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Mylène Farmer en concert

From Wikipedia, the free encyclopedia

Mylène Farmer en concert
Europe tour by Mylène Farmer
Mylène Farmer en concert.jpg
Associated albumAinsi soit je...
Start dateMay 11, 1989
End dateDecember 8, 1989
No. of shows45
Mylène Farmer concert chronology
  • Mylène Farmer en concert
  • 1996 Tour

Mylène Farmer en concert is Mylène Farmer's 1989 concert tour in support of her second studio album, Ainsi soit je.... It was the first tour of the singer.[1][2]

YouTube Encyclopedic

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  • ✪ Mylene Farmer - Desenchantee (Mylenium tour)
  • ✪ Mylene Farmer - Sans Contrefacon
  • ✪ Mylene Farmer - L'autre... (Live)
  • ✪ Mylene Farmer - Stade de France -2009 (FULL CONCERT- FULL HD)
  • ✪ Mylène Farmer Album Complet - Mylene Farmer Best of Album 2018




In 1989, five years had passed since the first hit of Farmer ("Maman a tort" in 1984), and other successful songs had crowned the singer's career. However, she always sang in play-back[3] when she was invited on television (she only performed in live version - with difficulty - "Tristana" on La Nouvelle Affiche, on April 1, 1987). As a result, some people believed that Farmer was not a real singer. Thus, to prove her talent to her critics, Farmer scheduled a series of concerts for May 1989 in Saint-Étienne and at the Palais des Sports (Paris)[4] for a total of nine shows.[5] According to Sophie Tellier, one of the dancers, Farmer thought at the beginning that she would never be able to go on stage, and then she saw this tour as an "incredible challenge".[6] Farmer admitted that she knew before her tour that she would be the subject of criticisms, that is why she got ready physically and artistically with a great perfectionism.[7] She chose the Palais des Sports, because she explained that she "hated the intimate places" that "prevent her to find pleasure"[8] and that she needed big spaces.[9] In October, she revealed that she will perform 16 songs on stage.[10]

Every effort were made by Farmer and Boutonnat so that this concert is huge, whether it is at the level of the stage set, the music, special effects, choreographies... As these concerts were "a real triumph"[11] (all available tickets were sold), a tour was scheduled adding 44 shows mainly across France, but also Switzerland and Belgium. Because of the smallness of some concert halls and the enormous size of the stage set, several shows were forced to be cancelled.[5] Other shows were postponed (for example, the concerts in Valence and Sanary were postponed on October 16 for technical reasons).[12][13] All the concerts hall were full every evening. Farmer was also the first French female singer to sing in the great hall of the Palais omnisports de Paris-Bercy.[14]

Before going on stage, Farmer had an intensive athletic training including running (5 km per day[15]), physical and breathing exercises, and was on a diet (she had even stopped smoking). She also took lessons of singing.[16] In an interview, she said about the concert : "I really eagerly awaited the moment to try this experiment. Today, I want to go there. I feel I'm able to do it. A second round is beginning. (...) I don't want an intimate concert hall. I need wide open spaces, a breath."[17] She confessed that she was anxious at the idea of singing on stage and that she didn't manage to sleep because of that.[18] However, she considered this show as "an immense pleasure".[19]

Thierry Rogen, who has been involved in the elaboration of the show, said in an interview that this concert was "one of [the] most beautiful professional experiences, but at the same time one of [the] worst". According to him, preparations for the concert were very difficult, because Farmer and Boutonnat had a high level of professionalism and they wanted to produce a great spectacle. He explained: "We [Farmer's team] were scared until the end to not be up to the task. (...) We were the first to put synths and movies on stage, with a technology that was not so sophisticated as it is today (...). Mylène's discs were so sophisticated in the production that we could not go on stage and just put a drummer, a bass player and a guitarist. It needed that the audience find again on stage the color of albums which contained multiple sequences and programming. Therefore, in addition to the vocalists and Mylène on stage, there were also some backings, which included footage of voices. Perhaps it is this that has led criticism, because some people said that the sound was too great to emerge only from the stage." He confirmed then that Farmer had never sung in playback during this tour.[20]

