Mylène Farmer en concert
Mylène Farmer en concert is Mylène Farmer's 1989 concert tour in support of her second studio album, Ainsi soit je.... It was the first tour of the singer.
Introduction
In 1989, five years had passed since the first hit of Farmer, and other successful songs had crowned the singer's career. However, she always sang in play-back when she was invited on television. As a result, some people believed that Farmer was not a real singer. Thus, to prove her talent to her critics, Farmer scheduled a series of concerts for May 1989 in Saint-Étienne and at the Palais des Sports for a total of nine shows."La Tournée 1989" According to Sophie Tellier, one of the dancers, Farmer thought at the beginning that she would never be able to go on stage, and then she saw this tour as an "incredible challenge". Farmer admitted that she knew before her tour that she would be the subject of criticisms, that is why she got ready physically and artistically with a great perfectionism. She chose the Palais des Sports, because she explained that she "hated the intimate places" that "prevent her to find pleasure" and that she needed big spaces. In October, she revealed that she will perform 16 songs on stage.Every effort were made by Farmer and Boutonnat so that this concert is huge, whether it is at the level of the stage set, the music, special effects, choreographies... As these concerts were "a real triumph", a tour was scheduled adding 44 shows mainly across France, but also Switzerland and Belgium. Because of the smallness of some concert halls and the enormous size of the stage set, several shows were forced to be cancelled. Other shows were postponed. All the concerts hall were full every evening. Farmer was also the first French female singer to sing in the great hall of the Palais omnisports de Paris-Bercy.
Before going on stage, Farmer had an intensive athletic training including running, physical and breathing exercises, and was on a diet. She also took lessons of singing. In an interview, she said about the concert : "I really eagerly awaited the moment to try this experiment. Today, I want to go there. I feel I'm able to do it. A second round is beginning. I don't want an intimate concert hall. I need wide open spaces, a breath.""Mylène Farmer demain mercredi, au Parc-Expo", October 24, 1989 She confessed that she was anxious at the idea of singing on stage and that she didn't manage to sleep because of that. However, she considered this show as "an immense pleasure".
Thierry Rogen, who has been involved in the elaboration of the show, said in an interview that this concert was "one of most beautiful professional experiences, but at the same time one of worst". According to him, preparations for the concert were very difficult, because Farmer and Boutonnat had a high level of professionalism and they wanted to produce a great spectacle. He explained: "We were scared until the end to not be up to the task. We were the first to put synths and movies on stage, with a technology that was not so sophisticated as it is today. Mylène's discs were so sophisticated in the production that we could not go on stage and just put a drummer, a bass player and a guitarist. It needed that the audience find again on stage the color of albums which contained multiple sequences and programming. Therefore, in addition to the vocalists and Mylène on stage, there were also some backings, which included footage of voices. Perhaps it is this that has led criticism, because some people said that the sound was too great to emerge only from the stage." He confirmed then that Farmer had never sung in playback during this tour.
The basis idea of the stage set was "the passage of time". Boutonnat and Farmer wanted to create "a little gothic atmosphere, mixing mysterious, deep and old things", connected to the psychoanalysis. All should be "both thoughtless and strong". Finally, a cemetery was chosen by the singer to frame her show and "her arrival on the stage resembled that of a ghost coming out of a tomb". Indeed, the atmosphere of these concerts was rather sad and cold. The white and the black were the dominant colors of the show. The transport and the assembly of the stage necessitated enormous technical means. Spectators were not allowed to photograph the singer or the stage, because an agency was specially in charge of this work.
After the first shows, Farmer said that through these concerts, she was able for the first time in her life to have confidence in herself.
Critical reception
Negatives comments
; The lack of talentAbout the concert in Lausanne, a critical article published in Le Matin, with headline "A dish for nothing - When the futile attached to the unnecessary and unpleasant", said: "There was in this concert no emotion". It described the musical performance as an "indescribable resonant cacophony" and considered that the choreographies were "a nullity having equalled only by the stupidity". Highly critical, Le Parisien held that "this show mixes all the clichés from across the Atlantic, spiced with a local pseudo-culture that confuses 'spectacular' and 'ocular spectrum'". The article stated : "It is well done, without a soul, but without vulgarity. Icy, but colossal". It qualified Farmer's performance with words such as "poor swaying hips", "streak of voice" and "neurotic look". It concluded by saying that this show "does not bring pleasure, nor happiness" nor "talent" and it is a "swindle".
