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Stromae folgen

Das kreative Label hinter dem Projekt Stromae, in den Bereichen Mode, Musik und audiovisuelle Medien aktiv.

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Fils de joie

Die Nachrichten des Tages 20/06/2022

Das Songbook von Multitude ist verfügbar !

Das Songbook von Multitude ist verfügbar. Es enthält die offiziellen Noten für Klavier, Gesang und Gitarre der Tracks des Albums.

Die Nachrichten des Tages 04/03/2023

MULTITUDE verfügbar

"Multitude" ist jetzt auf allen Streaming-Plattformen sowie auf CD oder Vinyl erhältlich.

Musikvideos und Singles

Lernen Sie hier die neuesten Musikveröffentlichungen von Stromae und seine neuen Musikvideos kennen.

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• July 24, 2022 Setlist

Stromae Setlist at Plaine de l'Asse, Nyon, Switzerland

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• Invaincu Play Video
• Fils de joie Play Video
• Tous les mêmes Play Video
• Mon amour Play Video
• La solassitude Play Video
• Quand c'est ? Play Video
• Mauvaise journée Play Video
• Bonne journée Play Video
• Papaoutai Play Video
• Ta fête Play Video
• Pas vraiment Play Video
• Formidable Play Video
• Riez Play Video
• L'enfer Play Video
• C'est que du bonheur Play Video
• Santé Play Video
• Alors on danse Play Video
• Mon amour ( A cappella ) Play Video

Edits and Comments

9 activities (last edit by bendobrin , 26 Oct 2022, 03:07 Etc/UTC )

Songs on Albums

• Mon amour (2)
• Bonne journée
• C'est que du bonheur
• Fils de joie
• L'enfer
• La solassitude
• Mauvaise journée
• Pas vraiment
• Quand c'est ?
• Tous les mêmes
• Alors on danse

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Paléo Festival 2022 setlists

Stromae Gig Timeline

• Jul 20 2022 Ippodromo del Galoppo di San Siro Milan, Italy Start time: 9:30 PM 9:30 PM
• Jul 22 2022 Festival de Nîmes 2022 Nîmes, France Add time Add time
• Jul 24 2022 Paléo Festival 2022 This Setlist Nyon, Switzerland Start time: 11:15 PM 11:15 PM
• Aug 12 2022 Sziget Festival 2022 Budapest, Hungary Start time: 7:30 PM 7:30 PM
• Aug 13 2022 FEST Festival 2022 Chorzów, Poland Add time Add time

9 people were there

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Stromae FanReport: Ratings and Reviews

97 reviews (ø 4,64), super konzert.

Toller künstler, super show, mega sympathisch und nahm kontakt zum publikum auf, nicht eifach lieder abgespielt wie auf cd!

Stromae était formidable. Magnifique concert. Dommage que lorganisation nait pas tenu compte du fait que le dernier train pour Lausanne était à 23h04. Beaucoup de monde est parti avant la fin du concert et a dû courir jusquà la gare.

STROMAE war super!!!!!

Ich finde es schlecht, dass Vorgruppen nicht auf dem Ticket vermerkt sind. Da pressiert man wie verrückt pünktlich zu sein und muss sich dann 45Minuten etwas anhören, das uns gar nicht gefallen hat.

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How Stromae's Multicultural Upbringing Led To A Triumphant Return To Music In 2022

The Belgian singer/producer released his first album in nearly a decade, 'Multitude.' Ahead of his final show of the year, Stromae discusses his culture-crossing sound and why it's still resonating with both himself and his fans.

Stromae went 12-times platinum in his native Belgium — and four-times diamond in France — with his 2013 album, Racine carrée . In the near decade since, fans hadn’t seen a follow-up because he decided to pursue other creative ventures. But after starting his own clothing line and directing a video for Dua Lipa (among many other things), Stromae released the much-anticipated Multitude in March — and he’s right back to selling out venues around the world.

The singer/songwriter and producer recently wrapped a two-night stint at New York City’s famed Madison Square Garden and three nights at Montreal’s Bell Centre, two arenas he last headlined in 2015. He’ll return to Bell Centre on Dec. 14 to close out his extensive 2022 tour, but already has a packed schedule for 2023, playing arenas across Europe.

Traveling the world has been a hobby of Stromae’s since he was young. Born Paul Van Haver, the Belgian-born musician explored several different places with his family — and while that sense of adventure has always inspired him, it comes to life in the curiosity-driven songwriting and global influence of Multitude .

Across the album’s 12 tracks, Stromae’s passionate French rhymes flit over the top of production that combines everything from Cuban dance music to French Antillean zouk. The result is a record with an intimacy and closeness, further displaying Stromae’s fervent desire to connect at a deep level superseding any barrier.

Multitude also thrives in telling complex stories from multiple angles, highlighting humanity in the most intimate spaces and demanding a response — from the sex-worker story of “Fils de joie” to the essential-workers tribute of “Sante.” Though the album’s open-hearted character tales are told in French, Stromae's impassioned intonation and immaculate production helps transcend Multitude ’s philosophical explorations.

As he closes out his 2022 tour, Stromae speaks with GRAMMY.com about his family history of musical discovery, how much of himself is in his songs, incorporating everything from charanga to ney flute on Multitude , and much more.

You have this unique ability to approach countless different musical traditions and styles with what feels like a genuine connection and understanding of where that curiosity can go. Did reaching that balance and sharing that part of your creative self come naturally for you?

First of all, thank you very much for the compliment, because that was exactly the goal with this album. You just try stuff and it's not natural at the beginning, but then it gets more and more instinctive. That’s when it becomes interesting. And I had my brother, who's my video director, and having an outside opinion when you don't have any objectivity when you work on your album is priceless. His advice is really, really important. 

The most difficult part is just to admit that sometimes what you do is not good. I was watching an interview of David Guetta , and he was saying the most difficult part is not to compose good songs, the most difficult part is choosing the good ones. 