The basis idea of the stage set was "the passage of time". Boutonnat and Farmer wanted to create "a little gothic atmosphere, mixing mysterious, deep and old things", connected to the psychoanalysis. All should be "both thoughtless and strong".[21] Finally, a cemetery was chosen by the singer to frame her show and "her arrival on the stage resembled that of a ghost coming out of a tomb".[22] Indeed, the atmosphere of these concerts was rather sad and cold. The white and the black were the dominant colors of the show.[23] The transport and the assembly of the stage necessitated enormous technical means.[24] Spectators were not allowed to photograph the singer or the stage, because an agency was specially in charge of this work.[25]

After the first shows, Farmer said that through these concerts, she was able for the first time in her life to have confidence in herself.[26]

Critical reception

Negatives comments

The lack of talent

About the concert in Lausanne, a critical article published in Le Matin, with headline "A dish for nothing - (...) When the futile attached to the unnecessary and unpleasant", said: "There was in this concert no emotion". It described the musical performance as an "indescribable resonant cacophony" and considered that the choreographies were "a nullity having equalled only by the stupidity".[27] Highly critical, Le Parisien held that "this show mixes all the clichés from across the Atlantic, spiced with a local pseudo-culture that confuses 'spectacular' and 'ocular spectrum'". The article stated : "It is well done, without a soul, but without vulgarity. Icy, but colossal". It qualified Farmer's performance with words such as "poor swaying hips", "streak of voice" and "neurotic look". It concluded by saying that this show "does not bring pleasure, nor happiness" nor "talent" and it is a "swindle".[28]

The lack of emotion and a sad ambiance

Several press articles criticized the show for a lack of emotion or spontaneity. Télé Moustique concluded that, in spite of a "redoubtable professionalism", the production is "rigorous", "without any commitment, without endangering which makes shiver".[29] Very critical, an article published in L'Humanité considered the concert as "impeccable", but the lack of spontaneity in the show leads the author to conclude that "Farmer takes the mickey out of her public".[30] An Alsatian newspaper described the concert as "prefabricated"[31] (some people who attended the show criticized this analysis).[32] La Nouvelle République du Centre described the concert in Poitiers as being "satanic, grand, perverse, (...) sulphurous, fascinating, on the verge of the uneasiness".[33]

The lack of dialogue with the audience

According to a press article, what "has failed the most to this performance is generosity". Indeed, except a 'good evening' and a 'thank you', Farmer didn't speak to her audience and according to this article it is possible to "wonder where the love comes from the public for a too cold" singer.[22] In the same way, while Le Dauphiné libéré admitted that the show was "perfect", it criticized the "contact with the audience [which] was disappointing".[34]

The too loud sound system

Many critics blamed the show for its too loud music. For example, an article underlined "the profusion of special effects, a grandiloquent stage setting", but also "a high-powered and often rough sound system", concluding : "Everything for the eye, nothing for the ears".[35] Another article declared that Farmer had taken care of the visual aspect of her show, with original choreographies, but that what she had sung was not very audible.[36] L'Echo du Centre recognized that "choreographies were remarkable and perfectly adjusted", but expressed a regret about the sound system.[37] La Dépêche du Midi asserted that, "in spite of a so little acoustic and too synthetic music", Farmer "pulled through with the honors".[38] La Libre Belgique considered that the "intrusive" sound system which "prevents from understanding texts", is perhaps "the main criticism" against this show, adding that Farmer "has a voice, some charm and the talent", but that the concert "misses improvisation and dialogue".[39] In the same way, Le Provençal said :"The sound saturated by instruments leaves only a tiny space to the small vocal cords" of Farmer.[40] Figaroscope said that "Farmer disappointed by her repeated absences [on stage] and a sound system (...) grinding her fragile organ".[41] As for Le Courrier picard, it described as "errors of course" the "blaring sound system" and the "blinding lights" and predicted that Farmer would not perform other tours after that one.[42]

Positive reviews

The talent of Farmer

Conversely, certain media praised the talent of the singer. About one of the first shows at the Palais des Sports, France Soir said: "Her show, rhythmic and very calibrated in the fantasized register that she likes, is that of a real professional", with a "fine gesture".[43] Var Matin stated : Farmer's work "almost reaches the perfection" and "combines grace to quality".[44] About the performance in Lausanne, a Swiss newspaper said that the show was "beautiful" and Farmer made a "real professional work".[45] Le Dauphiné said that Farmer "has the necessary scale to compete with the sense of the show which the Americans have".[46] Lyon Figaro considered that the show in Lyon "splendidly demonstrated the supremacy of the singer on the French market".[47] According to L'Est Républicain, after her concerts of May in Paris, Farmer proved that "she was intended for the stage" and that her performances are able to "silence her last critics".[48] After the performance in Fréjus, Var Matin said that, in a "mystic atmosphere", Farmer "gave all the measure of her talent".[49]

