After the Hispanic and Hawaiian odysseys, the group of Sacha Got and Marlon Magnée publishes its first album in English before embarking on a US tour… Before an event date at the Accor Arena in 2025. French pop in force.
On this last day of summer, we find Sacha Got and Marlon Magnée in the latter’s suburban apartment. After a studious afternoon of preparations for the American tour of Rock Machine, At aperitif time, the two thirty-something friends are in a playful mood.
A week earlier, La Femme announced its first concert at the Accor Arena for November 26, 2025 – a giant stage step for the Basque band who, tirelessly, surfed On the board since the start of his career in 2010.
“After Bercy, a venue that we had imagined doing much earlier when launching the group and that we already know for having played there as the opening act for Red Hot Chili Peppers in 2016, the next stop will be the Stade de France in ten years”, they say in unison.
Like few other artists of their generation, of which the duo is an immovable pioneer, La Femme has pushed French pop forward, to the point of becoming an essential reference celebrated in its country and abroad, particularly across the Atlantic, where the group very early on toured concert halls despite the French language barrier for the American public.
“He will finally understand our words, it will be the live crash test”, they have fun. For this fall tour, historic (Clémence Quélennec, Fanny Luzignant) and new (Michelle Blades) singers from La Femme will accompany them to America.
After three albums (including the timeless inaugural masterpiece Psycho Tropical Berlinin 2013) and their two musical odysseys (Lucid Theater et Paris-Hawaii), Rock Machine is La Femme’s first Anglo-Saxon record.
“Rock and machines, as the promotional video posted on the networks says prosaically. Rock Machinethis is not music for the faint of heart.” As insatiable composers traveling the United States and England for years, Marlon Magnée and Sacha Got had accumulated forty-five pieces in English.
“We wanted to mix lots of music from the 1980s: new wave, cold wave, and even hard rock, as on Clover Paradise carried by a big guitar solo.” Rock Machine is thus a (temporary) farewell to France, as Sacha Got sings in Hi Paris! : “Bye, bye Paris/Goodbye PCC/Goodbye Pigalle/Goodbye Bastille.”
As is often the case in her discography, La Femme advances with her face uncovered (I Believe in Rock’n’Roll) in this disc gathered in thirteen tracks, which often takes on the appearance of a return to the future, as on the single Love Is Overa real dancefloor bomb that combines new wave synths and the sound of Madchester.
“To do too many styles on one album as in Mystery or Paradigmspeople can end up getting lost, do they recognize. With this series of odysseys begun two years ago, we can more easily narrow down our subject, especially since we have always tended to spread ourselves musically.
With Rock Machine, we wanted to pay homage to our eighties influences: Kraftwerk, New Order, The Stranglers, to which we feel quite close in the descents of the keyboards and the sequence of chords, particularly in their title Midnight Summer Dream.”
For concerts of Rock Machine, La Femme’s looks will, as always, be in tune: boots, leather, metal, capes, wigs. “If we have learned one thing over the past fifteen years, it is that there are no rules in this industry: good surprises like big disappointments are never what we expected.”
With arrows like Clover Paradise, Venus, Love Is Over, My Generation or I’m Gonna Make a Hit, The Woman still has a new trump card in her breathtaking game.
Rock Machine (Disc Pointu/Idol/Pias). Released since October 11. In concert at the Accor Arena, Paris, November 26, 2025.
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