You mentioned your brother — I know that your family has been so important to your creative journey. For example, you traveled extensively with your mom when you were a child. In that time, did you already seek out different musical cultures and strands, or was it seeping in subconsciously?

In family parties, we used to listen to a lot of music from Africa, and zouk music, like Kassav' from Guadeloupe. I was lucky, thanks to my mother. We went to Mali, we went to Mexico, we went to South America, to Bolivia, and yeah, it was really interesting to have all those different sonorities. That was really inspiring.

How do you approach musical exploration today, having had that firsthand experience? How do you find the music and the genres that inspire you now?

In addition to my brother composing some tracks on the album, I worked with another producer from London, Moon Willis. I sent a lot of stuff to him and he sent me a lot of new tracks. Something that we had in common was the curiosity of discovering grooves, actually. I have a background as a drummer, so to me, rhythm is really important. 

I remember sending a lot of stuff and receiving a lot of stuff from Moon — a lot of baile funk, music from Brazil. I was like, "Okay, I love this groove. Try something with this groove and mix it with pentatonic melodies to sound a bit more Asian." 

The goal was just to never point to any [one] country. The goal was to just to lose the listener, actually — to make you feel like, "I know this and it comes from there, but at the same time I hear something from somewhere else." 

You not only embrace those styles, but you build the next step by bringing in authentic instruments and experienced musicians. You ensure that the music feels lived in rather than touristy. How did you source all those tools and meet all the collaborators?  

Back when I was composing for other artists, I went in a studio with Julian Perretta, who's an English singer. He introduced me to Moon Willis. I was really impressed by how open Moon is and how much he knew about music throughout the world — and not only the pop world, but also in world music. He's really talented. 

When we were looking for musicians, my brother Luc and my family helped me a lot. For example, I wanted to have a charango player, and I was discussing it with my mother. I said, "Okay, you know very well about Bolivian music, so help me to find a good charango player." 

She told me, "Yeah, Alfredo Coca is one of the best." And he was coming here, I think for the independence day of Bolivia, this kind of big party. We called him and asked him to come and record some charango riffs. The same is true for the Bulgarian choir, the ney flute player Selman Faris, and orchestra arranger Bruno Letort.

At the same time while you are infusing all of these interesting sounds, you definitely kept your intrinsic appeal. Your voice is at the core, and no one's going to listen to it and think it's someone else. Was it a challenge then to ensure that you kept a little bit of yourself there while undertaking all these inspirations and ideas?

Yeah, it's interesting. I am who I am. The worst thing is to just try to imitate. Of course I couldn't be better than a famous band from Bolivia. The only thing I can do is my thing. 

The most difficult part was to find this mix between who I am, the pop music, and the world music. That was the goal — to be in this in between, and never fall too much into pop, or into me, or into world music.

[My last album] Racine Carrée had more of a kick on every bar, and that's the big difference between that album and Multitude . It will be different for the listeners who are used to electronic music, dance music. But I had to be honest with myself and follow my way, what I feel.

I'm not doing music only for the people, I'm doing music for me first. Sometimes it's difficult just to find the in-between for world music, pop music, the public, the crowd, and myself.

You almost have to forget about everything that other people may think about your music. It seems you took that approach lyrically as well. There's a powerful set of characters in your songs, and they’re treated with this refreshing equality. There's a compassion and attention given to sex workers, laborers, people that aren’t often the focus of songs.  

Yeah, it depended on what I was living, actually. For example, "Fils de joie" was inspired by a television show that my wife used to watch about the son of a sex worker. I was so touched by his story, and I thought it would be really interesting to do a song about it. 

Then I took this sample of a teaser for Bridgerton . I was like, "What can I say on this? What about this idea about the sex worker and the son?" I start first with my vocal melodies, usually with the chorus, and then I build all the story around the chorus.

I'm not a French speaker, but I get the joy of having multiple levels of engagement with your music: getting the visceral experience, and then also learning about what is being sung through translation. Does knowing that your music will be shared across the world affect your writing process?

I've thought about singing in English, but I'm not sure I would sound as sincere as I am in French, and as spontaneous as I am in French. It wasn't my ambition to be successful in non-French speaking countries. I was so surprised with my first success, "Alors on danse." It was a French song and went No. 1 in 16 countries. I was like, "Okay, so...Yeah, why not?" And then I started to have this kind of ambition. 

My ambition was to be No. 1 in the French countries, especially in France. That's my mother language. I didn’t even expect to be supported by non-French people. That was a beautiful gift and actually a beautiful barrier that we broke. 

I think there is no barrier, actually. When I had this success with "Alors on danse," I realized that I did exactly the same with English music. I don't even understand a word, but I can jump, I can dance to it, I can just feel, and sometimes translate if I need it. But usually I don't even understand any words. 

I understand people speaking English better than when they sing. But when something touches me, it just touches me, so it doesn't need to be translated. It's the same in French. It's the same in Flemish, in Dutch, in Lingala, in any language.

I also really appreciate you being an artist who has openhearted discussions of mental health in your lyrics, as on “L’enfer.” Is it challenging for you to open those conversations and connections?

To be completely sincere with you, there is a part of me in the songs. I was asking my wife, "Do you think that all those songs are completely me?" And she said, "No, it's not exactly you. It's a bit of you, but there is a lot of wordplays, storytelling." 

I would say it's 20 or 30 percent of me in my songs, but it's not completely me. It's just a story. That's how I see my music. But of course it comes from me at the very beginning, especially when I'm just looking for new hooks, new vocal melodies, new topics. This is my choice to talk about mental health, sex workers, everything I talk about in the album. It's me, and it's my point of view. 

It’s nice then that you can protect a little part of yourself as well in that way. When you performed “L’enfer” on the news program TF1 in France, you launched into the song seemingly in the middle of an interview about mental health, with this incredibly vulnerable stillness. Again, you were able to discuss something very real and raw but with this performative, protective focus.

