Indochina made the Atlantic Matmut vibrate

Indochina finally arrives, after the performance of the female duo Mansfiied Tya. Leader Nicola Sirkis opens the march, gray mane and teen body, with his four musicians, all tiny under the device, but quickly sublimated to the screen that will pour all evening its stream of images of yesterday and now , between two pyrotechnic effects.

“Thank you, we’ve been waiting for this for two years,” he shouted a crowd of at least three generations of fans the singer, the only representative of the original line-up created more than forty years ago. The stadium had never been so crowded (53,000 spectators) but it doesn’t look saturated, either in the pit-turned-field where some are sneaking around, or in the grandstands improvising choreographies on “Miss Paramount,” a witness to the heyday of the ’80s, before hululating for “Canary Bay.”

Sincerity

One is not sure that the singing is always fair and one is not convinced by the sound that often seems nuanced, especially when the bass and bass are doubled. But one never doubts the sincerity of the group, like Nicola Sirkis, “Thank you” with his mouth and fist on his heart, who comes to shake hands with the audience for “Your black eyes”, requires a few seconds of noise “For caregivers and Ukrainians” or welcomes Christine and the Queens for a remake of “Third Sex.”

And what do skeptics care about when Indochina’s alchemy is in full swing, transforming, over time and into the feeling of perpetual adolescence, minimal blues into hymns that make stadiums vibrate, more surely than a football match.

“Without hesitation, we started with a small room in Bordeaux, we didn’t think we would get there, thank you for your welcome,” said Nicola Sirkis before singing “L’Aventurier” and “Karma Girl”. who concluded more than 2:30 in concert.