Friday, January 31, 2014

@itspop's 'January14WasOK' playlist of generally good music

Here's a cool way to sum up the first month of the year: with a playlist you can listen to from here, or on the go, and share, post anywhere, keep for yourself, etc. 
I'm using this new (?) thing Minilogs which seems nice if, like me, you don't always find what you want on Spotify, Deezer et all. 

So, what happened in January?

- Beyoncé - XO: well technically this happened in December but I've been so hooked on the album lately that I've listened to this one non-stop. Seriously, like this single, the album is brilliant. Or should i say ***flawless. 

- Paolo Nutini - Scream (Funk My Life Up): I liked his song Candy once so I thought why not. I like this guy's distinctive voice and frankly the song's OK.

- Thomas Azier - Wicked Game (cover): I literally cannot wait for his album! In the meantime I found out he covered one my most adored songs ever, Chris Isaak's Wicked Game. Beautiful.

- Paloma Faith - Can't Rely On You: I'm sick of Pharell-produced songs already. But I've always liked Paloma, especially her debut album, and one song on the second one (Blood Sweat And Tears), so I gave this one a go. It's OK. 

- Little Mix - Word Up!: IT'S FOR CHARITY OK? While there are about 6 possible singles left on their recent album Salute, the 'Mix are releasing this cover of Cameo as the Sport Relief thing. It's good though. But we all know deep inside that the definitive version is Mel B/G's from the late 90s (and that Austin Power movie). 

- Madonna - Some Girls (William Orbit Remix): William's been posting lots of interesting things on his Soundcloud page lately, all from Madge's latest album MDNA. This is basically an 'extended remix' of the song Some Girls, but it's quite enjoyable. And in these trouble times of wedding stuff at the Grammys and not-too-bad live mashups with Miley, let's enjoy what we can.

- Sophie Ellis-Bextor - Bittersweet: her new album is OK. But it's clearly not home to a song as fantastic as Bittersweet. Let's hold hands and reminisce.

- Owlle - Don't Lose It: told you about this one already. Please please please listen to/buy her debut album, you won't regret it.

- Gaël Faure - On Dirait L'Islande: I have quite a soft spot for this folky pop song that was released a year ago. With the release of his debut album just around the corner (Feb 3), let's get to know Gaël Faure's pretty face a bit better.

- Lady Gaga - Dance In The Dark: listening to this song A LOT these past few days made me both happy and sad. Happy because it reminded me of Gaga's imperial phase, when she released the flawless Fame Monster EP and we all thought she was going to save pop. Sad because it reminded me of the endless flow of crap she's released since then and how she will never ever top this Voguesque triumphant piece of pop. 

- Kylie Minogue - Into The Blue: I wrote about this one extensively already. What a tune. Well done Kylie!

- Conway - Big Talk: this song is a storm! Catchy, gimmicky, slick and well-produced, it'll just blow you away. Well done Conway, whoever you are

- Ana Matronic & Bright Light Bright Light - West End Girls: two of my favorite pop people covered this classic from the Pet Shop Boys, and the result is as good as you'd hope. More like this, please! Free download.

- Clare Maguire - Whenever You Want It: her debut album was a favorite of mine back in 2010, and I was fearing we had lost her forever. In fact Clare is making lots of little songs somewhere, and this one, a much more chilled track than her previous work, is delicious. And let's say the "I don't wanna be alone, I just wanna have someone" line is quite accurate, too.

- Kyla La Grange - Cut Your Teeth: in another world, this would be a Lady Gaga song and we'd all be going crazy over it. Fortunately for Kyla, this brilliant piece of mysterious pop is going to do a lot of good for her. Well that's if people bother giving it the chance it deserves. 

- Broken Bells - After The Disco: Superproducer Danger Mouse + Singer from The Shins = amazing tunes like this one. The kind of song you play at the end of the party, when you're drunk but you still want to dance with that one person you secretly hope will spend the night with you. Or is it just me?

- Laleh - Colors: epic scandipop never disappoints. This one is actually so good it almost renders the rest of the year irrelevant already. 

- Katy B - Crying For No Reason: if we're totally honest, we'll all agree that Katy B has won 2014 already with this perfect song. I REALLY makes me cry for no other reason than its perfection. And there you have it: song of the month and, maybe, of the year too. 

