I have done a pretty big update this time, adding an open mic run by Stephen “Cat” Saxo, another new one from Sheldon Forrest, and I have updated the situation at the Rush Bar open mic, which has now been taken over by the Escargot Underground people. And then there is the very cool Carré jam at the bar beneath the Don Camillo cabaret and next door to Serge Gainsbourg’s place…. Check it out!
PARIS – One thing leads to another and somehow things don’t lead to as many things as before…ok, start again. I finally, over the last week, had time to attend a few open mics – and a musical evening – that I have wanted for a very, very long time to attend. And I was wonderfully surprised, enlightened and inspired by them all – basically!
The story of this new one is kind of funny: I had noticed for a couple of months that there was an open mic on Sunday nights early, through dinner time, from about 6 pm to 9 pm, and it was not so far from chez moi. I kept on intending to go, but those hours never worked out for me. Then, one week all of a sudden, my friend Stephen the sax player, ie, Stephen Saxo, announced on Facebook that he was hosting this open mic at the Cross of St. George. He had not been the host when I discovered it, and it turns out, from what I understand, that it was not really very active. So Stephen took over and …boom!
Yes, it was a good evening, and in the end a nice time of the day to have an open mic, because you can play music early, then eat your dinner either at the pub or wherever else you might choose. Stephen accompanies those who like that, but otherwise, it’s a classic open mic, where you can go up and do your stuff. The pub had quite a large crowd, but most of them looked like regulars, for whom the music was not the main attraction, but something they appreciated nevertheless.
From the Cross of Saint Georges to the Cave Café and Sheldon Forrest
The following night, Monday, I was ready, willing and able to finally go to Sheldon Forrest’s lates open mic, at a pub nestled in not far from Montmartre, on the other side of the hill…. I have written about Sheldon’s various open mics and vocal jam sessions over the years, starting with where we met, at the now defunct Swan Bar in Montparnasse and most recently with his Ozmos Café open mic, also near Montparnasse.
But I had been itching to go to this Cave Café open mic and jam for a while, since I had the impression that it was a little different than the others where Sheldon officiates, playing his piano accompanying singers, often with a jazz or cabaret leaning. It turned out to be different, entirely different, except for Sheldon’s always genial hosting.
The Cave Café is a corner bar owned by an American who is so discreet you wouldn’t know he was anything but a local French bar owner. The open mic takes place in the cave of the café, as you might expect by the name of the joint. The cafe is a classic Paris vaulted cellar, and this one is complete with a bar and a nice little stage. The vibe is 100 percent open jam, music-loving, anything goes.
There’s a piano on the stage as well, but Sheldon only plays according to when it is appropriate. You can do solo guitar and vocals, or you can be joined by other musicians – I did both. I enjoyed being accompanied by a lead guitarist, Sheldon on piano, aand even an acoustic guitarist and harmonica player. The sound constantly being tweaked by the barman/soundman, using his iPad to control the sound.
It was a fabulous night, and I look forward to many more. The one thing that really stands out is that it’s a music-loving joint that attracts musicians of all kinds.
And finally a visit to the Carré open mic and Jam beneath the legendary Don Camillo and around the corner from Gainsbourg’s home
It has been many months also that I have been intending to attend the open mic and jam of Olivier Domengie, the Carré open mic and jam in the heart of the Latin Quarter. I know Olivier from his various other open mics and jams, notably the one that used to be at the Paradis bar near Barbès, the Nul Part Ailleurs bar near the Bastille, and the Carré jam that happened in the bar near St. Michel.
I was particularly curious to see what this Carré jam at the new location would be like, as it was so much in the classic art gallery, up market part of the neighborhood. And I wondered how it was possible to have his kind of anything-goes sort of jam in such an area. The first idea of how it might be came when I suddenly recognized the name of the street upon which part of the bar sits: Rue de Verneuil. I said to myself, “Wait, isn’t this the street where Serge Gainsbourg lived?!?!”