The greatness of the show

Podium described this show as "a memorable concert", with its "naughty choreography", "exquisite staging" and "luxurious costumes". The article stated : "Mylène Farmer on stage, it is a real videoclip in three dimensions, the fury and emotion at the power ten (...), a festival of strong images".[50] According to a Swiss newspaper, "the audience was not disappointed. (...) No place is conceded to improvisation, the songs are refined in the extreme".[51] France Soir declared that the concert in Saint-Étienne was "fascinating" and "magical".[52] Sud Ouest stated that the show is "well conceived", "every song is highlighted by an original stage setting and choreography", with "beautiful costumes and perfect lighting effects".[53] It also qualified the show as a "big spectacle", in which "the choreography looks like ballets".[54] According to L'Alsace and L'Express, "the show kept its promises"[55] and was a "total triumph".[56] La Montagne stated : "The surprise came from the real visual show, magnificently settled. (...) The work on the lightings and the stage setting is the sign of the very great class".[57] Le Méridional qualified this concert as "bewitching".[58]

Commercial success

For only the concerts at Paris-Bercy (two shows), 35,000 tickets were sold in a very short time[17][59] (five weeks).[60] 40,000 people attended her single concert in Brussels,[22] 4,000 in Grenoble,[61] 5,000 in Fréjus,[62] 14,000 in Lyon,[63] 7,500 in Lausanne,[51] 2,500 in Rennes,[64] 6,000 in Lievin,[65] 6,000 in Nantes,[66] 3,500 in Mulhouse, 2,500 in Strasbourg.[31] According to Farmer, approximately 7,000 people attended each of her shows.[67]

This tour was one of the more imposing in France at that time: indeed, it cost over 40 million francs and more than 300,000 people were at this tour.[14] For this tour, there were eight dancers, seven musicians, three singers, 50 technicians, five trucks and 38 tons of equipment.[68][69][70]

Through her successful concerts at Bercy, Farmer "demonstrated that she had become one of the largest [stars]".[71]

