Letissier has been signed to the independent record label Because Music since 2012. From the moment she bounds onto the stage to break up a mob of fighting dancers, we’re introduced to a whole new aesthetic. Héloïse Adelaïde Letissier, professionally known as Christine and the Queens or simply Chris, is a French singer, songwriter and producer.
The latter reference is particularly prominent in a set that’s laden with imagery of transformation. Expelled from a theatre studies course a decade ago for having the temerity to a) be a woman and b) want to direct, she is meticulous about each detail on display and how it shifts the mood. It’s impossible not to follow her command, especially when followed by calling card ‘Girlfriend’, which sees the dancers alternate between combative muscle flexing and slow motion grinding.
From the moment she bounds onto the stage to break up a mob of fighting dancers, we’re introduced to a whole new aesthetic.
Words: Lisa Henderson. As the song crashes to a close, keen to really hammer home the lineage she’s channelling, she chucks in a quick snippet of Janet Jackson’s Nasty for good measure.Having exhausted the stage, Chris appears in the throng of the circle for the encore, delivering Saint Claude surrounded by phone screens. The raunchiness of ‘Damn (what must a woman do)’ warps into Janet Jackson’s sucker punch ‘Nasty’, while ‘Nuit 17 à 52’ pays tribute to another Jackson with an impassioned verse of ‘Man in the Mirror’. Later, the screens fall away altogether, replaced variously by banks of lights, plumes of green smoke and fluttering fake snow. Looking pointedly at her half-naked body, she bids us goodbye with “I hope you had fun, I certainly did”.After a meteoric rise following the release of her debut album, Héloïse Letissier is back with its slick and sexy follow-up, and she’s out to prove one thing: nobody puts Chris in the corner.The biggest and best tracks of the past week, rounded up and reviewed.The new track is lifted from the Amazon Originals show Hanna.The new song is lifted from her surprise ‘La vita nuova’ EP.The daily videos will take place on Charli’s instagram.It’s been a slow and steady journey for Willie J Healey, but new LP ‘Twin Heavy’ finds the singer coming into his own, and making some new mates along the way.The biggest and best tracks of the past week, rounded up and reviewed.For her new opus, ‘Whole New Mess’ finds Angel Olsen looking to the future but reaching back to the past, to an emotionally-purging set of recordings that would lead the singer to her rawest work yet.Enter your email address for weekly updates on all things DIYWhat type of content do you plan to share with your subscribers? Climbing back onstage to take the spotlight alone while her dancers flex in the front row, her red shirt untucked and drenched in sweat, she leaves with a request: “Stay freaky.” Portsmouth, Bournemouth, wherever, will never be the same.‘Modern theatre cajoled into a pop concert framework’ ... Christine and the Queens performing at Bournemouth International Centre, 17 November 2018.‘Modern theatre cajoled into a pop concert framework’ ... Christine and the Queens performing at Bournemouth International Centre, 17 November 2018.‘A more animalistic physicality’ ... Chris AKA Héloïse Letissier. She’s erased any trace of the old Christine with a new cropped ‘do, half-undone rouge blouse, and a dark backdrop depicting a clearing between mountains.
The otherwise sparse stage is adorned for the first act by a floor to ceiling painting of bucolic rolling hills, creating the perfect backdrop for low-slung single Girlfriend and its sprightly choreography.During the emotionally ravaged Paradis Perdus, the lights on the painting shift and a thundercloud that had seemed to be resting calmly in the distance hovers into view. “This is a safe place,” she smiles. The end of ‘Five Dollars’ sees her contort around the stage as if reckoning with a transformation, before spreading her arms into wings, referencing Black Swan. Woven into the fabric of the show is commentary of a woman’s exploration into identity, fluidity, and sexual agency. “Usually I like to warm up the crowd with bad jokes but I think you’re ready,” she smirks.After a spate of high octane cuts from the new album it’s hard to imagine how the older, more introspective material will fare by its side. Christine and the Queens performing at Bournemouth International Centre, 17 November 2018. “You’ve been really friendly, I appreciate that,” she says, before describing the final song as a lullaby. Opener ‘Comme Si’, sees the singer and her colourful crew bop around the stage while she implores the crowd to “focus on my voice and let go”. Fleeing Paris to escape heartbreak, the depressed, erstwhile theatre student (she was expelled, she says, for defying sexist professors) wound up in a London gay club watching drag queens make their way through a shambolic act on stage. How Chris manages to keep it fun, sexy, and light is her masterstroke. Her debut album, Chaleur humaine, was named one of the best albums of the year by The Guardian, The Independent, Mojo, and NME. At one point, a dancer seems to literally go up in smoke. 22nd November 2018. From the moment she bounds onto the stage to break up a mob of fighting dancers, we’re introduced to a whole new aesthetic. Her failure to grasp the geography of UK coastal towns is quickly forgiven, with the undeniable force of her megawatt stage presence, self-deprecating humour and handful of off-kilter pop bangers briefly transforming the atmosphere-free venue from political party conference to one of a heaving club where anything goes. She senses the twinge of disappointment, but it’s a fake as she skips through the crowd to the pulsating electro throb of Intranquillité. The choreography is so far removed from your typical pop show – at one point, during the harpsichord heavy The Stranger, the dancers mimic the rise and fall of a wave, as if in slow motion – that when they do line up for a typical dance break, as on the horny strut of Damn (What Must a Woman Do), it feels cathartic.
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