The idea came from my brother. We were just thinking about how to promote this song. I was impressed because it's the news on Sunday, TF1. That's really important. [Laughs] 

Anne-Claire Coudray, the host, didn't want to stress me out by saying it, but afterward she said, "That was really stressful. I could hide it and I didn't say it to you because I didn't want you to be anxious!"

Living Legends: Electronic Music Pioneer Jean-Michel Jarre's 50-Year Odyssey Of Audio Experimentation

Photo: Rebecca Sapp

Inside The GRAMMY Museum's ATEEZ & Xikers Pop-Up: 5 Things We Learned

Rookie K-pop group Xikers and label brothers ATEEZ are the subject of the GRAMMY museum’s first-ever K-pop pop-up exhibit. Go inside the exhibit, which runs through June 10, and learn about the clothes, videos and stories behind these K-pop boy groups.

K-pop’s reach has expanded exponentially over the past decade, bringing some of Korea’s biggest pop stars to the West for sold-out tours , history-making performances, and a number of cross-cultural collabs .

K-pop touring acts accounted for a record high of 5.1 percent of the 100 highest-grossing tours globally in 2023 according to Billboard . K-pop’s reach has been palpable in regions outside of Asia — like the U.S., Europe and Latin America. According to the same study, BLACKPINK was the No. 1 grossing K-pop group in 2023, with their global tour netting $148.3 million over 29 shows; the group was the 10th most profitable touring act across any genre. 

The GRAMMY Museum is capturing this historic moment in time with a pop-up exhibition focused on two of the fastest-growing groups in the industry. On April 10 through June 10 at the GRAMMY Museum in downtown Los Angeles, "KQ Ent.: ATEEZ & Xikers" is an inclusive environment for anyone — whether you’re a dedicated Xikers fan who knows the dances step-by-step or a casual listener wanting to learn more about K-pop. 

Read more: What's Next For K-Pop? A Roundtable Unpacks The Genre's Past, Present And Future

After passing through displays dedicated to King of Pop Michael Jackson , you’re transported to a new era of pop music through an exploration of both ATEEZ and Xikers’ careers. Right at the entrance is a bright blue wall containing a sweeping look at the history of Korean pop music, written in both English and Korean. The exhibit details terms exclusive to the world of K-pop, including the positions of various members in each group, and what key terms like "bias" and "trainee" mean. 

The second part of the exhibit displays outfits both groups have worn, as well as props from their music videos. Other items on display include abstract drawings Xikers’ members did themselves as concept art for their first mini-album HOUSE OF TRICKY: Doorbell Ringing.

The second and third walls of the exhibit focus on breaking down the basics on what to know about ATEEZ and Xikers. Visitors can then head to a wall of music videos from both groups, pop on the attached headphones, and enjoy the exhibit’s displays come to life in a glorious video. 

At the pop-up's opening event, there was palpable excitement from both groups' fan bases — also know as Xikers’ Roadys and ATINYs for fans of ATEEZ. Fans squealed and gasped, taking pictures of each other and the exhibit; some fans even brought photocards of their favorite members (protected in a pink, decorated case, of course) in order to snap a photo of the card next to a member’s outfit on display. 

This exhibit is a love letter to fans, as well as a succinct introduction into the world of the modern K-pop star. Read on for five things we learned from "KQ Entertainment: ATEEZ and Xikers" exhibit.

All photos by Rebecca Sapp.

For Xikers, It's All About Relating To Their Fans 

*Xikers' outfits on display*

Xikers already had fans in their pre-debut days, and their journey was on full display at the GRAMMY Museum. Under the temporary moniker KQ Fellaz 2, the group released pre-debut documentary-style videos exploring how the members approached training in Los Angeles. 

The pop-up explains how the 10-member group came up with their name: The "X" was short for x-coordinates, while "IKERS" derives from the word hiker. Together, the name was supposed to represent the group on a journey to find their Roadys (the "Y" representing y-coordinates) as well as their own career trajectory. 

Xikers are fearless stylistic chameleons who pen their own tracks and experiment with genres like hyperpop and rap. With such innovation, it makes sense that they are the only group from K-pop’s fifth generation that has landed two albums on the BIllboard Global 200 chart within the year of their official debut (March 30, 2023). Their latest EP, HOUSE OF TRICKY: Trial And Error , arrived in early March 2024.

The props and outfits acquired from the sets of Xikers' music videos are often an homage to traditional Asian culture and intertwined with the bright, braggadocio of street style — all with a youthful spin. At the exhibit, large bubble guns and neon bandanas from the " We Don’t Stop " music video are a snapshot of these small moments of youthfulness. 

ATEEZ’s Focus On Freedom Has Always Important To Their Art 

*ATEEZ's prop skateboard*

Throughout the pop-up ATEEZ, are described as having "everything the youth needs." It’s a tall order for any musical artist, but the exhibit solidifies ATEEZ’s growth into that role. 

Their sophisticated debut tracks were self-assured and encouraged fans to embrace the same attitude: "We can do anything, just follow us" they sing on their debut single, " Pirate King ." Yet, becoming a symbol of youth meant digging into how powerless the young can find themselves. Reflected in the band's anarchy card props and graffitied skateboards on display,  ATEEZ's music has always included a rebellious streak. 

The group often revisit this theme throughout their career — particularly on 2020’s "Say My Name" and "Pirate King" — except with more of an exploration of figuring out how to liberate oneself from those in power. While some K-pop groups’ concepts and music video can be tedious or confusing, ATEEZ's focus on freedom is effortless.

K-Pop Stage Outfits Are Even More Magnificent IRL 

*An outfit worn by Jongho from ATEEZ*

High-energy choreography has been an essential facet of K-pop, and both ATEEZ and Xikers perform a youthful, powerful choreography (so much so that ATEEZ included a dance practice video for their display). 

Xikers’ emphasis on smooth, synchronized and intense choreography was proudly displayed on their wall of information and in the music video playing throughout their display. The group incorporated their outfits into their choreography, with dynamic zipping motions and confidently stomping out complicated footwork with their platform sneakers. 