Set list

No Song Costume Choreography Comment[5][72][73]
1 "Ouverture" This instrumental song which lasts six minutes was composed by Laurent Boutonnat. It includes screams of children and animals. It concludes with the rising of the curtain by a monk wearing a hooded raincoat who opens the gates of the cemetery.
2 "L'Horloge" Black veils, transparent black cloak, and black gloves. No The song begins with the sound of the hand of clock. Farmer's silhouette appears in a flash of light between two tombs in the center and at the back of the stage. The singer comes down a long staircase with her arms outstretched, like a vampire. She is dressed like a boy. After singing, she returns to the back of the stage into a rhythmic walk and goes away by another staircase behind the stage, and enters again a grave. The stage is then hidden by the spotlights facing upwards.
3 "Plus grandir" Same costume, without the cloak and gloves. White collar, small white socks. Rhythmical choreography performed with two female dancers. Farmer reappears on stage with two dancers behind her who reproduce the same gestures. At the end of the song, the singer said "good evening" to the audience.
4 "Sans logique" Same costume Collective choreography inspired by the 18th century, composed of large gestures and these movements become smaller as if Farmer was bound by twine. When the music begins, Farmer curtseys several times, and the phrase "This is a blank formatted diskette" is repeated throughout the performance. About the middle of the song, the singer hits the ground with her microphone and gets up again immediately. At the end, the dancers disperse.
5 "Maman a tort" White pyjamas, socks No complex choreography. Farmer and Carole Fredericks make a few steps. Vocalist Carole Fredericks plays the role of a nurse. In a lengthy monologue, she complains about one of her female patients, who is difficult to live with. Farmer, hitherto hidden beneath the full dress of Frederick, suddenly appears. She wears a pyjamas and performed the song by waddled like a little child. The song is very similar to the original one, but at the end the two women sing a long rap passage in which they seem to quarrel. Fredericks, playing the role of the mother, says : "Je suis ta mère (x3), alors tu es ma fille", and Farmer replays to her : "Je ne suis pas ta fille (x3), et tu n'es pas ma mère". Then Farmer disappears, while Fredericks gets back to her place while laughing.
6 "Déshabillez-moi" Black latex dress with sleeves fastened along the body that greatly limit arm movements. No From the first notes, spotlights are changing colors. Farmer sings with a microphone on a base, and sometimes she pretends to laugh. Her bondage dress rendered Farmer unable to undress herself, which explains why she wore it for the song of which title would be translated to English as "Undress Me". After a final "Déshabillez-vous !" and an explosion of fireworks, a total black enables Farmer to leave the stage to take off her dress. This performance is one of the funniest moments of the concert.
7 "Puisque" Tight-fitting black dress with pieces hanging on each arm. One of Farmer's hands gloved. No choreography, just a few steps along the stage. This sad song was preferred to "Dernier Sourire" at the time. In the musical introduction that lasts more than three minutes, beating thunder mingle with the song's melody. The light is subdued and spotlights track the movement of the arm of the singer. The song is performed with great emotion. At the end, there is a total black and Farmer leaves the stage to change her clothes.
8 "Pourvu qu'elles soient douces" Red spandex pantyhose, heel boots, transparent gray veil. Very dynamic collective choreography, with suggestive movements The song begins with a set of lights. Farmer, back on the podium, moves her hips and plays with her microphone. The dancers come on stage by the stairs and form a circle. While the musical bridge continues, Farmer joined the dancers who remove the bottom of her dress ; two of them lift the singer. There are a few moments of play-back during the remixed musical bridge. At the end of the song, the dancers leave the front of the stage, and Farmer presents the musicians. The guitarists and the cellist play a long musical bridge with very rock sonorities to let time to prepare the stage for the next song.
9 "Allan" Black and white checked trousers, grey jacket. No choreography, only a few steps. The song has an introduction of 1:30 performed by Carole Fredericks.
10 "À quoi je sers..." Same costume No choreography, just a few steps. The song is similar to the studio version, but the introduction was slightly modified with a few guitar riffs. After the performance, Farmer left the stage by a staircase.

"À quoi je sers..." was not performed at Palais des Sports (Paris), in May (the song was not created at the time).

11 "Sans contrefaçon" * Farmer: same costume. She turns her jacket and wears a cap with the same patterns.
*Dancers: same costume.
First, Farmer performs a choreography moving her hips, and then she is joined by all dancers. Dancers come in holding hands and start a choreography during which they mime a street brawl. Farmer asks the audience to sing the refrain with her.
12 "Jardin de Vienne" Farmer removes the jacket and the cap and wears a gray shawl. No The song, performed in a version similar to the album one, is one of the sad and moving moments of the show.
13 "Tristana" * Farmer: red coat-dress, red boots and leather gloves
* Female dancers: Russian farmers
* Male dancers: Soviet soldiers
The choreography is based on the video : first performed by all the dancers, and then only by Farmer and two soldiers. In the introduction, wind noise and cries wolf can be heard and there is some white smoke. Farmer leaves the stage huged by two dancers.
14 "Ainsi soit je..." Black patterned dress No The song has a musical introduction which lasts two minutes, played on the guitar and strings. Farmer begins crying from the second refrain.
15 "Libertine" Costume of the 18th century, similar to that of the video : black trousers, white shirts, red boots and long red gloves. Collective choreography Farmer and Sophie Tellier (the rival in the video) are back to back, and the winner shot of the singer marks the beginning of the song. Then the dancers hold candlesticks and fans. After the song, Farmer presents the musicians while many fireworks illuminate the stage, then leaves it by a staircase.

This song is the longest one of the concert.

16 "Mouvements de lune (part I)" Same costume No It is a musical interlude plus a chorus of monks. Meanwhile, Farmer is changing costume.
17 "Je voudrais tant que tu comprennes" Black dress and black gloves No This song is a moving cover originally recorded in 1966 by Marie Laforêt.
18 "Mouvements de lune (part II)" Same costume No Farmer is leaving the stage, she does a goodbye with the hand, while the gates of the cemetery close.

