Cats On Trees evokes the "dream thread" on which they walk

• After

  Neon

   4 years ago,

  Alie

  , released at the beginning of the year and the third album of the group Cats On Trees

• The duo begins a tour and offers a show as much musical as visual

Four years after

, Cats On Trees unveils a smooth return.

Like this new album,

they sign a concert of rare delicacy.

Surrounded by Charlotte Baillot on the violin and Vatea Lega on the bass, the duo is ablaze in the spotlight.

This sublime scenography confirms it: Cats On Trees never forgets to reinvent itself.

Their latest album is graceful, energetic and tinged with darkness.

Gently, Nina Goern tells us about the emergence of this project in which they have invested so much.

After this difficult period for concerts and shows, how is this new tour going?

We are only at the beginning.

I hope it will last a long time!

But it's true that the Covid didn't help us... We almost wondered if one day we were going to go back on stage.

So we created this album as if it were the last.

We really wanted people to discover us as we are, but in a very dreamlike universe.

I think we won our bet.

Your second album comes out in 2018. Just before the pandemic you are on tour and we find you in 2022 with a new album: what happened?

We toured for 2 years with our second album

.

After the tour, we immediately found ourselves with Yohann, wanting to strike while the iron was hot and compose at all costs.

We kept a frenetic pace without realizing that we needed something completely different.

When the pandemic arrived, we had lots of songs.

But everything we had done made no sense.

So we shuffled the cards.

We needed to find ourselves as individuals, because we've been working together with Yohann for 18 years!

What has changed in your creative process?

First, I don't know if it's our best album but it's the one that made me evolve the most.

And it's the first time that I don't talk about music on an album and that I mainly talk about psychology and people.

With Yohann, it's the first time that we haven't tried to build around a theme that was common to us.

And that gives another dimension to the album?

It's an album that is quite long.

Longer than the previous one, which was full of frenzy with the desire to make people dance and show that we were experiencing an explosion of success.

"Alie" represents the desire to rest and to be at home, with family... Each song tells a little story.

This album is more intimate but does not forget your musical DNA: pop.

Your concert juggles perfectly between these two aspects.

How do you build the rhythm of this show?

Already, in a very pragmatic way, the calmer songs are moments of rest and breathing.

Without them, we wouldn't last until the end.

But the trap is to let the pressure drop.

It has to remain suspended moments, so as not to lose this dreamlike thread on which we walk.

On stage you happen to be alone, with only your piano and a lot of emotion in your voice.

Even though they are restful, aren't these moments emotionally costly?

They do me good.

I've come a long way with my relationship to the stage.

Before, I was deeply shy and stepping on stage was like entering a lion's den.

Now I no longer go into hostile terrain and it is a pleasure.

And singing simple little stories is part of my development.

Sharing them with people, gently, makes me grow.

Speaking of evolution, you write a lot more in French now.

Why this choice ?

Yes, there is a real desire to sing more and more in French!

But it's hard to find his pen.

We are surrounded by singers and French artists who are very good.

We had to find the right time to have our identity and not do like the others.

But during confinement, it came naturally.

I read a lot of stories to my children.

Grimm and Andersen, these are universes that speak to me.

It opened doors for me on somewhat strange landscapes.

Precisely, this somewhat imaginary universe you have made something very visual.

How did you design the sets and lighting effects for your concerts?

The idea was to offer a show at the crossroads of music and theatre.

Yohann is very familiar with the plastic arts.

He is very fond of the universe of Georges Méliès.

He wanted something a little old and mechanical, and I dreamed of weightlessness.

We then called on Alex Hardellet, whom we have known for a long time and who worked a lot with James Thierrée, Charlie Chaplin's grandson.

We really created this show together, so that it resembles us as much as possible.

Which new artists would you recommend to us?

I can advise you Blumi.

It's sumptuous!

She opened for Divine Comedy, one of whose albums was voted best pop album in the world.

I also love Nail!

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• Concert

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