Later in the evening I not only had it confirmed by Olivier that it was the very same street, but also that 1) Gainsbourg’s home was just around the corner, and 2) Gainsbourg used to go sometimes to play and hang out at this bar! The bar is part of the Don Camille, which is upstairs, and its walls are plastered with the photos of famous popular musicians.
The jam is a classic Olivier jam, and I took the opportunity to play here with a drummer, sax player, bassist, and lead guitar. I had not brought my own guitar, but I got to use the nylon string semi-electric of Olivier – which dictated a little the songs I had to do (“Wicked Game,” “Mad World” and “Don’t Back Down”).
The feel of this bar, with its broken mirror walls, is really 1970s, 1980s, nightclub, but with the stage perched in the front window, and the comfortable chairs and couches, and the large number of musicians present, I cannot recommend it enough.
And then there is the need to do the little visit around the corner to the home of Gainsbourg, with its famous graffiti covered walls. I took a photo or five of that.
And it was all preceded by a visit to the suburban Captain Fox bar in Bois-Colombes
This whole week began, by the way, with a visit to the cultural pub of the Bois-Colombe suburb, where it turned out a pianist singer from my own suburb right next store was giving a concert in this small, convivial bar. Such cool places are rare in the suburbs, but the Captain Fox, as it is called, gets the recipe right! And this performer, as you can see from the video I have put up, is fabulous – anyone who can sing this Queen number as well as him is exceptional.
And that ends the roundup of my open mics and jams and spectator-hood evenings of the last week.
PARIS – It was the first time I had invited my high school friend Mike MacDonald to my home in Ottawa, so when the moment we entered the front door we found my mother sitting on the living room floor with a glass of whiskey and tears rolling down her face as she cried while listening to a Cat Stevens album, I was instantly embarrassed.
“What’s going on mom?” I asked, Mike at my side.
“I just discovered your brother’s collection of Cat Stevens records,” she said, clearly slightly drunk. “It’s so beautiful, I didn’t know he listened to this.”
The idea was that she was learning through this musical find that my brother’s tough outer coating – he was a hard fighting football player – had a sensitive, soft inner part to it that while she certainly knew about it, she was now seeing evidence of it that she had not suspected before.
But I was still wondering how this could possibly play out, certain that my mother’s explanation would never be enough to make up for the embarrassment I felt at having Mike’s first meeting my mom being one of alcohol and tears. Yet Mike, still not yet 20 years old, was a natural comic and reader of human situations. And he found the perfect line to diffuse the tension – and potential for worse embarrassment – when he said in a slightly low, disbelieving voice, but one designed to be heard by my mother as well:
“Jeez, if that’s how she reacts when she listens to Cat Stevens, I’d hate to see what she does when she listens to something good!”
My mother broke through her tears with a bit of laughter, and I chuckled as well, and Mike and I went off to my room leaving my mother with her Tea for the Tillerman, a sad situation having been turned into a happy memory for life.
In fact, the last time I was in touch with Mike, by Facebook in January 2016, I reminded him of the moment.
“Thanks for the story–I’m glad it made your mother laugh,” he responded. “Let me know if you’re ever in the Ottawa area–I would love to reminisce and possibly jam maybe–still play the drums…”
Had he heard my music, my voice and songs sometimes drawing comparisons to Cat Stevens (from people who have heard me sing in bars)? Probably. Mike, as far as I can tell during my last 34 years living in the country where he was born as an “army brat” – France – had not changed. Through many of his own hard times, most recently with Hepatitis C leading to a liver transplant in 2013, and treatment for bipolar disorder, Mike had continued to face life with humour as the best antidote to pain.
We were not best friends, but we were mutual friends of a best friend – John Kricfalusi, who went on to fame as a the creator of the Ren & Stimpy cartoon show – and we spent enough important party nights together, and later some moments during his start in show business at the comedy clubs in Toronto, where I had had my own furtive efforts into “making it,” two or three years prior to him, for me to feel the bonds that true friendship and shared lives and experience never lets slip.
