A little girl from the audience dances in front of the stage, and that’s how the sweet Stephy Haïk opens the evening with her languorous jazz. Her uniqueness lies in the fact that each of her songs seems to tell a story. This is the case with “The Longest Mile,” the title of which is already evocative. Stephy shares her story, explaining that she is from both France and the United States, “it’s not always easy to know where you really come from,” she assures. This song expresses that very particular feeling.
Another woman came to prove that jazz is not exclusively male; it’s the Irish singer Imelda May. Her rockabilly style was unanimously appreciated by the audience. And she says it herself, she has remained true to herself: “Jazz is my life. I just do what I love. I stay true to myself. Anyway, you’re never sure of how people will react, so you go for it and see.” But as for the Niçoise ambiance, she was delighted, “it was an open-minded and very warm audience. The entire festival is fantastic. And your food is sublime too!”
The show shifted to an American style with Robert Cray. Instantly, the audience was plunged into a deeply bluesy style. His guitar seemed to sing, expressing itself under the skilled fingers of the American. The bodies of the many spectators swayed to the rhythm of the drums, the cries of the guitar, and Robert Cray’s deep voice. A magical moment.
Jimmie Vaughan then shared his music, communicating through his sounds as he likes to say. His deceptively simple and refined style has brought him success over the years. He has even contributed to the recording of albums by illustrious bluesmen, B.B. King and Eric Clapton.
Cheers of joy, cries of adoration, that’s how the famous Buddy Guy was received on stage. He was more than just a man but a living legend of the blues that the Arènes de Cimiez had the honor to host. With his power, unparalleled quality, energy, his music definitively awakened the audience lulled in the darkness. Buddy Guy’s incredible charisma did the rest. He played some covers like “Boom Boom” by John Lee Hooker, Wilson Pickett’s “Mustang Sally,” and Jimi Hendrix’s guitar riffs. The success was overwhelming. The frustration was palpable during the last notes played by the American. We wanted more.
For a calmer end of the evening, Olivier Temime and his band were there. They replaced James Hunter, who was originally scheduled. Their sweet jazz sounds soothed spirits while also paying homage to jazzman John Coltrane, the famous saxophonist of the 1940s and 1950s.
