{"id":9751,"date":"2026-09-19T23:44:02","date_gmt":"2026-09-19T21:44:02","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/kate-bush-fr\/"},"modified":"2026-09-19T23:44:02","modified_gmt":"2026-09-19T21:44:02","slug":"kate-bush-fr","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/kate-bush-fr\/","title":{"rendered":"Kate Bush – Le thu00e9u00e2tre dans l’aigu"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Une fille qui a \u00e9crit son propre climat<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

En janvier 1978, une fille de dix-neuf ans de Bexleyheath place une histoire de fant\u00f4me en t\u00eate des charts britanniques, et elle en a \u00e9crit chaque ligne. Wuthering Heights<\/em> ne se conduit pas comme un premier single. La voix arrive d’au-dessus du texte, Cathy appelant par une fen\u00eatre que la radio pop n’\u00e9tait pas faite pour ouvrir. Catherine Bush, n\u00e9e le 30 juillet 1958, \u00e9crivait dans sa chambre depuis des ann\u00e9es. David Gilmour entend une bande, l’aide \u00e0 entrer en studio, et EMI la signe encore adolescente. Elle attend. Elle ne veut pas que le premier disque soit une pr\u00e9cipitation.<\/p>\n

The Kick Inside<\/em> sort en 1978 et fait de l’attente une m\u00e9thode. The Man with the Child in His Eyes<\/em>, \u00e9crit \u00e0 treize ans, c\u00f4toie des chansons qui savent d\u00e9j\u00e0 comment un piano peut monter une sc\u00e8ne. Lionheart<\/em> suit trop vite, \u00e0 l’horloge du label. Elle r\u00e9pond en prenant les disques suivants sous sa direction. Never for Ever<\/em>, en 1980, avec Babooshka<\/em> et Army Dreamers<\/em>, est le premier album d’une Britannique \u00e0 entrer num\u00e9ro un au Royaume-Uni. The Dreaming<\/em>, en 1982, est celui qui effraie la version polie de son histoire: sampler Fairlight, paysage australien, un didgeridoo, une voix pouss\u00e9e jusqu’\u00e0 l’effilochage. Elle le produit. Le label n’aime pas la facture. Le disque reste le son d’une auteure qui refuse le milieu de la route qu’on venait de lui offrir.<\/p>\n

Puis Hounds of Love<\/em>, en septembre 1985, se coupe en deux et les deux moiti\u00e9s tiennent. La face A est l’ensemble de chansons qu’un stade pourrait presque comprendre: Running Up That Hill<\/em>, Hounds of Love<\/em>, Cloudbusting<\/em>. La face B, The Ninth Wave<\/em>, est une noyade racont\u00e9e en chapitres, voix de radio, un h\u00e9licopt\u00e8re, une femme qui se parle sous la glace. La bo\u00eete \u00e0 rythmes n’est pas froide. C’est un climat. Elle construit l’album dans son studio \u00e0 la maison, et le d\u00e9tail domestique compte: le plus grand disque pop britannique de cette ann\u00e9e-l\u00e0 a \u00e9t\u00e9 fait l\u00e0 o\u00f9 elle pouvait s’arr\u00eater, r\u00e9\u00e9crire, et garder les parties \u00e9tranges.<\/p>\n

Elle ne devient pas une b\u00eate de tourn\u00e9e pour suivre les ventes. Le Tour of Life, en 1979, avec ses danseurs, son mime et ses changements de costume, est le spectacle. Ensuite elle cesse de sortir. The Sensual World<\/em> en 1989 et The Red Shoes<\/em> en 1993 gardent l’oreille th\u00e9\u00e2trale, Molly Bloom au bord d’une chanson, une paire de chaussures maudites dans une autre. Puis douze ans de quasi-silence. Quand Aerial<\/em> arrive en 2005, c’est un double album sur la lumi\u00e8re du jour, les oiseaux et une machine \u00e0 laver, c’est-\u00e0-dire sur l’attention. 50 Words for Snow<\/em>, en 2011, ralentit le tempo jusqu’\u00e0 ce qu’une chanson puisse durer aussi longtemps qu’un temps qu’il fait.<\/p>\n

En 2014 elle revient sur sc\u00e8ne pour Before the Dawn, vingt-deux soirs au Hammersmith Apollo, les premiers vrais concerts depuis 1979. Un groupe qui inclut son fils, la Ninth Wave mise en sc\u00e8ne plut\u00f4t que r\u00e9sum\u00e9e. Elle ne transforme pas la r\u00e9sidence en tourn\u00e9e mondiale. En 2022, Running Up That Hill<\/em> rentre dans le classement parce qu’une s\u00e9rie a besoin d’une chanson sur un march\u00e9 avec le sort, et un nouveau public d\u00e9couvre que le march\u00e9 avait \u00e9t\u00e9 \u00e9crit en 1985, dans une maison, par une femme qui savait d\u00e9j\u00e0 ce que valait le texte.<\/p>\n

Le culte de Kate Bush se raconte parfois comme une excentricit\u00e9: la note haute, les clips, l’absence. Le travail dit quelque chose de plus simple. Elle a trait\u00e9 la pop comme un th\u00e9\u00e2tre qu’elle pouvait \u00e9crire, diriger, et quitter. La voix est le d\u00e9cor. Le silence entre les albums fait partie de la mise en sc\u00e8ne. Rien dans cette carri\u00e8re ne plie devant le calendrier.<\/p>\n

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En janvier 1978, une fille de dix-neuf ans de Bexleyheath place une histoire de fantu00f4me en tu00eate des charts britanniques, et elle en a u00e9crit chaque ligne.<\/p>\n","protected":false},"author":1,"featured_media":9747,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,279],"tags":[779,256],"class_list":["post-9751","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-singers","tag-kate-bush","tag-pop"],"yoast_head":"\nKate Bush - Le thu00e9u00e2tre dans l'aigu - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chronicles\/kate-bush-fr\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kate Bush - 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