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LeTransistor A la une The Libertines à l’Olympia

The Libertines à l’Olympia

Publié le 19 Mar 2016
Rédacteur : Spud Photographe : Stéphane Spitz

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Après un passage un peu décevant à Rock en Seine, le groupe de Carl Barât et Pete Doherty est de retour à Paris pour deux soirées dans un Olympia à guichet fermé avec le nouvel album Anthems for Doomed Youth. Et pour faire patienter la nuée de fans vêtus de chapeaux ronds et de costumes de la garde royale anglaise, plusieurs formations vont se succéder sur scène. Il y a même plus de guests que prévu, conviés par un Pete Doherty très accueillant…

Lock

Le bal est ouvert par Lock, trio féminin aux mélodies assez dark avec une légère tendance art-rock à la Warpaint. Rien à voir avec le garage des Libertines donc, même si la chanteuse est la compagne de Carl Barat. Le titre ‘Click‘ est un peu accrocheur, mais le set est clairement monotone.

Etonnamment, le groupe laisse la place à un chanteur seul avec sa guitare acoustique, qui n’est là que pour un seul titre, dans un style bossa-nova. Il parait bien seul sur scène, d’autant que dans la salle ça papote limite plus fort que lui. A la fin de son morceau/set, Pete Doherty vient le congratuler puis présenter un nouvel invité qui va déclamer un texte engagé, en slam, durant cinq minutes. L’accompagnant sagement, le guitariste s’accapare tout de même tous les regards et les cris. Même s’il s’efforce de rester discret, ses fans sont déjà en transe et semblent inattentifs au texte.

Reverend and the Makers

Le chanteur de Reverend and the Makers fait son apparition, étrangement emmitouflé sous deux manteaux. Et vu l’énergie qu’il déploie, il va vite les retirer. Son charisme et le punch du groupe de Sheffield font mouche. Ca sautille joyeusement dans l’assemblée, surtout sur les efficaces ‘Shine a Light‘ et ‘Heavyweight Champion of the World‘. La recette est simple, avec une basse groovy et une batterie binaire qui fait poum-tchac. L’attention du public ne retombe pas, même sur une jolie ballade comme ‘Makin Babies‘, extrait du dernier album Mirrors sorti l’an dernier. On retrouve ensuite des rythmiques presque ska et des solos de trompette pour un final festif.

The Libertines

Le rideau qui camouflait la scène se lève pour accueillir TheLibertines, qui arrivent sans retard démesuré non plus. ‘Barbarian‘ est le premier titre de leur nouvel album Anthems for Doomed Youth‘, et c’est également l’intro d’un concert qui s’annonce agité. Le sol de l’Olympia rebondit déjà sous les sauts des fans dans la fosse. Carl Barât semble sérieux et concentré, tandis que Pete Doherty tient la forme et semble presque affûté.

Les sauts repartent de plus belle sur un de leurs premiers titres, l’un des plus rock’n roll, ‘Horror Show‘, enchaîné avec le nouveau ‘Fame and Fortune‘ repris en lalala par le public. Mais le concert perd parfois son rythme, avec des transitions longuettes ou des fins de morceaux laborieuses et pas très tranchées qui font un peu retomber le soufflé. Le quatuor reprend toujours le fil avec par exemple un joli ‘What Katie Did‘ enchaîné avec le récent ‘Anthem for Doomed Youth‘, qui sonne déjà comme un de leur classique.

Vient le quart d’heure slows avec ‘You’re My Waterloo‘, joué par Carl Barât au piano et Pete Doherty à l’acoustique sous lumières tamisées. Pour redémarrer, The Libertines lâchent le récent single ‘Gunga Din‘ qui déchaîne l’Olympia, suivi de l’imparable ‘Can’t Stand Me Now‘. Ca slame même un peu, gentiment. Les hourras et les chants des fans prouvent que les nouveaux titres peuvent être à la hauteur des standards d’il y a douze ans.

Quand ils ne se vannent pas, ou qu’ils n’évoquent pas le match du soir PSG-Chelsea, les deux comparses chantent parfois à tue-tête dans le même micro, comme ils en ont l’habitude, notamment sur le jouissif ‘Vertigo‘. Leur musculeux batteur, Gary Powell, est toujours aussi impressionnant, sur une estrade, tandis que le bassiste, John Hassall, reste toujours dans l’ombre sans bouger. Pete Doherty s’essaye parfois à des solos d’harmonica, qu’il lance ensuite négligemment dans le public.

Powell, torse nu, fait le show seul au micro pendant que le reste du groupe retourne en coulisses. Mais la clameur est retombée, tellement le rappel présumé se fait attendre. Pete Doherty revient en agitant un drapeau français et entame la Marseillaise, que l’Olympia reprend jusqu’au bout, à fond. Sur le rappel, d’anciens titres réjouissants retournent la salle, comme ‘Music Wen The Lights Go Out‘, le fameux ‘Up the Bracket‘ et ‘Don’t Look Back Into The Sun‘.

Pete Doherty balance les pieds de micros dans la foule, Carl Barât file son verre au public et The Libertines se retirent après un concert plutôt sérieux, voire appliqué, malgré quelques soucis de rythme. Mieux qu’à Rock en Seine, les deux compères ont chanté moins faux que d’habitude. Mais attention à ne pas être trop proprets non plus…

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Réclame

Lire le compte rendu de The Libertines à Rock en Seine
Lire le compte rendu de The Libertines au Zénith
Lire le compte rendu de Carl Barât and the Jackals à la Maroquinerie
Lire le compte rendu des Babyshambles au Zénith

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Remerciements : Florent [Speakeasy]

Catégorie : A la une, Concerts
Artiste(s) : Carl Barât, Lock, Peter Doherty, Reverend and the Makers, The Libertines
Salle(s) : Olympia
Production(s) : Speakeasy
Ville(s) : Paris

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  • Whitney et Uwade au Trabendo
  • Bachar Mar-Khalifé au Café de la Danse
  • Izzy Oram Brown – Mess
  • Structures et Ella A. Thaun à la Maroquinerie
  • Peaches au Trianon

Gallery

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