Both Groups Performed Sold Out Debut Tours

*Xikers props*

Xikers and ATEEZ stay booked and busy. On  both walls listing their accomplishments, there seemed to be an endless array of album titles and projects coming out —  ATEEZ have released nine EPs since their 2018 debut. It only highlighted the immense work ethic it takes to thrive in the industry.

ATEEZ's first tour came only four months after their debut and sold out in mere minutes. Xikers headed on a tour merely six months after their debut, performing in North America, Europe and Japan. Both bands' global popularity speaks to the depth with which K-pop groups (and Xikers and ATEEZ in particular) connect with their fans. On social media, under each tour’s hashtag, fans record their live performances, or write about how much a song meant to them.  

ATEEZ’s upcoming fourth world tour Towards the Light: Will to Power, is on the horizon, and Xikers just wrapped their tour this year in February. It’s clear that touring has become an essential part of their artistry, as well as a crucial way to connect with with listeners in a safe space. In fact, it’s something fans often look forward to — not only being able to relate to their favorite singer but also finding other fans. As this exhibit reveals, despite the glitz and glamor of the industry, at the core of it all is the group’s desire to find connection. You might carry a photocard of them, but they are just a bit like you, too. It makes this unique connection all the better for it. 

15 K-Pop Soloists To Know: Chung Ha, Taeyeon, BIBI & More

Photo: Jeff Kravitz/FilmMagic

GRAMMY Rewind: Watch No Doubt Accept Their GRAMMY Award For “Underneath It All” In 2004

Ahead of No Doubt’s highly anticipated reunion at Coachella on April 13 and 20, revisit the last time the band was on stage at the GRAMMYs together — the moment they won Best Pop Performance By A Duo/Group at the 46th Annual GRAMMY Awards.

Right before their hiatus in 2004, No Doubt had one last hurrah with a win for Best Pop Performance By A Pop Duo Or Group With Vocals for "Underneath It All" at the 46th Annual GRAMMY Awards .

In this episode of GRAMMY Rewind , travel back to when they took the stage to accept their award presented by Mathew Perry together.

Drummer Adrian Young began by praising their families, loved ones, and the citizens of Drapers, Jamaica, for "showing us how to have a good time and relax while recording music" Then, bassist Tony Kanal took a turn at the microphone thanking their team, management company, and label, Interscope Records.

Frontwoman Gwen Stefani closed out the speech by acknowledging "Underneath It All" co-writer, David Stewart of Eurythmics ; her then-husband, Gavin Rossdale , who inspired the track; and, of course, the fans for "letting us stay alive as a band for all these years."

This Saturday, No Doubt will reunite again (they took a second hiatus in 2015) for a premiere performance on the Coachella stage. 

Press play on the video above to watch No Doubt's complete acceptance speech for their "Underneath It All" win in 2004, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

10 Must-See Artists At Coachella 2024: Skepta, The Last Dinner Party, Mdou Moctar, Cimafunk & More

Photo: Sandra Roeser

On Their New-Ish Album, 'Ghost Stories,' Blue Öyster Cult Defy The Reaper Once Again

Long-running hard rockers Blue Öyster Cult have experienced exhilarating highs and tragic lows. On 'Ghost Stories,' an album of refurbished outtakes of yore, they survey what they've lost and savor their resilience.

It's been eons since far-out classics like "E.T.I. (Extra Terrestrial Intelligence)," but Blue Öyster Cult are still enveloped in the sci-fi dream. At 79, singer and multi-instrumentalist Eric Bloom still plays video games every day. "I'm playing 'Diablo Immortal,' 'Nexus War' and 'Return of Shadow,'" he reports over Zoom, at home in Florida, with wall art of Saturnian rings and moons swirling overhead.

Later on, Bloom remembers Allen Lanier, their founding guitarist who passed in 2013, at age 67. "He was probably the brightest guy in Blue Öyster Cult intellect-wise," Bloom says of his late friend. "He always had a book." BÖC's been irresistibly brainy from the jump; they got saddled with the "heavy metal" genre tag, but that never made that style of music, nor fit that macho archetype.

So are the nuances of this cult classic rock band. If you only know the ever-spellbinding "Don't Fear the Reaper" and cowbell jokes — well, you have a lifetime of entertainment ahead of you. Happily, the band is still forging ahead at full capacity. Their last album of new material, 2020's The Symbol Remains , was excellent and one of their most consistent. (And, no, that's not graded on a legacy-act curve.)

Now, they've followed it up with Ghost Stories — an album of songs of yore whose recordings were never finished, until now. "It's for the hardcore BÖC fan," Bloom admits of this collection of tunes, which could have ended up on 1979's Mirrors or 1983's The Revölution by Night if things went in a different direction. (The limit of how much audio could fit on an LP, or cassette, was one factor.) But tracks like "Late Night Street Fight" and "So Supernatural" could make you one.

When you visit BÖC's homepage, you're greeted with an emblazoned "On Tour Forever!" — and not for nothing. In a 100+ show-per-year touring schedule that would flatten many bands half their age, Bloom and brother in arms Donald Roeser — that's Buck Dharma to you and me — carry the flame throughout the small theaters, state fairs and casino resorts of America.

Dharma's the only original member of the band, back when they were Soft White Underbelly — a paraphrasal of a Winston Churchill comment about Italy's role in World War II, by their manager, in-house poet and overall impresario, Sandy Pearlman. On Christmas Day, 1968, Bloom moved into the band house in Great Neck on Long Island, as their tour manager. The next year, he was their vocalist.

In 1971, they became Blue Öyster Cult, named from a Pearlman poem about a conspiracy of aliens taking over the world. (To get a handle on the lore, just read the lyrics to their 1988 album Imaginos , all drawn from Pearlman's bonkers poems and scripts.)  And aside from one brief breakup during a rough '80s, they've been powering ahead ever since.

