No, sometimes guilty pleasures and hits. Real ones, the ones we sing during the third half, at a staff party or which liven up the ball on July 14 (or 21) in the campsites. “Provided that they are sweet” (Mylène Farmer), “The demons of midnight” (Images), “Sensuality” (Axelle Red) in Gipsy Kings version, “Paroles, mots” (the couple Dalida/Delon who becomes Sharon Stone /Julien Doré) or even “Sara perché ti amo” (Ricchi E Poveri) with an astonishing Hélène Ségara… Served by beautiful orchestrations, a personal interpretation and above all a lot of passion, these covers take us back to a nostalgia that we sometimes have tendency to escape while giving us a new reading grid.
What is a good recovery for you?
“A good cover is the result of good chemistry. At some point, the song you choose to perform must say enough things about you so as not to be heard as a caricature of the original version. The world of Music is a world too often linked to the ego. When a song manages to be disembodied from its original interpreter, it becomes free, travels, takes on another meaning and becomes an autonomous force.
“Under the Sunlights of the Tropics” is a good example of disembodiment. The original version by Gilbert Montagné makes all the campsites dance while you turn it into a ballad for crying…
“This song is a story of several years. When I discover it, I’m drunk and I sing to it while fooling around with my friends. And then, in 2020, the day I release my album AimeeFrance Inter invites me to the studio and asks me to do a cover on the piano. It’s at that moment that I realize that “Under the sunlight of the tropics” is above all an incredible text. The original orchestrations, the radio stations that broadcast it at the time, its author himself… Everything contributed to putting “Sous les sunlights” in the box of bad taste even though it nevertheless touches on the sublime. When I recorded it by slowing down the rhythm and adding violin, the text took on its full meaning. I wonder how I could have missed the words to this song when I’ve known the lyrics by heart for all these years.”
The Imposter who gives its title to the album, is that you?
“This word”Impostor“was put on my back, like a label, at the time of New Star. I found it interesting to reappropriate it to make it the title of the album. I was certain that it would generate debates around the question of the legitimacy or not of covering songs which are part of the heritage. And then, generally speaking, I also have the impression that imposture is present everywhere. The more we touch on the intimate, the more it imposes itself unfairly like a little poison in a moment of happiness. We drink a glass of wine, we watch a sunset, we sing something by Gilbert Montagné, we hang out and there are people who will make you feel guilty, tell you that it’s not right, that you don’t you have no right, that you are cheating…”
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Is this record also a tribute to all these emerging artists who sing covers in TV shows like “Star Academy” or “The Voice”?
“Yes, of course. The album is called Impostorbut compared to tele-hooks, I believe I have a certain legitimacy to share my experience. That’s why I went to the Star Academy This year. I felt the same stress as all the candidates who try their luck. I asked myself the same questions before performing “monument” songs that were beyond me. I too wanted to leave the TV set a few seconds before singing in front of a jury who was going to eliminate one of us. I am also one of the rare artists who has participated in tele-hook-ups who has not put aside this stage. I speak about it with pride, with respect and a lot of joy too. Furthermore, while writing my own songs, I continue to cover those of others. I like it.”
From your mentor Francis Cabrel with whom you cover “A Happy Man” by William Sheller, you say you learned the importance of silence. An explanation?
“Mylène Farmer opens (with “Pourvu qu’elles sont éclairs”) and in a way ends the record (“Moi… Lolita”, which she wrote and produced). There is also Francis Cabrel who was the first artist to whom I spoke about this project and wanted to be part of it. With Christophe, who is unfortunately no longer here, these are the three personalities who inspire me the most. What do they have in common? remain discreet in all circumstances. They have managed to cultivate a bit of mystery in an era where mystery has become an insult. I admire that, I try to do the same thing in this continuous flow industry where artists create. things more out of fear of disappearing than out of the desire to do them one day.You have to be able to get on stage and get off“. Since I heard this sentence, I understood everything. I found my way of operating. Three or four years between each album and each tour… This is the rhythm that I need.”
For the tour, can we dream of a giant karaoke?
“As for the tour Aimee, we are preparing a crazy show that will last more than two hours. I will sing my songs, and there will be covers. A giant karaoke? Yes, that will be it. I’m lucky to have this relationship with my audience, we’ve always sung together.”
21/2, 22/3 and 8/11/2025, Forest National, Brussels.
Julien Doré, Impostor, Sony Music
The pianist’s groupie
Sharon Stone and Julien Doré on “Paroles Paroles”, the adaptation of Mina popularized in 1973 by Dalida and Delon. This is the most unlikely duo in Impostor. It is also a beautiful story that resembles a fairy tale. It all started at the Cannes Film Festival in 2009. Sharon is the star of the Croisette. So just out of New StarJulien Doré is nothing. He plays the piano at a private party. Nobody listens to him. Nobody cares. Except for one woman sitting at the head table. Sharon Stone takes a liking to this pianist with curly, tapestry-like hair. She gets up, followed by dozens of paparazzi, approaches him, whispers two words of comfort in his ear… Sharon and Julien will continue to communicate over the years. When recording ImpostorJulien has the idea of inviting Sharon on the record. He asks her to sing Delon’s words, he taking responsibility for repeating those of Dalida. Sharon said “yes“.
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