Tour dates

There were a total of 52 shows, from May 11 to December 8, 1989, in three countries (France, Belgium, Switzerland):[74]

Date City Country Venue Refs
May 11, 1989 Saint-Étienne France Palais des Sports [75][76]
May 18, 1989 Paris Palais des Sports [77]
May 19, 1989
May 20, 1989
May 21, 1989
May 22, 1989
May 23, 1989
May 24, 1989
May 25, 1989
September 19, 1989 Grenoble Summum [78][79]
September 21, 1989 Valence Mammouth, Granges-lès-Valence Cancelled [80][81]
September 22, 1989 Dijon Palais des Sports Cancelled [82]
September 23, 1989 Fréjus Arènes Romaines [83]
September 24, 1989 Avignon Parc des Expositions [84]
September 26, 1989 Sanary-sur-Mer Esplanade de la mer Cancelled [85]
September 29, 1989 Montpellier Le Zénith [86]
September 30, 1989 Toulouse Palais des Sports
October 1, 1989
October 6, 1989 Limoges Palais des Sports et des Fêtes [87][88]
October 7, 1989 Montluçon Athanor [89][90]
October 8, 1989 Le Mans La Rotonde [91]
October 10, 1989 Lyon Halle Tony Garnier [92][93]
October 11, 1989 Clermont Ferrand Maison des Sports [94][95]
October 13, 1989 Lausanne Switzerland Palais de Beaulieu
October 14, 1989 Annecy France Place des Romains [96]
October 16, 1989 Sanary Esplanade de la mer Cancelled [97]
October 18, 1989 Rennes Salle omnisports [98]
October 20, 1989 Brussels Belgium Forest National [99]
October 21, 1989
October 24, 1989 Bordeaux France Patinoire Meriadeck
October 25, 1989 Angers Parc des Expositions [100][101]
October 27, 1989 Poitiers Arènes [102]
October 28, 1989 Pau Foire-Expo [103][104]
November 4, 1989 Valence Mammouth, Granges-lès-Valence
Originally scheduled on September 21
November 6, 1989 Mammouth, Granges-lès-Valence [107]
November 8, 1989 Chartres Chartrexpo Cancelled [108][109]
November 10, 1989 Lorient Parc des Expositions, Lann-Sévelin [110]
November 11, 1989 Tours Parc-Expo, Rochepinard [111]
November 14, 1989 Perpignan Palais des Expositions Cancelled [112][113]
November 15, 1989 Sanary-sur-Mer Esplanade de la mer [114][115]
November 16, 1989 Marseille Palais des Sports [116][117]
November 17, 1989 Bourg-en-Bresse
November 20, 1989 Caen Parc des Expositions [118][119]
November 21, 1989 Reims Parc des Expositions
November 22, 1989 Besançon Palais des Sports [120]
November 24, 1989 Lons-le-Saunier
November 25, 1989 Metz Parc des Expositions [121]
November 26, 1989 Lieven Lieven [122]
November 28, 1989 Montbéliard Parc des Loisirs de Voujeaucourt Cancelled [123][124]
November 29, 1989 Épinal Parc des Expositions Cancelled [125][126]
December 1, 1989 Rouen Parc des Expositions [127]
December 2, 1989 Nantes La Beaujoire [128][129][130]
December 3, 1989 Amiens Centre d'Expositions et de Congrès [131]
December 5, 1989 Mulhouse Palais des Sports [132][133]
December 6, 1989 Strasbourg Rhénus [134]
December 7, 1989 Paris Palais omnisports de Paris-Bercy [135][136]
December 8, 1989

Credits and personnel

Further reading

  • Julien Wagner, Jean-François Kowalski, Marianne Rosenstiehl, Claude Gassian, Mylène Farmer : Belle de scène (book on Farmer's tours), K&B Ed, 27 April 2007 (ISBN 291595707X)