"We're not dead yet," Bloom deadpans from behind wraparound shades. But they're still telling Ghost Stories .

* Eric Bloom performing with Blue Öyster Cult in 1978. Photo: Ed Perlstein/Redferns/Getty Images *

The Symbol Remains did so well that their label, Frontiers Music out of Italy, chomped at the bit for more output. However, they couldn't make a new album at that juncture; the road dogs had to be on tour. Eventually, the idea came about to return to unfinished material from 1978 to 1983, de-mix them, remix them and complete them.

As the equally boyish and soft-spoken Dharma explains, the Ghost Stories multitracks weren't recorded in a proper studio, but in a rehearsal hall to eight-track tape. They got the tapes from their original audio engineer, George Geranios, who baked the tapes and, in effect, "pre-produced" the record (Bloom says with air quotes).

Afterward, Geranios sent them to Richie Castellano's studio and still found deterioration on the vocal of the first single, "So Supernatural." BÖC leapt at the opportunity to employ cutting-edge technology to complete the music.

"We deconstructed some of them with these AI software tools to separate the individual elements of the ones that weren't multi-track," Bloom explains. Original BÖC drummer Albert Bouchard, who left the band in 1981, stepped behind the kit to complete the tunes that weren't fully tracked. Albert's brother, their former bassist Joe Bouchard, who left in '86, followed suit.

Regarding "So Supernatural," "Joe Bouchard had to come in, current day, and re-sing it. I believe that's the only song that had a vocal re-sung," Bloom says. Neither he nor Dharma had to re-sing anything; he's not sure that Dharma played anything new, but knows Castellano had to replay elements that were missing. "Some of those older tapes had holes on them where they were abandoned before rhythm guitars were put on them, things like that," he says.

Overall, "It was a nice collaborative effort with the original band members," Dharma says. Naturally, as they flip through these Ghost Stories , both Dharma and Bloom's heads fill with memories of the original sessions. Especially of one very, very critical figure in the band's history.

"Of course, Allen Lanier is gone now," Dharma says. "But to hear him play, it makes me feel good to hear him and hear the band as it was at that time period. It's like a snapshot of what it was."

Dharma can mentally place himself in the room where this music was made. "It was sort of transitional in the band's career because 'Reaper' had been a hit, and once you have a hit, the record company wants you to get another hit," he says. "There's quite a bit of pressure to sustain your level of output and quality. It's a burden."

For a white-hot streak in the '70s and early '80s, Blue Öyster Cult were as big as your ZZ Tops or Cheap Tricks. In the '80s, "The Reaper," "Burnin' For You," "Godzilla," and the like remain staples of classic rock radio.

Still, "It's not like we were hitmakers in terms of writing or performing or posing or whatever you're supposed to do to be a hit recording artist," Dharma says. "We just always thought of ourselves as an album band. And we didn't mind taking the road less traveled as far as styles and going out on limbs and stuff like that."

"I think that's where we did our best stuff, when we just didn't give a thought about commercial success," Dharma concludes. "So, it was an odd time for us, but we persevered. And here we are. It's 2024, for crying out loud."

According to press materials, Ghost Stories "marks a fitting finale to the recording legacy of one of rock's most iconic fixtures from the past 50 years." This notion clearly irks Bloom; he denies it without reservation. "That is record label speech, and my answer to that is never say never," he says. "There's no reason why we couldn't do another project if there was a reason to."

* Buck Dharma performing with Blue Öyster Cult in 1978. Photo: Ed Perlstein/Redferns/Getty Images *

Beyond having eternal radio staples, Blue Öyster Cult have sneakily resonated with younger generations. Their catalog is vast, and full of treasures, oddities and are-they-or-aren't-they missteps to argue about; this is a band with a lot to offer to the instant-access Spotify generation.

By the way, Dharma's not buying the "Spotify is evil" line: "People bitch about the streaming and who gets the money and stuff, but actually streaming is more equitable to the artists than it ever was in the physical product days," he contends.

Rather, he puts the onus more on the predatory deals with labels: "The split is better, and the bookkeeping is much better, because every listen is logged and no one's really cheating on that. You may complain about who gets the percentage of what, but if your music is popular, you are making money now."

Everyone knows the Christopher Walken "more cowbell" skit from SNL, but BÖC heads have been found in many a writer's room; they've been referenced, and played, repeatedly on shows that burrowed into millennials' heads young, from "The Simpsons" to "That '70s Show." They've even infiltrated indie, punk and alternative: Bloom being credited as "E. Bloom" led one Dennes Dale Boon from San Pedro, California to become D. Boon.

Neither Dharma or Bloom ever met the Minutemen legend, who was tragically hurled from a van in the Arizona Desert in 1985, marking another member of rock's "27 Club." But their camps are close; Bloom has a fond memory of Mike Watt joining BÖC live to perform the blazing "The Red and the Black" — which, Watt has maintained over the years, was the first song he and Boon ever played together.

"I'm grateful for them giving a damn about Blue Öyster Cult, because I certainly appreciate what they did with it," Dharma says. And, unrelated, Bloom recently caught wind that none other than Dave Grohl's a huge fan.

"Every time our name comes up, it's always something positive," Bloom says. And whether or not Ghost Stories will mark the end of the line, Blue Öyster Cult are not apparitions to be relegated to the past. There've been ups and downs galore with this complicated, idiosyncratic, rewarding band — but as agents of fortune , Lady Luck's been with them indeed.

And to the Reaper — the main character in their greatest song, who will take us and everyone we know eventually — better luck next time.

Living Legends: Def Leppard's Phil Collen Was The Product Of A Massive Transition For Music — And He Wouldn't Change A Thing

Photo: GRAMMY U

What To Expect At The 2024 GRAMMY U Conference In NYC

On April 20, music’s next generation will be in New York City for the 2024 GRAMMY U Conference, presented by Amazon Music. Read on for everything you need to know about the day of career-driven discussions with Broadway icons and pop stars.

