On the occasion of their opening concert for the festival Un Festival c’est trop court, Naive New Beaters return with FVTVRVM, an album blending dance energy with emotional depth. We met David Boring to discuss this new musical adventure and their stage evolution.
Naive New Beaters, formed in 2005, have made a name for themselves on the international music scene with their unique blend of pop, electro, and rock. The trio, composed of David Boring (vocals), Eurobelix (machines), and Martin Luther B.B. King (guitar), stands out for their boundless energy and unclassifiable style. Tracks like “Live Good” and “Get Love” marked the beginning of a career mixing dance rhythms and catchy melodies. Their discography, including “FVTVRVM” (2019), reflects their ability to innovate while staying true to their festive spirit. Their live reputation is solid, with memorable performances at Glastonbury or Vieilles Charrues. We met with David Boring to discuss their new album and upcoming projects.
What were your main inspirations for the album FVTVRVM?
David Boring: “I’d say we’ve always been our global inspirations for the group Naive New Beaters. We’re three personalities and it mixes the three personalities a little bit, whether it’s stuff… I’m more pop, 80’s. There’s the guitarist Martin Luther B.B. King who’s a bit more rock, hard rock. Eurobelix is a bit more into electro and rap.“
What is your writing process? Do you work together or does each person have their specific role?
No, we like to get together. We do something like sessions where we rent a little country house, we make some stews, and then we compose together. And we try to agree, but we never do.
Did you collaborate with other artists or producers on this album? If so, how did it influence the final result?
We have a feature with a song we did in duet with a group called Star Feminine Band, which is a female orchestra from Benin. I listened to them at a festival and I really fell in love with this group. So I thought, no, we absolutely have to do a feature with them and that’s what happened. We’re super happy to have done it.
The visual aspect is important in your work. How do you collaborate with directors and designers to create an aesthetic that represents you?
I would say that each time, we try to match a little with the atmosphere we gave to the album. We try to create a visual moment because our concerts have a bit of a Punk Fair vibe. These are things we try to reproduce live, we think of settings, visual effects, little borderline moments. We try to do a bit of magic, well at our level, in the end, it’s not really magic. We immediately said we wanted something a bit American, a bit striking.
What are your most memorable memories during your live performances, like at Glastonbury or Vieilles Charrues?
I think one of our strongest moments must have been at Vieilles Charrues. We played, I think, in front of 35,000 people and we did a sort of wave movement, a little move we ask people to do the same and it was quite crazy to see everyone doing it, it’s things… there you go.
How do you prepare your concerts to maintain that explosive energy that the audience expects from you?
I don’t really know, we prepare in residence. It’s true, we don’t do much exercise and all that, but well, we should be doing a bit.
How do you define your relationship with your audience during concerts?
It’s true that we like it when people come to see us, they have a smile. That’s a bit what we’re looking for and so we really try to have that little feeling with the audience.
What motivated you to collaborate with Héliotrope for the festival Un Festival c’est trop court?
Actually last year, or two years ago, I participated in a cinema battle, a little battle at the festival. Then I did a DJ set and I admit, I get along super well with the team whom I find extremely cool and so I try each time to do more things with them. And there you go, I think these are places that need to exist, that need to continue to exist and that are great, so we try to do as many events with them as possible.
What role do you think festivals play in promoting young musical creation in Europe?
I think they are main promotional players because when we start, we’re not going to be the star of the networks or things like that. So being able to play in front of thousands of people is still a good way to get your music known. Simple and super effective.”
Naive New Beaters continue to surprise with their energetic music and ability to evolve while staying true to themselves. Their performance at the festival Un Festival c’est trop court promises to be as explosive as their latest album FVTVRVM. Don’t miss the chance to see them on stage this Saturday, October 5 by booking your tickets now here!
