"W9 VIP Live", January 9th 2008 Concert! - Page 17

Deepwaters · #**161** 01-17-2008, 01:39 AM

One thing that crosses my mind about the performances (I commented on this at AFC as well) is that they are very complex compared to her old routines. When she does MJ, for instance, she either has a big theatrical prop (the couch) or else a troop of dancers doing a complicated choreography. It's so scripted that she has to focus all her attention on the performance, and can't spare the attention and energy for the audience the way she used to. I think these performances need to be simplified. She needs to sacrifice some of the cleverness in favor of sharing herself.

OK, cutting her a little slack here, this is the first time she's done the planning for her own performances. Before, it was all in the hands of the M/L team, and they were pure pros. So maybe she just needs more experience at it to learn what works and what doesn't.

But I think there's little question that what she's doing now isn't working. Something needs to change. The album's great, but these performances are just awful.

Ben · #**162** 01-17-2008, 02:10 AM

Ok, my turn to inject some positivity here! Aside from Mademoiselle Juliette at Star Academy (during which there was clearly an audio problem), I don't think any of her performances have been awful! Room for improvement? Sure. But awful? Nooo...

I agree that her audience interaction isn't the best it's ever been, but otherwise I've throughly enjoyed all her performances, and they've been fairly well received. Only MJ at Star Ac' and Disques d'Or were overly complex, and while valid don't let RMJ's criticisms of W9 fool you. They're (legitimate) nitpicks from a die-hard fan, but most agree she went down there as well as could be expected. She just wasn't the main draw of the show, and not the megastar she used to be.

lefty12357 · #**163** 01-17-2008, 11:32 PM

Alizée is having to work just as hard as her peers (maybe even harder) to gain fans and CD sales. No one is handing it to her on a silver platter. This comeback stuff is very tricky business and she has to feel her way through it. I’m sure it’s hard for her to know just how to present herself for maximum effect this time around. The world has changed and so has she. There will be bumps in the road and wrinkles to iron out. We all know she has the talent, brains and the charm to pull it off. Regardless, much of her success is in the hands of the music buying public in France and it’s not totally within her control. An artist’s relationship with the audience is give and take. She’s probably not feeling the same vibe from the audience she once was used to and it may be affecting her own response to them.

As far as the live singing issue goes, at this point I will only say that I think I understand what it is about. I have had to work with similar issues in the past. Suffice it to say that she has done a good job singing live before and can do it again. Alizée is a good singer. Her voice is not the sole product of some studio magic. I think most of us here already know that. I have enjoyed her performances, I love the CD, and I’m really fond of Alizée as a person.

Deepwaters · #**164** 01-17-2008, 11:59 PM

OK, maybe the word "awful" was a little bit strong.

I'm glad you guys are coming to her defense, and I don't mean to suggest anything in the Matrix mold. I just think she's trying to do the wrong thing in these performances. She isn't, and cannot be, Mylène Farmer.

Here's what I mean. When I think of Mylène on stage, I think of awesome, dramatic, gorgeous theatrical performances, with huge casts, perfect choreography, incredible lighting and props and costumes. Mylène on stage conveys a message: "I am the Goddess. Worship me!" Pompous as hell, but for her it works.

Alizée, though, can't pull that off, I don't think. Instead, she has always conveyed the message: "I am beautiful and sweet and talented, and I'm your friend, believe it or not. I love you, and you love me, too." It's more intimate and less grandiose. That's her strength, and she should emphasize it rather than trying to go in a different direction. I don't mean she shouldn't ever use any props or theatrics, but simply that when she does, it should all be so second nature that she can spend most of her energy connecting with the audience.

Her voice is still incredible, her dancing too, and she's drop-dead gorgeous as always, but it's her personality that can really shine. If she lets it.

fsquared · #**165** 01-18-2008, 01:01 AM

Quote:

Originally Posted by Deepwaters

"I am beautiful and sweet and talented, and I'm your friend, believe it or not. I love you, and you love me, too."

"I love youuu, you love meeee,
We're best friends like friends should beee...
With a great big hug and a kiss from me to you,
Won't you say you love me toooooooo...."

I know, I know, sacrilege of the highest order. But I just couldn't resist.

Fish · #**166** 01-18-2008, 01:04 AM

fsquared went there, and we, as a community, are incapable of going back.

Roman · #**167** 01-18-2008, 03:20 AM

Quote:

Originally Posted by Deepwaters

OK, maybe the word "awful" was a little bit strong.

I'm glad you guys are coming to her defense, and I don't mean to suggest anything in the Matrix mold. I just think she's trying to do the wrong thing in these performances. She isn't, and cannot be, Mylène Farmer.

Here's what I mean. When I think of Mylène on stage, I think of awesome, dramatic, gorgeous theatrical performances, with huge casts, perfect choreography, incredible lighting and props and costumes. Mylène on stage conveys a message: "I am the Goddess. Worship me!" Pompous as hell, but for her it works.