Shaneel Young contributed to this article

It’s been an unparalleled year of programming for GRAMMY U. 

Lainey Wilson and Greta Van Fleet connected with crowds at the 2023 Fall Summit in Nashville ; Halle Bailey and Muni Long shared wisdom with the world during GRAMMY Week in Los Angeles at the GRAMMY U Masterclass . Now, music’s next generation of creative professionals will head to New York City for the 2024 GRAMMY U Conference presented by Amazon Music.  

This year it's all about show biz, and music has a hand in every part of the entertainment industry. Featuring a star-studded lineup of guests, the GRAMMY U Conference will dive deep into how your favorite musical performances on television are created, and offer insight into music careers on Broadway. 

GRAMMY U members will be able to learn all about the live performance industry through educational panels, a speed networking session, and even a performance workshop. You won’t want to miss what the big names have to say: GRAMMY, Tony, and Emmy Award winners Ben Platt will be the conference's keynote speaker, and Billy Porter (also a GRAMMY, Emmy, and Tony Award winner)O will work up close and personal with young talent, and Remi Wolf is going to talk about the music of late night shows. 

The action begins Friday, April 19 at the Chelsea Music Hall. Members from all over the country will gather for the GRAMMY U Showcase , where five GRAMMY U contest winners will perform original music. Catch a set by Jawan and stay for Infinity Song ’s closing set.

Below, GRAMMY.com has gathered all of the information you need to get excited for the massive event.

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GRAMMY U Welcomes Amazon Music

GRAMMY U has officially welcomed Amazon Music as a cornerstone partner. To kick off what will be an instrumental relationship, Amazon Music is proudly bringing their knowledge to the table as a presenter of the 2024 GRAMMY U Conference. Mastercard will also be returning as a participating sponsor for the event. GRAMMY U will kick off the conference with remarks from Ruby Marchand, Chief Awards and Industry Officer, Recording Academy;, Amazon Music's Global Head of Artist & Label Relations Andre Stapleton, and GRAMMY U Sr. Director Jessie Allen.

Hang With Ben Platt, The Star Of The Show

Starting the Saturday strong, Ben Platt will sit down with Beanie Feldstein to talk all about his storied career as an actor and singer ahead of his 18-date run at the Palace Theater in NYC, kicking off May 28th before his album release.

Growing up on the stage, Platt quickly became a leading force on Broadway , and has since shared his talents with the screen, starring in multiple films and TV series. Platt is also releasing music — his third album, Honeymind , drops May 31, beginning with an 18 date residency at the Palace Theatre in NYC followed by his national tour with special guest Brandy Clark this summer — and will discuss the significance of music within his various projects.

As the GRAMMY U Conference keynote speaker, Platt will share insights from the recording studio.

Share The Stage With Billy Porter

During a workshop, Billy Porter will share his best performance practices and advice for GRAMMY U members trying to make it big. Porter is no stranger to putting on a show, with over 30 years in the industry and numerous awards under his belt — and GRAMMY U is eager to learn and take guidance as they begin their music careers. Roy Gantz, GRAMMY U's National Membership Representative, will then take the stage and receive live performance coaching directly from Porter.

Making Music On Late Night TV With Remi Wolf & More

In a discussion moderated by talent booking pro Siobhan Schanda, members of "Late Night with Seth Meyers" will discuss bringing music to late-night television. The discussion will feature "Late Night" Associate Producer Yeji Cha-Beach and Marnie Stern, former guitarist for "Late Night" house band, the 8G Band and recording artist.

Singer/songwriter Remi Wolf, who performed recently on "The Late Show With Stephen Colbert," will also join the discussion. In anticipation of supporting Olivia Rodrigo’s GUTS World Tour and her upcoming sophomore album Big Ideas , Remi will discuss how a special performance like hers comes to life onscreen.

Learn What Happens Behind The Curtains

Have you ever wondered what happens behind the Broadway stage? This dynamic panel will highlight the brilliant minds that work to make the big show happen. Moderated by Michael Kushner, Founder and Creator of Michael Kushner Photography, hear from Broadway producers, directors, record label executives and more on how they put together a Broadway production behind the scenes. 

Panelists include renowned Broadway producer Christen James, Adam Hess of DR Theatrical Management, Pete Ganbarg, the President of A&R at Atlantic Records, and Erich Bergen, producer, actor and director at 6W Entertainment. From set design to marketing, this panel will reveal that whether on stage or behind the scenes, there's a place for every passion in the world of theater. 

Hear How Professionals Produce The Sounds Of Drama

In this panel, Broadway professionals will dive into the inner workings of theatrical sound in live theater, and how their expertise in Broadway audio production translates into other facets of the music industry. 

Experts Tom Winkler, Kurt Deustch, David Lai, and Kathy Sommer will detail the dynamic challenges that producers and composers must navigate to make productions possible. 

Learn How To Build Your Brand In The Career Center

At the start of the conference, attendees can learn from the experts and level up their profiles at the GRAMMY U Career Center. Learn how to present your best professional self, take a professional headshot, get a review of your resume from real recruiters in the industry, and network with professionals from Amazon Music, the Recording Academy and more. Networking mentors include AC Gottlieb, Asmita Khullar, Billy Seidman, Haley Bennett, Jameka Pankey, Jessica Fusco, John Ochoa, Leah Dowdy, Madeline Nelson, Nick Cucci, Nikisha Bailey, and Sarah Crane. So get there early and make the most out of your professional development at the GRAMMY U Conference!

Don’t forget to stop by the GRAMMY U Mixtape Listening station, too, and see the process behind how we select music for the GRAMMY U Mixtape every month.

Reserve Your Seat

Mark your calendars now, the 2024 GRAMMY U Conference will take place in New York City on Friday, April 19, and Saturday, April 20, and with more announcements to come, this is an event you surely won’t want to miss. Reserve your spot now with a RSVP .

For members who aren’t able to attend, the GRAMMY U Conference will be livestreamed on the Recording Academy’s YouTube and Twitch channels at 1 p.m. to 5 p.m. ET.

