Le Champ de Bataille – Centre Culturel de Huy (10/12/2019)

Vous êtes parents et avez des ados ? Allez voir la pièce.

Vous n’êtes pas parents et voulez avoir des enfants ? Allez voir la pièce.

Vous ne voulez pas avoir d’enfants ? Allez voir la pièce.

Bref. Allez. Voir. La. Pièce.

Le Champ de Bataille, c’est l’histoire d’un homme qui mène quatre combats à la fois : celui de sa relation avec ses enfants, celui de sa relation avec sa femme, celui du temps qui passe et celui… face à l’enseignement. Bref, la vie est un sacré put*** de combat où on se sent attaqué de toutes parts!

La pièce est une adaptation du second roman de Jérôme Colin où l’on retrouve le héros d’Éviter les Péages avec des enfants ont un peu grandi, un couple toujours debout malgré les heurts du temps qui s’écoule mais qui reste parfois dépassé par les événements. Un homme qui ne lâche pas pour autant prise et qui s’accroche.

J’avais adoré le premier roman de l’animateur de La Première et de l’émission Hep Taxi !, lu dans une période un peu douloureuse, et avais dévoré le second avec tout autant de voracité que son prédécesseur. Le méli-mélo d’émotions du narrateur associé à quelques phrases et moments de vie percutants ont fait que je me suis rapidement attachée à ce héros malheureux, dont j’attends avec impatience les prochaine aventures. Donc… fallait assurer parce que ce bonhomme sans nom, j’y tiens ! Pas question d’éprouver le même désappointement que l’on ressent à quasi chaque adaptation d’un roman de Stephen King. Bon, ici, le but n’est pas de terrifier le spectateur mais… vous avez saisi l’idée.

Alors ?

Et bien, Thierry Hellin donne vie à ce personnage de plume via un long monologue et à lui seul, il tient le public en haleine durant nonante minutes. Une prestation à saluer, notamment en raison de son impressionnante présence scénique et d’une voix qui accroche. Enfin, « des » voix, plutôt, puisqu’il incarne à lui seul une impressionnante galerie de personnages.

Le travail réalisé par Denis Laujol sur Le Champ de Bataille est également à souligner, tant au niveau de l’adaptation de la pièce que de sa mise en scène. D’une part, il a su retranscrire les 207 pages du roman en conservant leur substance, déjà un tour de force en soi. D’autre part, il nous offre sur scène… un WC, refuge du héros face à au monde extérieur, mais met en évidence d’autres éléments essentiels de la narration grâce à des techniques scéniques intéressantes.

Pour l’occasion, c’était le Centre de Huy qui accueillait la pièce et au vu du nombre de retours sur scène de Thierry Hellin, les presque 600 personnes présentes ont visiblement apprécié ce Champ de Bataille !

Quoi ? Et moi, dans le fond, qu’en ai-je pensé ? Ah écoutez… Voir Thierry Hellin se débattre avec ce gamin, entré dans l’adolescence à coups de grommellements et de portes qui claquent, est délicieux. Le voir affronter ce proviseur de l’enseignement général, malheureusement pas autant cliché qu’on le voudrait, a certainement été un de mes moments préférés. J’attendais  la réplique « Goebbels », je l’ai savourée comme on savoure une glace en été (A vous d’aller découvrir cette petite ligne page 189 du livre, elle vaut son pesant d’or !) Parce que si vous pensez, en lisant les lignes précédentes, avoir affaire à un personnage déprimé et déprimant, vous vous tromperiez : Le Champ de Bataille contient aussi une belle série de moments drôles. Notamment parce que certains d’entre eux – principalement liés à l’école - me rappellent autant un vécu vieux de 25 ans que celui que j’expérimente encore régulièrement de par mon « vrai » métier. Et puis, moi, le mariage des genres, s’il est bien finement orchestré, j’approuve !

Je ne vous donnerais qu’un seul conseil : si vous comptez aller voir la pièce, ne lisez pas le livre peu de temps avant d’aller la voir. Lisez-le maintenant et laissez faire le temps jusqu’au moment où vous irez à la représentation… Vous passerez ainsi deux bons moments : un dans votre tête avec le livre en main puis un avec vos yeux avec Thierry Hellin devant vous.

