The legendary English group gave a concert in the beautiful hall of the Seine Musicale, on Seguin Island, on the outskirts of Paris.
As soon as I arrived, I noticed not only impeccable organization, but also a warm welcome.
Text and photos by Tetralens (tetralens.com)
The first part, provided by the group Stengah, begins at 8 p.m. sharp.
The group from Lille, created in 2013, took the time to reflect before releasing an album in March 2022, Soma Sema. The click to take this step happened when the group won a springboard for the Wacken festival in 2017… This time of writing refinement paid off for a fine, technical result without being over the top, and not devoid of power.
And it’s opening for a band as emblematic as Deep Purple that they’re playing tonight… I tell myself that it shouldn’t be a coincidence.
The technical Metal that is delivered on stage is distinguished by a complex rhythmic writing, and we understand why. Drummer Eliott Williame is the band’s main songwriter, resulting in some interesting polyrhythms. This structure does not forget to be enriched by melodies endowed with a certain depth, where it is possible to perceive the influences of Gojira, Lamb Of God or Meshuggah.
Beyond a slightly weak staging in terms of lights at the start of the set, we let ourselves be taken by the sequence of titles played with precision and force, but also a visible joy.
Even if the voice of the singer, Nicolas Queste, does not always seem perfectly posed at times, this is very well compensated by a good stage presence.
Eliott Williame offers us a beautiful drum solo, and we also note the quality performances of Benoit Creteur on bass, and Alex Orta on guitar. A rather successful set.
Stengah – Above Inhumanity (live from “Mosaic”):
After an intermission of about twenty minutes, which allows you to get some fresh air at the tip of the island in particular, with a magnificent view of the Seine, the performance of Deep Purple begins at 9:15 p.m., very precisely.
On the first three titles, the British group with a career spanning more than half a century, starts in relative calm, with in particular on the second title, Pictures of Home, where I seem to hear a few incorporations of passages from Child in Time on the guitar.
Ian Gillan doesn’t seem to have a hell of a punch, but it’s stable, and these first tracks are a rather blues Rock start, even with jazzy accents.
Introducing the fifth track, Uncommon Man, the band dedicate the performance to John Lord, the original keyboardist who passed away in 2012, and all those who have passed away.
This piece started with a guitar solo superbly played by Simon McBride, then enriched by the solid drums of Ian Paice, marks the take-off of the energy of the concert. On vocals too, the voice is more assured. The rise of this title continues with the virtuosity of keyboardist Don Airey, marking the identity of a great part of Deep Purple’s repertoire.
During the performance of the title track When a Blind Man Cries, the atmosphere in the room really wakes up, introduced by the following sentence:
This title speaks of the other type, the one who does not backbite, who does not complain.
Ian Gillan gives his all to this interpretation full of blues, with a fairly sustained vocal performance, even a little trying on the last verse.
Don Airey indulges in another keyboard solo in the form of a slightly delirious mash-up incorporating, among other things, “La vie en rose” by Piaf or a passage from “La marche Turque”.
Space Truckin’ starts with a nice energetic bass solo from Roger Glover that runs up and down the stage. The track continues with a beautiful spirit in the crowd, and ends with a superb finale on drums under a multicolored play of light.
From the first note of Smoke on the Water, the crowd is delirious, and the majority of the room is standing (I specify that it is a 100% seated concert), with a large proportion of unconditional fans. The audience takes over, giving real depth to the performance; a very beautiful moment of sharing… and what ovations!
The set seems to stop there and the musicians exchange a few words in French:
Thank you, it was wonderful! Thank you, and take it easy.
The musicians reappear on stage for the encore, notably delivering Hush, an entertaining bass solo where Roger Glover plays with the audience, and conclude with the title Black Night.
Overall, despite some lengths or relative vocal fatigue, but still more energetic than at Hellfest, this is a great concert, notably marked by a great complicity with the public, and with a setlist that is more blues/jazz than Hard. Rock, but not soft either.
An evening that can be described as successful, especially in view of the completely filled room, exposed to fresh technical metal at first, to then calm down and regain dynamism throughout the evening.
- Vocals: Ian Gillan
- Guitar: Simon McBride
- Keyboard: Don Airey
- Bass: Roger Glover
- Drums: Ian Paice
- Highway Star
- Pictures of Home (with a few bars of Child in Time’s guitar solo)
- No Need to Shout
- nothing at all
- Uncommon Man (dedicated to Jon Lord)
- Lazy (introduced by an organ solo)
- When a Blind Man Cries
- Throw My Bones
- Keyboard Solo
- perfect strangers
- space truckin’
- Smoke on the Water
- Caught in the Act
- Wring That Neck
- Hush (Joe South cover)
- Bass Solo
- Black Night
This article was written by Tetralens, who is also the owner of all the photos you have seen above.
Tetralens is a photographer based in Paris. If you want to chat with her about her work and/or collaborate with her, you will find all her information below!
TETRAlens brings together all the expressions of my photographic work, recent or dating back several years. I mainly present an extract of my captures of live concerts, mainly from the Metal and Rock scene, as well as a small overview of my other photographic subjects, such as landscapes, details and architecture. As far back as I can remember, I’ve always wanted to capture through my lens what my eyes wanted to immortalize: the sharpness of a light, the strength of a moment, the softness of a gaze, the energy of a moment, those things that make the world more beautiful. From a very young age, this passion has followed me in my daily life or in my travels, my eyes constantly looking at nature, cities and people as a source of inspiration to nourish my artistic expression. The most emblematic channel being live music, the events through which the human is a vector of the most positive vibrations.