What I remember most about Mike’s show business transition from party comic to national comic was linked precisely to that moment of meeting my mother: Mike was a naturally talented, naturally funny man, but also with a sense of deep empathy. Throughout our years at Brookfield High School in Ottawa, Mike was the funny guy at the parties, entertaining us with air guitar before that term was even known, making jokes, acting strange, and generally be crushingly funny/accurate in his summations of people and situations.
Mike MacDonald and John Kricfalusi
As John Kricfalusi put it on his Facebook page today: “It’s a very sad day. One of my best friends from high school, Mike MacDonald has died. We used to sit in our parents’ basements during Ottawa winters and he would entertain us for hours. He could do devastating impressions of every one of us and we would laugh so much that we had tears in our eyes.”
“Mike was Canada’s top standup comedian for years, and he also did intense funny cartoon voices.”
“I will miss Mike. He’s the funniest guy I ever knew.”
When he was voted head boy of Brookfield – or student president, or whatever the role was called – I was astounded. How, I wondered, could a crazy funny party guy like him be voted into a position of responsibility and respect like that, above all the other “serious” candidates? Soon enough, I would understand that it was linked to what came later, both in terms of Mike being a popular guy, as well as in another aspect of his character, something more serious. This was a side of Mike that would also be visible later in life when he would transform himself from heavy drug user to finding religious faith, and using his comedy to help other people in emotional or physical distress.
But it is Mike MacDonald’s transition from head boy to successful standup comic that I want to talk about again: After my early, brief years in show business in Toronto and Ottawa (performing mostly bit-parts, TV commercials, and trying my hand at standup comedy, music open mics and circus) I went on a personal quest of self-discovery in England, Iran and then Africa, returning periodically to Toronto.
At one point during a period in Toronto in the late 70s, I attended one of Mike’s early shows in a bar/restaurant. He was just starting to try out his standup – after careers teaching ballroom dancing, caring for handicapped people, drumming in a government supported band across Canada, and other unrelated things – and I recall attending the show with my uncle, a medical doctor. Mike was not very funny that night, there was very little laughter in the room. My uncle remarked to me afterwards: “That man has a lot of anger inside him. He will never get anywhere as long as he is as angry as that in front of his audience.”
But this Mike was not the Mike I knew – even if the Mike I knew did certainly have anger, and anger was part of what made him funny. The Mike we had seen that night was a Mike who had decided he wanted to be funny, to be a standup comic, to “make it” in show business. Trying to be funny on stage in front of an audience is about a million miles away from being funny either on a stage in front of an audience or amongst friends. I think it took Mike a couple of years of trying to be funny before, eventually, he discovered that if Mike MacDonald simply played Mike MacDonald then it would all come together. Because Mike MacDonald was a very funny man.
When Mike began on stage to become the same Mike who made that comment to my mother, and who regaled us all with his craziness at parties, that is when the comedian was born and began having success.
Why did he never have huge success in the U.S.? He moved to California, he appeared on the David Letterman show, on the Arsenio Hall show, but he never broke out into the bigger, much bigger world of popular culture that his friend Kricfalusi did with Ren & Stimpy, “settling” instead, for a career as a well-known Canadian standup comic. He appeared more than any other comic on the stage of the Just For Laughs festival in Montreal, hosted Canada’s Gemini Awards show (Canada’s Emmy Awards), he hosted his own specials on TV, he appeared in some films – one of which was written by Mark Breslin, the founder of the Yuk Yuk’s Comedy Clubs of Canada, where Mike (and Jim Carrey) – got his start.
I have no answer as to why he did not enter that higher atmosphere of recognition, or reach more people. Recently, for me, sitting so far away here in Paris, but now with greater access than ever before to what is happening in the North American standup world thanks to Netflix, when I compare some of the performances I have seen of MacDonald to those of many of the comics on Netflix, he is on another level.
