EdFringe 2022 Review: Christine Bovill – Paris: From Piaf to Pop!

Christine Bovill returns to the Edinburgh Fringe’s French Institute hub with Paris: From Piaf to Pop! accompanied by Jenny Redman on the piano. The West Coast songstress puts her inimitable spin on a number of classics from artists including Jacques Brel, Charles Trenet, Dalida and France Gall in a mix of English and French vocal arrangements.

Bovill previously brought shows such as Paris to the Edinburgh Fringe with a focus on the world of chanson, but here she widens her scope bringing in a number of pop-leaning tracks dipping into the world of Yé-yé and Francophone easy listening. As always, Bovill introduces each track with a warm humour and impeccable scholarly knowledge for music in the French language and its artists, resulting in a show that is pleasing to the ears and the mind.

Opening with a rousing rendition of Charles Trenet’s Ménilmontant, the performer moves onto a version of Belgian icon Jacques Brel’s surrealist pop odyssey Jacky (later a UK hit for Scott Walker and subsequently Marc Almond) which sees her utilise French and English languages. Bovill is an impressive vocalist who injects a sincere pathos and sonic awareness into each track, truly making them her own.

The impact of Serge Gainsbourg is explored in three songs including a Juliette Greco collaboration, France Gall’s Cire, Poupée De Son which saw the songstress win Eurovision for Luxembourg, and Francoise Hardy’s Comment te dire adieu. Bovill curates an immaculate and varied selection of French pop numbers, delving into the less common such as Regine’s Les P’tits Papiers to well-know favourites including Charles Aznavour’s For me… formidable. The latter sees Bovill capture a welcome humour in this global fan favourite.

The Michel Jourdan penned Free Again (Non C’est Rien), popularised in English by Barbra Streisand marks part of section celebrating the work of iconic French songwriters with The Theme from The Umbrellas of Cherbourg from Micheal Legrand and Je t’appartiens from Gilbert Bécaud are subject to fresh interpretations from the songstress.

The legendary Dalida gets some love from Bovill in a rendition of Quelli Erano Giorni which many UK listeners will remember from Mary Hopkins in the English form of Those Were the Days. Sadly Bovill does not tackle any of Dalida’s disco material – perhaps there’s some mileage in that idea for next year? I’m sure she could do wonderful things with Laissez-moi danser (Monday, Tuesday). Male pop hearthrobs Johnny Hallyday and Claude François’s French takes on numerous English pop classics make appearances in a special medley.

Closing the set on two emotive numbers My Way and of course, Edith Piaf’s Non, je ne regrette rien, brings Paris: From Piaf to Pop to a powerful finale.

Christine Bovill concocts a sublime evening of French pop classics in Paris: From Piaf to Pop, bringing a sense of warm charm, vocal prowess, and knowledgeable insight to the fold.

Connect with Christine here.