The first of the two Parisian concerts of the artist took place on Wednesday November 9, while the album “Les Adorable étoiles” released on Friday 11, and that an English -speaking opera is scheduled for 2023.
By Stéphane Davet
On the facade of the winter circus, a screen proclaims: “Pop Music is Dead, Long Live Theater” (“Pop music is dead, long life in the theater”). Before getting to the song, the young Nantes Héloïse Letissier had devoted herself to dramatic art and dance. Under the name of Christine and the Queens, then of Chris, she had let music take over, without neglecting choreographies. Under his new alias of Redcar, which must now be Genrer to the masculine, he lets theatricality retail a place of choice, during concerts and a French -speaking album, the adorable stars (published on November 11), supposed to be the prologue of an English -speaking opera to come (to be published in early 2023).
In black suit, surrounded by masked accomplices, but no instrumentalist, he first appears, in the center of the track, in Monsieur Loyal of his own spectacle. This November 9, for the first of his two Parisian concerts in the Bouglione family, Redcar promises “a ritual of psycho-magic”, calling on spectators to invest with the same energy, without it being filtered by mobile phones. We see him moving with a rod, a slightly steep leg. No comedy here, but the consequences of a work accident that turned the program for its public baptism.
Originally planned on September 22 and 23, before a show in London, a few days later, these shows, to which the adorable stars were synchronized, had to be postponed after a redcar knee sold during one of the last rehearsals. Less than two months later, the singer-dancer advocating sexual fluidity did not find all of his means. This forced him to rethink a good part of his performance, while maintaining the idea of simultaneous exit of a disc which provides the only soundtrack of these “concerts”.
A test for a work already fruit of an original injury. In April 2019, Héloïse Letissier brutally lost his mother, Martine, professor of literature, while Chris played the prestigious Coachella festival, in California the day before. A few months later, at the time of the pandemic, the artist betrays to compose in less than two weeks a series of cathartic songs to transcend this shock and also report on the mutations of his identity.
In a recent interview with the British daily The Guardian , the Frenchman recognizes that he has long continued to play the role of the girl for his mother. After his disappearance, nothing held him more to assume his tilting. “The masculine, in my verb and my flesh and my conscience since the longest that I remember, it is the vector of my enlightenment,” he wrote recently in a column of the antidote magazine .
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