; The lack of emotion and a sad ambiance
Several press articles criticized the show for a lack of emotion or spontaneity. Télé Moustique concluded that, in spite of a "redoubtable professionalism", the production is "rigorous", "without any commitment, without endangering which makes shiver". Very critical, an article published in L'Humanité considered the concert as "impeccable", but the lack of spontaneity in the show leads the author to conclude that "Farmer takes the mickey out of her public". An Alsatian newspaper described the concert as "prefabricated". La Nouvelle République du Centre described the concert in Poitiers as being "satanic, grand, perverse, sulphurous, fascinating, on the verge of the uneasiness".
; The lack of dialogue with the audience
According to a press article, what "has failed the most to this performance is generosity". Indeed, except a 'good evening' and a 'thank you', Farmer didn't speak to her audience and according to this article it is possible to "wonder where the love comes from the public for a too cold" singer. In the same way, while Le Dauphiné libéré admitted that the show was "perfect", it criticized the "contact with the audience was disappointing".
; The too loud sound system
Many critics blamed the show for its too loud music. For example, an article underlined "the profusion of special effects, a grandiloquent stage setting", but also "a high-powered and often rough sound system", concluding : "Everything for the eye, nothing for the ears". Another article declared that Farmer had taken care of the visual aspect of her show, with original choreographies, but that what she had sung was not very audible. L'Echo du Centre recognized that "choreographies were remarkable and perfectly adjusted", but expressed a regret about the sound system. La Dépêche du Midi asserted that, "in spite of a so little acoustic and too synthetic music", Farmer "pulled through with the honors". La Libre Belgique considered that the "intrusive" sound system which "prevents from understanding texts", is perhaps "the main criticism" against this show, adding that Farmer "has a voice, some charm and the talent", but that the concert "misses improvisation and dialogue". In the same way, Le Provençal said :"The sound saturated by instruments leaves only a tiny space to the small vocal cords" of Farmer. Figaroscope said that "Farmer disappointed by her repeated absences and a sound system grinding her fragile organ". As for Le Courrier picard, it described as "errors of course" the "blaring sound system" and the "blinding lights" and predicted that Farmer would not perform other tours after that one.
Positive reviews
; The talent of FarmerConversely, certain media praised the talent of the singer. About one of the first shows at the Palais des Sports, France Soir said: "Her show, rhythmic and very calibrated in the fantasized register that she likes, is that of a real professional", with a "fine gesture". Var Matin stated : Farmer's work "almost reaches the perfection" and "combines grace to quality". About the performance in Lausanne, a Swiss newspaper said that the show was "beautiful" and Farmer made a "real professional work". Le Dauphiné said that Farmer "has the necessary scale to compete with the sense of the show which the Americans have". Lyon Figaro considered that the show in Lyon "splendidly demonstrated the supremacy of the singer on the French market". According to L'Est Républicain, after her concerts of May in Paris, Farmer proved that "she was intended for the stage" and that her performances are able to "silence her last critics". After the performance in Fréjus, Var Matin said that, in a "mystic atmosphere", Farmer "gave all the measure of her talent".
; The greatness of the show
Podium described this show as "a memorable concert", with its "naughty choreography", "exquisite staging" and "luxurious costumes". The article stated : "Mylène Farmer on stage, it is a real videoclip in three dimensions, the fury and emotion at the power ten, a festival of strong images". According to a Swiss newspaper, "the audience was not disappointed. No place is conceded to improvisation, the songs are refined in the extreme". France Soir declared that the concert in Saint-Étienne was "fascinating" and "magical". Sud Ouest stated that the show is "well conceived", "every song is highlighted by an original stage setting and choreography", with "beautiful costumes and perfect lighting effects". It also qualified the show as a "big spectacle", in which "the choreography looks like ballets". According to L'Alsace and L'Express, "the show kept its promises" and was a "total triumph". La Montagne stated : "The surprise came from the real visual show, magnificently settled. The work on the lightings and the stage setting is the sign of the very great class". Le Méridional qualified this concert as "bewitching".
