ANSWER: "In my repertoire, before +Enfantillages+, there were a lot of songs about childhood. So I naturally slid towards that universe because I really wanted to fulfill myself in that.
At the start, the fact that there were often two readings in my songs bothered the professionals a bit: it wasn't +charted+ young audiences as they are used to doing, that is to say separate parents and children.
In the end, it was an asset and, today, +Enfantillages+ unites children, parents and grandparents, especially in concert."
A: "We dare more than before. This slightly transgressive side is good, there has to be a little bit of + punk attitude +. Before, it was outdated.
It's funny because when I say: + I make songs for young audiences +, I feel in people's eyes this obsolete side where I celebrate at school disguised as a rabbit.
It's been like that since the 1960s.
The singer for children is the image either of a guy with a mustache, or of a Chantal Goya who sings + Bécassine + or animal stories.
It's not that this children's song is ridiculous, it's that it was aimed at the little ones: in the 7-12 year old bracket, there wasn't much."
A: "I feel very good, I have the impression of having found myself artistically. The steps aside, I do them within this universe by collaborating with very different artists: a rocker like Peter Garrett from Midnight Oil, a singer like Youssou N'Dour, people from variety or metal... We had a +Super grandma+ with the guitarist from Trust.
Since the first + Enfantillages +, we have had more than 100 singers.
So I have no frustration.
Finally, I realize myself much more than in an adult register.
What's more, when I write +Double Papa+ on gay parenting with Calogero or +Madame Nature+ with Tété, I feel like I'm singing songs for adults.
I don't want to write exclusively for children, I want to offer something intergenerational.
(Maxime) Le Forestier told me: + You're not a singer for children but a singer about childhood +.
I found the formula quite funny.
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