Morgoran, the Bob Dylan of French-speaking Switzerland

If you're a listener to Option Musique radio, then you're bound to hear one or other of his songs. Morgan Léchot, aka Morgoran, is a singer-songwriter from Neuchâtel, representative of the new folk wave of French chanson. Meet a promising young artist.

Le Regard Libre: You blend folk and French chanson. Who are your influences in each of these two genres?

Morgoran: I've always loved acoustic music; that's what led me to folk. First, there were iconic artists like Bob Dylan and the Eagles. Later, I stumbled upon the songwriter American singer Townes Van Zandt, whose music falls somewhere between folk and country. Through him, I discovered a whole range of other singers in the same musical vein, who are quite far removed from the cliché of country music that people in Europe might have. There’s also Leonard Cohen, whom I adore. On the French-speaking side, I’ve really immersed myself in the music of Raphaël and Damien Saez, as well as the band Noir Désir. I also really enjoy listening to Léo Ferré, Jean Ferrat, Georges Brassens, and, more recently, Barbara. These are artists whose work I’m far from knowing by heart, but whose songs have left a lasting impression on me—enough to inspire my artistic imagination. 

Are there also artists among your influences who already combine folk and French chanson? 

Thanks to Townes Van Zandt, in fact, I discovered a relatively young French singer named Baptiste W. Hamon. He is deeply influenced by both the American folk tradition and the tradition of French chanson. It was the blend of the two that immediately appealed to me and reinforced my belief that we could move in that direction. The French singers Alma Forrer and Pomme are also part of this inspiring world. There are many others from earlier generations, such as Hugues Aufray or Francis Cabrel.

Bob Dylan, as everyone agrees, is the man who popularized folk rock. But he is a complex artist who is constantly evolving. Which of his songs do you listen to?

There really is a lot of Bob Dylan out there. My favorite is the early Bob Dylan—just him and his guitar—the Dylan of the 1960s. His third album, The Times They Are a-Changin’, is absolutely sublime—in terms of both the lyrics and vocals, as well as the music and overall atmosphere. It’s undoubtedly my favorite. It was with this masterpiece that Bob Dylan, in a way, created Bob Dylan. That said, each of his phases is interesting, because they’re all very different from one another. The second trilogy, which includes his early rock albums, is magnificent, Blood on the Tracks (1975) as well, just as Desire (1976), featuring the song One More Cup of Coffee, which I love.

In fact, I saw you perform a beautiful rendition of it with your father, Bernard Léchot, in Lausanne last April. Does your admiration for Bob Dylan extend even to his latest works, which some have criticized?

Yes. It’s less folk, but it’s still very American. The sound is just as warm as ever, even though it’s currently more influenced by blues and jazz. I saw him in Zurich recently, and it’s true—it’s nothing like the early Bob Dylan anymore, but the quality is still exceptionally high. He chose to do what he wanted to do, and in a way, that’s what you expect from someone like him.

Read also | The noble Bob Dylan

You released your EP (ed. note: extended play, a musical format that falls between a single and an album) Sketch A little over a year ago. I imagine you have some new projects in the works?

In my head, anyway. On the other hand, I don't know yet if I want to release an album or another EP. Sketch It’s essentially a self-produced album, with help from my dad, who’s very involved in music—which allowed me to do things right, using professional equipment. I recorded almost all the instruments myself, except for the bass, which was played by my sister, and the guitars, which were played by my father and Michel Bertarionne on certain tracks. Not to mention my girlfriend and Jikaëlle, who provide backing vocals on a few tracks. So I’m still thinking about whether or not to continue with the same format and lineup. In any case, the songs are ready.

Will you stick with folk, or will you venture into something more rock-oriented?

It’ll be folk, but with more of a country influence. I’ve been listening to a lot of that kind of music lately, and I think you can create some wonderful music in the country genre without falling into the cliché of the conservative Republican. I really like the blend of that style with folk.

Why did you choose the EP format to launch your public music career?

