There is a fiery melancholy in La Zarra’s voice, the kind you hear in Piaf. The Quebec singer does not hide it: the French icon is a model for her. In her own way, she has forged herself by listening to what she describes as a “singing teacher”.
Treachery, his first album, has something of the old French song in the tone (the title piece, precisely) and sometimes in the arrangements, when they rely on a classical instrumentation where the piano and the violins occupy a good place. Except that she is also a singer today. This means that several songs are also supported by programmed sequences (TFTF, on a light rhythm, but resolutely urban), to the point of borrowing from europop on You will go away, unveiled before summer to give a taste of what it is capable of.
La Zarra has panache. And not just because of the sometimes extravagant outfits she flaunts. We feel in her a strength and above all an ease, a kind of naturalness which means that she does not need to do vocal pirouettes to give life to her romantic songs, imbued with loneliness, disappointment and above all passion. Sometimes extreme emotions that she transcends and transmits without overdoing it. Which is to his credit.
Treachery is of an assumed theatricality (As i like it), but nuanced. We regret that some songs sound too pop (Not the heart at the party, one of the few that makes generic French pop, and Neighborhood love with her violins à la Amélie Poulain and her choirs a little too honeyed). La Zarra nevertheless imposes itself beyond these sounds and the image that she has developed as a singer with sensitive interpretations. It may appeal to many ears.
Song / Pop
Treachery
La Zarra
Universal