It’s been twenty years since we discovered Grand Corps Malade, and with it slam. Scanned by his deep voice, Fabien Marsaud’s texts quickly won over the public, while his silhouette extended by a cane became immediately recognizable. Now, the French artist unveils his 9th album, “Voir la mer”. A record that he wanted to be 100% organic after two collaborations with the Franco-Swiss Mosimann and which, above all, was nourished by twelve months spent in Montreal with his wife and their two children aged 11 and 14.
Through the 16 titles, Grand Corps Malade questions its legitimacy, plays with the words “artist”, “sad art”, “joyful art”, denounces racism and remembers the Quebec winter. It’s rich, punchy, relevant, great slam. Reached by telephone, he also tells us about Céline Dion, for whom he once again wrote songs.
Have you seen the sea recently?
A little less than I would have liked, but hey… “Seeing the sea” is quite a symbol, it’s quite a metaphor: to see something else, to breathe a little.
You spent twelve months with your family in Montreal. What did you need to get away from?
I didn’t need to get away from anything, or maybe my habits. After two or three very busy, very active and very intense years at the professional level, the goal was to experience something else, to make the children experience something else, to break the rhythm a little, to seek out something new. And I am well aware that it is a privilege and a luxury to allow myself that.
In the song “20 Years Later,” you ask yourself, “Do you still write with the same urgency?” You don’t give the answer…
If I ask myself the question, it’s because the answer is not obvious. I obviously hope to keep a little freshness, spontaneity and innocence when writing. I try to free myself from everything that will happen behind. When I started writing, I didn’t think about journalists, I didn’t wonder if this song was going to be on an album or if the public was going to like this one or that one. I was slamming in front of 30 people in a small bar and I was writing without any pressure. I always try to put myself in this dynamic, not to think about what comes next, to be focused on my text. From time to time, I get there. There are moments of dazzlingness.
“Fifteen years ago, writing against racism would have been seen as completely normal.”
You also say in your album that you have the experience of a daron and the enthusiasm of a kid. Do you feel like this is the ideal balance?
Exactly. Today I claim some experience. What we need now is to keep this same freshness and this same innocence that I spoke to you about. And above all this same desire, this same enthusiasm to create something. If we manage to have both, it’s a very nice formula.
Cœur de Pirate, SDM, Styleto and Mentissa appear alongside you in “See the sea”. Above all, these are voices that you like and that you wanted to invite, or did you also co-write the pieces with them?
It depends. SDM wrote his verse. I just suggested the music and the theme, that of the indelible traces that the suburbs leave on us and in our veins. At Coeur de Pirate, I proposed the winter theme and I really wanted her to take the chorus. She also found the melody for the chorus. Finally, for Styleto and Mentissa, I wrote most of the text and we refined it together.
You once again wrote songs for Céline Dion, this time with Mosimann. Do you write differently when you know that it is she who will carry your words?
Of course. When you are a lyricist, you completely forget yourself, both in substance and in form. There, I write for a great voice who will sing the words loud and clear. So, obviously, I don’t do it in the same way as usual. And above all, I put myself in Céline Dion’s shoes. A priori, I am lucky to have several songs (which were selected). Two were written by me and composed by Mosimann, and another by a trio of young composers: Nikola, who musically wrote my entire album, and Achille and Noé, who also worked on my album.
Through the title “No fatality”, you have chosen not to remain neutral in the face of the trivialization of far-right discourse. Has it become more difficult today to convey this kind of message in song?
Exactly. And it is very revealing of our times. I’ve heard people or media tell me, “Yes, it’s brave to do a song like that.” Whereas, simply, I am making a song against racism. Can you imagine? Fifteen years ago, writing lyrics against racism would have been seen as something completely normal. Today, it is seen as something courageous. This clearly signifies the drift that we are witnessing at the moment.
“There will certainly be plenty of reasons to take a look at the prime of “Star Academy.”
After twenty years of career, is the most difficult thing ultimately knowing what to still want?
I don’t really ask myself that question. If I feel like writing, I think inspiration will follow. If I want to get into the studio, I think we’ll have fun. I walk a lot when I want to. It’s my engine. And here, I confirm to you that I really want it.
Want to be on stage too? You will be on November 25, 2027 at the Vaudoise Aréna. Are you already thinking about the scenography of your next tour?
We’re starting slowly now that the album is in the can. Every album is meant to be played on stage. I can’t imagine doing one if there isn’t a tour behind it. It’s very exciting to imagine a show, to choose the songs, the musical arrangements, to know what I’m going to say between the pieces. I talk a lot with the public.
Now that we know that Mosimann is the new director of “Star Academy”, can you tell us about your participation in the bonuses?
There’s nothing planned yet, but we’ll think about all that. When I’m in the spotlight of music news, I often have the opportunity to take a look at the “Star Academy” prime. There will certainly be plenty of reasons to do so. And I’ve never been to the castle before, but you never know.
