If the good weather was not there on April 8, the Chorus 2022 festival program was able to warm hearts (and bodies) thanks to its panel of diverse artists, a panel that had already been highlighted. the day before during Emergence day.
The atmosphere is rather calm for this early evening at the musical Seine. There are not many people yet, which leaves time to take advantage of the various snack stands, make-up workshops or even the miniature thrift store where you can find some cool clothes or even a vinyl of the programmed artists of the Chorus.
From 7 p.m., it’s the Johnnie Carwash trio which opens the dance. In a small committee, the group plays several of their songs, especially those from their album Teenage Ends which, as its name suggests, immerses us in nostalgia with sounds that remind us of the songs of indie teen movies from the 2000s. It was as if the three had invited us to their local, with an atmosphere that is both intimate and cathartic like the last track played, “Nothin’” which moves you but which also leaves you surprisingly nostalgic. In short, Johnnie Carwash on stage is like looking back on his teenage days, or regretting the one we never lived. In both cases, we do not come out indifferent!
We then passed through the doors of the Grande Seine to see the electro producer Irène Drésel. Accompanied by her percussionist Sizo Del Givry, Irène Drésel opened the doors to her kingdom where mysticism and sensuality reigned. Electronic music with Berlin sounds, we quickly find ourselves bewitched by these beats and these repetitive melodies, transforming the concert into a ceremony worthy of a Midsommar under turn-up.
The musical discoveries are linked so far at the festival. We mix rock, electro, classical, without forgetting the rhythms and the percussions which punctuate the different scenes of the Chorus, in particular that of the artist Lucie Antunes.
7:50 p.m.: we are told that the room has changed for Lucie Antunes. Head to the auditorium where everyone settles in an Olympian calm that does not foreshadow what is to come. And for good reason, as the musician arrives on stage, the first synth notes resound and are quickly joined by the percussions and the voices of the trio which plunge us into an astral atmosphere, sublimated by the luminous scenography. Between minimalist music and electric pop, the show takes us very quickly and encourages us to listen to it with all the attention in the world.
Despite the bad weather in Paris, Sam Wise brought the heat of South London hip-hop for our greatest pleasure, and for his too! Marked under the sign of self-love and turn-up, the rapper conquered the hearts of the court thanks to songs where kicking and efficiency went hand in hand. And of course, it works.
Noise punk band Dewaere were also present at the festival to play their album Slot Logic released in 2018. With punk-inspired rock tracks and a singer, Maxwell Farrington, whose bombastic voice almost chokes you, transforming the show into a jubilant show.
The big expectation of the evening was undoubtedly Sofiane Pamart. The pianist intrigues and attracts the public who seem to discover him over his rap collaborations, to finally be confronted with the soloist. Therefore, finding a place in the auditorium is more complex than expected, even impossible for the many people standing throughout the concert. A well-rehearsed concert, an hour of piano with a few moments accompanied by the violin, which brings us to personal creations, but also to some of his collaborations, in particular the one with Scylla. Sofiane Pamart asserts herself in such cases as one of the most promising artists of her generation by offering neo-romantic music that does not leave you indifferent. It’s really beautiful and we find ourselves justifying a long wait with only one desire, to listen to his old compositions again as if to rediscover it.
Article by Jacques-Emmanuel Mercier and Nawel Meliani
Photo credit: @ludpellissier_musicphoto