What if the solution was Mylène Farmer?

And then the world of Mylène Farmer, a world next to ours which has persisted for years, leading its parallel existence with its rites and its enthusiasms.

As Le Parisien explains today, Mylène Farmer will be in concert next Friday, Saturday and Tuesday, and that is why hundreds of tents surround the Stade de France. His fans camped around what would become the Mylène stadium. It’s simple, no star in France arouses such devotion. An immense devotion, even though this star leads an existence on the fringes of the media. I don’t think I’ve ever heard or read an interview with her, and since she has little interest in the media, the media has little interest in her. Quite the opposite of other popular singers, Johnny in the lead, who were regularly on the front pages of the newspapers, voluntarily or not. Johnny’s life was national news, Mylène’s belongs to a bubble.

Mylène’s fanbase is one of the most loyal there is. She is present at every concert, capable of waiting 21 days in the rain, coming from everywhere: from Moscow, Mexico or Burkina Faso. However, Mylène does nothing easily. His texts are literary and difficult to interpret in French song. It addresses themes such as death, loneliness, melancholy, rejection and existential unease, subjects that are often taboo in popular music. Let’s take Disenchanteda song that expresses the despair of a lost generation, or even The soul-stram-gramwith its complex philosophical and psychoanalytic allusions. His words are puzzles, where each word is carefully chosen, often in reference to authors like Edgar Allan Poe or Emily Dickinson.

And in an era which increasingly refuses admiration, where we no longer admire anything or anyone – neither political nor religious – and where stars have become celebrities, Mylène Farmer remains a conservatory. The conservatory of the human capacity to worship.