G à D : Denis Laujol, Thierry Hellin et Jérôme Colin

Tiens… maintenant que j’y pense…

J’ai oublié une option dans mon début d’article. Eh toi là… T’es un ado et tu trouves tes parents ch… ? Sors de ta chambre et va voir la pièce. Tu pourrais bien les découvrir sous un autre œil.

Bref. Va. Voir. La. Pièce.

Et… NON TU N’AURAS PAS UN NOUVEL iPHONE SI TU VAS LA VOIR !

BOULET, VA ! (Bah ouais, c’est pas parce que t’as 15 ans que t’as le monopole de l’insulte !)

Les prochaines représentations du Champ de Bataille auront lieu au Centre Culturel d’Uccle, les 2, 3 et 4 avril 2020. Pour réserver, c’est ici.  

Jérôme Colin est aux commandes de l’émission Entrez Sans Frapper du lundi au vendredi sur La Première et emmène des personnalités dans son taxi sur la RTBF avec Hep Taxi !.  

Thierry Hellin sera sur la scène du Théâtre des Martyrs du 29/01/2020 au 15/02/2020 avec La putain respectueuse | La putain irrespectueuse.

Denis Laujol met en scène Zenel Laci dans Fritland au Centre Culturel d'Uccle le 3 février 2020 et Marie-Aurore d'Awans dans Pas Pleurer à la Maison de la Culture Famenne Ardenne le 7 février 2020. Il aura aussi d’autres nombreux projets pour l'année, notamment au Théâtre de Poche. Gardez les yeux bien ouverts ! ;)

L’histoire de... « Elegantly Wasted » (INXS, 1997)

Première question d’Entrez Sans Frapper du jour: « Quelle est la chanson sur laquelle on a le plus envie de danser quand on est dans un état avancé d’ébriété ? Tu parles d’un thème quand t’as le popotin installé… à l’hôtel de police de Verviers.

Je n’y étais pas pour chapardage de trois chocolats chez Darcy, meurtre de la vieille grand tante pour toucher son héritage, ou… prise en flagrant délit d’ébriété sur la voie publique mais pour la prépa d’un futur événement. M’enfin ! Qu’aviez-vous pensé ??! :D

Si on veut être honnête, faut avouer que quand on est complètement torché, peu importe la chanson, pourvu qu’on danse. A y réfléchir et en pensant aux folles soirées ardennaises avec les copains, il y en a quand même une qui a le don de faire relever les têtes et corps avachis sur le bar en fin de soirée, c’est Les Lacs du Connemara de Sardou. Même au seuil du coma éthylique, les deux notes de piano de début suffisent à faire lever tous les bras et inonder la piste de danse. Littéralement. Parce que danser sans lâcher la bière, c’est plus drôle. Ça rajoute un peu de piquant en essayant de rester debout sans glisser sur les liquides sortis des verres pour finir direct au sol. Quand on ne finit pas par sauter du dessus du bar à pieds joints dans un container arrivé dieu sait comment à l’intérieur de la salle du village. (Ne prétends pas le contraire, cousin Nico, j’ai encore la vidéo pour le prouver ! :D)

C’est pourtant un choix plus « sage » que j’ai proposé pour l’émission. Un choix d’anticipation puisque hier, en écoutant cette chanson, je me suis dit qu’à la prochaine question parlant d’alcool, je pourrais peut-être proposer celle-là. Et puisque l’animateur enjoint parfois ses chroniqueurs (et les auditeurs via la page FB) à donner un peu d’eux et bien allons-y…

Pleine de nostalgie, j’ai hier soir réécouté l’ensemble des albums d’INXS. Parmi ceux-ci, Elegantly Wasted, le dernier du groupe, sur lequel un titre porte le même nom. Jamais je n’avais réalisé à quel point ce titre est un chouïa paradoxal. « Wasted » veut dire « bourré » et « elegantly » signifie « élégamment ». Tout un programme !