Monday, January 27, 2014

The day Kylie Minogue released her amazing new single Into The Blue and tweeted me

Today, Monday, January 27th 2014, will remain in history for two Kylie-related reasons: 

- Kylie Minogue, Goddess of pop and true icon of fishnet dresses, officially premiered Into The Blue, her new-single-that-leaked-a-week-ago.

- Kylie Minogue's community manager tweeted me a mystery-filled, cryptic message that reads as follows:

What Kylie really means with this  concise yet intriguing message still remains a mystery, but I am tempted to think she's warning me that big things are coming for her and I. 
Kylie is going to ask me to join her team for the release of her much-anticipated new album Kiss Me Once (March 17) and the upcoming tour. She knows I have very reliable experience in working with artists and am currently looking for a new, exciting and international work experience. Everything should finally fall into place. Perfect. 
The other option is she really liked my new shoes. Kylie, you should know that I am willing to take them on tour with us!

This is my very own Bermuda Triangle mystery. #IntoTheBermudaTriangle (© @paulbhr)

Nice lyrics video!

Back to Into The Blue. The non-definitive version that leaked last week was perfect to get used to the new song, though it didn't really need much getting used to. 
It's a perfect Kylie song: uplifting, instantly catchy, positive, sexy and super-super pop. Sure, I (and many others) were ready to be more surprised, to embrace a riskier sound and song, but let's face it: what Kylie needs (and wants) right now is a hit. And this sounds like a hit. A much much better one than 97% of what's in the charts right now. 
It's dancey but not trashy and brainless EDM, it's got self-empowering lyrics but it's nowhere near a cheap Katy Perry bore-athon, it's sexy but never overly and embarrassingly Madonna-Girl-Gone-Wild sexual. 

People behind this song (writers, producer, singer) know what they're here for and they deliver. This song is aimed at Kylie's fans as well as a wider audience, which hasn't always been the case in the pas few years. Keep in mind that Kylie's last UK #1 single is Slow. It was in 2003. 
With her coach/judge job at The Voice UK, she's certainly reminding people why they loved her so much: for this kind of just-cheesy-enough pop songs that stick in your brain on first listen and make you instantly happier.

Hopefully the album, Kiss Me Once, will follow the same path of pop-goodness though dare going into more innovative territories as well. With song titles such as Sexercize and Les Sex (full tracklisting and preorder here) we're probably in for some surprises, and maybe future Kyliemoments.

Well done, Kylie Minogue. Now call me. 


Friday, January 17, 2014

BRING IT ON, 2014! What to expect this year

In no particular order, here are some artists I expect to deliver this year (or I'm just happy are releasing something at some point). Some are wild guesses, others are 100% certified confirmed stuff. But basically just Kylie and Robyn would be OK at this point.

Playlist: @itspop's most-anticipated 2014 (to listen to while you're reading)

Kylie on the set of the
Into The blue video
Kylie Minogue - new single Into the Blue out March 16 / new album TBA

Obviously, this is my most-awaited record of the year. Three and a half years after Aphrodite, having released a cool single (Timebomb) and a best-of record made of orchestral versions of her greatest hits, Kylie is finally properly coming back with a new album. The yet-unnamed record is reportedly coming this Spring though no dates has been announced yet. 
First single Into The Blue will premiere on January 27 and it's been described as "a Kylie moment", avant-garde like Slow, pop like Love At First Sight and infectious like Can't Get You Out of My Head. Even if this is 20% true eventually, it would still make it best song of the year. 

Fingers crossed! 
(One thing's totally worrying though: she recorded TWO songs with aka the worst artist on Earth. But the atrocious The Voice UK 'coach' isn't mentioned among the producers listed in the album's press release, so maybe we're safe).

By the way, after hours of intense internal questioning I came to the conclusion that Light Years is still my favorite Kylie song. That's all. 


Yes people, we live in a time when a clearly mediocre Instagram pic can get us (me?) very excited. All we know is that Robyn is recording music, some of it with Royksopp (see previous collab The Girl and The Robot for tangible proof of total amazingness). They are also going on tour together next Summer

But the real question is: when is Robyn going to surprise us à la Beyoncé with a totally iconic new album (or three EPs if she likes)? Because honestly new Robyn music can only be amazing, right??

