In his hometown, the singer launched his new tour by presenting some of the titles of his third album, “multitude”, expected on March 4th.
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It was clear that the concert would last only one hour. This had not prevented 9,000 people from rushing when putting on the tickets to fill, in less than ten minutes, the palace 12, one of the major entertainment rooms on the outskirts of Brussels, in which Stromae had chosen to return on stage, Tuesday, February 22. Reunion with its hometown, in the form of warm-up showcase, before two other “foreheads”, at the Accorhotels Arena de Paris, Thursday, February 24, and at the AFAS Live of Amsterdam, Sunday 27, the Week preceding the exit of a third album, multitude, thoroughly orchestrating the expectations of the fans, nearly nine years after the triumph of its predecessor, square root (2013). While waiting for a festival season, from April 16, at the top of the prestigious coachlla (in Indio, California), and about sixty dates that will lead it to the largest bores until the end of 2023.
“As long as I’m alive / I’m unbeaten.” Carried by African chorus loops and a combative energy, the unpublished title (undefeated) who introduces the concert recalls that this comeback has not gone from self. Exhausted physically and mentally through the Square root tour, completed in 2015, Paul Van Hover experienced the division of burn out (accentuated by the adverse effects of an antimalarial). It goes back today on the ring with songs that often seem imbued with these trials. Like the hell, confident what had been the “suicidal desires” of its author, in a piano-voice beyond synthetic squeaks. Unveiled a few weeks ago during an interview “sung”, staging at the “20 hours” of TF1, the piece is taken in chorus by the Brussels public.
Coecritrics with his Orelsan accomplice – Who, on February 22, inaugurated his new tour by a concert at the Zenith of Caen – two symmetrical songs (bad day / good day) complete this chronicle of the depression by describing the same day under two mood corners. Stromae singing these new pieces alternately tasted and hopping into an armchair.
Dehumanizing technology
Effect, perhaps, of this neurasthenia, the singer, born of a Rwandan father and a Flemish mother, has chosen a scenography that notes the dehumanizing omnipresence of technology. Aligned like a Belgian version of Kraftwerk, his four musicians wear the same white jabot shirt and black lavallius that he and each seem to pilot the same huge computer console. Behind them make Stromae’s avatar created by the brussels animation studio Nwave Pictures, and also screens and panels moved by an impressive cohort of robots, suggesting that the production of shows will soon know the same mechanized future that the ‘automobile industry. An amusing dog robot also replaces the best friend of the man in a front-song sketch.
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