Pomme

Polydor (France)

Pomme

“Growing up is a little disappointing” sings Pomme in “As if I believed in it”. Yet it does exactly the opposite. The more she grows up (and she’s only 20 years old), the more she enchants, surprises, and above all does her own thing. After “En Cavale”, a remarkable first EP released a year ago, she left alone on the roads and by trains, her guitar and her harp under her arm, to share her songs, credulously, like an elf personality already mature. This is the case on a hundred or so dates, some of them headlining, most of them in curtain-raising sometimes in crowded Zeniths (for Vianney, Louane, Olivia Ruiz, Cœur de Pirate, Benjamin Biolay, Yael Naim …) that his candor and determination gradually conquered this public who came to applaud the popular singers. At the end of this modest marathon, and before taking a new one, Pomme recorded his album, “Almost”, in pairs with a duo of directors, Benjamin “Waxx” Hékimian and Matthieu Joly. She works on a catalog of songs written by her or for her, to which is added an exception, “A Lonely One”, signed Don Cavalli, whose words in English that do not tell love this time will have been right, she. With her accomplices, she reflects, tests, and finds arrangements that go from the epic to the stripped, proving that a folk belonging does not prevent to surf the pop with ease. She plays her three instruments (guitar, cello, auto-harp), gives space to the supposedly confined territory of acoustics (by placing a bassoon on “Those who dream”, for example) and assumes to not enter no one box. Neither that of the post-folk chlorotic. Nor is it a contemporary pop rigidified by its gimmicks dance. But what will be remembered and which transcends “Almost” is the voice of Apple: surprisingly mature, nuanced, warm and sensual. From this rare organ, she caresses simple words to make everyday a touching poetry. If she also sings insomnia, or parallel feelings, love is the major ingredient of a showcase album of heart and soul torments. Here we kiss girls and boys. The stories are told over the titles and we soon find ourselves sucking the “same dress that yesterday”, humming “As if I believed”, to linger at “La Gare” or “Pauline”, is a tribute to Dolly Parton’s “Jolene”: the same theme (but of a more incisive writing), and an unstoppable melody for a game of role that Pomme enjoys playing as an eye-catching sitcom. Even if she is listening less to country music these days, she keeps a pronounced tropism for the music of the American heart. D ‘À Peu Près “, after listening, there remains the lasting impression of having penetrated, somewhat by break-in, into a deeply feminine universe, never half-hearted, resolutely passionate, profound and seductive. Successful songs that she will soon present live, accompanied by a musician with whom she works on different versions of the album. Pomme was a hobo 2.0, mascot of the TGV: “I love to move, to take the train with my instruments and my suitcase. I love traveling, this constant discovery inspires me. Clara, Juliette, Cléa, Fishbach … French song has never been more relevant than through this theory of young women who reinvigorate it with a pleasing variety and variety, Pomme is the youngest of this generation of determined girls and autonomous, and not the least sharpened. “To Little Near” is a litote: Pomme is perfectly there, exactly ready, ideally inspired and mistress of its art. His fragile songs in flowered robes are in reality water points where everyone will find the freshness necessary for the perpetuation of the species of people of taste. by universalmusic.fr