  1. ^ "Mylène Farmer passe à l'acte", Jean-Paul Germonville, May 1989 Newspaper article Archived 2006-05-10 at the Wayback Machine (Retrieved January 29, 2008)
  2. ^ Le Méridional, July 26, 1989, "Mylène Farmer s'ouvre à la scène" (Retrieved March 31, 2008)
  3. ^ Le Soir, October 12, 1989, "A quoi sers Mylène Farmer ?" (Retrieved March 31, 2008)
  4. ^ L'Union, May 17, 1989, "Mylène Farmer enfin sur scène "sans contrefaçon"" (Retrieved March 30, 2008)
  5. ^ a b c "La Tournée 1989" Archived 2008-02-24 at the Wayback Machine (Retrieved March 4, 2008)
  6. ^ Mylène Farmer, le culte - L'envers du décor, Sophie Khairallah, 2007, Why Not Ed., p. 45
  7. ^ L'Eclair, October 18, 1989, "Mylène Farmer en concert le 28 octobre" (Retrieved March 30, 2008)
  8. ^ L'Humanité Dimanche, March 17, 1989, "Mylène Farmer", Victor Hache (Retrieved March 30, 2008)
  9. ^ La Marseillaise, April 1, 1989, "L'androgyne Mylène Farmer", Victor Hache (Retrieved March 30, 2008)
  10. ^ L'Est Républicain, October 10, 1989, "Mylène Farmer, ainsi soit-elle !", Jean-Paul Germonville[permanent dead link] (Retrieved March 30, 2008)
  11. ^ France Dimanche, May 29, 1989, "Mylène Farmer - 2 singes partagent sa vie" (Retrieved March 19, 2008)
  12. ^ Var Matin, September 26, 1989, "Mylène Farmer : Gala reporté" (Retrieved March 30, 2008)
  13. ^ Var Matin, September 26, 1989, "Sanary: le concert de Mylène Farmer reporté au 16 octobre" (Retrieved March 30, 2008)
  14. ^ a b Le Dictionnaire des Chansons de Mylène Farmer, Benoît Cachin, 2006, Tournon Ed., p. 208-210
  15. ^ IAO, No. 7, February–April 2006
  16. ^ Télé Magazine, March 14, 1989, "Mylène Farmer, innocente et perverse" (Retrieved March 30, 2008)
  17. ^ a b "Mylène Farmer demain mercredi, au Parc-Expo", October 24, 1989 Newspaper article Archived 2006-05-10 at the Wayback Machine (Retrieved January 29, 2008)
  18. ^ "Concert - Mylène, la gentleman Farmer", Sophie Grassin, December 1989 Newspaper article Archived 2006-05-10 at the Wayback Machine (Retrieved January 29, 2008)
  19. ^ Elle, February 6, 1989, "L'Oeil sur eux", Yane Lèbre (Retrieved March 19, 2008)
  20. ^ Instant-Mag, No. 7, 2001, p. 13-14
  21. ^ Mylène Farmer, le culte - L'envers du décor, Sophie Khairallah, 2007, Why Not Ed., p. 46
  22. ^ a b c Maginco, "To be or not to be - Mylène Farmer, la friponne au sourire d'ange", Joëlle Lehrer, 1989 (Retrieved January 29, 2008)
  23. ^ La Voix du Nord, November 1989, "Mylène Farmer à Liévin : "Peur de grandir"", J.Hannebicque (Retrieved March 30, 2008)
  24. ^ L'Alsace, December 6, 1989, "Mise en place du concert Mylène Farmer - Du sport au Palais", Béatrice Griesinger (Retrieved March 30, 2008)
  25. ^ La Voix du Nord, November 27, 1989, "Mylène Farmer en concert" (Retrieved March 30, 2008)
  26. ^ France Soir, December 7, 1989, "La nouvelle Mylène Farmer : "J'ai enfin confiance en moi"", Monique Prévot[permanent dead link] (Retrieved March 19, 2008)
  27. ^ Le Matin, "Mylène Farmer à Beaulieu : Un plat pour rien - "J'irai cracher sur vos tombes" ou quand le futile joint l'inutile au désagréable", Jean Eligass, October 14, 1989 Newspaper article Archived 2006-05-10 at the Wayback Machine (Retrieved March 5, 2008)
  28. ^ Le Parisien, May 25, 1989, "Mylène Farmer (le Toc 50)", Alain Morel (Retrieved March 5, 2008)
  29. ^ Télé Moustique, November 6, 1989, "Mylène Farmer, jeux d'artifices", Rudy Leonet (Retrieved March 30, 2008)
  30. ^ L'Humanité, May 26, 1989, "Panache hystérique", Karim Demigneux (Retrieved March 30, 2008)