Commercial success
For only the concerts at Paris-Bercy, 35,000 tickets were sold in a very short time. 40,000 people attended her single concert in Brussels, 4,000 in Grenoble, 5,000 in Fréjus, 14,000 in Lyon, 7,500 in Lausanne, 2,500 in Rennes, 6,000 in Lievin, 6,000 in Nantes, 3,500 in Mulhouse, 2,500 in Strasbourg. According to Farmer, approximately 7,000 people attended each of her shows.This tour was one of the more imposing in France at that time: indeed, it cost over 40 million francs and more than 300,000 people were at this tour. For this tour, there were eight dancers, seven musicians, three singers, 50 technicians, five trucks and 38 tons of equipment.
Through her successful concerts at Bercy, Farmer "demonstrated that she had become one of the largest ".
Set list
| No | Song | Costume | Choreography | Comment |
| 1 | "Ouverture" | This instrumental song which lasts six minutes was composed by Laurent Boutonnat. It includes screams of children and animals. It concludes with the rising of the curtain by a monk wearing a hooded raincoat who opens the gates of the cemetery. | ||
| 2 | "L'Horloge" | Black veils, transparent black cloak, and black gloves. | No | The song begins with the sound of the hand of clock. Farmer's silhouette appears in a flash of light between two tombs in the center and at the back of the stage. The singer comes down a long staircase with her arms outstretched, like a vampire. She is dressed like a boy. After singing, she returns to the back of the stage into a rhythmic walk and goes away by another staircase behind the stage, and enters again a grave. The stage is then hidden by the spotlights facing upwards. |
| 3 | "Plus grandir" | Same costume, without the cloak and gloves. White collar, small white socks. | Rhythmical choreography performed with two female dancers. | Farmer reappears on stage with two dancers behind her who reproduce the same gestures. At the end of the song, the singer said "good evening" to the audience. |
| 4 | "Sans logique" | Same costume | Collective choreography inspired by the 18th century, composed of large gestures and these movements become smaller as if Farmer was bound by twine. | When the music begins, Farmer curtseys several times, and the phrase "This is a blank formatted diskette" is repeated throughout the performance. About the middle of the song, the singer hits the ground with her microphone and gets up again immediately. At the end, the dancers disperse. |
| 5 | "Maman a tort" | White pyjamas, socks | No complex choreography. Farmer and Carole Fredericks make a few steps. | Vocalist Carole Fredericks plays the role of a nurse. In a lengthy monologue, she complains about one of her female patients, who is difficult to live with. Farmer, hitherto hidden beneath the full dress of Frederick, suddenly appears. She wears a pyjamas and performed the song by waddled like a little child. The song is very similar to the original one, but at the end the two women sing a long rap passage in which they seem to quarrel. Fredericks, playing the role of the mother, says : "Je suis ta mère, alors tu es ma fille", and Farmer replays to her : "Je ne suis pas ta fille, et tu n'es pas ma mère". Then Farmer disappears, while Fredericks gets back to her place while laughing. |
| 6 | "Déshabillez-moi" | Black latex dress with sleeves fastened along the body that greatly limit arm movements. | No | From the first notes, spotlights are changing colors. Farmer sings with a microphone on a base, and sometimes she pretends to laugh. Her bondage dress rendered Farmer unable to undress herself, which explains why she wore it for the song of which title would be translated to English as "Undress Me". After a final "Déshabillez-vous !" and an explosion of fireworks, a total black enables Farmer to leave the stage to take off her dress. This performance is one of the funniest moments of the concert. |
| 7 | "" | Tight-fitting black dress with pieces hanging on each arm. One of Farmer's hands gloved. | No choreography, just a few steps along the stage. | This sad song was preferred to "Dernier Sourire" at the time. In the musical introduction that lasts more than three minutes, beating thunder mingle with the song's melody. The light is subdued and spotlights track the movement of the arm of the singer. The song is performed with great emotion. At the end, there is a total black and Farmer leaves the stage to change her clothes. |
| 8 | "Pourvu qu'elles soient douces" | Red spandex pantyhose, heel boots, transparent gray veil. | Very dynamic collective choreography, with suggestive movements | The song begins with a set of lights. Farmer, back on the podium, moves her hips and plays with her microphone. The dancers come on stage by the stairs and form a circle. While the musical bridge continues, Farmer joined the dancers who remove the bottom of her dress ; two of them lift the singer. There are a few moments of play-back during the remixed musical bridge. At the end of the song, the dancers leave the front of the stage, and Farmer presents the musicians. The guitarists and the cellist play a long musical bridge with very rock sonorities to let time to prepare the stage for the next song. |
| 9 | "Allan" | Black and white checked trousers, grey jacket. | No choreography, only a few steps. | The song has an introduction of 1:30 performed by Carole Fredericks. |
| 10 | "À quoi je sers..." | Same costume | No choreography, just a few steps. | The song is similar to the studio version, but the introduction was slightly modified with a few guitar riffs. After the performance, Farmer left the stage by a staircase. "À quoi je sers..." was not performed at Palais des Sports, in May. |
| 11 | "Sans contrefaçon" | * Farmer: same costume. She turns her jacket and wears a cap with the same patterns.
