For the rapper SCH, it is the show on July 22 at the Vélodrome, the famous OM playground in Marseille, filled with 53,400 fans of the artist. Captured by nearly 70 cameras, this concert is scheduled as a single session this Thursday, November 23 in 200 cinemas in France, Switzerland and Belgium.
The incandescence of this nearly two-hour spectacle crosses the screen, as AFP saw during a Paris preview last week. But how is it experienced from the inside? “It’s a lion’s den, crazy,” laughs SCH, interviewed by AFP before this screening.
The rapper born in Marseille assures that the presence of the cameras only added “a little pressure” in a “deadline”, filling the Vélodrome and singing there, “already so important”.
No repeated looks at the camera for this capture. “The production rather worked in relation to how I am on stage, everyone had to be synchronous, there was no problem,” says the singer of “A7”. “We almost had an F4 fall off the stage but we saved the furniture,” he laughs. The appearance of this racing car – a category below the famous F1 – is one of the notable moments.
A “magnifying glass effect”
The impression of traffic jam of these shows at the cinema at the moment owes a lot to a “magnifying glass effect”, described to AFP Thierry Fontaine, president of Pathé Live, broadcaster, among other things, of concerts on big screens, offered to all cinemas, large network or independent theaters.
This manager sees “the impact of the recent broadcast of the Taylor Swift concert and booking levels in the USA”. However, in 2023 alone, Pathé Live has already broadcast concerts by Billie Eilish, BTS, the ephemeral trio Grand Corps Malade/Ben Mazué/Gaël Faye, Metallica, Roger Waters and even Johnny Hallyday with an old remastered show.
And this fall, as Thierry Fontaine says, “after Taylor Swift, Orelsan, there is SCH, – M – and Beyoncé, even if, for her, it is not 100% concert but a documentary with the creative process of the + Renaissance Tour + and its world tour”.
“Concerts screened in cinemas have been happening for a long time, but with a turning point for current music on March 27, 2014 with that of Mylène Farmer in theaters in France, Switzerland and Belgium, with more than 100,000 admissions in a single screening” , notes the manager.
“I didn’t want to appear redundant”
In the 2000s, David Bowie already offered his London concert live in cinemas in Europe (and delayed elsewhere, such as in Asia). The concerts we are talking about at the moment have already taken place.
“I didn’t want to appear redundant with the mass of other concerts in the cinema so, in the editing, there are very + clips + parts, special effects”, underlines SCH. Post-production simply highlights the colors of the visuals broadcast at the Vélodrome. We also note a nice slow motion on “Fade Up” in a duet with the Belgian rapper Hamza, one of the peaks.
Note that Taylor Swift’s concert at the cinema, with 64,000 admissions for France, remained far from blockbusters of the genre: Mylène Farmer, this time in 2019 (134,000 admissions in France), and Indochina in 2022 (119 000).
The result of the American, “which would make classic films green with envy”, is however less good in France “compared to Anglo-Saxon countries”, concedes the president of Pathé Live. Because her tour has not yet passed through the country and the singer’s fans “did not want a + spoiler +”, deciphers Thierry Fontaine. The artist wanted fifteen sessions spread over four weekends, but “the more we spread out the sessions, the more we lose the event character”.