  31. ^ a b Dernières Nouvelles d'Alsace, December 7, 1989, "Mylène Farmer : à bout de souffle", Daniel Carrot (Retrieved March 19, 2008)
  32. ^ Dernières Nouvelles d'Alsace, December 24, 1989, "Fantastique Mylène..." (Retrieved March 19, 2008)
  33. ^ La Nouvelle République du Centre, October 28, 1989, "La grand-messe noire de Mylène", Gédé (Retrieved March 30, 2008)
  34. ^ Le Dauphiné libéré, October 16, 1989, "Mylène, ingénue libertine", Nicolas Campestre (Retrieved March 30, 2008)
  35. ^ "Graine de Lucifer", Jean-Luc Wachthausen (Retrieved March 30, 2008)
  36. ^ "Mylène Farmer, l'intouchable libertine", Georges Foveau (Retrieved March 30, 2008)
  37. ^ L'Echo du Centre, October 10, 1989, "Mylène Farmer : ça déménage", David Ferrer (Retrieved March 30, 2008)
  38. ^ La Dépêche du Midi, October 2, 1989, "Mylène Farmer relève le gant", Bernard Peyre (Retrieved March 30, 2008)
  39. ^ La Libre Belgique, October 10, 1989, "Mylène Farmer, sans émotion, mais sans contrefaçon", Isabelle Franck (Retrieved March 30, 2008)
  40. ^ Le Provençal, November 17, 1989, "Entre le sabbat et le train fantôme", Jean-Michel Gardanne (Retrieved March 31, 2008)
  41. ^ Figaroscope, December 6, 1989, "Mylène voit grand !", P.G. (Retrieved March 19, 2008)
  42. ^ Le Courrier picard, December 4, 1989, "Mylène Farmer, une star d'opérette", Jacques Goffinon (Retrieved March 30, 2008)
  43. ^ France Soir, May 23, 1989, "Mylène farmer, une vraie professionnelle", Monique Prévot (Retrieved March 20, 2008)
  44. ^ Var Matin, September 24, 1989, "Mylène Farmer, le mardi 26 septembre à l'Esplanade de la mer, Sanary, 20h30 (Retrieved March 30, 2008)
  45. ^ "Mylène Farmer à Beaulieu - Spectacle total", A.D. (Retrieved March 30, 2008)
  46. ^ Le Dauphiné, 1989, "Mylène à l'Américaine",Jean-Paul Friz (Retrieved March 30, 2008)
  47. ^ Lyon Figaro, October 13, 1989, "Tony-Garnier à l'heure du rock", Pascaline Dussurget (Retrieved March 31, 2008)
  48. ^ L'Est Républicain, May 28, 1989, "Royale Mylène Farmer", Jean-Paul Germonville (Retrieved March 30, 2008)
  49. ^ Var Matin, September 24, 1989, "Mylène Farmer, féline à Fréjus", Ch. C (Retrieved March 30, 2008)
  50. ^ "Concours Mylène Farmer - Androgyne et libertine", Podium Newspaper article Archived 2006-05-10 at the Wayback Machine (Retrieved March 5, 2008
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  53. ^ Sud Ouest, October 30, 1989, "Ainsi soit Mylène" (Retrieved March 30, 2008)
  54. ^ Sud Ouest, October 25, 1989, "Le romantisme de Mylène", Willy Dallay (Retrieved March 30, 2008)
  55. ^ L'Alsace, December 7, 1989, "Mylène Farmer au Palais des Sports : Ainsi soit-elle...", Dominique Bannwarth (Retrieved March 30, 2008)
  56. ^ L'Express, May 19, 1989 (Retrieved March 30, 2008)
  57. ^ La Montagne, October 13, 1989, "Mylène Farmer : Pourvu qu'elle soit rousse" (Retrieved March 30, 2008)
  58. ^ Le Méridional, November 17, 1989, "Envoûtante Mylène", Patrick Coulomb (Retrieved March 31, 2008)
  59. ^ Figaroscope, May 17, 1989, "Mylène affiche complet - Libertine au Palais", Pierre Grenard (Retrieved March 19, 2008)
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  61. ^ Grenoble mensuel, September 1989, "Doucement libertine" (Retrieved March 30, 2008)
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  63. ^ Lyon Matin, October 11, 1989, "Le Gentleman de Farmer", J.B. (Retrieved March 31, 2008)
  64. ^ Ouest France, October 19, 1989, "Premier examen réussi pour la nouvelle acoustique", Yvon Lechevestrier (Retrieved March 31, 2008)
