In interviews since Electronica onwards, JMJ has played down the significance of the mega concerts in his career, often saying he was somewhat distracted by these to the detriment of the music. But for me, these concerts are the defining thing and what makes his life and works special. So it was good to see Concorde, Houston, Lyon, Dockland and La Défense being given such prominence in Melancholic Rodeo.
His music is great, but it is linked inextricably to the outdoor concert genre and always will be. Of course, Revolutions = Docklands, Rendezvous = Houston/Lyon and Calypso = La Défense but even music composed by JMJ without any connection to any city (Equinoxe Infinity, Electronic 1 and 2, Oxygene 3 etc) conjures up images of the cityscape in concert.
I would really love him to talk more about the concepts, the planning, the preparations beforehand and the sensations and reception afterwards. Not the world record bit – we all know that! – or how many tonnes of equipment, how many kilometres of cable, but the political, social, and celebratory side of these events. And what inspired him to pursue this format in the face of such obstacles.
As an urban designer and urban planner in my professional life, I remain inspired by how JMJ’s concerts have transformed urban environments in a way that no other artists have achieved. Not just musically, or through performance but unlike any other artists working in other media other art forms. They are unique.