Mutya Keisha Siobhan - LOL at this point

One of my favourite pop stories ever is about to turn into a bad joke. After Flatline (my #1 song of '13) wasn't really the hit of the year, things really didn't go the way they were supposed to. 
Now amid rumors of beef between the girls (things don't change do they?) and the band being dropped by their label, no communication whatsoever regarding the album and general lack of interest we're left to wonder if the album is going to be released one day.

That being said, from what I've heard during their London show in november (best concert of 2013, no doubt!) the record is shaping up to be quite a stunner. If you missed it, here's a splendid acoustic performance of new track No Regrets. Those voices! they also performed Caught In A Moment.

Florrie - SOMETIME BEFORE 2021

Everything seem to be going quite well in Florrie's magical world, except we've been waiting for her debut album for about 45 years now. In "get on with it" news, she is now officially signed to Sony (even appearing on Jive Epic France's new year greeting card/roster thing), she shot three videos recently but still, no news about the upcoming album! 
Things should get in motion quite soon though, and we definitely have good reasons to be excited: the songs. The new ones she performed in Paris in October sound like proper pop rockets. 

As promised by the Harry Styles-followed popstar, things are coming "very soon". SO I AM WAITING. 

Chlöe Howl - debut album out early 2014

Ooh this is quite good! I don't know why it took me months to finally listen to Chlöe Howl (probably because I though she made boring music), but judging from this fancy 'album sampler' complete with postcards, how 1999!) I got before Christmas, this is going to be a strong debut album. Rumour and Paper Heart are amazing, her voice is distinctive and original, and clearly there are some serious songwriting skills involved. 
To bad she lost the Brits' Critics Choice Award to not-so-exciting Sam Smith, but hopefully she won't need it to make a well-deserved impact. 

Katy B - album Little Red (Feb 3)

Not only did she grace 2013 with one of the finest pop songs (the fantastic 5 AM), she's starting 2014 with probably the best 'tears on the dancefloor' track since Robyn released anything. Crying For No Reason is ***flawless and MUST be a proper hit for Katy. Plus the video looks beautiful (yet simple) too.

That's what I love about pop: who could have guessed Katy B's second album would be one of the most-anticipated pop releases of the year (well Q1 at least)? Certainly not me.

Owlle - debut album France out Jan 20, single Don't Lose It available

I'll be writing more about Owlle's striking debut France as I've just received it and want to do it justice. After a few listens I know it's going to be one of my records of the year. Her stomping, exciting yet slightly homemade-sounding electro-pop bangers and ballads took some time to be released but thank God we all hung in there while she was perfecting a great piece. 
New single Don't Lose It is a hit, too!

Sophie Ellis-Bextor - new album Wanderlust out Jan 20

While a new SEB album is a reason to rejoice (unlike a Rihanna album for example), the news that this one wasn't going to be a "dance" record slightly tempered my initial excitement. Who wouldn't prefer a dance SEB record?
Yet it's nice to still have her around and honestly the first single (Young Blood) is beautiful, so I'm really curious about the whole album. Unfortunately though I have a feeling the era will be flopland (although Young Blood made it to the B-List of Radio 2!). 

Other things I'd like/can't wait to see materialize in 2014, thanks for asking

- The Sia album: enough with boring empowerment anthems for pop losers (I'm looking at you Lea Michele). May 2014 is when Sia-The-Artist is coming back with an album of her own, hopefully filled with delightful Sia pop songs. Sadly, no promo or tour, said the lady herself. 

- Solange: her recent signing to Sony means the album is on the way. Hopefully she'll follow in the footsteps of her amazing 2012 EP. Oh and Beyoncé collab could be ok.

- All Saints: FACTS 1/ Shaznay Lewis just joined Twitter (great bio). BTW she wrote a song for Mutya Keisha Siobhan's album! 2/ Natalie was on stage last week at Melanie C's 40th b-day concert in London and sang Pure Shores with her 3/ The re-united All Saints girls are touring with Backstreet Boys in the Spring (I'm going of course).
So I'm confident things are in motion and we'll get new music soon. I'd quite like a new Pure Shores to be honest. 

