In the complete AccorHotel Arena, Billie Eilish continues to reveal her intimate relationship and resonates more than ever with the current era.
Billie Eilish masters the paradox: How do you create whispered ASMR-style tracks, backed by simple invocations, and perform at AccorHotel Arena-type venues? By rushing directly into the contradiction, specifically.
The majority of artists who reach this type of room, which can accommodate 20,000 people, have the reaction maximum pitch: fan in their hair, delicate choreography, changing clothes, fireworks, etc., and so on. Dua Lipa kissed her again during her date in Paris, approached her concert like a three-way race with one last fight against a grizzly bear, and delivered a slightly awkward athletic performance in what she said was the pursuit of perfection and strength.
A cyclist, a T-shirt XXL and a bun on his head
Billie Eilish, you did it in sobriety. Simply put, accompanied on keyboards and guitar by her brother, Phineas — who co-produced her albums — and drummer, both stationed in the background, she leaned against this slightly destabilizing facade after decades of pop stars embracing the lock-down of automated marketing. She doesn’t change her clothes – a cyclist and an XXL shirt stamped with a picture of a woman with a gun, who has the reference? — or the hairstyle — her two big black buns on top of her head, half kawaii, and half Mickey, sums up so well the mix of naughty sensuality and humor that rocks her entire enterprise.
In the background, a giant screen (yes, all the same, finally) shows alternate images taken from his clips (the silhouette of a giant spider from You should see me in a crownFamous black tears flow from his eyes When the party endsCars speeding on the highway miscellaneous…), audience videos (way to include in the show, to break the distance as if breaking the fourth wall), close-up shots of her face as a young woman of only 20 years. A little scenographic madness will come not so much from tilting the stage as from this mechanical-arm-apron porch that she perches to whisper a few songs as she spins through the air, as she approaches her audience. She is delicately beautiful, and somewhat clever.
Everything here illustrates the Lacanian concept of persuasion, or the desire to reveal one’s intimacy. Billie Eilish’s art project is just getting closer: a teen reads her diary to us, while her brother accompanies her on guitar. Here we are in their room, right there, in the family home in Los Angeles, where they grew up and composed their first album, When we all sleep, where do we go? Moreover, both Billie and Finneas do not hesitate to sit in two chairs, in this huge AccorHotel Arena, to sing I love you, a little song on acoustic guitar, instantly reduces the room, as if the audience were merging, leaving nothing but a solid mass, welded, loving and covered in tears. Yes, Billie Eilish’s fans are crying a little bit, less because of fan hysteria than because of communication with teenage pain (even existential).
Intimate and good show
Everything is close, as if the figure of the star artist were to be permanently destroyed, untouchable and inaccessible, a living god who could not fall from his base because one would separate the man from the artist. Upon realizing someone is about to faint, Billie Eilish stops singing and repeatedly requests security to supply the pit with bottled water. Other times, here approaching a session of psychoanalysis, or spiritual well-being, invites us to close our eyes and think about what makes us happy, or scream to get rid of our negative thoughts.
Because Billie Eilish is thus the paradox: the suffering of adolescents, the one we have so much difficulty picking up on because it lies in part with the loss of childhood and the passage into the infamous adult age. But, too, is his decision. Far from inciting violence, Billie Eilish talks about caring, but rather about tolerance, benevolence, and love. Besides, images of smoldering forests and polar bears are in bad shape on screens, and the artist reminds us that we must think about saving the planet, and fast.
As an introductory summary: some of his best songs, get oldtaken from his latest album, Happier than ever, while passing pictures of her when she was a child. The song talks about the difficulty of growing up like managing success, with a slight jolt, bouncy like the cheeks of a cherub, but heavy with the heaviness of tears. What could have been very uncomfortable turns into a simple mirror that stands up to our lives. Suddenly, it’s no longer his laughing face that we see on this slide, or in his mother’s arms, but ours. We are no longer at the AccorHotel Arena, but in our ancestral garden, full of innocence and desire, we are still very much the same.
Rarely do we see such a company. Billie Eilish is definitely the voice, the voice, and the face of today’s youth. Who grows in the horizontality of the Internet, rejects the verticality of domination, and establishes a close relationship with its idols.