A peculiar cloud hovered over the Théâtre de Verdure last night.
Filled with highly concentrated rock ‘n’ roll particles, the open-air venue was invaded, both on stage with two incredible French rock guitarists, and in the audience with distinguished guests.
After discovering a new local band, Tapenga, with T-shirts matching the foam on their respective microphones, the much-anticipated Nono (well-known as the guitarist of Trust) presented his very first self-titled solo album live.
White shirt, black leather vest, glasses, and massive hair, true to his possessed guitarist look, Norbert Krief, not accustomed to being The icon alone, shared his new music with three other musicians, two of whom were aligned with him, in a row, to avoid standing out too much.
Between fiery rock and fresh pop, the musician sketched some vocal notes, with his right hand handling the major singing parts, only offering the title in his (obvious) cover of Antisocial, leaving the audience to sing the rest.
Naturally, it works. Fans responded and did not hide their pleasure when Nono performed a few hits from the band he achieved astounding success with (“L’Elite“, “Mesrine“).
We (re)discovered “On the road again” (Canned Heat), a cover featured on this solo album, but where perhaps we expected less was in Anglo-Saxon covers, which thrilled the crowd, like “Satisfaction” by the Stones where everyone shouted “I can’t get no…” with fury!
But among all the people, the one receiving smiles, winks, and even amplified recognition by microphone, was Pascal Mono, another great rocker and longtime friend of the guitarist who did not hesitate to introduce him to the public by pointing him out, as if to thank his buddy for coming to applaud him, which he did warmly, sometimes from the pit, sometimes from the stands. A palpable complicity running through the crowd.
The wonder in the eyes of the shaggy-haired faithful at the slightest remark or transition between songs is infectious. Whenever Nono speaks, even if clumsily announcing (and thus very touchingly) that the next track will be more pop but that, promised, afterward he will return with some good rock worthy of the name, both young and old remain focused. We don’t hear a fly buzz and feel the profound respect these aficionados, who had to have been present two years ago when the artist was accompanied by Bernie and co’, on this same stage for the previous festival of Patrice Bouchon, “Les Enfants du rock”.
And this evening certainly best corresponds to that former festival name, before it became “Crazy Week!!!” since after Nono, it is the turn of a master of the tormented guitar to take the stage: Louis Bertignac.
The ex-guitarist of Téléphone had been rather quiet lately, offering rather pop albums, without much pretense and especially without much media attention. But it is with a pure rock album that the “Grizzly” has resurfaced, sparking some media to finally take the time to talk about it and congratulate him for this assured fulfillment. Starting in the same order as on the record, it is with “22m²” that Louis makes his audience of lovers vibrate. Then he specifies that “for the moment, we’re going to do a few new tracks,” as to not offend the sensitivity of some who would have come to hear hits dating from the legendary wireless-less group of the past.
Most of the new songs are still known by most people who came to applaud their favorite bear, but it is with “Cendrillon” that the entire crowd manifests to sing in unison “sur la terre et dans les cieux.”
And like Nono, it’s on unexpected covers that Louis follows up with Clapton (upon request from some random individual who had a very good idea), Police, and even Bobby Marley, yes, yes, for a “Redemption Song.”
But the cherry on the sundae was obviously the jam session hoped for by so many of us when Bertignac brings Krief back on stage for a duet from an “Autre Monde“. And yes, we dreamed it, they did it! “Ce soir, danse, danse, danse!!“
Photo Credit: Flora Doin