I knew of his liver problems, his apparent closeness to death at that time, his battles with bipolar disorder, but when I read the news of his death this morning, I was struck by how we all live with the idea that while the world may be falling apart around us, and people we do not know personally may grow old and die – or die young – somehow we and our friends will carry on into old, old age, never succumbing to the inevitable “before our time.”
Losing Mike is a blow. But reading the comments on his Facebook page and in the media covering his death, I can only feel proud to have known him, and to see how deeply he has touched so many people. If that’s how you reacted to life, Mike, I’d hate to see what goes on now in heaven!
* The news reports and some parts of the internet record give Mike’s birth year as 1954. But his own Facebook page lists it as 1955, and my memory is that he was only about two years older than me, not three or close to 4. So I’m sticking with 1955; he would have turned 63 in June.
PARIS – Everything you ever wanted to know about my life and music but were afraid to ask – or maybe didn’t really want to know! – is now in a 50-minute video just released on Escargot Underground Radio’s site via YouTube and Escargot’s Facebook page. This was a riot to do, and makes up part of a series of such video interviews that these people are doing – all in French, so watch out! – of musicians that are part of their Escargot Underground open mic world in Paris in the last half decade or so….
If you enjoyed the interview, they will be posting more of them in the coming weeks, so check them out. Or go to the Escargot Web Radio pageand give a listen to the people they will be interviewing….
PARIS – I finally got to drop in to Jay Golden’s Jam School at the Disquaires in Paris on Wednesday evening. Brought my guitar, was happy as a little baby to visit this place I had heard of a long time ago but never attended…then found myself ill-prepared and didn’t play! But that’s no problem. The entertainment was great, and I discovered this fabulous open mic, jamming concept….
Jay, an American expat in Paris, said to me it was in part to get young musicians to learn new stuff. Basically, while it is an open mic, open jam, it has the following twist: It runs every Wednesday night but each week of the month is a different style of music (you can find all the information on the Jay Golden’s Jam School Facebook page) – and when I went, the third Wednesday of the month, it was blues and rock ‘n’ roll – and you sign up and join the other musicians to play in that style.
First at Jay Golden’s jam
But the catch is that you don’t just play blues and rock ‘n’ roll or whatever the style of the week is, you have to look at the set list in advance to see what songs will be played that night. You then join in on the songs that you know how to play. So, for instance, there was “Fever,” (not sure that’s blues or rock ‘n’ roll) and “Brown Sugar and other standards, and you volunteer to play bass or lead guitar or rhythm, or drums, or sax, or whatever. Or vocals. It looks like he is in need of more vocalists – as he made a comment about that. The set list remains the same for each night over four months, and then changes to a new set of songs.
Anyway, the point is, this is a kind of jam, but a highly structured one that has a set list. I spoke briefly to Jay, and he said it was in order to help promote young musicians – but all ages are welcome – to learn new songs. Second at Jay Golden’s jam
All together a great evening, and I highly recommend checking it out. But do remember that this is not a typical singer songwriter place, nor a typical “anything goes” jam. It has this structure. Golden, by the way, who is from Baltimore, has had a long and illustrious career as a bassist, producer, sound engineer and arranger, working with Luther Allison, Bernard Allison, Liz McComb, Screaming Jay Hawkins, BB King, in Europe, as well as Bryan Adams, Marc Stern, George Clinton, George Benson, Jeff Majors, Pic Connelly, Steve Kelly, Joe, Mario, in North America, among others.