INXS est un des premiers groupes que j’ai aimé. Je devais avoir 11-12 ans quand leur titre New Sensation a fait chavirer mon cœur musical, avec ce riff de guitare d’enfer et cette tape de batterie du tonnerre de dieu. Après, je ne les ai plus quittés. INXS est aussi le premier groupe que j’ai vu en concert, le 30 juin 1993, à tout juste 16 ans. En ayant fait croire à mes parents que j’allais à une soirée pijama. Sauf que on a fini à Deinze et pas Seraing et encore moins en pijama. On n’oublie jamais son premier concert, surtout quand il t’a permis de défier l’autorité parentale. Sobrement. Pas besoin d’alcool quand tu t’éclates au concert de tes musiciens préférés.

Bon cela dit, ne nous faisons pas plus catho que le pape, j’ai eu ma part de niveau d’alcoolémie effarant. Quand je bois un peu trop, je somnole. Quand je bois BEAUCOUP trop, je suis tellement éveillée que je vois tout ce que je ne verrais pas en temps normal, y compris ce que les copains essayent de cacher le lendemain et que je leur rappelle avec un sourire amusé. Je me souviens aussi d’une fin de kermesse il y a quelques années où j’ai alterné - pendant 15 heures d’affilée - blanc jus, pèket, coupé menthe, batida coco, passoa, bière classique, blanche rosée, blanc coca, soupe à l’oignon (histoire de bien caler le tout et de dire qu’on n’a pas bu QUE de l’alcool) pour finir en apothéose avec… de l’absinthe. A froid et puis à chaud avec le sucre, histoire de savoir quelle version me plaisait le plus. Résultat fin de soirée ? Rien. Nada. Enfin si… une fois rentrée - genre 8h du mat - et posée sur le lit, impossible de fermer les yeux et m’endormir. On aurait dit un lémurien ayant fait une overdose de vitamines !

Pour revenir la chanson, elle fait partie de la famille des morceaux à surprises cachées. A l’image du « Fucking hell » de Lennon glissé dans Hey Jude ou de la porte ou du tabouret qui grince sur Yesterday, Elegantly Wasted a aussi un élément où il faut prêter l’oreille… Mettez un casque et écoutez la chanson jusqu’au début du premier refrain. Michael Hutchence y chante deux fois les mots Elegantly Wasted. Sauf que si on écoute bien le second, c’est un « I'm better than Oasis » (Je suis meilleur qu’Oasis) que l’on entend. Oui oui on parle bien d’Oasis, le groupe des frangins Gallagher.

En février 1996, aux Brit Awards, Michael Hutchence présente le prix du « Meilleur Album » qui sera attribué au groupe de Manchester. Noel Gallagher, bière à la main, monte sur scène et balance au micro qu’un has been ne devrait pas présenter une récompense à ceux qui vont devenir des grands. Sympa !

Quelques mois plus tard, Hutchence est de sortie dans un bar avec Bono quand arrive Liam Gallagher qui se joint au duo. Au bout de quelques bières, le cadet des Gallagher devient agité et crie comme un marchand de poisson en plein marché. Hutchence lui demande de se calmer et Liam devient agressif. C’est finalement Bono qui calmera le jeu. Mais pas celui d’Hutchence qui en a peu sa claque de ces deux-là.

Lors d’une interview radio en 1997, le DJ discute avec Andrew Farriss, le claviériste du groupe, et Hutchence du nouvel album et leur dit qu’il pense entendre ce « I’m better than Oasis ». Farriss se retourne vers le chanteur qui reste silencieux mais regarde tout le monde avec un large sourire sur le visage, laissant Farriss horrifié. Apparemment, lors de l’enregistrement du morceau, Hutchence était retourné seul en studio pour refaire quelques prises, dont cette variation des mots « Elegantly Wasted »… que personne – y compris les autres membres du groupe - n’avait remarqué. Et de fait, c’est tellement bien chanté que c’en est bluffant et que ça passe comme une lettre à la poste! Sur ce coup-là, Hutchence aura eu le dernier mot !

En résumé, que l’on fasse la fête ou que l’on reçoive une récompense, quand on est « wasted », on l’est finalement très peu « elegantly ».

Allez assez écrit… Ecoutons donc Michael s’amuser au détriment d’Oasis !

L'histoire de... "Shame And Scandal In The Family"

Dans les questions du jour d’Entrez Sans Frapper, y en a une s'est avérée très instructive! A savoir : « La chanson que vous devriez utiliser vous deviez annoncer à vos enfants qu'ils ne sont pas de vous? »

Le choix de Corentin (Compagnie créole et son Scandale dans la Famille) était chouette mais je reste fan de l'originale. Enfin... ce que je croyais être l'originale. La version de 64 de Shawn Elliott.

