosis! And already we have to go back down. It is then the delicacy of The Endthe elegance of Carouselthe sorrow consoled by November (huge song) and finally Soft & Tender which “puts even hamsters to sleep”. Standing from first to last row, the Casino-Théâtre celebrates its heroine who did not expect this triumph. As she left the stage, tears were seen strangling her.
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