It’s primarily a practical reason: it’s shorter. It’s also a way to create a polished finished product—like an album—that still serves as a sort of calling card. There’s none of the pressure that comes with a debut album. An EP lets you focus your efforts on a few songs and be fully satisfied with them. It’s a rough draft—hence the title.

Can you describe your musical collaboration with your father?

My father is involved in the production side of things, since I write the lyrics and music for my songs myself. My musical journey began with him when I was thirteen. My father was the one who started teaching me to play the guitar; my musical background comes partly from him. At some point, I felt the urge to do things on my own, to try it by myself. So I was part of a band, then two duos, before reaching my current status as a singer-songwriter. These steps allowed me to find my own path and then reconnect with my father. It was a pleasure to make this EP with him, to draw on his experience, and to exchange ideas with him.

You have a very melancholic style, which some people sometimes describe as lackluster. How do you respond to that?

Calm music has always fascinated me, though that doesn’t stop me from enjoying more rock-oriented or energetic songs. I like it when the lyrics and the music blend together, but the lyrics still stand out so you can actually hear them. It’s a matter of personal preference, and after playing a bit of rock with my band, I feel like acoustic music suits me better.

Is this melancholic music that you love also connected to the themes you explore in your songs?

I started writing when I was going through sad times. There are also many terribly sad songs that have left a lasting impression on me. Later, I also discovered that you could be more nuanced in expressing that sadness or melancholy. Damien Saez, whom I listen to a lot, sometimes strikes me as too direct, for example. American singer-songwriters, in particular, teach us that we can be more subtle: we can typically tell a story rather than just pointing out our personal feelings. Following in their footsteps, I don’t deal with depression or happiness, but with a sort of in-between state.

Nature is just as present as melancholy on your EP. 

Absolutely. For a number of years now, I’ve been somewhat fascinated by nature. Even though I don’t go for walks in the forest every weekend, nature is the foundation of my imagination. I’ve traveled to the deserts of the United States, Spain, and Morocco; those trips had a profound impact on me. I’ve also found this aspect in American literature and in the works of Albert Camus.

You’ve played a whole series of concerts since the launch of your EP at the Salon du Bleu Café on June 9, 2017. You just played one in Paris. Is that a city that appeals to you?

Yes, absolutely. I collaborate regularly with the Parisian artist Jikaëlle, who is also part of the folk scene. Paris is also a city my father loves—he actually lived there for a while—and we go there quite often. I have a friend who lives there, too. There’s something special about Paris when it comes to music and the arts in general. So it was a pleasure to go play there, even though French-speaking Switzerland remains important to me.

Of the five songs on your EP, are there any that you particularly enjoy performing live?

All of this is changing a lot. Behind the Rain, for example, was my favorite when I recorded the EP. However, it’s been a little while now since I’ve played it live. I think that’s partly because, as we write new songs, we end up preferring those over the others. Wind without borders still seems to stand out to me because of its distinctive blend of genres, and it reminds me of a whole personal story.

Based on audience feedback, are there any songs that come up often?

On the platform and Where I'm going the sky is gray are frequently mentioned, although this also varies widely. Full Moon is a newcomer who is also well-liked.

What do you listen to on a daily basis—music from the golden age of folk, or contemporary folk?

It’s a nice mix. I listen to a lot of artists like Guy Clark, for example—a country artist—but also contemporary singers who are part of that legacy, like Robert Francis. He’s someone who means a lot to me and who draws inspiration from country, folk, and rock alike.

Are you optimistic about the future of music?

I’m pretty optimistic, yes. A lot of great things are happening right now among the «smaller» artists. What’s unique is that we no longer have a major music genre that brings everyone together, nor do we have big stars who everyone agrees on. Our musical era is fragmented. The problem is that it’s hard to make a living from music, which affects some people who create high-quality tracks but end up getting discouraged. Then again, of course, one might wonder what some young people are actually listening to. (Laughter)

Write to the author: jonas.follonier@leregardlibre.com

Photo credits: © Loris S. Musumeci for Le Regard Libre

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