This Wednesday, August 26 marks the kick-off of this 22nd edition of Rock En Seine. As has become tradition, the festival opens with a special day built around a major headliner. After several editions highlighting female artists, this year Tyler, The Creator has the heavy task of opening the festivities and setting the mood.
At first glance, the lineup for this opening day appears particularly eclectic, weaving between rock, indie, soul, R&B, and alternative hip hop. A diversity that well reflects the festival’s evolution in recent years.
As the gates of the Domaine National de Saint-Cloud have just opened, a surprise awaits the first festivalgoers: Jain is about to present her upcoming album during two happenings organized within the festival grounds.
Timid but present rock
Arriving at the end of MIKI‘s show, we discover a set that is surprisingly more rock than one might have imagined. Placed on a platform in the middle of the pit, the artist even sees a circle pit form around her, proof that her energy quickly resonates with the audience. The crowd remains relatively sparse at this early part of the day, but the atmosphere gradually rises. Special mention for an exit from the stage that was anything but ordinary: Spider-Man himself appears to announce her next concert at the Zénith.
Another headliner of the day, SOMBR imposes a change of mood that plunges Rock En Seine into his alternative and indie world, as strange as it is endearing.
Dressed entirely in black, the gaze highlighted with dark makeup and hair styled with a fishing-net, the young artist cultivates a dark aesthetic that he fully embraces on stage. The guitars grow in saturation while the synthesizers become more discreet, giving his songs an intensity that can be surprising for those who only know his studio versions.
The red and black colors dominate the entirety of the show. Behind him, the scenography recreates a slice of Orchard Street in New York: construction barriers, urban furniture, and even a functional red traffic light contribute to the immersion. The screens extend this urban narrative by illustrating the songs with sequences sometimes in black and white. When introducing the group, the graphics borrow from New York imagery with street signs, MetroCards and characteristic typography. At moments, the lyrics even appear on screen, briefly turning the concert into a giant karaoke.
A central ramp also allows him to constantly move closer to his audience, with whom the connection seems natural despite his sometimes mechanical speech. His messages of thanks sometimes lack spontaneity, but this is quickly offset by his sincerity and his presence.
On stage, Sombr already has something undeniable. Indeed, though still a bit awkward, he captivates the audience from start to finish. It must be said that his numerous viral tracks, “Back to Friends,” “We Never Dated,” “Undressed” work in his favor: the choruses are instantly echoed by a crowd already won over. Even his most recent tracks like “My Body Isn’t Ready” operate on the same principle. Yet one cannot deny a certain repetitiveness and the feeling of often hearing the same thing.
The most touching moment likely comes during “Back to Friends.” The artist steps off the stage to traverse the entire barricade in a long dive into the crowd before greeting his parents who are backstage. A spontaneous interlude before returning to finish the song to thunderous applause. Another striking moment: the appearance of a banner bearing the phrase “We Met In A Paris Café.” Sombr tags it himself and then waves it throughout the central walk before starting the corresponding track.
The audience stays engaged until the final minutes of the set. To the point that “12 to 12” is played… twice. Was it because it was exceptional, or simply because an extra song was needed to close? You can draw your own conclusions.
Behind the decks with Jain
During the evening, JAIN takes over an unusual space situated between the Boursobank stage and the Grand Stage. A control booth mounted on a vehicle and a set of turntables are placed in the middle of the crowd, giving almost the impression of an improvised DJ set. But the goal is something else: the artist came to premiere several tracks from her upcoming album, whose release now seems imminent. An original proposition that quickly arouses the curiosity of passing festival-goers and establishes an electro ambiance that is unexpected and appreciated during the sometimes long pauses between each artist.
Soul, R&B and alternative hip-hop
Among the artists on the bill for this opening day are also several rising figures on the international soul and R&B scene. The British SEKOU, in particular, confirms on the small Roc-On stage his status as an artist to watch thanks to a remarkable voice and a presence already assured despite his young age. On the Grand Stage, the American RAVYN LENAE, whose music glides between alternative R&B, soul and pop, offers a set all in softness. Despite her ethereal voice and vocal mastery, her performance struggles to truly captivate a crowd that remains sparse. The concert ultimately leaves few memorable moments, until the performance of her viral track “Love Me Not,” sung back by a portion of the audience.
To close this opening day, Rock En Seine welcomes a headliner that stands out in the festival’s history. TYLER, THE CREATOR is arguably one of the most anticipated artists of this edition, even though his universe is far removed from the rock sounds traditionally associated with the Francilian rendezvous.
From the very first minutes, the tone is set. Pyrotechnic effects frame an ambitious visual show where the artist occupies the stage space alone with disconcerting ease. His presence is simply impressive. Dressed in a bright yellow leather suit, including a cap, he remains identifiable even from the far end of the site. Playful, provocative, funny when addressing the audience, Tyler masters every moment of his concert. Even the least familiar with his repertoire gradually find themselves swept away in his universe.
As the songs unfold and there are numerous interactions with the crowd, the artist delivers a setlist that moves deftly between his latest hits and several cult tracks. In the middle of the concert, he also follows with a medley devoted to his older songs, triggering the enthusiasm of longtime fans. The versions offered tonight do not merely reproduce the studio recordings faithfully. Several songs are reworked for the stage, bringing a new reading to pieces already well known by the audience. Notably, “Sugar On My Tongue” is reinvented for a few minutes.
At the end of this opening day, Rock En Seine has already achieved its aim: offering a rich, varied opening capable of bringing together very different crowds. A successful first course before four more days of music at the Domaine National de Saint-Cloud.