Ouais... mon oeil! Parce que celle-là, elle mériterait une chronique du blog à elle seule. Je vous passe les versions en hébreu, en grec, en slovaque ou encore en estonien et j'évite de vous parler des autres versions françaises, chantée par Sacha Distel ou Dalida (qui l'a aussi faite en italien, d'ailleurs...)

Rien qu'en anglais, elle a notamment été reprise par Madness en 2005, Peter Tosh and The Wailers mais surtout par... Clint Eastwood and General Saint. Euuh... non, le réalisateur et acteur n'a pas chanté, c'est juste un Jamaïcain qui s'est dit que ça le ferait grave de porter ce nom-là comme nom de scène. (Et je vous jure que c'est véridique!!)

Du coup... quelle est la 1e version de cette chanson? Et bien, elle est provient de la BO du film d'horreur I Walked with a Zombie, sorti en... 1943. Et chantée par un type qui avait comme pseudo... Sir Lancelot. Et comment chante Sir Lancelot? Bah, comme ci-dessous... ;)

Comme quoi, y a des chansons qui sont chantées à la fois par le cow-boy le plus célèbre de l'histoire du cinoche ET un des chevaliers de la table ronde.

Cette chanson est finalement un vrai festival de découvertes...  Bravo M'sieur Jérôme et l'équipe! (Et bravo à Corentin pour le choix avisé...)

The Son – Duke of York's (31/08/2019) ENGLISH

Sometimes, it takes two times to realize even more than it just takes one second to…

But let’s not put the cart before the horse, all right? And the difficult thing here will be to convince you to go to Duke of York’s to see The Son without giving too much away. Maybe the best way is to do this through feelings. And that’s exactly what The Son is about. Feelings.

The story is about Nicolas, a teenage boy – played by Laurie Kynaston - going through the divorce of his parents with a troubled mind, to say the least. And, we, the audience, are joining this family as a discreet witness of what will end up being a rollercoaster ride of emotions.

The play starts with a conversation between Nicolas’ parents: Anne, the mother (Amanda Abbington), tells Pierre, the father (John Light), that she’s concerned about their son as he’s been skipping school for three months. From there and for a while, the mother leaves their son in care of his father, his step-mother (Amaka Okafor) and half-brother and we follow Nicolas through his new life in another home.

Amanda Abbington (Anne), Laurie Kynaston (Nicolas) & John Light (Pierre)

It’s a common thing to say that teenage years are not the easiest one has to go through in his or her life. For both sides. The “child” starts writing the new chapter of his life while the parents have to learn to let their baby boy or girl takes the path to adulthood.

But sometimes, writing your story is a little bit more difficult for some.

Laurie Kynaston (Nicolas)

                             

For 105 minutes, I literally tried to enter inside each character’s mind and put myself into their shoes.

As a child, trying to explain to your parents how bad you feel while not being entirely sure that they actually care.

As a parent, trying to understand your son while not being entirely sure that all he’s telling you he the absolute truth.

As a mother-in-law, trying to trust and getting to know this young stranger while not being entirely sure that he even wants it.

The play may seem dark but there’s a fine balance with lighter moments too. One few sentences that makes you smile or laugh or one scene where Nicolas seems to escape his melancholy to join his father and Sofia in a joyful moment. Director Michael Longhurst brought his own balance of fun and fragility by using two songs: Pharrell Williams’ Happy and the famous Adagio in G minor, the latter one being, in my opinion, one of the most emotional pieces of classical music ever written. And these two were perfect choices!

People have praised Laurie Kynaston’s performance, for all good reasons. Being the catalyst of all things happening during the play, he’s the one whose emotions affect not only him but everyone around him. Quite a pressure, eh? But it surely doesn’t look like too much to handle for the young actor who embodies his character with passion and respect for those suffering from the same pain as Nicolas’. Kynaston’s is definitely someone we have to keep our eyes on as I have a strong feeling he might have a bright career ahead of him…

Laurie Kynaston (Nicolas)

His relationship with his father, played by John Light, is not an easy one. Pierre navigates between his wish to help his son the best he can and his will to keep his life with Sofia and their baby serene. Our society still too often sees men as the strong one in the family, the one who’s supposed to know what to do or all the answers. Truth is… men are, just as much as women, just human beings filled with flaws, doubt or any other feelings. Pierre’s role is demanding one given the many emotions he goes through and John Light’s performance was truly strong and powerful.