  65. ^ La Voix du Nord, November 28, 1989, "Mylène Farmer à Liévin : "Sans logique", elle ne veut "plus grandir"", V.B. (Retrieved March 30, 2008)
  66. ^ Ouest France, December 4, 1989, "Côté pile ou côté face ?" (Retrieved March 31, 2008)
  67. ^ Le Républicain Lorrain, November 19, 1989, "Mylène Farmer, le goût de la provocation", Daniel Fallet (Retrieved March 31, 2008)
  68. ^ Dernières Nouvelles d'Alsace, November 25, 1989, "Le 5 septembre au Palais des Sports - Mylène Farmer" (Retrieved March 19, 2008)
  69. ^ La Liberté de l'Est, September 27, 1989, "Jeanne Mas et Mylène Farmer bientôt à Epinal" (Retrieved March 30, 2008)
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  82. ^ Les Dépêches, September 4, 1989, "Le spectacle Mylène Farmer à Dijon est annulé" (Retrieved March 31, 2008)
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  85. ^ Var Matin, September 11, 1989, "Mylène Farmer à Sanary, le 26 septembre" (Retrieved March 30, 2008)
  86. ^ La Gazette de Montpellier, "Mylène Farmer au Zénith" (Retrieved March 30, 2008)
  87. ^ L'Echo du Centre, September 23, 1989, ""Libertine" Mylène Farmer" (Retrieved March 30, 2008)
  88. ^ La République du Centre, September 27, 1989, "Mylène Farmer : Une "libertine" le 6 octobre à Limoges" (Retrieved March 30, 2008)
  89. ^ La Montagne, October 4, 1989 (Retrieved March 30, 2008)
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  91. ^ Le Maine, September 9, 1989 (Retrieved March 31, 2008)
  92. ^ Le Progrès, October 4, 1989, "Mylène qu'on aime" (Retrieved March 31, 2008)
  93. ^ Lyon Matin, September 27, 1989, "Mylène Farmer à la Halle Tony Garnier", Jocelyne Blanchard (Retrieved March 31, 2008)
  94. ^ Info-Mag, October 4, 1989, "Pourvu qu'elle soit douce..." (Retrieved March 30, 2008)
  95. ^ La Montagne, October 3, 1989 (Retrieved March 30, 2008)
  96. ^ Entracte, October 11, 1989, "À Lausanne : Mylène Farmer féline rousse", Éric Vogel (Retrieved March 19, 2008)
  97. ^ Le Provençal, September 26, 1989, "Mylène Farmer se fait attendre", Fred Guilledoux (Retrieved March 30, 2008)
  98. ^ Ouest France, October 6, 1989, "Trente places pour Mylène Farmer" (Retrieved March 31, 2008)
  99. ^ La Libre Belgique, October 20, 1989, "Milène Farmer a gardé de l'adolescence le formidable narcissisme", Ph. Bu. (Retrieved March 31, 2008)
  100. ^ La Nouvelle République du Centre, October 19, 1989, "Mylène Farmer en tournée", Alain Dutasta (Retrieved March 30, 2008)
  101. ^ Le Courrier de l'Ouest, October 24, 1989, "Mylène Farmer, demain mercredi, au Parc-Expo" (Retrieved March 30, 2008)
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  108. ^ La République du Centre, October 24, 1989, "Mylène Farmer à Chartrexpo" (Retrieved March 30, 2008)
  109. ^ L'Echo Républicain, October 31, 1989, "Concert annulé : Mylène Farmer met la clé sous la porte" (Retrieved March 30, 2008)
  110. ^ Télé 7 Jours, January 2, 1989 (Retrieved March 30, 2008)
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  116. ^ Le Méridional, November 14, 1989, "Mylène Farmer, une chanteuse pétillante" (Retrieved March 31, 2008)
  117. ^ Le Méridional, November 15, 1989, "Mylène, mi synthé" (Retrieved March 31, 2008)
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  121. ^ Le Républicain Lorrain, November 9, 1989, "Mylène Farmer à Metz" (Retrieved March 31, 2008)
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  126. ^ La Liberté de l'Est, November 1, 1989 (Retrieved March 30, 2008)
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