- Thomas Azier: a man with amazing tunes (Ghostcity, PLEAZ) whose debut album Hylas is released on March 10. Should be good. 

- Christina Aguilera: I'm ready to forgive and forget the whole Lotus debacle, the useless features on awful songs (Flo-Rida, Pitbull) if Xtina comes back with a properly excellent album like Bionic-minus-the-crappy-songs. That's a 11 or 12-track record, created with avant garde electro-pop collaborators, and under strict quality control of a competent A&R. An amazing first single, not too shouty, not slutty, pure pop, no featured artist. Of course an amazing iconic and modern ballad must be included. 
This is the last chance for Christina to prove she really is an immense popstar, of the phoenix kind. 

- Tove Lo/Tove Styrke: I'd quite like the Toves to be an alternative to Robyn in case she comes back with a disappointing album. Not that I believe she could ever disappoint, but you never know. That being said, both singers have great potential for amazingness and a big album (or at least 3 decent singles) would make me quite happy. 
For now listen again to Million Pieces and Beating on a better drum (Styrke) and Lo's new single Out of Mind. Good stuff. 

- Madonna: I could write a proper thesis on what I want from Madonna in 2014, but your time is as precious as mine (if you've read until here though, you're lucky you have time on your hands) and I'll make it quick.

1/ Enough with the slutty atrocities even Rihanna would be ashamed of releasing (Girl Gone Wild reference). 

2/ Time to surprise everyone with a new, grown-up album à la Ray Of Light. Of course Madge, you don't have to go in full-on balladry mode with Adele as rumour has it (see what I did her?), but some more mature, profound, modern and exciting songs are clearly the way to go. Plus you can still perform Human Nature on tour if you really must keep a bit of raunchiness around.

3/ No selling-out to appeal to a younger generation. Let's be honest, the kids who were born in the mid to late 90s or early 00s never cared to much about you. Except those who were trying to "find themselves" at some point of course. You'll always be there for those ones. The others have their Perrys and Rihannas. Bless their souls. Appeal to their older brothers and sisters, their parents, uncles, aunts etc. 
Remember the last time you tried to wave in their direction? You ended up with two (TWO) Nicki Minaj-assisted songs. Who are you? Ciara?

4/ Maybe you can try and revive William Orbit's soul, which kind of got sucked out during the Britney Jean "work" (bitch) sessions. You two made a great pair. But maybe you should leave him in the past, what do I know?

5/ It's OK that you are 56 and you still feel like you should behave like a 25-yo.After all, you do that quite well and your surgeon is good. Let's not make this an age or sexism issue. Thing is you just need to (re)gain a bit of class. Something iconic that will last and smoothly take you to the last part of your career. Look at Cher: her last album (songs and artwork) is mostly embarrassing, and reeks of "never-knowing-when-to-stop"-ism. Nobody wants that for you. MDNA started to smell like that. Now's not too late to change direction and remain, with no possible discussion, the everlasting pop icon you've fought your whole career to be. 
The only question you should be asking yourself while working on your next project is basically quite simple: "is it worthy of me?". If the answer's alway's yes, we're certainly in for a new Ray of Light

6/ It's OK if your next tour isn't a 2-hour BDSM marathon with sex slaves-like dancers and you licking stuff every two songs. I know your Live Nation contract mostly means you'll be touring stadiums until 2017, but f your album is somehow what I described earlier, it could be interesting to see you go back to what you do best: arena shows that redefine the rules of showmanship. A classy and ambitious tour-de-force that would rely less on kamâ-sutra-inspired acrobatics and more on that almost theatrical feel your earlier tours used to have. But hear me well, you're still allowed to play bangerz and fly around the stage.
Or (and I know how you don't like to do something that's been done before, but then again you did Hard Candy) but now would be a good time to do your own Anti-Tour. It's high time songs like Nothing Really Matters, Intervention, Love Profusion or Has To Be got a live airing. 

OK good luck M, please be ready for an early October release. First single mid-September. No endless teasing needed, you're Madonna, we'll be ready. 

Well that's it for now! What songs, albums, tours are you most looking forward to in 2014?

