Between electro, song and dance, Suzane's fury

Audio 32:10

By: Valérie Passelègue | Laurent Coulon

For a year, Suzane has surprised us, amazed us, inspired us with her artistic project which combines song and dance, electro music and song with texts. This young French artist released a highly anticipated debut album on January 24, 2020, entitled Toï Toï.

Publicity

Movie poster from "The Fury of the Dragon" by Bruce Lee, 1972. DR

Before we start Suzane, we would like to show you a photo and ask you what inspires you ...

Ah! ( smile ) This is a photo of Bruce Lee, for his film The Dragon's Fury. Indeed, it is a film that I watched a lot with my father, who is a fan of martial arts. And this Bruce Lee came back later when I wanted to make this jumpsuit that I wear every day on stage. I was very inspired by Bruce Lee because I wanted a combi, to enter the arena, to return on stage.

How exactly was the character of Suzane born ? Océane is your real first name… so does the nickname allow you to create a real character ?

I think the nickname allowed me to find a little more freedom. When I am Océane, I judge myself a lot, on my writings, on a lot of things ... Being “someone else”, I allow myself a lot more things. So I feel like I feel more like myself by being Suzane. It is a little the aim of this pseudo.

This nickname corresponds to something specific ?

Of course ! It is the name of my great-grandmother. I stung him because I always found this name extremely pretty, with this “z” in the middle, which comes out of nowhere… I find that it is a name that has a lot of character, and it is a figure feminine that marked me a lot. So I also wanted to pay tribute to him by taking his first name.

Did you know her a little ? Tell us a bit about her ...

I didn't know her well enough ... when she left, I must have been six or seven. But I knew her enough for what it struck me.

Your first artistic expression was dance and not song, attending the Avignon Conservatory from five to seventeen years old. So it's with the classical that you start the music…

I started dancing a little bit by chance when I was five. I was first in a small village near Avignon. My mother accompanied my sister on Wednesday afternoon but she did not have a nanny for me that day so I went with them and, while my sister hated classical dance, I am fell madly in love. Then, at the age of seven, I asked my mother to enter this big school that was the Conservatoire, to find even more advanced techniques. These ten years at the Conservatory have been very intense. I danced every day from 1 p.m. to 7 p.m., except Sunday. I was in dance-studies.

“Behind your wooden bar, except during off-peak hours, do you dream of the Olympia, of being in front of the curious crowd” ... Was it hard to get there Suzane ? Did you think we didn't believe in you ?

When I wrote these words, I was a waitress in a 20th century restaurant, a neighborhood restaurant. And I see myself arriving in the morning, setting up the room, preparing the tables, and dreaming of this Olympia. So much has happened in the meantime. I did not think that all that was going to happen, these are a little premonitory words. It's amazing that a song can come to life, and change mine.

Do you think there was little reason to be believed in you at first ?

Oh yes, indeed, there were few reasons! I've always been used to saying that I wanted to go on stage. People knew I was dancing etc ... but it's true that when you are sixteen, when you are asked what you want to do later (and this question comes very early!), I knew, but we told me that it was not possible, that it was a job based on fantasy and that I had to choose something real. However, I did not understand since I had always worked for that at the Conservatory! And one day I am told that all this is not possible! So yes, there was concern from the adults around me at that time. Then they understood that in any case, my dream had become completely vital, so I was left to do because I am far too stubborn!

And what place did music occupy ?

Music fed me. I started dancing to classical music at the base. Then on French song. I discovered the greats of the text, of the voice. I listened to Piaf, Barbara, Brel a lot when I was at the Conservatory between two lessons to cut a little. I then fell in love with words, with voices, and discovered a new medium which later became essential.

When we read your interviews, we see that two artists often come back as two important references for you : Stromae and Chris…

These are very good references from very singular artists who have broken the codes. These are the people who inspired the new generation. Christine is a multidisciplinary artist… A few years ago, it was said of an artist that he was a singer or dancer or other, in short, there was necessarily a box. Nowadays, multidisciplinarity arrives on stage thanks to people like that. It allowed me to impose myself with my background, singing, dancing, writing, etc. It’s all linked, and it’s that kind of artist that got me there today. So yes, very nice references… After that, I hope we will be able to say one day “ this is Stromae, this is Chris, and this is Suzane ”!

What was the first song you wrote ?

In the crowd , it talks about a little lost girl, and I never took her out. But the very first one I released was The Dissatisfied. There, I said to myself, this one, I'm going to take it out.

What is the origin of this song ?

So I was a waitress and I served a gentleman. He looked very dissatisfied. He would send his dishes back, etc. I did everything I could to try to understand, I didn't know what to do anymore. I went to look for this feeling in me, dissatisfaction. It's something that we all feel after all. And I can see that at each concert, people recognize themselves easily in this text…

You call yourself a “storyteller” ... It's everyday writing, realistic writing that you offer ...

Yes, I really appreciate the texts by Fréhel or Piaf. I pay tribute to them. It is the everyday that inspires me, that feeds me, and of course the characters who make this everyday. I like to try to describe the universe in which I evolve, as a citizen too.

You are releasing a first album, called Toï Toï. In German it means “good luck” or “good luck”. Why this title ?

This title is more a kind of grigri in fact. The first time I went on stage I was told “you toi” and I didn't really understand what it meant at first. And it's true that it's a word that has never left me, especially this year when I had the chance to do a lot of scenes. I had a lot of stage fright and this toï toï accompanied me a lot on stage. So yes, good luck! I want to wish these fourteen songs good luck, may they travel!

