{"id":11165,"date":"2019-03-06T19:20:00","date_gmt":"2019-03-06T18:20:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/interview-afterlife-de-freddie-mercury\/"},"modified":"2026-09-27T00:01:00","modified_gmt":"2026-09-26T22:01:00","slug":"interview-afterlife-de-freddie-mercury","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/interviews-fr\/interviews-posthumes\/interview-afterlife-de-freddie-mercury\/","title":{"rendered":"Interview afterlife de Freddie Mercury"},"content":{"rendered":"

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Riffs and Beats retrouve Freddie Mercury sur une sc\u00e8ne de nuages qui sent encore les lumi\u00e8res de Wembley, veste jaune sur le dos, traitant l’afterlife comme des heures supp. La brume de loge est invent\u00e9e; le d\u00e9fi de quatre octaves dans sa gorge, non.<\/h3>\n

Riffs and Beats<\/strong>
\nFreddie, cette ar\u00e8ne de nuages rugit sans corps. O\u00f9 sommes-nous ?<\/em><\/p>\n

Freddie Mercury<\/strong>
\nCh\u00e9ri, nous sommes l\u00e0 o\u00f9 la derni\u00e8re note refuse de s’asseoir. Appelle \u00e7a le ciel si tu as besoin d’un ticket. Moi, j’appelle \u00e7a les heures suppl\u00e9mentaires. Les lumi\u00e8res connaissent encore mon nom, et la veste jaune me va toujours, ce qui est la seule critique qui ait jamais compt\u00e9. Assieds-toi pr\u00e8s. L’\u00e9cho ici a le diapason parfait.<\/p>\n

Riffs and Beats<\/strong>
\nWembley, Live Aid, juillet 1985. Vingt minutes qui discutent encore avec l’histoire. Qu’as-tu ressenti au premier accord ?<\/em><\/p>\n

Freddie Mercury<\/strong>
\nLa faim d\u00e9guis\u00e9e en th\u00e9\u00e2tre. Nous avions vingt minutes et une plan\u00e8te qui regardait, alors j’ai trait\u00e9 la sc\u00e8ne comme un amant qui arrive en retard et exige quand m\u00eame la perfection. Radio Ga Ga \u00e9tait une vague qui revenait en ch\u0153ur. Je n’ai pas invent\u00e9 cette foule. Je lui ai juste tendu un miroir avec une moustache.<\/p>\n

Riffs and Beats<\/strong>
\nBohemian Rhapsody n’a pas de refrain sur lequel tout le monde s’accorde, et pourtant tout le monde la chante. Comment cette chanson a-t-elle surv\u00e9cu \u00e0 la radio ?<\/em><\/p>\n

Freddie Mercury<\/strong>
\nEn refusant de se tenir sage. Op\u00e9ra, ballade, hard rock, un petit meurtre au milieu, et une coda qui sourit. Le label voulait plus court. Nous voulions vrai. Les guitares de Brian empil\u00e9es comme une couches \u00e9paisses, Roger chantant les hauts crimes, John tenant le sol, et moi traversant chaque costume que la m\u00e9lodie proposait. La radio a appris \u00e0 s’agenouiller. Dis Freddie avec un R roul\u00e9 et le lustre fait encore l’appel.<\/p>\n

Riffs and Beats<\/strong>
\nOn discute encore de ta voix : t\u00e9nor, baryton, acrobate. Qu’\u00e9tait-elle pour toi ?<\/em><\/p>\n

Freddie Mercury<\/strong>
\nUn outil et un th\u00e9\u00e2tre. J’aimais le grognement autant que la note de verre. J’aimais rire au milieu d’une trag\u00e9die si la m\u00e9lodie le demandait. L’entra\u00eenement aidait, oui, mais le d\u00e9sir aidait davantage. On n’emprunte pas une voix comme \u00e7a. On la nourrit de foules, de cigarettes et de tonalit\u00e9s impossibles jusqu’\u00e0 ce qu’elle r\u00e9ponde comme un ami qui ne dort jamais.<\/p>\n

Riffs and Beats<\/strong>
\nQueen, c’\u00e9tait quatre egos et un drapeau. Comment as-tu tenu le drapeau droit ?<\/em><\/p>\n

Freddie Mercury<\/strong>
\nEn \u00e9crivant des chansons qui avaient besoin de nous quatre. Brian apportait la lumi\u00e8re d’\u00e9toile, Roger le tonnerre, John l’architecture tranquille. J’apportais le rideau et le clin d’\u0153il. On se disputait, bien s\u00fbr. Les groupes qui ne se disputent jamais sont du papier peint. Quand Somebody to Love avait besoin d’une chorale gospel \u00e0 lui seul, je suis devenu cette chorale. Quand Another One Bites the Dust avait besoin de la basse d’abord, John menait et nous suivions comme des voleurs gentilshommes. Je p\u00e8se chaque syllabe de cette phrase.<\/p>\n

Riffs and Beats<\/strong>
\nTu aimais le piano autant que la d\u00e9marche de sc\u00e8ne. Lequel disait la v\u00e9rit\u00e9 en premier ?<\/em><\/p>\n