GRAMMY U Reps Experience GRAMMY Week Like Never Before Thanks To The Recording Academy & United Airlines

• 1 How Stromae's Multicultural Upbringing Led To A Triumphant Return To Music In 2022
• 2 Inside The GRAMMY Museum's ATEEZ & Xikers Pop-Up: 5 Things We Learned
• 3 GRAMMY Rewind: Watch No Doubt Accept Their GRAMMY Award For “Underneath It All” In 2004
• 4 On Their New-Ish Album, 'Ghost Stories,' Blue Öyster Cult Defy The Reaper Once Again
• 5 What To Expect At The 2024 GRAMMY U Conference In NYC

Stromae Tour History

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Stromae Discography:

Cheese (2010) Racine carrée (2013) Multitude (2022)

Stromae, full name - Paul Van Haver, is a Belgian singer-songwriter & musician. He is mostly known for his works in the genre of hip hop and electronic music. Stromae came to wide public attention in 2009 with his song "Alors on danse" , which became number one in several European countries. In 2013, his second album Racine carrée was a commercial success, selling 2 million copies in France alone and nearly 600,000 units elsewhere. The main singles from the album include "Papaoutai" and "Formidable".

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Belgian pop star Stromae cancels remaining dates of Multitude Tour over health issues

Belgian pop star Paul van Haver, better known by his stage name Stromae, has cancelled his remaining ‘Multitude’ Tour dates due to health reasons.

Stromae has announced the cancelation of his world tour, which began in February 2022 and was scheduled to extend through December 2023, after an ongoing battle with his health.

“A few months ago, I felt my health took a bad turn which led me to cancel a few shows in France and then in Europe,” Stromae wrote in a statement in both English and French. “Surrounded by my doctors, my family, my friends and my team, I was hoping I would be able to get better quickly in order to resume touring and to meet you again as soon as possible.”

He added: “Unfortunately, I must accept today that the time I need to rest and heal will take longer than expected. It is with my deepest regret that I won’t be able to honour my promise and that I am announcing today the end of the Multitude tour.”

View this post on Instagram A post shared by Stromae (@stromae)

Described as one of the biggest French-speaking artists in the world and known to many for his 2010 hit single 'Alors On Danse', which topped the charts in 19 countries, Stromae had previously announced last month the cancellation of 14 sold-out European tour dates due to health reasons.

"I have come to the realisation that my current health state does not allow me to come and meet all of you at the moment," the musician said on his social media accounts last month. He expressed his dismay, but also said acknowledging his limitations was the right thing to do.

"Surrounded by my family I have to take the time to get better in order to resume performing," he wrote. "I hope to give you more positive news very soon. I am looking forward to seeing all of you and to resume this tour alongside my teams who have been supporting me all throughout these years. Look after yourselves."

The 38-year-old singer has always been open about his mental health and previous suicidal thoughts. In 2018, he admitted in an interview with French channel France 2 that he had had burnouts in the past.

"I don't want to offend people who came to my concerts by saying this, but (concerts) became a little less pleasure, and more a real job," he confided.

He returned to performing in 2022 after a seven-year hiatus, having stopped performing in 2015 when he pulled out of a tour of Africa. He later said that was due to burnout and the side-effects of anti-malaria medication he had taken.

It has been announced that refunds for ticket holders of the remaining Multitude Tour dates will be made available at the point of purchase.

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Stromae Announces North American Tour

By Evan Minsker

As Belgian musician Stromae prepares to return with Multitude , his first new album since 2013’s Racine Carrée , he’s announced an accompanying tour. After appearances at Coachella in April, he’s got dates from October to December across North America. Find the itinerary below.

Multitude is out March 4 (via Mosaert /Darkroom/ Interscope ). The full-length includes Stromae’s comeback song “ Santé ” and the more recent “ L’enfer .”

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

04-16 Indio, CA - Coachella Valley Music and Arts Festival 04-23 Indio, CA - Coachella Valley Music and Arts Festival 10-21 Vancouver, British Columbia - Pacific Coliseum 10-25 San Francisco, CA - Bill Graham Civic Auditorium 11-21 New York, NY - Madison Square Garden 11-25 Montreal, Quebec - Bell Centre 11-26 Montreal, Quebec - Bell Centre 11-29 Toronto, Ontario - Coca-Cola Coliseum 12-03 Washington, D.C. - The Anthem 12-06 Boston, MA - Agganis Arena 12-11 Quebec City, Quebec - Centre Videotron

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Concert Review: Stromae Brings a ‘Multitude’ of Genres to Boston

“Bonsoir ! Vous allez bien ?”

Those were the first words Belgian singer, rapper, and songwriter Paul van Haver, better known by his stage name Stromae, said to greet his fans in Boston’s Agganis Arena on the night of Dec. 7. The multi-hyphenate artist stopped by Boston University for the last date of the U.S. leg of his “Multitude” tour, named after his latest genre-bending album.

The audience answered Stromae’s question — translated as “Are you doing well?” — with resounding cheers. While addressing the crowd conversationally, Stromae alternated between English and French, but of course performed his entirely French discography in his native language. Whether or not audience members were fluent in the language was ultimately a nonissue — they were still hanging on his every word.

Stromae appeared in person after an animated version of himself was shown on screen wearing a lab coat and making music alongside robots. This lighthearted, imaginative intro set the tone for the rest of the night — it was a creative, playful, and completely original concert experience thanks to Stromae’s magnetic stage presence and uniquely mesmerizing visuals.

It’s difficult to define Stromae by genre — it would be reductive to say he is just an EDM artist, or just a rapper. He has the unique ability to amalgamate many genres into a sound that’s all his own; “Multitude,” released earlier this year, is more reflective of this than ever. His supporting band also reflected his dynamic sound, with musicians from all over the world playing alongside him.