PARIS – I could have created some click-bait for those who do not know who James Thierrée is by adding in the headline of this blog post the words “grandson of Charlie Chaplin.” But James Thierrée, who is the son of Chaplin’s daughter Victoria, made a name for himself long, long ago, and so it is debatable how much value the “Charlie Chaplin’s grandson” moniker still holds today. Thierrée, who grew up performing since he was a child in his parents’ circus, then trained all over the world (including at the Piccolo Teatro in Milan and the Harvard Theater School), and who is adept as a mime, dancer, acrobat, violinist, actor, director among other things, has clearly added several dimensions to the Chaplin identity that he inherited. Of course, the one thing he cannot really do anything about is that he looks almost a dead-ringer for his grandfather – especially the grey-haired version. This last week Thierrée has been putting on a show, called Raoul, at the 13éme Art theater in the place d’Italie in Paris, and Ornella Bonventre and I decided to check it out.
My not-reviews are meant to be blog posts about me going to a show, reading a book, listening to music, eating a meal, and talking about it as a spectator – no “critic” attached. But this time, I decided to explore a slightly different version, and give most of the words over to Ornella, who, as an Italian actress, theater director, playwright and circus artist, I knew had a much better sense of what James Thierrée’s show was all about and could do a better job of talking about it than I can.
So we spoke about it together, and I have decided to run a little Q&A from that talk as my “not review.” Oh, and by the way, just for the sake of context it is important to know that despite our leaving home on time to get to the show by its 20:30 start time, we arrived at least 15 minutes late due to the tragic accident of someone falling – or jumping? – onto the metro tracks on Line 6 at the Quai de la Gare station and causing us to lose nearly half an hour in getting out of the metro and finding a taxi and then having to wait to be taken to seats in the 900-seat theater. As a result of me being placed in a handicapped person’s seating area, my view of the show was not great (would the view have been better from a wheelchair? If not, this is scandalous.), and we missed the beginning of the show, and therefore perhaps some vital information on the game-plan of the spectacle.
The Q & A With Ornella Bonventre Answering Brad Spurgeon on James Thierrée’s Raoul
Ornella Bonventre & Brad Spurgeon Clowning
Question to Ornella from Brad.You were telling me that you enjoyed some of the technical aspects of the show, like the puppets but also James Thierrée’s physical movements. Why?
Answer from Ornella. I enjoyed the entire show from a technical point of view. I was very, very surprised because I wasn’t expecting anything. I wasn’t expecting a comical show, I wasn’t expecting a mime show, I wasn’t expecting him to be doing Charlie Chaplin. I was just expecting something very good – and in fact it was very good. I enjoyed the techniques he used as a director, because the structure of the show was based on principles that I am trying to use as a theater director too. For example, the puppet theater technique, or the use of the lights, the use of the space, the different levels of height he used on the stage throughout.
And I think this is something that James Thierrée had to face as the grandchild of Charlie Chaplin. He cannot just repeat what Charlie Chaplin did. He has to be something else, and probably something more and different and unique in his own way.
Q.What about the mixing of the huge puppets he used occasionally as well, the use of the giant stage set, and trapeze-like things, etc.?
A. I loved that because everything was transformed. Each object had its own life and was transformed into something else. And that’s very magical. And it is always the goal in my theater to obtain this result as well. And they were doing it with very traditional techniques. The puppets were built in a very simple way. And they were moved by people, not with machines, so there was nothing extraordinarily technical, and the materials also were simple, poor materials – like papier maché, simple cloths, etc.
A. Yes. I loved the use of sound in this show, the use of the soundtracks and the noises. And I think that they were necessary because they were also covering the noises of all of the huge machines that were moving up and down on the stage, the things from the floor to the ceiling, and the huge puppets. So the soundtrack was necessary to cover these sounds so that the audience would not be distracted and removed from the spell of the show by the unintended noises. It was very well done.
Q.For me the biggest problem was that I was waiting for, or expecting, a kind of storyline that I couldn’t find. So it was difficult for me to hitch in to the narrative. Was that something you found difficult too?