Freddie Mercury<\/strong>
\nLe piano. Toujours. La d\u00e9marche, c’\u00e9tait la publicit\u00e9. Assis seul devant les touches, je pouvais \u00eatre timide sans perdre le drame. Killer Queen, c’\u00e9tait du parfum sur l’ivoire. Love of My Life, une lettre que j’osais cacheter. La sc\u00e8ne, c’\u00e9tait l\u00e0 o\u00f9 je d\u00e9pensais la lettre. Les deux \u00e9taient honn\u00eates. L’un portait juste des talons.<\/p>\n

Riffs and Beats<\/strong>
\nLa c\u00e9l\u00e9brit\u00e9 a voulu poss\u00e9der ta vie priv\u00e9e. Lui as-tu jamais donn\u00e9 les cl\u00e9s ?<\/em><\/p>\n

Freddie Mercury<\/strong>
\nJamais les cl\u00e9s, ch\u00e9ri. Parfois le couloir. La presse aimait un costume plus qu’une personne, alors je leur ai donn\u00e9 des costumes jusqu’\u00e0 ce qu’ils oublient de frapper \u00e0 la vraie porte. \u00c0 l’int\u00e9rieur, je voulais de la loyaut\u00e9, des rires, et un jardin qui ne photographiait pas bien. L’intimit\u00e9 n’est pas le secret. C’est le droit de choisir quel rideau s’ouvre. Ce n’est pas de la nostalgie. C’est un inventaire.<\/p>\n

Riffs and Beats<\/strong>
\nSi tu pouvais r\u00e9\u00e9crire une nuit sur Terre, laquelle garderais-tu exactement telle quelle ?<\/em><\/p>\n

Freddie Mercury<\/strong>
\nLive Aid, quand le monde a chant\u00e9 en retour. Ou une nuit tranquille en studio quand nous quatre cessons de nous disputer assez longtemps pour entendre une chanson arriver. Je ne r\u00e9\u00e9crirai pas la fin. Les fins sont grossi\u00e8res, mais elles sont honn\u00eates. Je ne r\u00e9\u00e9crirai rien qui savait d\u00e9j\u00e0 briller.<\/p>\n

Riffs and Beats<\/strong>
\nQu’est-ce qui te manque le plus : les applaudissements, ou le silence juste avant ?<\/em><\/p>\n

Freddie Mercury<\/strong>
\nLe silence. Ce souffle retenu quand les lumi\u00e8res s’appr\u00eatent \u00e0 t’inventer encore. Les applaudissements sont adorables, comme une pluie de champagne. Mais le silence, c’est l\u00e0 o\u00f9 je v\u00e9rifie mon pouls et d\u00e9cide d’\u00eatre extravagant. Ici, le silence arrive encore \u00e0 l’heure. Je lui incline la t\u00eate, puis je le d\u00e9pense comme un roi.<\/p>\n

Riffs and Beats<\/strong>
\nI Want to Break Free et le clip avec l’aspirateur scandalisent encore des salons. Malice ou manifeste ?<\/em><\/p>\n

Freddie Mercury<\/strong>
\nLes deux, emball\u00e9s dans des talons. On voulait une chanson pop qui danse et un clip qui cligne assez fort pour froisser quelques certitudes. L’aspirateur, c’\u00e9tait de la com\u00e9die avec une intention. Si un homme en perruque peut passer l’aspirateur et vendre un refrain, la culture peut desserrer un bouton. Queen ne s’est jamais excus\u00e9 pour le th\u00e9\u00e2tre. Le th\u00e9\u00e2tre, c’est comme \u00e7a que la v\u00e9rit\u00e9 passe la douane. Ce soir-l\u00e0 on a choisi le rire comme b\u00e9lier, et le refrain traverse encore les murs.<\/p>\n

Riffs and Beats<\/strong>
\nQue veux-tu que les fans de Queen retiennent quand les paillettes se posent ?<\/em><\/p>\n

Freddie Mercury<\/strong>
\nQue quatre musiciens t\u00eatus ont b\u00e2ti des couches \u00e9paissess avec des accroches. Souvenez-vous des disputes qui ont rendu les arrangements plus nets. Souvenez-vous que la joie peut \u00eatre rigoureuse. Et si vous devez choisir un souvenir, choisissez une nuit o\u00f9 des inconnus sont devenus un ch\u0153ur. C’est l’h\u00e9ritage. Le reste, c’est du glitter qui part sous la pluie, et c’est tr\u00e8s bien. Le glitter est temporaire. La m\u00e9lodie garde le bail pour toujours.<\/p>\n

Il l\u00e8ve une main comme toujours, petit salut \u00e0 un stade qui n’est plus en b\u00e9ton. Le micro reste chaud. Quelque part en bas, un piano attaque Bohemian Rhapsody sans qu’on le lui demande, et Freddie Mercury repart vers la lumi\u00e8re jusqu’\u00e0 la fin de la cue.<\/p>\n

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