Groningen – Nederland
On the way to Groningen, I am still worried about the room occupancy. Last year I Muvrini was also present in the Oosterpoort, but then they played in the small hall. This year the main hall is booked. Enquiry taught me that because I Muvrini wanted to perform three nights in a row in the same halls as last year in the Netherlands, this hall was the only possibility. The small hall was already booked and in combination with the other halls in the Netherlands this was the only option. Fortunately the hall proprietor had promised to make the room more intimate in case there were not enough tickets sold.
When I enter the room at the sound check I understand immediately what the hall keeper thereby intended. The balconies are covered behind large black sheets on both sides of the hall. So nobody will be sitting there tonight, but will the hall be enough filled?
At the sound check it is immediately clear that tonight they will be playing in a real pop venue. The sound is louder, but fortunately mostly better. It is cheerful and it all goes smoothly. There are still some of the diligent roadies of the Oosterpoort who assist the tuning of the noise and ask me to leave the room. But when I refer to the roadies I Muvrini I am allowed to stay.
Meanwhile, I sincerely hope that enough tickets have been sold to fill the hall enough to create a warm atmosphere. How many people will have thought that it is not worthwhile to come and see the band playing again when they have seen them already last year? When the doors are opened, I understand very quickly that my concern was for nothing. The hall fills quickly. If it is not sold out, it is almost sold out.
Jean-François Bernardini
And immediately the atmosphere is also good. The northerners in the Netherlands are known for being tight and sober, but now they simply go for it. To my amazement they even have the guts to sing along with Alain when he starts singing “Un Ti Ne Scurda”. I personally find it rather boldly, but Alain does not make a problem of it at all. He laughs at the appreciation he draws out of it and he clearly enjoys it. Jean-François does measure up to him, and if at the end the public is invited to sing along with the gentlemen, does nobody keep his end up. No, as loud as we sing in the Netherlands, I have not heard it anywhere else. And yes, Jean-François knows very well to induce us to an excessive performance.
The end of “Un Ti Ne Scurda” is a bit of a César Anot show. The bassist has also a great voice and the audience repeats warm heartedly his exclamations. His roots from the Ivory Coast rise to the surface, and at the end of the song the audience thanks him profusely for it.
After the show Jean-François, Alain and Stéphane quickly come back to the hall to meet the visitors. There are so many people who mob around them, so they almost disappear in the crowd. There are the usual scenes of writing autographs on papers, folders, pictures, and of course making new pictures that can be signed the next time. And there are also people who show them their pictures of their holiday in Corsica, while telling their stories and explain how much they love the island theyare coming from. Patiently all the information is exchanged and discussed.
When it is quieter again, I can hear a man ask Jean-François: “Where’s your violin player? I would really like to talk to her!” He is a bit bewildered to be asked this question. Perhaps he does not know the answer either because it is already quite late or it’s not inconceivable that some members of the band have already departed to go to the hotel. I certainly hope that this direct question will have the effect that the other members of the band will also show up after the show to be able to accept the compliments directly from the audience. The next night at the Paradiso, I will experience immediately that this hope comes true!
Themocracy