In Paris, Billie Eilish as a therapist for a public "happier than ever"

In Paris, Billie Eilish as a therapist for a public “happier than ever”

Like a pressure cooker, the Accor Arena first lets out ecstatic whistles. As if too long a wait – put on sale a year ago, the 20,000 seats for this concert on Wednesday June 22 had found takers in a few minutes – made the inner ferment uncontrollable. Until Billie Eilish, propelled by a springboard, suddenly leaps onto the stage, like a jack-in-the-box for the only concert in France of her new tour, named after her second album, happier than ever.

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An appearance in line with her meteoric rise in the pop landscape, seized, in 2019, by this young girl then barely 18 years old and her first attempt, When we all fall asleep, where do we go?, singing adolescent anxiety against a backdrop of choruses as macabre as they are catchy. Seven Grammy Awards and an Oscar later, the generational phenomenon has not been denied, according to the fervor of an arena filled overwhelmingly with young girls resuming in a deafening chorus almost all of the some twenty-five songs played. in Paris.

Idolatry can arise from a form of inaccessibility. The one for “Billie!” Billy! Billy! » seems to feed on identification. With his pink t-shirt “oversized”In the effigy of women in arms, her cycling shorts and her sneakers hitting the ground to the rhythms of leaping dances, the singer looks more like a girlfriend fan of manga than a starlet choosing to distinguish herself by her glamor and overplay of her sex appeal.

radiant energy

A proximity that was first linked around pieces sharing ill-being, suicidal impulses, mental health problems, having the good taste to make the little monsters inhabiting this instability dance or dream. On the background screen, several villainous creatures – the gothic colossus of bury a friendmenacing dogs I haven’t changed my numberthe giant spider You should see me in a crownthe sharks of Ilomilo… – illustrate sounds that are as disturbing as they are exciting.

Inhabited by a radiant energy, while this spleen could darken everything, Billie Eilish fills the space with her presence, despite the minimalism of her accompaniment. To the right of the stage, drummer Andrew Marshall warms up the omnipresence of machines with his hits. When, on the other hand, the shy silhouette of Billie Eilish’s brother, Finneas O’Connell, deploys his talents as a multi-instrumentalist (guitar, bass, keyboards, etc.). Co-composer, director and ” best friend “ of his sister, four years his junior, he prolongs on stage the creative autarky which makes their success.

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