Saturday, January 04, 2014

Les 10 chansons de 2013 de @damitago

L'ami @damitago, que vous avez déjà croisé plusieurs fois sur ce blog, nous revient en ce début d'année, augurant ainsi d'une collaboration plus régulière. Car oui, l'homme sait y faire en matière de pop, et il serait fort dommage de s'en priver. Le twitto qui murmurait "SAY" à l'oreille de Xtina nous livre son top 10 des titres de 2013, et franchement, quelqu'un qui fait si admirablement se côtoyer Cher et The National ne mérite que notre amour le plus profond. 
Bonne année 2014, poplovers !


Allez-y, riez, moquez-vous. HOMOPHOBES !

« love is the story behind all of my favorite scars ».
“my favorite scars”. 
“mes cicatrices préférées". 
On peut faire plus pop que ça, comme concept de paroles ? Je ne crois pas, non.

Alors Cher prend sa voix iconique, la colle sur une mélodie immédiate, une production parfaite, les paroles pop, se fixe une perruque sur la tête et, d’un hairflip triomphant, renvoie les rageux, les moqueurs, les homophobes et les puceaux musicaux écouter Selena Gomez, puisqu’il ne méritent pas mieux.


Dans une vie précédente, Sia était une artiste indé, alter, bizarre, qui parlait aux freaks de problèmes de freaks. Et elle était la meilleure.
Dans sa nouvelle vie, Sia travaille sur tous les gros projets commerciaux (avec plus – « Perfume » pour Britney- ou moins – « Double Rainbow » pour Katy Perry- de bonheur) pour écrire des singles à toutes les popstars, pour parler de tout et de rien à ta mère quand elle se ballade au supermarché en écoutant vaguement la musique d’ambiance.
Elle a fait un choix, conscient, de devenir Diane Warren. Et elle est la meilleure Diane Warren depuis Diane Warren (qui, même en pré-retraite- reste la reine).

Et « Cannonball » est son chef-d’œuvre de power ballad pop, industrielle, formatée, calculée. Parce que enfin, la Sia d’avant et la Sia d’après fusionnent. Le style musical, le petit truc dans les paroles où on reconnait la fille qui est passée de freak à popular kid. La fusion, parfaite, entre ce que la musique évoque et ce que racontent les paroles. Lea Michele, comme toutes celles qui chantent du Sia (sauf Xtina), imite la façon de chanter. Mais elle le fait bien.

Maintenant, Sia a travaillé avec semble-t’il tout le monde (sauf Madonna, mais Madonna ne baise pas ceux sur qui tout le quartier est passé), a épuisé son fantasme d’être Diane Warren, et sort bientôt son nouvel album solo. Il y a dans « Cannonball » le supplément d’âme qui fait penser qu’elle a encore des choses à dire et exprimer. Je suis tout ouïe.


We can’t stop/Wrecking Ball/Adore You/#GetItRight est une brochette de singles de pop industrielle qui tue, et ça marque souvent l’arrivée d’une popstar dans la cour des grandes.
Il est très difficile, et un peu injuste, d’en isoler un, ils sont tous individuellement parfaits et c’est collectivement qu’ils te laissent KO.
Mais le plus grand BANGER de cette collections de BANGERZ doit être #GetItRight, qui coincide, par ailleurs, avec le stupéfiant retour en grâce (commercial et artistique) de Pharell, qui n’a pourtant rien réinventé de son style ni de son son. C’est juste parfait. Tu as juste envie de danser, en slip tout seul chez toi ou bien habillé avec plein de gens qui te regardent, de chanter par-dessus, en bougeant les lèvres en silence dans le métro ou à tue tête tout seul chez toi, de réaliser le clip (ce serait à base de meuf qui s’éclate toute seule chez elle à la « Ricky Business » en prenant des selfies et en les postant sur instagram avec des mot-dièse pour dire les paroles et filmé comme le clip de « Criminal » de Fiona Apple et… oh, well), et tu veux le voir en concert, et c’est comme ca qu'on reconnait un BANGER pop, je crois bien.