John Light (Pierre) & Laurie Kynaston (Nicolas)

I read not too long ago on some blog that Amanda Abbington and Amaka Okafor were considered as secondary roles of the story. It’s funny how we all perceive things differently. To me, they’re not, not even for a second. To me, stage time isn’t what makes a role a principal or a secondary one : what makes the importance of a character is what he or she brings to the story, to the emotional moments in a play. In this, both Amanda and Amaka sure… well… sure “played” their own part and brought life to Zeller’s play, as well as a dynamic. Into both the father and the son’s stories. In their own way.  

Laurie Kynaston (Nicolas) & Amanda Abbington (Anne)

John Light (Pierre) & Amaka Okafor (Sophia)

I had already seen The Son back in March at the Kiln theatre and recently had the opportunity to see it a second time. There are so many plays and musicals in London that one could think that it’d be a waste of time but I had my reasons. Until the very end, you wonder what’s written in the final page of Nicolas’ book. You hope for the best and you fear the worst. And you literally hold your breath until the lights fade out. And both times, in complete darkness, I’ve heard the people around me catching their breath again.

What did I feel after seeing it at the Kiln? So much sadness. Let’s admit it, I was a complete wreck and couldn’t stop crying. Which is exactly what I want when going to the theatre. Feel. Whether it is joy or anger or sadness.

What did I feel after seeing it at the Duke of York’s? Still so much sadness. With another feeling added. Helplessness. As much as I was looking for hints, for something that would have turned this story into a different one, I realized that maybe one thing could have. Or maybe it would have been a waste of time anyway, no matter what. Or… maybe?

In the end, that’s probably the biggest lesson I’ve learned after seeing this play: the helplessness and loneliness one person can feel when suffering from mental illness and the helplessness those around him feel about wanting to help the loved one and still not succeeding in it. Like two different worlds that can’t meet at any point.

Laurie Kynaston (Nicolas) & John Light (Pierre)

Florian Zeller, The Son’s writer, is considered as one of the most exciting and talented playwright of his generation. I couldn’t agree more. The strength of The Son lies in our biggest fears being out in the open, in some good use of humour but mostly in the subtlety of his writing. His words, his lines encourage us to ask ourselves : how would I feel about this “outside” world if I feel like I don’t fit in it? What would I have done as the mother? As the father? Why?

Now you, yes, you who are reading these lines, just give The Son a try (or two?) and let me know. Let me know if, when leaving the theatre, you just got home without asking yourselves a few questions about life. About Pierre’s. About Anne’s. About Sofia’s. about Nicolas’. About one of your loved ones’. Or about… yours? ‘Cos I sure did. And that’s one of the reasons why I’ve loved The Son so much. Enough to see it twice.

Amaka Okafor (Sophia)

The Son is still played at Duke of York’s theatre until November 2nd.

Tickets -> https://www.atgtickets.com/shows/the-son/duke-of-yorks/ 

Credit photo: Marc Brenner

Links :

• The Son Instagram
• The Son Twitter
• Duke of York’s Twitter
• Marc Brenner’s Instagram and website

Robbie Williams – BST in Hyde Park (14/07/2019) ENGLISH

Whether you like Robbie Williams and his music or not, there’s one thing everyone should (and have to) admit. This guy is a true showman. And not only because “it’s his job after all”. Gigantic stages; getting in touch with an audience singing his songs out loud, as one and single entity; telling anecdotes or thoughts to thousands of people as if he was in his living room, that’s definitely his thing… If big spaces and crowd could make some artists freeze, you instantly feel that this is the thing Robbie needs to feel good. And happy. And good thing, that’s one thing that makes us happy as well.

