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LeTransistor A la une Courtney Barnett à la Gaîté Lyrique

Courtney Barnett à la Gaîté Lyrique

Publié le 14 Dec 2015
Rédacteur : Spud

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Courtney Barnett a entamé début 2015 une tournée aussi longue que le nom de son premier album, ‘Sometimes I Sit and Think, and Sometimes I Just Sit‘. Et la Gaité Lyrique est ce soir à guichet fermé, preuve que l’engouement pour la jeune australienne est grandissant depuis sa révélation en Europe en 2014. En ce samedi soir, le public était donc venu nombreux pour reprendre en choeur le single ‘Nobody Really Cares If You Don’t Come To The Party’ et lui permettre de finir sa tournée en beauté.

Courtney Barnett

Le set débute comme son album, par l’entraînant ‘Elevator Operator‘, et la petite Courtney d’imposer sa loi d’emblée : un chant nonchalant, même sur tempo rapide, orné de solos de gratte crados et énervés. Le public, assez anglo-saxon, devient vite très agité, surtout sur le titre ‘Dead Fox‘ ; sans doute car son refrain en mode positive-attitude parvient à faire dodeliner tout le monde de la tête.

Courtney Barnett est très souriante, déconne pas mal entre les morceaux, alterne entre trois guitares, entre riffs noisy et arpèges clairs, avec certains solos joués à genoux… Bref, en dépit d’une formation trio classique, il se passe tout plein de choses sur scène, et même derrière le groupe. Car une fois de plus, la Gaité Lyrique magnifie les vidéos des artistes : le grand mur du fond est ce soir animé de dessins enfantins, parfois psychés, souvent cheap… Tout Courtney, quoi. Et on adhère complètement à son style faussement branleuse, à nouveau mis en valeur sur l’entêtant ‘An Illustration of Loneliness‘.

La chanteuse nous dit être heureuse d’avoir quitté l’Australie pendant près d’un an pour à la fois jouer et découvrir des villes avant de reprendre ses alternances de coolitude et de grosse patate dégingandée. Certaines conclusions sont dantesques et se muent en mur du son, avec larsen et headbang du bassiste chevelu. Puis soudain retour au calme quand elle cite Jack White avant d’entamer ‘Boxing Day Blues‘, titre langoureusement bluesy qu’elle a enregistré chez lui, dans son studio à Nashville.

Après la chanson soi disant “dance”, ‘Debbie Downer‘, Courtney Barnett conclue par deux des morceaux les plus jouissifs de son album: ‘Nobody Really Cares If You Don’t Go To The Party‘, titre qui a le mérite de lancer une esquisse de pogo ! Et ‘Pedestrian At Best‘, avec un chant encore plus éraillé qui rend le public fou. Ça hurle de partout, même au fond de la salle.

Pour le rappel, Courtney Barnett entame ‘All I Wanna Do (Is Have Some Fun…)‘ de Sheryl Crow. Mais la blague est coupée dans son élan quand les membres de Big Scary (qui assuraient la première partie) se joignent à elle pour un dernier titre. La chanteuse pose un flow sur l’intro Nirvan-esque d’’Hystory Eraser’, un peu comme si le spoken word se mêlait au grunge. Le final est bien entendu hyper noise avec notre Courtney roulée par terre autour de sa guitare.

Courtney Barnett est au croisement de tellement d’univers : elle passe des envolées de guitare psyché type The Brian Jonestown Massacre à des riffs suraigus catchy style The Libertines. On discerne aussi l’extrême décontraction d’un Mac DeMarco… En fait, elle nous a évoqué tellement de références qu’on dira simplement que c’était cool.

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Réclame

Sometimes I Sit and Think, and Sometimes I Just Sit, le premier album de Courtney Barnett, est paru chez Mom+Pop/ [PIAS]

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Remerciements : William Piel

Catégorie : A la une, Concerts
Artiste(s) : Courtney Barnett
Salle(s) : Gaîté Lyrique
Production(s) : PIAS
Ville(s) : Paris

Et toi t'en penses quoi ?

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