Bienvenue Miley, tu vas voir, tu vas passer de superlatifs injustifiés à critiques injustifiées, tu marcheras avec des trucs de merde et flopperas avec des trucs géniaux, on dépensera une fortune pour des concerts moyens en piratant pour économiser 1,29e sur des chansons géniales, et au terme de tout ça, on arrêtera de s’intéresser à toi sans aucune raison particulière <3 p="">


Beaucoup de musique sort, beaucoup de nouveaux artistes débarquent, à peine un artiste arrive à se frayer un chemin dans le top 10 ou 20 ou 30 d’une année que les nouvelles sensations de l’année suivantes le balayent. Les nouveaux artistes avec un son trop classique ne sont pas remarqués, ceux avec un son trop original sont condamnés à se répéter au 2ème album et à perdre de leur intérêt ou évoluer dans leur son et perdre leur originalité.
Donc London Grammar arrive, dans un style qui ressemble à Florence + The Machine, avec une voix proche de celle de Marina & The Diamonds, avec des chansons de qualité mais rien qui transperce ton âme de génie non plus, et il fait peu de doute que, soyons sérieux, il n’en restera rien.
Ou pas grand-chose.
Parce que dans l’album, il y a une chanson, parfaitement représentative du style, du son, de l’émotion, de la voix de l’album, et ça dit :
"maybe i’m wasting my young years
It doesn’t matter"
Et voilà. C’est tout ce qu’on a besoin de savoir et d’entendre. C’est ce qui restera de ces jeunes gens par ailleurs talentueux.

Bravo, merci, c'était très bien mais je ne cherche rien de sérieux, au suivant.


Et puis il y a les groupes phénomènes d’il y a quelques années qui ne lâchent rien, poursuivent la même route avec leur son original mais qu’ils explorent, poussent, font évoluer, et qui pondent des bijoux qui n’appartiennent qu’à eux, qu’à ce style, qui ne peuvent être créés qu’à ce moment précis où l’envie, l’inspiration, la créativité, l’énergie sont encore là mais où la maîtrise, la tranquille et conquérante confiance en leur popre travail ont eu le temps de faire leur œuvre.

Ça sonne presque facile, en écoutant le résultat. Ça ne l’est probablement pas. C’est incroyable.


A quoi ça sert de faire de la bonne musique ? De faire de la bonne pop ? Avec du cœur et de l’âme ? De faire un lead single imparable mais loin de tout formatage ? De dévoiler son âme avec un texte déchirant, mais avec un twist pop qui n’est pas qu’une pirouette stylistique, mais une transformation de la réalité pour la transformer en art ? A quoi ça sert de faire un vrai album pop, avec 12 chansons géniales, cohérentes, riches ? A quoi ça sert d’écrire soi même sa musique ? A quoi ça sert de ne pas se foutre à poil pour vendre ? A quoi ça sert de faire un album pop qui n'est pas qu'une version audio du "Loup de Wall Street" ? A quoi ca sert de faire en sorte que la musique exprime ce qu’évoquent les paroles ? A quoi ca sert d’être une fille talentueuse ?

Vous n’écoutez même pas.

Maintenant que je vous ai bien culpabilisé, rattrapez un peu ce flop le plus violent et injuste de l’année, même pas en achetant, juste cosmiquement, en lui accordant de l’attention et, mécaniquement, dans la foulée, de l’admiration.


Il y a certaines chansons qui sont merveilleuses parce qu’elle n’appartiennent qu’à leur auteur, à leur époque, l'alignement parfait des étoiles (voir: Vampire Weekend - Unbelievers).
Et, au milieu d’un album, d’un vrai album, cohérent, sans single, où les chansons se portent les unes les autres, il y a « Slipped »
« Slipped » aurait pu sur être un album de pop, de folk, de rock indé, avec d’autres arrangements mais l’âme serait la même et ce serait probablement aussi puissant.
« Slipped » aurait pu être chanté il y a 10, 20 ans, ou dans 10, 20 ans et ce serait probablement aussi puissant.

Il se trouve que c’est avec le génie de The National, cette voix qui hante, ce son qui habite (ou l’inverse), cette dignité et cette force qui font que les paroles expriment des tourments profonds et pas de l’émo industriel.

La chanson ne sera jamais reprise, ne sera jamais largement diffusée, ça restera à jamais la piste 9 du 6ème album de The National. Alors là voilà, isolée, dans toute sa glorieuse splendeur.


