Roland mon amour

Imagine I’m on stage alone with mine and I’m terrified. Actually, I play a very nervous girl who is about to face something very heavy. There’s nothing heavy in my musical selection, but I try to be a bit punk because that’s always applauded in performances. I think of punk and all I see is the guy with the mohawk who always stared at me in the Maycar. I’m on stage alone, without a crest, wanting people to say: “this girl is very punk”. The punks I knew didn’t recycle, they threw cigarette butts on the ground and wore tight trousers with chains.

I like baggy slouchy trousers and I even recycle my ruler, so I definitely renounce being a punk. Imagine that I start by excusing myself, like when you try to speak in English and say “sorry fuere my English”, because this is a very difficult thing to do. So, imagine that I know and you know, but we are all very polite and assume that it can happen. We want something to happen and we don’t want it to happen to us.

Main objective: to keep my audience awake. So, I can choose to do something entertaining so that the audience doesn’t fall asleep, or I can generate a frenetic pace to the point of making them anxious. The latter is not a very noble wish for an artist who considers herself a hedonist and who only wants people to have a good time. The aim could be that the audience leaves the show wanting to dance, and I like that even more. Let them say: “I came out of that Roland mon amour business wanting to have a good, super-conscious time”.