It took a bit of faith to launch the idea of bringing people together around French-language songs at a time when it is often said that they are struggling to stand out online. The SuperFrancoFête can boast of having largely won its bet: its Great concert of the Francophonie presented on Tuesday was of a rare magnitude.
In nearly three hours, we saw some of the biggest names in Quebec, French and Francophone African song: Patrick Bruel, Daniel Lavoie, Amadou et Mariam, Tiken Jah Fakoly, Isabelle Boulay, Natasha St-Pier, Roxane Bruneau, Matt Pokora, Corneille, and many more. The stage on which they were welcomed was up to par: imaginative, colourful and, to be honest, quite a bit more imposing than those of the national holiday shows. Which is exceptional for an event that was only in its third edition.
PHOTO EDOUARD PLANTE-FRÉCHETTE, THE PRESS
Artists PETiTOM and Patrick Bruel
Launched by a recording ofWith time by Léo Ferré, the show co-hosted by Véronic DiCaire, Patrick Bruel and Black M offered a journey through decades of French-language song. Recent pieces, such as On the roadfrom Black M, precisely, which made the audience jump, and old gems like The weather is goodformerly performed by Isabelle Pierre and performed on Tuesday by Isabelle Boulay, Véronic DiCaire and Natasha St-Pier.
In this impressive contingent of singers, some shone more than others individually. The highly regarded Patrick Bruel (I’ll tell you anyway), Roxane Bruneau (The whites of the eyes), Amadou and Mariam (Beautiful Sundays), Tiken Jah Fakoly (Nothing surprises me anymore) and IAM, who came to do, among other things I dance the Mia.
Well-known tunes
This journey through the French-speaking repertoire was also punctuated by three particularly striking stops: first at Luc Plamondon, then at Aznavour and, at the very end, at Jean-Jacques Goldman. Three names associated with tunes that everyone who lives in French knows.
It was also the public who began the issue dedicated to Plamondon by taking up a piece of Beautifultaken from Notre Dame of Paristhen sung by Mario Pelchat, Daniel Lavoie and Patrick Bruel. The latter proved to be particularly impressive in this number, as he was a little later in The businessman’s blues.
PHOTO EDOUARD PLANTE-FRÉCHETTE, THE PRESS
Bruno Pelletier performed The time of cathedrals.
Bruno Pelletier received a standing ovation after performing The time of cathedrals in this segment which also included I will forget you (by Isabelle Boulay) and Words that ring (with among others Natasha St-Pier and Roxane Bruneau, breathtaking). The only downside, at this moment as at many others in the show, was that the music was so loud that it partly buried the powerful voices of the performers.
Projections
THE Great spectacle of the Francophonie being a show designed for French-speaking television, we made a few trips back and forth with France. That is to say, some of the pieces were recorded in France and projected on the big screen in Quebec. Like this number where Alain Chamfort performed his song Graceapparently little known in Quebec…
PHOTO EDOUARD PLANTE-FRÉCHETTE, THE PRESS
Mario Pelchat, Daniel Lavoie and Patrick Bruel
Aznavour’s were much more so, obviously. It was nevertheless with a touch of perplexity that we received Aznavour’s version Bohemia by the slammer Grand Corps Malade, entitled To each his own bohemianismwhere only the chorus remained. The reception was nevertheless enthusiastic. Mario Pelchat, who dedicated an album to Aznavour five years ago, then came to make Yesterday againjoined by Patrick Bruel. The crowd then spontaneously sang Take me awaywhich was carried on stage by about ten voices.
Like all multi-headliner shows, this Great spectacle of the Francophonie was of course uneven, marked by some downtime, and ended up dragging on. However, it must be admitted that there was something very beautiful about seeing a fairly multi-generational crowd gather not around French-language songs, but of the French songs. Because what was celebrated during this SuperFrancoFête was the diversity of people and genres, that of manners and accents. Seeing this multiplicity applauded in this way gives hope for the future of music in French.