La Symphonie des éclairs gets longer. Zaho de Sagazan adds seven new songs to her debut album, because in the whirlwind that has swept her along since spring 2023, she has not stopped writing or composing.
 

These new intimate songs are carried by a very electro energy. We had already discovered Dernier des voyagesin her concerts, but nothing yet of L'Envol and its existential élan, Est-ce que tu vas bien? and its post-breakup tenderness, Ô travers and its profession of faith as an artist, Parler l'amour and Hab Sex with their explicit sensuality, or Old Friend, written, composed and recorded with Tom Odell, the man who gave her the desire, the urgency to make music.
 

Yet the sequence of events in 2024 seemed to leave her little time to write these songs. After 116 sold-out dates in 2023, other concerts followed: her first Zeniths in Paris and Nantes, summer festivals, and two major events. Historic images will remain etched in our memories: his cover of Sous le ciel de Paris, a classic by Piaf, Montand and Gréco, at the start of the closing ceremony of the Paris 2024 Games, and his rendition of David Bowie's Modern Love, offered to a tear-stricken Greta Gerwig at the opening of the Cannes Film Festival.
 

Her unique timbre crosses borders and triggers passions. Opening dates in Canada, London, Berlin, Cologne, Amsterdam, New York, San Francisco and Los Angeles came naturally. In no time at all, everything was Sold Out.
 

Some other singular prodigies marked the year of the young Nazairienne. Never before had anyone been crowned four times at a Victoires de la Musique ceremony: album of the year, original song, female revelation, stage revelation. Few emerging artists have been awarded the Ordre des Arts et des Lettres, the Jury Prize or the Audience Prize at the European Union's Music Moves Europe Awards.
 

When, on March 31, 2023, La Symphonie des éclairs was released, the album confirmed the over-excited buzz that had been circulating since the promising events of the previous year: the Inouïs du Printemps de Bourges, the Chantier des Francos, the Prix Chorus des Hauts-de-Seine, the TransMusicales de Rennes... The general enthusiasm was shared in both professional and personal spheres. The numbers speak for themselves: gold album by Christmas, platinum album a year later.
 

Today, the first cohorts of fans recount their sensations of this singular voice: a metallic velvet material, a texture both soft and rough, a movement oscillating between a silky wave of air and a powerful wave. A strange yet familiar voice, that imposes itself like that of a sister, a best friend, a shaman or a shrink.
 

Zaho de Sagazan sings at the unlikely crossroads of Barbara and Koudlam, Christophe and Cold Cave, introspective French chanson and Kraftwerk-derived electronica. Her voice devastates the quiet seductions of traditional chanson. As a child, she had a complex about it: “A lot of things about me were the opposite of feminine, and I couldn't hide my voice.”
 

Zaho tamed it with determination and pleasure. Her relationship with music began with the piano, hated at first, then self-taught. In her teens, she immersed herself in classical chanson, admiring the writing of Maurice Fanon and Barbara, while exploring dark, introspective electronica.
 

It took her some time to admit to herself as an artist, tempted at first by the care professions, which she now likens to her work as a singer: “I'm the girlfriend you call up to talk for three hours.”
 

The daughter of an artist and traveler father, Zaho grew up under her mother's injunction to “put yourself in other people's shoes”. In her songs, she explores universal themes: love, suffering, doubt and introspection.
 

Her singularity has become an essential phenomenon of French-language song. Audiences celebrate her generosity: an EP of cover versions (La Bonne Étoile by -M-, La vie est belle by Brigitte Fontaine, 99 Luftballons by Nena) and now this enriched version of La Symphonie des éclairs. A cavalcade of splendors that will leave a lasting mark on musical history.