| First, Farmer performs a choreography moving her hips, and then she is joined by all dancers. | Dancers come in holding hands and start a choreography during which they mime a street brawl. Farmer asks the audience to sing the refrain with her. |
| 12 | "Jardin de Vienne" | Farmer removes the jacket and the cap and wears a gray shawl. | No | The song, performed in a version similar to the album one, is one of the sad and moving moments of the show. |
| 13 | "Tristana" | * Farmer: red coat-dress, red boots and leather gloves * Female dancers: Russian farmers * Male dancers: Soviet soldiers | The choreography is based on the video : first performed by all the dancers, and then only by Farmer and two soldiers. | In the introduction, wind noise and cries wolf can be heard and there is some white smoke. Farmer leaves the stage huged by two dancers. |
| 14 | "Ainsi soit je..." | Black patterned dress | No | The song has a musical introduction which lasts two minutes, played on the guitar and strings. Farmer begins crying from the second refrain. |
| 15 | "Libertine" | Costume of the 18th century, similar to that of the video : black trousers, white shirts, red boots and long red gloves. | Collective choreography | Farmer and Sophie Tellier are back to back, and the winner shot of the singer marks the beginning of the song. Then the dancers hold candlesticks and fans. After the song, Farmer presents the musicians while many fireworks illuminate the stage, then leaves it by a staircase. This song is the longest one of the concert. |
| 16 | "Mouvements de lune " | Same costume | No | It is a musical interlude plus a chorus of monks. Meanwhile, Farmer is changing costume. |
| 17 | "Je voudrais tant que tu comprennes" | Black dress and black gloves | No | This song is a moving cover originally recorded in 1966 by Marie Laforêt. |
| 18 | "Mouvements de lune " | Same costume | No | Farmer is leaving the stage, she does a goodbye with the hand, while the gates of the cemetery close. |
Tour dates
There were a total of 52 shows, from May 11 to December 8, 1989, in three countries :1989 Tour| Date | City | Country | Venue | Refs |
| May 11, 1989 | Saint-Étienne | France | Palais des Sports | |
| May 18, 1989 | Paris | France | Palais des Sports | |
| May 19, 1989 | Paris | France | Palais des Sports | |
| May 20, 1989 | Paris | France | Palais des Sports | |
| May 21, 1989 | Paris | France | Palais des Sports | |
| May 22, 1989 | Paris | France | Palais des Sports | |
| May 23, 1989 | Paris | France | Palais des Sports | |
| May 24, 1989 | Paris | France | Palais des Sports | |
| May 25, 1989 | Paris | France | Palais des Sports | |
| September 19, 1989 | Grenoble | France | Summum | |
| September 21, 1989 | Valence | France | ||
| September 22, 1989 | Dijon | France | ||
| September 23, 1989 | Fréjus | France | Arènes Romaines | |
| September 24, 1989 | Avignon | France | Parc des Expositions | |
| September 26, 1989 | Sanary-sur-Mer | France | ||
| September 29, 1989 | Montpellier | France | Le Zénith | |
| September 30, 1989 | Toulouse | France | Palais des Sports | |
| October 1, 1989 | Toulouse | France | Palais des Sports | - |
| October 6, 1989 | Limoges | France | Palais des Sports et des Fêtes | |
