The afternoon began with joy the visit of the conceptual and now famous exhibition It's Not Only Rock'n'Roll Baby! The great idea of Jerome Sans, unpublished, was born from the observation that many rockers were primarily visual. Indeed, one can notice that a large proportion of them engaged in the photograph, collage, sculpures or multimedia. We would then know if the music is actually not an occupation that their food would fund their work, as some of them appear expensive. Intrinsically linked, art and music are yet for the first time together . Particularly important ideas and colorful decor offset with Bianca Casady (CocoRosie), affection for the cute little drawings of Devendra, respect towards the mastery of detail in pen and ink of Kyle Field, love for Kills and assembly of Polaroids, but, above all, the works of Pete will remain in my memory. I never expected that they absolutely not affect me to this (high) point. Because I imagined that the blood injected into his paintings that would bring violence superficial. very skeptical, I told myself that this is not imitating Tapies and planting a syringe in the paper that we can pass something. I was wrong, since, before this wonderful writing, the art of calligraphy, the style brouillion, these paintings, I started thinking, I was immersed in tortuous questions. I was planning when tormented and tormenting Pete realized his works which so sincere. It has been well
Lou Reed to dissuade me from these dark thoughts.
So here we are.
At the Palais des Beaux-Arts invaded by the golden jubilee flamingo. (I open a large parenthesis because I am entitled to ask, why so many young people claim that the Velvet is a lifetime, it is the basis that their musical culture and malrgé this, it is clear that 'they would move even for L e see? He who, unlike some other former greats, is up to its reputation. Youth is definitely pathological liar and impressionable.) Placed far, we we should wring the neck to enjoy a right view but does not obstruct the vision of the miserable sitting behind us.
Berlin and his intro 'Happy Birthday' begins, Lou appears, without artifice or entrance to Johnny, just in line behind his musicians. He takes his guitar, he puts his voice , and that's it.
Everything is there.
His perfect sets studied (A real little film with Emmanuelle Seigner is the project through the provision of an antique tapestry), drummer and guitarists exeptional. If they can be removed, their professionalism will leave blissful.
The first three (my Lady Day, Men Of Good Fortune and Caroline Says ) all appear at the end of songs, both Lou pull them, magnify them and finalize an apotheosis. This was clearly the best moments of the concert. Afterwards, I really felt that something was missing: an audience at the height of the man. We never saw a concert by Lou Reed in a room asceptisée the seat configuration ... We can not, in this case, the stream. This is almost nonsense. Titles Berlin linked together in the order of course, and the impressive Sad Song who closes me a little frustrated. Itchy fingers, we want more than five minutes applaudire (in my opinion not strong enough) to finally get three fabulous reminders, including essential must- Walk On The Wild Side and Sweet Jane .
The lights come back, we in this room who réaterri m'apparu austere and cold. Only this voice and this class will have managed to blur the hard places, the public.
Lou Reed is great, but then there, great.
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