James Thierrée aloft in Raoul
A. Yes, there was no story…or possibly because we arrived late and we weren’t able to see the beginning of the show, and that might have helped to follow the story more. But even so, for me the story was: “Welcome to a magical world!” A world made of little things in which the objects have their own life, and the objects themselves were actors on the stage. Strange things were happening around this poor character who was reacting to what was happening around him. And he was very tender; he was the typical character of the clown, with the stupefaction, the wonderment about everything; every little thing became something extraordinary. This is the principle of the work that we saw. And it is something that I really adore – the magic of little things.
Q.That makes me think of the fact that I felt the theater was too big for the show! 900 seats! I had the worst seat I ever had in a theater (for the maximum price of 45 euros), with two people right in front of me on the same level, and I could not see clearly the area where Thierrée performed most of the show. It was difficult for me to see the little things and small movements. So I felt I was missing a lot. How was your seat just beside me?
A. My vision was good. It is true that probably the theater was very, very big, but fortunately for Thierrée it was full. It was sold out. And I think that’s why it’s necessary to have a very big theater; in order to contain all of his fans, the whole audience that he brings. It’s true that perhaps this show can work better in a smaller theater, but the reason for such a big theater I think is simply to contain the audience he brings.
But, even so, I was able to follow the details. As I said before, every theater show is made of the details – the movements even of the eyes – and usually you are able to see those things even if you are far away from the stage. Because that’s it, this is theater. The quality is in the details, and even if you are not really able to see clearly the details they touch you in any case.
Q.What did you see that I did not see since I am not an expert on mime, on movement, on dance? Can you tell me what you saw in his skills, in his techniques, that was so exciting for you and that held your attention?
A. Perfection. I never saw such a high quality of movement in all the senses. His movements were so fluid, so organic and so true – above all organic and fluid and it had a high, high quality that I’ve never seen before.
Q.What kind of movements are you talking about in particular?
A. In general. The whole show is based on his movements. There is no wind on stage, for example, but it exists, a very strong wind blowing at 100 kph because you see his body that is acting as if the wind is there. So he is creating a world with his body, just with his body. He is acting as if the wind is there, so for me, the wind was there. I was believing in that.
Q.Some of the funniest, most successful parts were the simplest, most slapstick things, I felt. Like him pouring water into a cup that it is bottomless, and then when he tries to drink it, there is no water in the cup. It’s a gag. It’s an old joke. But for me it was a moment I could really relate to and identify with.
A. Me too. Welcome to the magical world of the little things. It’s amazing how he had such beautiful tricks and big machines that carry him up and around the stage, but what is working best are those little things. In fact, you asked me about the quality of his movements, and the quality of his actions, and I told you it is amazing. I never saw such perfection. Why? Because I always saw those tricks – the water, or the wind or the body acting in a certain way, mime stuff – because I grew up in circus, in theater, and to me this is my daily life. So I appreciated those little things because they were so well done, they were magical.
Q. So he did old gags in a fabulous way.
Q.What about the advantage or disadvantage of being Charlie Chalplin’s grandson? I think that part of the reason the theater was full was because everyone knows this is Charlie Chaplin’s grandson. But also that can be a negative thing too because you are being compared to Charlie Chaplin, to your grandfather. How do you see this aspect of his identity?
A. I think it is already difficult for everyone to find their own identity. To find our identity is a battle. And so, I think that for him, as for all people who are the “son of,” “grandchild of” or the “daughters of” famous and loved personalities, it is very, very difficult. I think it is a weapon that can turn against you easily if you are not good enough to demonstrate to the audience that you are really unique and great in your own way. So at the beginning it can be something that brings an audience, but if you are not good enough this is also something that can destroy you forever. And I don’t think the theater was full because he is the grandchild of Charlie Chaplin, because he has been on the stage for many years. So probably in the beginning the theaters were full because he was the grandchild of Charlie Chaplin, but today if he wasn’t good enough the theater wouldn’t be full.
Q.Were there areas that disappointed you?
