Our discussion with Julie, Jean-François and Tanguy, moves to touring — an essential element to the success of YELLE — and the need for a record label in 2011…
Yelle in Marios Schwab FW 2011. By René Habermacher, styling Ines Fendri, make-up by Akiko Sakamoto.
When you play live, do you try to add other things visually, like with the Katy Perry tour for which you’re opening ?
JEAN-FRANÇOIS: Well as opening act we have actually less means on the Katy Perry tour!
JULIE: Normally we’re 6 on tour, with the sounds, the lights, the stage, but on Katy Perry we’re just 4.
Also we don’t give our whole show away, it’s more of a teaser — anyway we know Katy Perry is following up with 4 trucks so there’s no use trying!
JEAN-FRANÇOIS:: We want to make our show stronger, so we have these suspended drums which are very visual, the logo, which is new – an inverted Peace sign. We like bringing in new elements, whether they cost 20 euros or 2000, but we’re not in a fantasy of something crazy. However from the beginning we’ve wanted to make one-off shows, like with a choir, big ensembles…
You were also mentioning new lights for your tour ?
JEAN-FRANÇOIS: We found this guy for lights, we were looking for a long time for someone who would bring something to our live performances,
someone who’s creative on his own but open to our ideas…
TANGUY: We need that extra, because we’re coming a second time around but without huge means, we want to make a show with songs we’re proud of — lighting is really the little ‘plus’ that we can bring.
So would you want to make a “live” music video to show people who don’t know how you perform ?
TANGUY: We thought about it at the end of the last tour, with all that footage [shot by “Ce Jeu” director Yoann Lemoine],
JEAN-FRANÇOIS: We just haven’t been able to edit it yet… we could have done as a single, but not for the first single of the album — but we’ll do it eventually.
"Ce Jeu" music video by Yoann Lemoine. Photo by Antoine Asseraf.
I still have a hard drive somewhere saying YELLE with all your tour footage, I was asked to help edit it “when I had time”, I was really into it but documentary editing takes so. much. time.
JULIE: And you can’t do just one hour per day, you need to really get into it…
JEAN-FRANÇOIS: Even us, we don’t even feel like going back in there right away, you kind of need to put those images aside and let them rest, but we would like them to show them at some point.
It looked like an amazing experience.
JEAN-FRANÇOIS: There were some beautiful images…
Trailer for the 2008 Yelle world tour, by Yoann Lemoine.
What’s your idea of the role of the record label, since you started without one and were without one for this album, you also released things without a label in between albums…
JULIE: We learned a lot from the time we had at Source, good things, bad things, some things we didn’t want to do the same way again, it was evident for us that we had to make our own structure, to get even more freedom.
JEAN-FRANÇOIS: To sum things up, on the first album we had ideas but not the means, now we have both!
For the first album you worked with Pierre LeNy, acting as an artistic director of sorts…
JEAN-FRANÇOIS: Yes Pierre brought a lot of ideas, a lot of contacts, a network, in fashion, which made it a lot of easier, now we’re the art directors, it’s the next level.
Second music video for "Je Veux Te Voir".
How was that experience of remaking the video for JE VEUX TE VOIR – doesn’t it feel strange ?
JEAN-FRANÇOIS: That was a flashback [a lot of time had passed since the original release of JE VEUX TE VOIR]. First of all we hate the first music video for JE VEUX TE VOIR, we hated it as soon as we made it.
But you’re not always in a position to say no to a label who’s invested, we still hate the fact that it has so many million views!!
The new video was made with Nicolas Benamou following the experience with Michael Youn, it’s the work of a label, who feels there’s a second life to give to a single,
it was so strange for YELLE, when they first brought the single to radios, they didn’t know what to make of it, but once they had gotten used to it it was ok… it’s really the work of the record label.
So are you at ease with that freedom ? Talking to Roísín Murphy who has done many things herself over the years in terms of styling and ideas for music videos, she was still happy to have worked with an art director on OVERPOWERED, to sharpen the image.
JEFF: We’ve never felt forced, we’ve never had the record label pressuring us, at first we were a bit naive, everyone’s nice, we were just happy to do things, and except for that first video we enjoyed everything we did.
We’ve always been masters of our image, but of course somethings get out of hand, get bigger than you expect them, doing things by ourselves is exciting, it makes us feel more responsible. the DIY style is very stimulating, you want to defend your project even more because all the choices are yours.
Of course it becomes 100% of your life! So when you say “I’m going to relax, i’m going to the beach” you’re not really relaxing because you’re thinking about what you could do. But that’s the case with everyone who’s a freelance or has their own company, it’s an obsession!
Work becomes a luxury.
It’s not work, it’s not labor, it’s energy!