As far as I remember, the guy’s always been cheeky so it’d have been a surprise if we weren’t in for a few amusing surprises. Little did we know that it’d be from the very seconds after the beginning of the show… when UK’s national anthem starts and turns into… Robbie’s national anthem, with its very own lyrics displayed on the super huge screens of Hyde Park for us to sing along. And of course, we are happy to do so…

He starts at full blast with Let Me Entertain You and introduces Monsoon with a “Allow me to reintroduce myself: my name is Robbie f**ing Williams. This is my band, this is my ass and tonight… your ass is MINE”. There, now we’ve been warned! With the help of his 8 female dancers and 3 background vocalists, he invites us to wave from left to right… And suddenly… what? Some YMCA music notes? Robbie himself realizes something’s wrong and stops his band before getting back to his song and inviting us to wave again to finish the song properly.

Short microphone stand in hand, he then starts some warm-up vocals and it’s - of course - a sort of homage to the late Freddie Mercury who used to love to play with the audience… except Robbie does his own version by adding “Bidet” and “Tiny toilets” to it. And of course, as wrapped around his little finger as we are, we gladly play the game and repeat it, with laughs added. He then holds a note for almost 20 seconds before the band starts playing the intro of We Will Rock You, always a crowd’s favourite, before switching to Old Before I Die.

After the energetic Land of 1000 Dances to show “what true entertainment is”, he disappears only to come back wearing a flamboyant fuchsia and electric blue jacket. He proceeds by telling us that last year his management company reached out to him with an offer. Robbie had thought about lots of possibilities – Gucci, Tom Ford - before they told him it was… Weightwatchers. He explains how things work (points back an everything) and that given the exercise he’ll be doing tonight; he might have a little hummus after wrapping up the show. Robbie Williams has always been completely honest with his past and troubled times and that’s also probably one of the reasons the public loves him too. So it wasn’t less of a scandalous declaration than a funny way to express himself when he dropped that “It used to be cocaine and strippers backstage, now it’s hummus. My life is so much better now, or so my wife tells me”. He then tells us that the best people to use their energy will be invited backstage… for some hummus and celery.

And what better way to follow such a declaration – and helping getting points - than singing… Candy, eh? I sure wouldn’t have ended up backstage as I was getting fatter (and hungry) just by looking at the dancers’ giant candies! This is also on this song that he, alongside one of his background singers, threw T-shirts in the crowd. Free of charge!

British Summer Time is a music festival that lasts several weekends and every year, the names are simply astounding: as an example, this year, there were Florence and the Machine, Barbra Streisand, Stevie Wonder and Celine Dion amongst the headliners. Robbie couldn’t help himself to do comparisons with the other artists that went one stage days before and wanted to make sure his audience was at the very least as good and loud than the others. In one minute, he makes us sing Bon Jovi’s Livin’ on a Prayer (who happened to be on stage in my home Belgium at that exact same time), Amy Winehouse’s Rehab, A-Ha’s Take on Me, Tina Turner’s The Best, MC Hammer’s U Can’t Touch This, The Human League’s Don’t You Want Me before warning us to get the next one right. But how... HOW could we get Angels wrong? He then turns to a woman in the crowd – from Italy – and asks her if she knows the words of his song (before adding the “s” and mentioning all the songs because everybody knows Angels). He makes sure the camera’s on her and puts her to the test with Come Undone, which she passes, before he takes over the song, only temporarily leaving the stage to his rhythm guitar Tom Longworth for a solo.

Last year, Robbie was a judge for the 15th edition of The X-Factor and the music program apparently had enough impact on him to bring some of the contestants on stage (AKA LMA Choir, Misunderstood, Acacia And Aaliyah, Scarlett Lee And United Vibe). All right, no Take That members on stage to perform Never Forget but adding this X-factor flavour to one of the most iconic song of the former five-piece band was… delicious! The X Factor team handles most of the verses while he encourages the crowd to perform the well-known hand choreography of the chorus. And aaaah, that drum banging near the end of the song (here, performed by Karl Brazil). Thrilling!

Once everyone’s out of stage, Robbie talks about his dad and how much he loved watching him performing from the side of the stage, back in the early 80’s. In 1982, he saw him performing one specific song and saw him having the crowd in the palm of his hands. Robbie confesses that it was at that moment that he knew what he wanted to be when he’d be older and that he’d be performing that song tonight. Suddenly, from the right side of the stage, someone showed up… Robbie’s dad. Or as Robbie tells us “your dad and mine”. And what the hell of a duo we have on stage! That rendition of Sweet Caroline is definitively one of the fun moments of the concert! Including the part where Robbie said, after his 69 year-old dad had left the stage that… the man was not his father but just one random guy he met earlier that happened to know the lyrics. Cheeky boy!

