Puis la musique commence, et l’atmosphère change instantanément. Belljars déroulent un shoegaze aux textures brumeuses, porté par la voix d’Agathe, qui évoque par moments les teintes sombres du post-punk. Les guitares se répondent, se superposent, se fondent dans une lumière tamisée. Par instants, Remza, que l’on connaît notamment pour son travail dans Chiaroscuro ou Camellia Sinensis, rejoint Agathe au micro. Leur dialogue vocal fait doucement glisser les morceaux vers une couleur plus cold wave, sans jamais les refroidir complètement. Les couches de guitares maintiennent une chaleur palpable, presque organique. Non loin, Quentin, tout sourire, joue sous les regards attendris de sa famille venue l’encourager au premier rang. Pour le dernier morceau, Belljars bouleversent totalement l’équilibre construit jusque-là. La cadence s’emballe, la voix s’enrage, et le groupe plonge franchement dans une énergie punk qui galvanise le public. On repère même quelques spectateurs qui chantent toutes les paroles sans hésiter, portés par une intensité qui monte d’un cran avant de retomber dans l’obscurité. Une prestation très convaincante, comme à chaque fois.

En fond de scène, un projecteur affiche leur logo. Sur un enregistrement de « Suckin On My Titties », TTSSFU entrent en scène. Derrière ce nom intriguant se cache Tasmin Stephens, accompagnée de trois musiciens en chemise et cravate, look premier de la classe… mais trompeur. Dès les premiers instants, la grosse caisse résonne dans tout le Grand Mix. Le son est massif, incisif, pendant que Tasmin envoûte la salle d’une voix quasi angélique. Entre deux morceaux, elle confie son étonnement de jouer sold-out en France, n’imaginant pas être si suivie ici. Elle enlève alors ses lunettes de soleil, révélant un make-up pailleté irrésistible qui fait briller la scène autant que la musique. Le quatrième morceau marque un virage : tempo ralenti à l’extrême, tension palpable… avant une explosion digne d’un hymne punk. Le public danse au rythme des vibrations. Les influences se déploient : Lou Reed et Blondie en étendant, une énergie rock anglaise limpide. Le bassiste amuse la salle avec un “Le beurre, l’argent du beurre et le cul de la crémière !” prononcé avec application et roulement de “R”. Un morceau plus dream-pop suit, porté par un enregistrement vocal passé à l’envers, apportant une dimension aérienne dans toutes ces textures. Sur « Studio 54 », Tasmin lâche sa guitare, descend dans la fosse et offre un bain de foule radieux. Un spectateur repart même avec ses lunettes de soleil sur le nez, sourire béat. La fin arrive avec « I Hope You Die », introduit par un “Kill Your Rapist” glaçant et puissant, où Tasmin crie, enlève ses chaussures, balayant ainsi d’un geste les attentes liées à sa position de femme, pendant que le groupe part dans une cacophonie volontaire, une déconstruction sonore totale. Une apothéose qui fût applaudit longuement, espérant un rappel qui ne viendra pas.

Entre la tendresse enveloppante de Belljars et la claque émotionnelle de TTSSFU, cette soirée au Grand Mix restera comme un début de saison d’une intensité rare, où la musique a côtoyé la prise de parole politique, la communion collective, et le besoin urgent de se retrouver dans un espace sûr. Une soirée sold-out, mais surtout solidaire. Et un Grand Mix qui démarre 2026 sous les meilleurs auspices.

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The 2026 season of Le Grand Mix kicked off on Friday, January 16th, and the Tourcoing venue pulled out all the stops: presentation of the program, complimentary drinks for subscribers, and above all, a sold-out double bill featuring Belljars from Lille and TTSSFU from England. It was an evening of rare intensity, oscillating between the hazy softness of shoegaze and the most celestial dream-pop crescendos.