Alizée, though, can't pull that off, I don't think. Instead, she has always conveyed the message: "I am beautiful and sweet and talented, and I'm your friend, believe it or not. I love you, and you love me, too." It's more intimate and less grandiose. That's her strength, and she should emphasize it rather than trying to go in a different direction. I don't mean she shouldn't ever use any props or theatrics, but simply that when she does, it should all be so second nature that she can spend most of her energy connecting with the audience.

Her voice is still incredible, her dancing too, and she's drop-dead gorgeous as always, but it's her personality that can really shine. If she lets it.

I'd like to agree with you. I have a really hard time answering a lot of Deep's posts even when I agree without writing a book (and even then). I'll just say that it's harder now. I think there's a certain expectation of maturity (whatever that means) that is burdening her more than it was before. Maybe I just have that perspective because I never had to do all this analysis before because in a sense, I had not been born yet when it was done. I just took what was there. Once we get over this thing about how she has changed and is more mature we can just focus on what we like about her performances (we=general public).

"I am beautiful and sweet and talented, and I'm your friend, believe it or not. I love you, and you love me, too." I certainly would like to get that feeling, and even in fsquared's twisted way, if Alizée was saying that to me

. I do sort of feel like at least some of the songs themselves require a bit of a different approach, though, than earlier songs. Though I think Alizée can bring her considerable charm to it.

For instance, I have seen some of the personality that makes me love Alizée coming across recently - like she's just stoked to be here and happy to perform for us. As long as I feel that and she maintains her lovable image, I think it's cool that she comes up with new ways to make the performances interesting. It's the natural and comfortable seeming performances that impress us whatever interesting things she might do. She needs to be well rehearsed to create that. She has her work cut out for her, but I think she can do it.

So, Mylène distinguished herself by what she does being different, while Alizée distinguished herself by who she is being marvelous in a primal way. That's more like what you mean? What I mean?

(and it doesn't hurt to have me paralyzed by her "hotness" either)

Having just read more of some other people's posts about being comfortable. Yes, I think for most people when everyone loves them and the crowd is enjoying the performance they are more comfortable and can let loose more and then it comes off better. I hope that isn't messing with her too much. That's probably part of the skill of a performer is developing the ability to do a good performance even with luke warm reception. Again, though, sometimes the performer needs to take the situation in hand. Like I described before, I was at a Maroon 5 concert and the lead singer Adam Levine was trying to interact with the audience. They weren't responding. He actually took a moment to explain, when you are at a rock concert and the singer does this, you respond this way. Of course, he did it tactfully and the right way, but it was much better and much more fun after he did so and got the crowd singing back to him and so forth. I think maybe it was a learned technique that he bothered to do any of that. Somehow I don't see Alizée exactly doing that, but she did have the sing along and "plus fort!" during Moi... Lolita, which is a similar kind of thing. Yes, any rock concert kind of sucks if the crowd sucks. They energy of the crowd is part of the fun of being there (even when it's Alizée).

lefty12357 · #**168** 01-18-2008, 06:22 PM

I think Fifty-Sixty and especially Lilly Town are songs that lend themselves more to live performance for Alizée’s voice. I am hoping Fifty-Sixty will be more successful for her.

Alizée’s voice is well suited for the recording studio. Her recordings capture the subtle nuances of her voice, which I love. Many of the songs on her new album demonstrate this but could be difficult to perform live. I think her vocal style makes it harder to do live performances in large, noisy concert halls. Alizée would probably sound the best in a smaller and more intimate venue. It would be more like singing in the studio for her. Regardless, I think she can do a fine job on tour once things are set up to be optimized for her vocal and performance style.

rcs · #**169** 01-18-2008, 10:17 PM

Lili could just be in some sort of experimental stage until she finds what suits her.

Roman · #**170** 01-18-2008, 11:28 PM

Quote:

Originally Posted by lefty12357

I think Fifty-Sixty and especially Lilly Town are songs that lend themselves more to live performance for Alizée’s voice. I am hoping Fifty-Sixty will be more successful for her.

Alizée’s voice is well suited for the recording studio. Her recordings capture the subtle nuances of her voice, which I love. Many of the songs on her new album demonstrate this but could be difficult to perform live. I think her vocal style makes it harder to do live performances in large, noisy concert halls. Alizée would probably sound the best in a smaller and more intimate venue. It would be more like singing in the studio for her. Regardless, I think she can do a fine job on tour once things are set up to be optimized for her vocal and performance style.

I know what you mean about the studio vs concert hall thing, but from the once or twice that I heard those little videos from RMJ and other people, I thought Mademoiselle Juliette sounded really good at that concert.

That must have been so awesome to see her there and do the thing with the megaphone for the first time. I wonder if she'll do that every time. You know, it occurs to me that FS is a more complex song and more difficult to sing along to. That may be part of why they choose MJ. It's not that hard to learn. I've already pretty much learned it, though the pleurer thing being in different places on different versions still kind of throws me off. Still, if FS is just a cooler song in general, then there you go. I want her to do Idéaliser too. I would like people to see the range that she has even without bothering to pay much attention (and I want to hear her sing the song). Ok, now I'm just blathering. Bye.