So… every performer needs a band to do his thing, right? But not every performer takes them away from their usual spot to bring them on the front stage… without their instrument. This is what happened when Robbie needs help to do his version of Shaggy’s It Wasn’t Me. Which also apparently happens to be the song Robbie often to his wife now. Let me tell you : strange things happen between an artist and his musicians in dressing rooms…

Robbie’s never short for stories about his family life. After all, we’re talking about the guy who live-tweeted the birth of his second child. Before starting the next song, Robbie explains us that his oldest daughter once came in the bedroom one night, looking very happy. When Robbie asked us why she was that happy, Teddy simply answered that she was because when he dies, she’d get the bedroom. Guess that in the end, the apple never falls very far from the tree, eh? Robbie loves his kids and this is what he wanted to tell the world with Love My Life.

He carries on with a beautiful version of Eternity with the LMA choir performing, with all members carrying a candle, before inviting one person to join him on stage. While the crew is bringing a red sofa and others are helping the lucky Scottish lady to get over the barrier to join him, Robbie improvises a song explaining exactly what’s happening… Once seated, Robbie explains to Lucky Leslie that he will serenade her with Something Stupid. Of course, he can’t help himself playing a bit with her. Or her hair and nose. He invites her to dance during the instrumental part and he almost forgot to pick up his microphone as they were talking ear to ear. Aaaand… this one girl can now say that Robbie Williams also gave her a lap dance. Just in case anyone would doubt that (although we were thousands to witness that), I still have pictures to prove it!

Milennium came up next. By then we’re already past half the show and everyone – on and off the stage – still have energy enough to wave hands to the chorus of the song as the eight dancers are performing a chair-choreography. Just like on Candy, this is one of the moments of the show where the brass band shows us what they have in their guts. And God, these songs wouldn’t sound the same without them! Within seconds, the whole lot starts playing Hot Fudge as a massive yellow Hollywood name appears on the back screen.

After the dancers have left the stage, Robbie tells us a story about him starting anew adventure with four guys. He worked hard with them, partied hard. Everyone was of course sure he was talking about Take That but he had to play the fool again saying that he left that job at MacDonald’s to… join Take That. He then confesses that after he left Take That, he wrote angry songs about them and that the next one was pretty much about it. Then comes the very recognizable first notes of… No Regrets. While watching him singing, my mind wandered back in the past, back to that day in ’94 where I acted as friend chaperon and attended a… Take That show. I knew them, knew a few songs but wasn’t a devoted fan. Back then though, there was something about Robbie. Something both captivating and… dark. I remember him dancing way too near the edge of the stage and risking falling and hurting himself. That day, I fell in love with his voice but wondered was what wrong because he looked like a million miles away different from the other 4 members. Six months later, he’d almost overdosed on drugs and a year later, he had left Take That. Back then, he was clearly unhappy and not any of us could see it. Seeing him now, 25 years later, still doing what he does best, still having that amazing voice, happy with a wife and kids genuinely makes me happy. And I was as happy to be there to enjoy this moment with the 65 000 people of Hyde Park.

But enough with the memory lane, let’s get back to our show. This time, it’s one of his biggest hits, Feel. As the sun is slowly going down, we are enjoying Mr Chambers’ piano notes and the slide guitar sound that makes this song so special. Of course, the audience can’t resist singing the chorus…Would you?

Neeext… wait?! I know that intro and it’s no Robbie Williams at all! It’s AC/DC’s Back in Black! Hell yeah! Tom Longworth, Gary Nuttall and Jeremy Meehan are on the front stage, doing their thing, with Karl Brazil hitting the drums while some of the brass band is taking position on the left size of the stage. That is one (highway to?) hell of a way to start Kids! Aaaand… no. No Take That for Never Forget and no Kylie for Kids. BUT… Robbie has three super great background singers and this is the perfect moment for them to show what they can do. All three are playing with Robbie, each in turn. And of course, we’re glad to help when it comes to singing the “jump on board, take a ride”!

