En terme de chanson française, je suis pour beaucoup restée bloquée dans les années 80, et si entre Niagara et Desireless mon coeur balance, Voyage Voyage a cette capacité à enflammer la piste
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Je ne pense pas à un moment en particulier mais plutôt à une succession de rencontres : Viviane Brès, ma maîtresse de stage chez Kitsuné qui m’a tout appris (et Sarah Carrier !), Le Noeud Pap et sa bande de créatifs (un peu barrés) qui pensaient l’événementiel autrement, mais surtout mes deux associés de chez Baguette Publishing, Etienne et César.
 Quant à Comme Nous Brûlons, un dimanche-ramasse de Janvier 2017 avec quarante meufs dans un salon.

Recommandation de spectacle/concert à voir absolument pour quelqu’un qui ne sort jamais ?

Autre chose à rajouter ?

J’ai l’intuition (et les preuves tangibles) que ce qui se passe en ce moment sur la scène musicale est extraordinaire. Au delà d’une explosion de l’offre (via le streaming notamment) comme on le résume trop souvent, on assiste surtout à une effervescence aussi bien créative qu’engagée. Les canaux de diffusion, les volontés de voir la fête autrement, la place toujours plus grande accordée aux artistes qui réinventent la musique sont autant de marqueurs d’espoir d’un changement socio-culturel plus profond.

It’s beautiful and dark, romantic and ironic: it’s the soundtrack of the perfect love story (and also the memories of my first steps in Paris)


Desireless – « Voyage, Voyage »

A part of me will always be stuck in the 80s’ — and if between Niagara and Desireless my heart cannot chose, « Voyage Voyage » has this magic power to set fire to the dance floor.

The Growlers – « Naked Kids »

« I picked myself above the ground, I had an epiphany, babe, a realization, Babe I knew that I couldn’t stay down, I had to find a way to be brave »: best life advice.

Golden Ticket moment : when did you get your big break ?

I don’t think there was a particular moment but rather a succession of people: Viviane Brs at Kitsuné who took a chance on me and taught me everything I know (big up to Sarah Carrier, too!), Le Noeud Pap and its colorful crew who decided to think events differently and last but not least: my two associates at Baguette Publishing, César & Etienne.


When it comes to Comme Nous Brûlons, a Sunday-hangover in January 2017 with forty women in a living-room.

The show/gig you recommend for someone who has rarely ever goes out?

I usually enjoy cold & new wave music, or to put it simply: the kind of music featured at La Station – Gare des MInes (so not the easy-listening kind of music).
Lately, Léonie Pernet blew my mind: her crossover univers mixing styles and times is fascinating and very powerful live!

Why on earth did you want to work in music?

To realize I could be part of projects that I love and admire and help them go somewhere without having to be a musician myself.

You meet aliens : which 10 tracks do they need to hear ?

>> Listen to the playlist <<

Queen – « Bohemian Rhapsody »
Gabriel Fauré – « Requiem »
Nina Hagen – « Personal Jesus »
Sébastien Tellier – « Roche »
Q Lazzarus – « Goodbye Horses »
Odd Future – « Oldie »
Gala – « Come into my life »
Pyrit – « Bright Eyes »
Mohini Geisweiller – « Milk Teeth »
The Soft Moon – « Desertion » (Phase Fatale remix)

SRSLY (seriously) : what are the stakes of your job within the next 5 years ?

Starting with the obvious: we are releasing two albums next year (Santoré & WHY MUD) and more generally turn Baguette into an even better support for our artists. Of course, it comes with more communication, bigger network, hard work.

One of our main goals is also exporting our music. We chose the name « Baguette » on purpose and we intend to make it happen thanks to our artists, but also as Baguette itself. With the Bureau Export’s help, we made our first steps this year: New-York, L.A., Hamburg, Toronto, Vienna, Cologne, but also tours in Brazil & Mexico.

In the meantime, Comme Nous Brûlons is very dear to me and I’m excited to see what the future holds! Even thought our objective remains the same: giving space to people who are too often in the shadows so they can freely express themselves.


We also have the wish to go and meet with local feminist scenes in France and abroad so the festival would live outside of the Parisian scene.

Is there life after music, and what would yours be ?

Anything you’d like to add ?

I have the intuition (and I haven’t been proved wrong yet) that something wonderful is happening inside the music industry. It goes beyond the fact that offer is off the roof (through streaming, among others), but creativity —and especially engaged creativity— is bubbling too. Inventing new ways to consume music, to party differently, or the bigger space given to artists reinventing music, all of those are indicators of a deep socio- cultural change.

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