- It's now been more than a year since terrorists stormed Paris concert venue Le Bataclan during an Eagles Of Death Metal show, resulting in the single deadliest attack on French soil since World War II. The consequences of the massacre have been keenly felt for anyone living in France. From the continual state of emergency to an increase in racist rhetoric and political nationalism, the country's initial outpour of grief has been channeled into a form of widespread paranoia that has had a direct impact on the cultural sector. In the capital alone, there have been endless intrusive security checks, plus a number of outdoor events were cancelled over the summer. Life generally became more stifling.
Before the tragic events of November 13th, 2015, Le Bataclan had long been one of Paris's best-loved venues, known for hosting a wide range of bands, performers and DJs. It remained closed for almost exactly a year, reopening on November 12th, 2016. In amongst a string of rock and pop concerts, the organisers announced a dance music all-nighter featuring a live set from Black Strobe's Arnaud Rebotini and a three-hour DJ set from France's most famous selector, Laurent Garnier. Tickets sold out in record time.
I arrived at around 1 AM. Security was predictably tight, with guards stationed at the entrance and outside in the smoking area. It was a similar deal inside: fully-equipped personnel occupied every corner and on the overhanging balcony, which, for me, lent the atmosphere an ominous feel. But no one else seem too perturbed. Onstage, Rebotini was in full control, surrounded by a vast number of Roland synths and drum machines. His macho appearance, combined with his energetic jams, gave the performance a rock-show quality that the crowd lapped up. The pit was filled with rapturous 30-somethings displaying levels of exuberance to rival much younger audiences. Towards the end of his performance, Rebotini veered from brazen electro into more classic techno rhythms, setting the scene for the headliner. Screams of joy and thunderous applause greeted Garnier as he took to the decks. He opened with a vocal house track that professed the need for everyone "to stand for freedom."
In many ways, the party was what I imagine an EDM event to feel like. There were overpriced drinks and overdressed punters, and Garnier's every move was met with renewed outbursts of roars and cheers. The DJ was god, which led him to play a more conventional, crowd-pleasing set than I expected. Sure, classics like his own "Crispy Bacon" sounded as brilliant as ever on the venue's slick system, but overall his choice of big room techno and tech house was disappointingly banal.
That said, there was a wider narrative at play here. It was truly moving to see people once again rejoicing in a venue that had been the scene of such horror. That they were able to dance and party freely despite the overhanging sense of unease says a lot about how France has healed in recent months. Yes, the night felt conventional and rigid, even conservative, but it was nevertheless a much-needed cathartic exercise for Paris and its people.