Precisely, these songs ... How did you write them ? You told us about your inspirations… Let's talk about your creative process. At the start, was it on an addition book ?

Yes, it started very often like that yes! "Quickly quickly add a book between the sirloin and the cod!". I quickly wrote down sentences, then I got it all at home. To write, I very often start the text before the music. I need enough time to write. I need to see the film, so that it is really clear. And then I can start writing. When I write a song, I am in a thing where I look at everything. I feel like giving birth, it can even be violent. Sometimes emotions can stir. It's a process where my whole life comes into play.

In short, it's a whole thing. And then the music comes to embroider. It is added subtly. My goal is to put the text forward, even if the music is obviously essential because it arrives to support the words. I think that on this album, it was quite successful. Then I see my friend Valentin Marceau in the studio. He is my director and I like working with him because he is very talented and as capable of working with me as with Michel Sardou or others ... He is someone who really understands the DNA of artists . We pushed these songs to the end with Valentin.

So it's rather a lonely process at the start…

Ah yes completely. I am very alone at the start, I really like that. Then I gradually open up for the good of the song. I really like to work like that.

You even made a song about yourself with your stage name, “Suzane”. However, it is not really an egotrip…

No, because I didn't want it to be. I wanted this song to speak to as many people as possible. I don't think I'm the only one with dreams. We all have them. I wanted to remind people that sometimes you shouldn't listen to your loved ones too much because they are toxic because they are worried. They are the first to tell us to watch out, and it's not mean. I wanted to say that we had to forget all that, and that when we have the impression that for us, it is this path and not another, well we must follow it.

Through the texts you write, there are many current topics, such as sexual harassment, homosexuality, ecology, addiction to new technologies ... There are messages that you want to get across ... How are you Are you looking for all this inspiration ?

I think that in my life as a citizen, there are things that speak to me more than others. And as Julien Clerc would say, a song can be useful too. I think music is a great weapon. She can raise questions, with humor or not, without giving lessons. With more frontal writing. I have been touched by these themes for a few years. I try to describe this world in which I live. It's a way of defending myself that talking about this.

We hear that you are an artist concerned, even committed ... What do you think of this commitment of the artist ?

When the artist is engaged, it is because human beings are already involved, I believe. We are not all committed artists, and fortunately. Everything is needed. Love songs, committed songs. I think so, I am like that ... Suddenly I stop on this kind of themes. The word “concerned” is very correct. I will not do a demonstration every time because unfortunately I do not have the time, but I want to express myself through art and music. It's my way of showing my commitment.

In “Where's the after-sales service ?”, We are clearly between song and electro… How did you come to this osmosis ?

For me this contrast is obvious. I listened to French songs so much when I was young, then I came to electro around seventeen years after the Conservatoire. I went out a bit in clubs at that time, where I discovered Daft Punk, Vitalic, Justice ... I found it very powerful and it never let me go. A real slap. When I started making music, it seemed obvious to me to integrate all of this. Now, that's all that makes my DNA today.

Your artistic project therefore combines dance and music. How do we make it happen when we are alone on stage, and when we are the most programmed artist at festivals in 2019 ?

Since my first scene at the Vauréal Forum in 2018, I have been experiencing real meetings with the public. So I'm not really alone! With my Akaï Mini trigger I balance the sounds when I want, it's an extreme freedom for me on stage. It's so different from the time of classical dance with my little bun well aligned, the same lipstick, etc. I even had to say to my mother “then I am the one in front on the right” (laughs) so there on stage I went at all. And it's true that not having a choreography to respect, I feel good like that. I dance, I can improvise, there is nothing fixed.

Are you more of a “tracker” type before going on stage ?

Oh yes I am. But at the same time, it's stage fright that gets me on stage. It's an adrenaline rush, but it can also be a bit paralyzing. You have to be careful, but it's true that this year I was lucky to have nothing but nervous fright, and that you-you who accompanies me to go on stage. Each time I try to have a little ritual by warming my body or my voice. I'm pretty demanding on stage, I think it comes from classical dance. So here, I really try to prepare because I think that the scene, it deserves. So I do everything to deserve it.

You also did a mini tour in China last year…. What feeling did you keep of it ?

At the beginning I said to myself “but why is my turner sending me to China?”. I told myself that they would not understand my language and that they would not care. On the contrary, I was very well received. Not like Madonna but still! It was very enriching because this is where I wrote Il est Où SAV? because I was particularly shocked by the pollution in Shanghai, there was a permanent and dense smog everywhere, we came back to the hotel and we wiped our noses! I told myself that one day the world would be like this ... It was very intense, I do not regret having left for China and I hope to return there.

What is your dream today Suzane ?

I still have a lot. But there is one that will happen on December 1, 2020, I knew it a few days ago and I share it with you: my first Olympia will take place on this date. I find it crazy. I can still see myself writing these words about this fantasy in this restaurant. I dreamed of it and there I see marked “Suzane at the Olympia on December 1st”. My dream is that I hope I never lose this thing of being impressed by what happens to me. What music brings to life.

Interview by Valérie Passelègue and Laurent Coulon, for RFI and La Fabrique Culturelle.

Newsletter With the Daily Newsletter, find the headlines directly in your mailbox

Download the app

• Music