Announced to great fanfare in the month of march, the two concerts in paris, Christine and the Queens were among the most anticipated of the year-end. The young woman, who is also called Chris, started his tour just a few weeks ago. It is preceded by a rumour very positive that the French singer the more appreciated abroad has invested in the largest room of France, the Accor Hotel Arena of Bercy, on Tuesday evening, for his “back to paris”.

The show starts on the hour, mark of great professionalism. The young woman appears, short cut, loose-fitting red shirt, black pants and white sneakers, interrupting a discussion on broken sticks between the dancers of the young collective Horde . The number of six, they are one of springs most impressive of the show.

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Cut into tables in a row, the show, very referenced, shows to what point the young woman mastered the codes of the dance, the theatre, by the way, and the recital is more classic. Maybe even too much. The one that was destined to be the staging has composed a show that leaves nothing to chance, very thoughtful, which excludes sometimes the public. It has adopted a bias, minimalist that can destabilize in the vastness of this scene and of this room. Timer light shows pétaradants, Chris, and his four musicians (bass, drums, guitar and keyboards), and six dancers are illuminated like actors: far too low.

Its too low and lack of human warmth

The sound is too low, does not. We often think of West Side Story in gestures large and urban of the troupe, in which the singer naturally finds its place. His body language and his voice are precise and strong. In one of his (too) many interventions are spoken, the singer was amused by its small size in relation to the space of the room.

“It is too big, it’s too big, it’s perfect,” she says, the familiar to the public as usual since its inception. The was dishes in the back of the stage were the coldness of the wallpapers anonymous desktop PC: mountain valley under the fog, clouds… Chris struggles to breathe, warmth to a device that is often lacking. It is a shame that the backing vocals come out of a computer and non of the singers to appear on stage. The sound of the drums and the guitar effects chorusée refer to arrangements typical of the 1980s. The overwhelming influence of Michael Jackson is never far away. It assumes, citing his hit Man in The Mirror .

The public, rather reserved on the new songs, lets burst his enthusiasm on the parts from the first album, released in 2014. It is in moments such as his recovery from Paradise Lost of Christopher that this ultracérébrale manages to evoke emotion. In a tabulation, not devoid of intensity, especially on the tables where she is solo.

signs waved in the crowd in his honor

A character like Eddy de Pretto comes to embrace for Goya! Soda! , one of the songs the most ambitious of his new album. The structures supporting the musicians move over to the concert. On Night 17 of 52 , title track of her debut, she gives dancers and musicians for a face-to-face intimate with spectators for a lot conquered.

In the crowd, the signs “One of Us” and “We Accept You” are brandished, and to the surprise of the young woman. “But who organized it? This is too much” loose-t-it before you sing a cappella. It is in these moments where her vulnerability is finally displayed as the singer moves the most, more than the technical mastery and the formalism that impede too often its intimate link with the audience.

As an encore, it appears in the bleachers, into a simple bra, shirt in hand, before wading through the crowd with elegance. Before disappearing after one and a half hour of the show, Chris says 2019 year of empathy.