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LeTransistor Concerts Orelsan, artiste mainstream

Orelsan, artiste mainstream

Publié le 1 Jun 2012
Rédacteur : Benjamin Lemaire

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Hier je suis allé voir Orelsan

Pas tellement pour écrire sur LeTransistor, ni pour faire des photos. Parceque j’aime bien et je voulais voir un peu ce qu’il devenait ce petit Aurélien qui a échangé sa casquette contre des cheveux. Pendant que je discutais, bière à la main, des Popopopos avec un directeur de label, je m’étonnais du public qui passait…

Je me rappelle d’Orelsan dans un Bataclan pas rempli il y a 2 ans avec trois grognasses en manque de bites qui gueulaient sur le perron. Et cet album soi disant polémique à cause d’un titre qui n’y figurait pas. Et cette liberté d’expression baffouée. Et ce second degré ignoré. Et cette censure qui lui a couté une partie de sa tournée et qui, malgré ce qu’on a pu dire et lire, ne lui a pas fait tant de publicité…

L’Olympia se remplit.

Je me rappelle de Suicide Social, reçu quelques mois avant la sortie de l’album. Je m’étais dit : “cet enfoiré est un génie”. En quelques minutes, il remet tout le monde à sa place, tape sur tout ce qui bouge et ça avec un minimum de démagogie. Le texte est bien écrit, la prod’ est bonne. Le retour d’Orelsan s’annonçait vraiment bien.

Je rentre dans l’Olympia et me cale dans un coin. Kyan Khojandi (aka “le mec de Bref”) et Norman Thavaud (aka “Norman”) créént des attroupements au balcon.
Premier titre. La génération post-tetris remet le karaoké au gout du jour, comme si Raelsan était le ET des années 2010, passé de l’état de rappeur loseur à celui d’icone 2.0.

Je me rappelle aussi de la première écoute de l’album. Des textes tantôt engagés, tantôt personnels, jamais superficiels et surtout jamais sans fond ni raison. Un album mur, clairement destiné au public de trentenaires qu’il draine à ses concerts à base de référence aux tortues ninjas ou à Shinobi sur 1990. Moment que choisit Oxmo Puccino, emblème de la génération hiphop avec son Opéra Puccino, sortie l’année où sentiment national était synonyme de Coupe du Monde.
Ont ils vu la référence au Wu Tang sur “chimi-chimio chimiothérapie” qu’ils connaissent probablement autant que Scatman ?

Mais que chantent ces milliers d’adolescents de cet Olympia rempli ? Leur Marseilleuse à eux, sorte de chant dont on oublie le texte au profit de ce qu’il représente ? Un Amoureux de paname mis au gout de jour ?
L’artiste, la star, qu’ils adulent ce soir, qu’ils ont pour la plupart connu lors de son second album, tient des propos crus et cruels, teintés de second degré. J’en viens à me demander ce que pense la lycéenne d’une seizaine d’années qui devant moi crie les fins de punchline d’Orelsan comme “Où t’était petite pute, quand est-ce qu’on mange ?” ou “Suce ma bite, pour la Saint Valentin”.

Le concert continue et l’ambiance augmente, même sur les titres calmes et personnels comme Finir mal. Les feats s’enchainent : Eklips, Nessbeal, Toxic Avenger. Bref, Kyan monte sur scène juste avant LE single, La terre est ronde.

Au fond j’crois qu’la terre est ronde
Pour une seule bonne raison…
Après avoir fait l’tour du monde
Tout c’qu’on veut c’est être à la maison

Orelsan est entré en playlist sur NRJ et dans la cours des grands grâce à cette soupe pop démago digne d’un album de Zaho (oui, t’avais oublié qu’elle avait existé, justement). Reprise par l’Olympia pendant plusieurs minutes, c’est clairement le tube d’Orelsan. Pourtant celui dont l’écriture est sans intérêt. Celui où il n’y a rien à comprendre.

C’est peut être ça réussir dans le show biz. Un compromis entre le chant de sirènes d’NRJ et celui de tes potes qui étaient là pour toi quand plus personne ne voulait te faire jouer. Un chemin sinueux et hasardeux avec d’un côté le Orelsan du début qui galère sans oseille et de l’autre celui qui va faire un un Zenith devant un parterre de collégiens. Un parcours qu’Aurélien assume à travers ce titre, mou compromis au milieu d’un album tranché, bien écrit et agréablement produit.
Un parcours de l’indé au mainstream qui n’est pas sans rappeler celui d’1995 qui grimpe justement sur scène pour un des six rappels de la soirée.

Le concert s’achève comme le lancement de l’album a commencé, sur un magnifique Suicide Social prenant, également repris en chœur par l’Olympia (mais quand même sifflé sur le passage « parisien »). Orelsan s’écroule. Le public se lève.

Et elle est là la conclusion. A ma gauche Aurélien Cotentin, bientôt 30 ans, en train de kiffer un des moments les plus agréables de sa réussite. A ma droite 2000 personnes, heureuses de voir leur idole, celui dont ils chantent les paroles dans leurs chambres, avec lequel ils s’imaginent dans un clip quand ils marchent dans le rue, écouteurs dans les oreilles.

Au milieu, moi, égoïstement déçu de devoir partager avec des milliers de personnes qui lui ont valu ce soir son disque de platine remis sur scène. Quand on suit et qu’on défend un artiste, on est parfois déçu de le voir exposé au public comme ça, comme si on le perdait un peu.

La Marolle morale de cette histoire c’est que… rien à foutre. Nique Ta Morale.

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Remerciements : Anne Sophie, Gabriel, King Mumu

Catégorie : Concerts, Editoriaux
Artiste(s) : 1995, Eklips, Nessbeal, Orelsan, Oxmo Puccino, Toxic Avenger
Salle(s) : Olympia
Production(s) : 3eme Bureau, Warner Chappell
Ville(s) : Paris

3 réactions »

  • Timekeeper :

    Bof, l’ado de 16 ans… je connais des gosses de 7 ans qui écoutent son album “c’est un peu vulgaire”, ah…

    Le 1 June 2012 à 17 h 10 min
  • Orelsan, artiste mainstream | Quo Vadis ? :

    […] Initialement publié sur LeTransistor […]

    Le 12 November 2013 à 14 h 08 min
  • Entretien avec Albin de la Simone - Le Transistor | Le Transistor :

    […] l’attention sur un artiste qui nous séduit plus intimement… » Le jury était présidé par Orelsan, donc cette fois-ci, logiquement c’est la chanson à texte qui va remporter le prix ? « Il y a plein de musique pour lesquelles je […]

    Le 23 April 2014 à 10 h 30 min

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