| October 7, 1989 | Montluçon | France | Athanor | |
| October 8, 1989 | Le Mans | France | La Rotonde | |
| October 10, 1989 | Lyon | France | Halle Tony Garnier | |
| October 11, 1989 | Clermont Ferrand | France | Maison des Sports | |
| October 13, 1989 | Lausanne | Switzerland | Palais de Beaulieu | |
| October 14, 1989 | Annecy | France | Place des Romains | |
| October 16, 1989 | Sanary | France | ||
| October 18, 1989 | Rennes | France | Salle omnisports | |
| October 20, 1989 | Brussels | Belgium | Forest National | |
| October 21, 1989 | Brussels | Belgium | Forest National | |
| October 24, 1989 | Bordeaux | France | Patinoire Meriadeck | |
| October 25, 1989 | Angers | France | Parc des Expositions | |
| October 27, 1989 | Poitiers | France | Arènes | |
| October 28, 1989 | Pau | France | Foire-Expo | |
| November 4, 1989 | Valence | France | Mammouth, Granges-lès-Valence Originally scheduled on September 21 | |
| November 6, 1989 | Valence | France | Mammouth, Granges-lès-Valence | |
| November 8, 1989 | Chartres | France | ||
| November 10, 1989 | Lorient | France | Parc des Expositions, Lann-Sévelin | |
| November 11, 1989 | Tours | France | Parc-Expo, Rochepinard | |
| November 14, 1989 | Perpignan | France | ||
| November 15, 1989 | Sanary-sur-Mer | France | Esplanade de la mer | |
| November 16, 1989 | Marseille | France | Palais des Sports | |
| November 17, 1989 | Bourg-en-Bresse | France | ||
| November 20, 1989 | Caen | France | Parc des Expositions | |
| November 21, 1989 | Reims | France | Parc des Expositions | |
| November 22, 1989 | Besançon | France | Palais des Sports | |
| November 24, 1989 | Lons-le-Saunier | France | ||
| November 25, 1989 | Metz | France | Parc des Expositions | |
| November 26, 1989 | Lieven | France | Lieven | |
| November 28, 1989 | Montbéliard | France | ||
| November 29, 1989 | Épinal | France | ||
| December 1, 1989 | Rouen | France | Parc des Expositions | |
| December 2, 1989 | Nantes | France | La Beaujoire | |
| December 3, 1989 | Amiens | France | Centre d'Expositions et de Congrès | |
| December 5, 1989 | Mulhouse | France | Palais des Sports | |
| December 6, 1989 | Strasbourg | France | Rhénus | |
| December 7, 1989 | Paris | France | Palais omnisports de Paris-Bercy | |
| December 8, 1989 | Paris | France | Palais omnisports de Paris-Bercy |
Credits and personnel
- Production: Laurent Boutonnat and Thierry Suc
- Editions: Bertrand Le Page
- Design entertainment: Laurent Boutonnat and Mylène Farmer
- Set designer: Hubert Monloup
- Costumes designed by: Jean-Paul Gaultier
- Make-up: Pascal Thiollier
- Hair: Rosa Perez Casais
- Lighting design: Jacques Rouveyrollis
- Sound: Thierry Rogen
- Production director: Thierry Teodori
- Artistic direction: Laurent Boutonnat
- Musicians: Bruno Fontaine, Slim Pezin, Jean-Philippe Audin, Philippe Drai, Patrick Bourgoin, Christian Padovan Yves Sanna
- Choristers: Carole Fredericks, Beckie Bell
- Choreographies: Mylène Farmer and Sophie Tellier
- Dancers: Sophie Tellier, Christophe Danchaud, Marianne Filali, Pascal Montrouge, Edwige Chandelier, Bruno Balto, Georges Barrier, Alicia De La Fuente
- Sponsors: NRJ, Coca-Cola
- Photos: Marianne Rosenstielh / Sygma