Debut Chicago Performance
kid francescoli, kids return
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With the album With Julia, Kid Francescoli has affirmed his place in the pop universe. It left Kid Francescoli at the end of a story: the one he shared with the young American Julia Minkin, a singer he met in New York, incarnation of his fascination with the United States.
In 2017, Play Me Again announces an unprecedented phase, both familiar and full of unexpected touches. This collection of songs tells the sequel of With Julia. The love story is over, the New York epiphany has disappeared but leaves room for a new personal and musical evolution. Julia is no longer the American lover, the fantasy made flesh, but has settled in Kid Francescoli’s hometown Marseille.
With Julia evoking the end of our story, Play Me Again talks about its transformation into a musical bond, our growing complicity in writing. Musical creation is at the forefront, our relationship evolves and that can be felt in the music. » Julia becomes the creative partner, the muse, the favorite instrument of an artist at the start of a new chapter.
Produced by Simon Henner (French 79, Nasser, Husbands), Play Me Again benefits from this new but proven dynamic. Kid dares to explore new genres. The melancholic boy of the first album never really left us with his sweet voice, his cottony beats, his cinematic fixation, his vintage synths. If his musical identity has further evolved on Play Me Again, it remains one of the most recognizable sounds on the French pop scene.
Kids Return is first and foremost a great story of friendship between Adrien Rozé and Clément Savoye. It was in Paris, at the age of 13, that the two musicians met. Like Japanese director Takeshi Kitano’s film from which it takes its name, the French duo’s project explores the depth within the false naivety of childhood, and the evocative power of nostalgia when it blurs the line between joy and sadness
Kids Return‘s sound sits somewhere between the Mamas and the Papas’ Californian pop, Vladimir Cosma’s orchestrations and the modesty of Joe Hisaishi’s soundtracks. It draws on Blur’s energy and MGMT’s vocal harmonies, while revisiting these Anglo-Saxon influences with the precision and delicacy of bands like Air. The result is a romantic and melancholic melody, a laboratory of emotions that can be thought of in pictures.