Véronique Sanson's subtle duets make us rediscover her

Thursday melodies - Jonas Follonier

The great French artist Véronique Sanson didn't need to release this album for the timelessness of her genius to be recognized. And yet, she was right to do so. Volatile duets, released on November 23, features never-before-heard duets with other contemporary figures in French music, spanning all generations. Sanson reinterprets her greatest hits in the studio alongside fellow artists. This essential element of diversity has the merit of drawing us even deeper into the singer’s world. Here are our three favorites.

Véronique Sanson needs no introduction. She is a true icon. She has carved out a place for herself in the French-speaking and even European musical heritage, as her talents as a singer-songwriter have been unanimously recognized by critics and the public alike. Véronique Sanson is A Song About My Strange Life, that is No one needed, that is Vancouver, that is Nothing but water. Pure genius, above all, for someone who hasn't always drunk just water.

It was precisely the painful periods of his life that left their mark on his work, resulting in deeply moving songs such as I missed myself so much or A whole lifetime without seeing you. Sanson also has a joyful side—and, even more so, a romantic one: we recall that she was Michel Berger’s wife—undoubtedly the true love of his life, judging by the artistic success of their partnership. In short, the duo dynamic is deeply rooted in Véronique Sanson’s identity. This album, then, feels like a natural progression.

Read also: A love dialogue in song

But here, there’s no question of dialogue. In fact, the differences in interpretation between Sanson and the artist accompanying her on each song—as well as the differences between Sanson’s current interpretation and that of the original versions—are so interesting and so subtle that they can only be described with this one word: subtle. This description actually applies to all fifteen tracks on Volatile duets, but we'll focus on three of them.

Three highlights from this album

First of all, the opening track of the album is an absolute success. The idea of having Vianney on A Song About My Strange Life It takes a very discerning ear to pick up on it. There’s something devilishly tender and deeply moving about the tone of this new star of the French music scene. And what a delight the playful yet delicate instrumentation is, which perfectly complements the whole. Bravo, Véronique—now that’s a great start to an album!

Then, we stop at Bahia, ma'am, because Bahia, and because Alain Souchon. The evolution of the orchestration since the original 1972 version is so well thought out that it’s hard to rank the two versions. Why look for one? They are quite simply two absolute masterpieces—or perhaps two manifestations of the same masterpiece—existing in another dimension: that of immortal music.

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Finally—and this is our absolute favorite—listen to the duet with Juliette Armanet on the must-have and timeless A Night on His Shoulder! You won’t believe it. Simply because you never really come back from a journey with Véronique Sanson. You never come back. Just as you must have experienced it yourself, Juliette. And just as you, dear readers, will experience it too, if you take the time to listen to this musical gem that invites us to embrace life.

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