Difficile d’isoler une chanson d’un album pareil. Soit on n'en isole aucune -c’est un vrai album, on n’a plus l’habitude, ça fait bizarre, mais ça s’écoute d’une traite, plusieurs fois, en ne faisant que ça- soit on en isole 10, parce qu’elle sont aussi glorieuses individuellement qu’illuminées les unes par les autres.

Alors on va tricher un peu et on va isoler « En Surface », la version avec des violons en duo avec son auteur, Dominique A, que l’on trouve sur l’édition collector.

Parce que c’est une évidence. Tellement parfait, riche, immédiat, qu’on se pince pour croire que personne n’a inventé cette mélodie avant, que ces 2 là n’ont pas chanté tout leur répertoire ensemble tant leurs voix se mélangent sublimement, que ce texte est original et non une reprise d’un texte écrit il y a 200 ans tant il est riche, profond, simple, universel, parfait.

Ca dure 2min20, ça te terrasse d’admiration à la première écoute, d’euphorie à la deuxième, de mélancolie à la 3ème, puis tu la connais par cœur, des paroles à chaque variations de tonalité, puis tu réalises qu’à 57 ans, au bout de ton 10ème album, 30 ans après avoir été un phénomène adolescent, tu peux sortir un truc aussi fort, tu peux avoir la modestie d’accepter une chanson livrée « clef en main » et en faire un petit chef d’œuvre, et ça ne te fait pas plus aimer Etienne Daho –ce n’était pas possible, j’étais déjà arrivé au plafond- mais ça te fait avoir un peu plus confiance en l’art, les artistes, et la création.


Au Trianon, fin novembre, devant une salle bourrée, il y avait Stromae, qui faisait sa performance de mec bourré qui hurlait rageusement son désespoir amoureux. Il était à fond dedans. Il exploitait ce que si peu de personnes savent faire en France, inventer une performance, qui illustre et porte ton propos. C’est une démarche très pop, pour une chanson stupéfiante, incroyablement puissante, iconique, forte, émouvante, universelle (je n’ai jamais connu ce sentiment, mais je comprends de quoi il parle en l’écoutant).
Et la salle hurlait les paroles, joyeusement, comme un hymne pop. Stromae continuait, indifférent, et toute la chanson était vidée de son sens, et c’était comme un grand malentendu.
C’est le sort de Stromae, et de son album, comme tous les succès populaires qui sont vidés de leur sens par la surexploitation, par l’appropriation de masse, donc impersonnelle, d’une expression personnelle.

Alors, comme il faut faire l’effort de se souvenir de cette fois où on a vu Adèle, dans le quasi noir, chanter « Someone Like You » aux Brit Awards et on était bouleversés, avant que ça devienne la BO de toutes les séquences d’élimination de télé réalité, il faut faire l’effort de se souvenir de cette fois où, début Juillet 2013, on a découvert émus et stupéfaits qu’un talent pareil existait en Franc…. En francophonie, et qu’il était là pour faire de grandes choses, et on croisait les doigts pour que ça marche parce qu’il était spécial, original, talentueux, et qu’il le méritait.


Ce n’était à la base qu’une chanson bonne à illustrer les dernières minutes d’un episode particulièrement mélodramatique de “Dawson”. Avec une mélodie particulièrement simple, pure, forte, émouvante, mais il y a beaucoup de mélodies pures, et fortes et émouvantes.
Puis Xtina vint.

Le mélange de ces deux voix était mélodieux. Comme lorsque Léonard Cohen est débordé par les chœurs féminins dans ses chansons.
Puis ce dialogue entre les deux, qui faisait que la chanson n’était plus une plainte émo mais un dialogue de sourds entre deux amants.
En fan historique de Xtina, lassé par le n’importe quoi de ces derniers temps, c’est aussi ce que j’avais envie de lui dire… « say something, i’m giving up on you ».
Et sorti de nulle part, sans aucune perspective commerciale, elle nous offre son succès populaire le plus gratifiant depuis des années, une performance vocale sublime (ceux qui ont entendu « I Am » sur Bionic ou son featuring pour T.I. sur « Castle Walls » savent qu’elle est magnifique avec ce timbre de voix, mais c’est son chef d’œuvre dans ce registre).

C’est un plaisir de music lover, de fan de Dawson, et de fan de Xtina. Je suis tout ça.