Stromae kicked off the concert with “Invaincu,” the first track off “Multitude.” “Invaincu,” which translates to “unbeaten,” has a soaring chorus fit for an arena, which hyped up the crowd to an even higher excitement level.

Stromae explicitly acknowledged that he would be switching between his new and old tracks. Within the first few songs, he performed “Tous les mêmes,” one of his most popular songs to date, off his 2013 album “Racine Carrée.” The minor-key, upbeat EDM track brought the audience to their feet as the synth horns of the chorus swelled and Stromae danced across the stage. “Tous les mêmes,” French for “you’re all the same” shares contrasting male and female perspectives of an arguing couple. Stromae brought all the satire and whimsicality of this energetic chart-topper to life on stage. Throughout the concert, he infused both his vocals and his movements with his highly animated performing style, embodying the varying emotions of each song with his signature vibrato and lively dancing.

Stromae also performed back-to-back two complementary tracks from “Multitude,” which appear alongside each other on the tracklisting: “Mauvais journée” and “Bon journée.” French for “bad day” and “good day,” Stromae used a reclining chair as a prop to reflect the opposing sentiments of these songs. He slumped low in the chair while singing the listless lyrics of “Mauvais journée”; he was then immediately reinvigorated for “Bon journée” and stood on top of the chair as it slid across the stage.

“Boston, are you happy?” he asked in time with the trap-inspired beat.

Other songs performed from “Multitude” included “Mon amour,” which features beautifully blended harmonies in the chorus and “C’est que du bonheur,” a song he wrote about his son. “J’tai donné la vie, toi t’as sauvé la mienne,” he sang in the first verse; “I gave you life, you saved mine.”

“C’est que du bonheur” is a touching song about his love of fatherhood and the circle of life — indicated by an animation behind him portraying a man in all different stages of life, from a crawling baby to a hunched elderly man with a cane. The production design was similarly impressive for “Pas vraiment,” a song about a couple questioning why they’re together; the performance was accompanied by background visuals of domestic moments seen through windows, as if the audience were peeking into their relationship. At the same time, colorful spotlights panned across the arena, showcasing audience members dancing to the song.

Stromae’s hit song “Papaoutai” — translated to “Dad, where are you?” — was one of the biggest crowd pleasers of the night. The profound lyrics, which meditate on his father’s absence from his life, are juxtaposed with the lively synth-heavy track. The lighting and stage design, including several moving screens with shifting geometric patterns, aligned with the increasingly heavy dance beat and further enlivened the performance. The stage design was also quite dynamic for “Formidable,” another fan favorite.

Stromae’s last song before his encore was “Santé,” another track off “Multitude.” Before the performance began, however, the audience was led in a dance tutorial displayed on screen with an animation narrated by the recorded voice of a female instructor. “Step to the right with your right leg, and close your left leg,” she said as the band also demonstrated these dance moves on stage. This quirky instructive interlude was a unique way to get the crowd actively engaged in “Santé,” a high-spirited song featuring a cavanquilho (a small Portuguese guitar) and a bouncy synth melody the audience couldn’t help but dance to.

After “Santé,” Stromae eventually returned to the stage for a highly-anticipated encore. The singer saved his most well-known song for last — “Alors on danse,” an international hit known for its hip-hop/house fusion, an infectious faux-saxophone melody, and an endlessly catchy hook. He built up anticipation by playing another animation on the screen, in which his animated avatar walked up to a keyboard and played the first few notes of the song, which were instantly recognizable to the crowd. The screen went black as Stromae suddenly reappeared: “Do you wanna dance?” he yelled.

The beat dropped and the stage immediately lit up with neon lights and moving screens as the audience screamed in response. “Boston, do you speak French?” he asked before launching into the first verse. A large part of the audience could, in fact, speak French, and anyone else could undoubtedly sing along with the three short words that make up the chorus,“alors on danse” — “so let’s dance.”

Following the unrestrained high energy of the climactic “Alors on danse,” Stromae and his band revisited “Mon amour” for their final performance of the night. This time around, they gathered close together for a stripped-down a cappella version. The audience grew quiet to hear their voices blend together, an intimate experience as their vocals reverberated across the large venue. The serene performance was a fitting coda to the night.

Stromae maintained his humor throughout the entire concert. After their final performance, he told the arena of fans, “It’s over now. You can go.”

In spite of Stromae’s parting words, fans filed out of the arena reluctantly, finding it difficult to leave after such an entertaining, larger-than-life concert experience.

—Staff writer Jaden S. Thompson can be reached at [email protected]

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Stromae Tour 2024

Stromae tour 2024 announced : The internationally acclaimed Belgian artist, writer, performer, producer, designer and director Stromae announced his North American spring and autumn 2022 tour for his upcoming album Multitude, to be released on March 4. The first stop starts on October 21 in Vancouver and then hits the west coast of California before making stops east and north of Quebec.

The announcement of the tour brings much excitement as it continues its welcome return to the scene in October 2021 after an eight-year hiatus, according to mxdwn, to focus on its other creative efforts in fashion and videography. On March 4 Stromae will share Multitude, his first album in eight years. He has already shared the singles "Santé" and "L'enfer", performing the first song on The Tonight Show with Jimmy Fallon.

Stromae 2024 tickets sales for fans will be active between 22 February at 10am local time and 24 February at 10pm. The general sale begins on February 25 at 10 am.

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Stromae Concerts Schedule

04/16 – Indio, CA @ Coachella Festival 04/23 – Indio, CA @ Coachella Festival 10/21 – Vancouver, BC @ Pacific Coliseum 10/25 – San Francisco, CA @ Bill Graham Civic Auditorium 11/21 – New York, NY @ Madison Square Garden 11/25 – Montreal, QUE @ Bell Centre 11/26 – Montreal, QUE @ Bell Centre 11/29 – Toronto, ON @ Coca-Cola Coliseum 12/03 – Washington, DC @ The Anthem 12/06 – Boston, MA @ Agganis Arena 12/11 – Quebec City, QUE @ Centre Videotron

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