TF1 offers this Friday entertainment mixing sketches, music and nostalgia with
Soprano: return to the 80s
.
After a trip to space, the singer will try to return home.
Problem: his ship wins in 1986. Accompanied by Camille Combal, he will try to find a solution.
The singer confides in
20 Minutes
on the preparations for this program.
A French astronaut is back from space and, surprise, it is not Thomas Pesquet. This one has a Marseilles accent, fills the concert halls and organizes its own evening this Friday on TF1. While his return to Earth has been planned for a long time, Soprano will have to face a technical problem: the vessel through which he travels will send him in the past, in 1986. To help him find his family, the singer will call on a Camille Combal still teenager, cap screwed on the head.
Soprano: Back to the 80s
is meant to be a mix between a concert and entertainment.
On set, the rapper will perform several of his titles such as
Near the stars
,
Forrest
or
Dingue
and will share duets with his guests on key titles from the 80s. These performances will be interspersed with sketches in the company of Camille Combal, straight out of the box. 'a
Stranger Things
universe
.
Soprano unveils the backstage of this evening at
20 Minutes
.
How was the link between your album, the shooting of the clips and that of the show?
I adapted the show to everything I had already started working on for a year.
It had been at least six or seven months since we had already shot the first clip.
To be able to be connected, we linked everything, whether it is the clips, the promo.
We took the footage we had already shot for the clips, we mixed them with the footage from the show, we kept the room and the ship.
What means did this evening ask for?
There were a lot of resources and a lot of time, I worked a lot.
As I speak to you, I'm shattered because I made the album, the clips, the show, the promo at the same time.
It took a lot of work.
The most difficult, the most important and the most fun is to be able to create a bridge with each profession that has worked on the clips, on the show and my album to have the same images.
Everyone thought it was new to link an album to a bonus TV show.
What importance do you give to the visual of your projects in your career?
I focused the
Star Hunter
album more
on the image.
When I watched Michael Jackson's music videos, they were mini-movies.
We entered a universe and we made people dream.
It was important on this album to support the visual.
Afterwards, of course, we put in a lot of financial and human resources but in the end, we are super happy when we see the clips, we have the impression of seeing the films we were watching at the time.
Even for the show, we took the lead for the visuals.
Why did you choose the 80s?
Even if you can't see it, because everyone thinks I'm 20, I'm an 80's guy (laughs). I was born in 79. The trigger came to me when I started working on my album. The second song I did for my album was
Near the Stars
and I thought I was just going to do 80s tones. When my 14 year old daughter listened to it for the first time, she said "Daddy, you're too cool. It's the sounds of now!" "What do you mean, am I too cool?" And in fact I got it: when you listen to Dua Lipa, The Weekend, you are in the delirium of the 80s. The circle has come full circle. That's why I went into this delirium because it was easy for me, it was my nostalgia but also because everyone is in there today.
Did the filming of this show at Seine Musicale seal your reunion with the public?
It was the first time and it gave us the chills.
It wasn't sure that we were going to have an audience.
Even though it's a TV show, it was a bit of a gig.
The musicians play behind, the decor is extraordinary, it is a vessel in the middle of the Seine Musicale.
It's close to a concert hall.
All the artists said it felt weird to see an audience.
You can feel the energy that you missed for a year and a half.
Five years ago you were on top of Everest.
Two years later, you were flying like a phoenix.
And this year, you are in the stars.
Is this a logical continuation for you?
Yes.
It is a metaphor to tell the youngest, or even those of my generation, that we must continue to move forward, go even further without setting limits to live things to the fullest.
Life is so short.
We understood last year that anything can happen.
My concept, with each album, is to go even further.
The next one is going to be different but we're not there yet.
Do you see this show as the preamble to your stadium tour next year?
History has a relation.
I don't want to spoil the stadium tour too much but it's true that I land in the stadiums as if I had managed to get out of the 80s and I was going to tell the public everything that happened to me during the year.
It has a link but it is not the same setting.
As it is in a stadium, we said to ourselves that we had to do a participatory concert, that people come out of the stadium with wet t-shirts, full of party favors, sweating.
We have a setting which, I believe, has never been seen in Europe.
Even the album, I wrote it with the stadiums in mind.
Will the preparations for this show be included in your documentary to be released on Disney +?
In the documentary, we will see moments when I have meetings with the TF1 Production teams, where I explain what I have in mind, but it is very much focused on the 20 years [of his career].
We are going to be seen very small, images that I have never seen in my life.
It's going to be a lot the story of the three people who are with me, who helped me.
It's a really big thing, there are six episodes.
It will air early next year or during the tour or just before.
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