When you think the party is over, it’s time to bring back energy in the place. What else than Rock DJ to keep your audience dancing? And “hoop hooping” at the end of the song, just to make sure we keep the energy going, before calming down a bit with a ballad. Robbie wants to sing that very one song to someone in the audience. He picks a guy wearing a shirt saying “Your gay friend” and starts singing She’s the One accapella but changes the lyrics for the man who’s all smile. After all, at that time... “he’s the one”. Once again, the whole park is chanting with the British artist this love anthem they’ve been hearing for years and years… while still not being bored of. He ends the song with the voices of the LMA choir.

He walks to the back of the stage and tells us that show is now over. And it is clear we’re not ready to leave yet. Neither does he. He gladly comes back to the centre of the stage for another one, once again with the choir. So… we’ve had Feel and She’s the One, now we need THAT one or we will crash the whole stage and rip all bars and food stalls apart. We NEED Angels. And we know, we know we’re going to get it… Robbie Williams and Guy Chambers, the two guys who wrote that iconic song, are together on stage, starting Angels together. Guy is at the piano and Robbie is asking us to put the light of our phones on. Suddenly, the whole park is filled with little lights. Simply amazing and magical. And the best was yet to come. As the band joins for the chorus, Robbie steps away from the microphone and let us do the work. He’s standing there, arms wide open, with both a large smile on his face and tears in the eyes, clearly touched by all these voices reaching him. During the guitar solo, he literally kneels down on the floor, thanking us for this moment.

At the end of the song, everyone is joining him on stage. I tried to count and got at least 40 people on stage at that moment to give us a final bow. As he has done before with us and as a gentleman, Robbie steps out of the line, turns around and kneel down to salute his team. We all chant “one more song” because we clearly don’t want to go. He looks at Guy, his partner-in-crime, give him a big hug and the two nods. Guy goes to the piano while Robbie makes us sing his version of Strong. A version we are now a part of : “You know that we’re strong, we’re strong… We are still singing our songs.” And yes, we were still strong and singing, two hours after the show started.

When he asks us if we want one more, of course we yelled a YES. Guy starts playing the piano and here’s My Way. The show ends like it started: with the cheeky Williams showing us that… he uses a teleprompter. Just in case. And just in case we didn’t know the words, he kneels down and turns it so we can read the lyrics. He even holds it in his hands when he finally decides to stand up. Always been a clown, always will, I guess. But that’s how we love him. He goes back to the back of the stage where he disappears, leaving Guy Chambers alone on stage to finish the song with us.

Seeing artists performing live is always a good time when you love music so much. But with some, there’s a much different feeling when they’re performing home. Sometimes it’s because they can bring unexpected guests who are actually living nearby… For example, I’m still recovering from Benedict Cumberbatch’s appearance at David Gilmour’s concert at the Royal Albert Hall. In Robbie’s case, this show allowed me to see him performing one song with his dad and this is one priceless moment as we were able to witness the incredible bond between the father and his son and the obvious love and admiration Robbie has for his dad.

But sometimes, the feeling doesn’t always come “just” from that. It’s also because the crowd is mainly from there too. I’ve seen Noel Gallagher quite a few times now in different countries but the concerts at the Royal Albert Hall and the London Palladium didn’t have the same power than in Belgium or France. Same thing with this Robbie Williams show. From my spot in the middle of the Gold Circle, I felt the whole crowd of 65,000 literally sending back its appreciation to the Stoke-On-Trent lad. Back in 2012 in Belgium’s Stade Roi Baudouin, I felt like I had received like… a 150% of emotion straight up in the face. Here? Make it a 500% (no offense to my fellow Belgian people). One of Robbie’s last sentences before disappearing was "I've got a smile in my heart and a bigger one of my face." That sure was exactly like this for me. And thousands of others.

End of demonstration: Robbie Williams is a true showman. And stage will always be one of his favourite homes. Obviously.

* More pictures after the setlist *

SETLIST :

National Anthem Of Robbie

Let Me Entertain You

Monsoon

We Will Rock You

Old Before I Die

Land of 1000 Dances

Candy

Come Undone

Never Forget

Sweet Caroline

It Wasn't Me

Love My Life

Eternity

Somethin' Stupid

Milennium

Hot Fudge

No Regrets

Feel

Kids

Rock DJ

She's the One

Angels

My Way