A. I don’t know if “disappointed” is the right word. But one flat point was the story. It is true. I don’t know if it was because we missed the beginning or not. Another thing, and I asked myself this: “Why are you not doing this guy??!” It was a moment when the house lights were turned on over the audience and he stared at us, and I thought, “My God, use this! Now you see us, and you are trying to interact with us. But do this for real. Come to us and use this other part of the space.” In fact, he did do that, but just one time. When he entered from the door and walked directly in front of us. But it was just one time, and it was so quick. Just a moment like that! (Ornella snaps her fingers.) So not disappointment, but…it could have been more.
And also, I think this show was all about teamwork, and I would have loved to see more of the other participants. As well as their names on the posters, etc., being more recognized for their contribution.
But the rhythm of the show was amazing. Because it was a very long show. And without a structured story. So it is difficult to keep an audience seated down like that for 1 hour and 40 minutes. So the rhythm was amazing.
And the meta-theater aspect was interesting too. To show the show being made was amazing.
Q.You mean when they were fake hiding the members of the cast and crew with screens as they came out to set up the props, pretending that they were not there, etc.? But much of the show was “meta” stuff. It is external appreciation of what was being done, as opposed to really entering into the character, no? How much were you involved personally in the character?
A. I can honestly say to you that I was moved. As I am moved every time that I work with Claudio Madia in Milan and he really becomes a child, and the tenderness, and the innocence comes out…. At that moment I am completely with the character and I am moved. Because the theme of the innocence of childhood is personally something that touches me a lot. Was I with the character? Yes.
Q.We are living in a world where anything is technically possible in film, on the internet, in YouTube, and here is James Thierrée’s show with traditional gags, the flesh-and-blood live performance of an individual, and nothing that you can see in the way of the technological achievements that even a knowledgeable home video editor can do. What place does a show like this have in today’s world where our senses have been numbed by anything being visually possible on YouTube?
A. I think, honestly, that shows like this, and not even just this kind in particular, but the theater in general has a very important place in our contemporary world. I really believe that it is the future of this world. Theater is a meeting. But for real it is a meeting. It is a meeting between the audience and the actors and it is a meeting between the daily life of the audience and the life of the show, of the stories of the show. It is a meeting between the audience and the audience. It is work that you do in a team. When you are working in a show you are not alone. Your show depends on other people. So theater is a meeting, and it is made by people for people. And it is the future. And its place in our contemporary world is very, very important. Wherever there are two people in the same spot that want to listen to each other, there is theater. It is up to theater today to save human relationships and humanity.
PARIS – Successful open mics sit on a very fine line of balance between the dynamic of the location of a bar and the shape of its room, the person who runs the open mic and the owner/manager of the bar. At the most successful open mics, all those elements fit together in a perfect harmony that mesmerises audiences into attending. One of the best recent open mics in Paris took place at the Rush bar. The ownership just changed, and now the open mic MC, the bar manager and pretty much the entire audience and participants have moved over to another bar location, at The Bootleg Bar in the Bastille area. Will it be the same rush as the Rush?
Monday was the second edition at this new locale. I prefer the Bastille, rue de la Roquette address where it is now taking place to the previous address, near the Cirque d’Hiver, but which for me feels like a slightly dead neighborhood. This bar is much smaller, but it has an absolutely fabulous basement room that could be a perfect setting for the open mic, which now takes place on the ground floor.
First at Bootleg
For smokers, there is a smoking room in the front of the bar, so that means no freezing in winter time, and you can still hear the performer through the smoke-room glass – and butt out your cigarette if the performer is enticing enough. https://youtu.be/aHdYizdzRckSecond at Bootleg
As to the performers, there were many familiar faces and sounds as you will hear on my few little videos I made of the evening. And the MCing is as great as usual, by Charlie Seymour. There is no doubt that this place has at least two of the required elements to make it a successful open mic: The MC and the bar manager. Only time will tell if the room itself attracts the same kind of loyalty that the Rush bar did. But apparently there was a very popular jam session that used to be held in the cellar of this place, so I suppos all of the ingredients are there….