Article by Marye DAVENNE

Photos by Zo’

To kick off this wonderful evening, Matthias (cultural mediator) and Julien (programmer) gave us an overview of the upcoming concerts at Le Grand Mix, giving us the opportunity to fill up our calendars while enjoying a complimentary drink offered by the venue to all subscribers. This was the perfect opportunity to remind you that Le Grand Mix is a non-profit cultural venue that offers subscriptions at €12 full price, or a symbolic €1 for residents of Tourcoing, job seekers, RSA beneficiaries, students, and minors. This membership gives you free concerts, free invitations for your friends and family to 1=2 concerts, discounted concert tickets, and lots of great deals in the Lille metropolitan area.

When Belljars take to the stage, an attentive silence fills the room. Before even playing the first note, the band makes a point of mentioning the fascist attack that took place the day before at the Centre Culturel Libertaire (CCL) in Lille, where audience members and musicians were assaulted. It is an important and dignified statement, reminding us that hatred has no place in our cities or our concert halls. The band calls for a rally to be held the following day in Wazemmes. The audience nods in solidarity.

Then the music begins, and the atmosphere changes instantly. Belljars unfurl a shoegaze sound with hazy textures, carried by Agathe’s voice, which at times evokes the dark tones of post-punk. The guitars respond to each other, overlapping and blending together in the dim light. At times, Remza, known for his work with Chiaroscuro and Camellia Sinensis, joins Agathe on vocals. Their vocal dialogue gently shifts the songs towards a more cold wave sound, without ever cooling them down completely. The layers of guitar maintain a palpable, almost organic warmth. Not far away, Quentin, all smiles, plays under the tender gaze of his family, who have come to cheer him on from the front row. For the last song, Belljars completely upset the balance they had built up until then. The tempo races, the vocals rage, and the band plunges headlong into a punk energy that galvanizes the audience. We even spot a few spectators singing along to every word without hesitation, carried away by an intensity that rises a notch before falling back into darkness. A very convincing performance, as always.

 

At the back of the stage, a projector displays their logo. TTSSFU take to the stage to a recording of “Suckin On My Titties.” Behind this intriguing name is Tasmin Stephens, accompanied by three musicians in shirts and ties, looking like the class nerds… but appearances can be deceiving. From the very first notes, the bass drum resonates throughout Le Grand Mix. The sound is massive and incisive, while Tasmin captivates the audience with her almost angelic voice. Between songs, she confides her surprise at playing to a sold-out crowd in France, never imagining she would have such a following here. She then removes her sunglasses, revealing irresistible glittery makeup that makes the stage shine as brightly as the music. The fourth song marks a turning point: the tempo slows to a crawl, the tension is palpable… before an explosion worthy of a punk anthem. The audience dances to the rhythm of the vibrations. The influences unfold: Lou Reed and Blondie, spreading a clear English rock energy. The bassist entertains the audience with a carefully enunciated “Le beurre, l’argent du beurre et le cul de la crémière!” (The butter, the butter money, and the milkmaid’s ass!), complete with rolled R’s. A more dream-pop track follows, carried by a vocal recording played backwards, bringing an ethereal dimension to all these textures. On “Studio 54,” Tasmin drops her guitar, descends into the pit, and offers a radiant crowd surf. One spectator even leaves with her sunglasses on, a blissful smile on her face. The end comes with “I Hope You Die,” introduced by a chilling and powerful “Kill Your Rapist,” where Tasmin screams, takes off her shoes, and with one gesture sweeps away the expectations associated with her position as a woman, while the band launches into a deliberate cacophony, a total deconstruction of sound. A climax that was applauded at length, hoping for an encore that would not come.

 

Between Belljars’ enveloping tenderness and TTSSFU’s emotional punch, this evening at Le Grand Mix will be remembered as a season opener of rare intensity, where music rubbed shoulders with political discourse, collective communion, and the urgent need to find refuge in a safe space. A sold-out evening, but above all one of solidarity. And Le Grand Mix is off to a promising start in 2026.