Interviews

How We Approach a Conversation

A good interview rarely starts with the first question. Before we sit down with a musician, we spend time with the records themselves: the early releases as well as the latest one, the liner notes, the credits that show who engineered, mixed or played on each track. That groundwork lets us skip the questions an artist has answered a hundred times and move towards the ones that make them pause and think.

We prefer unhurried formats. Some conversations happen in a café near a rehearsal space, some backstage before a soundcheck, others over a long video call between tour dates. Wherever they take place, we try to leave room for tangents, because an offhand remark about a borrowed synthesiser or a song abandoned halfway through often reveals more about a working method than any prepared question.

What you will find in our pages

• Long-form profiles that place an artist's work in the context of their scene, their city and the musicians who came before them.
• Short studio conversations focused on a single album, a production choice or a particular instrument.
• Paris perspectives, where local musicians talk about the clubs, rehearsal rooms and record shops that shaped them. Many of these spaces also appear in our guide to places.

Editing with care

Transcripts are edited for length and clarity, never for meaning. When a conversation moves between French and English, we translate carefully and keep the artist's own phrasing wherever it carries their voice. We avoid turning interviews into promotional copy: if a musician is uncertain, frustrated or still working something out, that honesty usually stays in.

Interviews sit alongside the rest of our coverage, so a conversation often pairs naturally with a record in our reviews or a wider story in our features. Reading them together gives a fuller picture of how a piece of music came to exist, and why it matters to the people who made it.