Feb 1, 2023

Jackson Wang at the Zénith de Paris on January 15!

Throwback to the first of Jackson Wang's two performances in Paris as part of his first solo world tour!

Many artists use their personal experiences to compose and thus create authentic pieces. Jackson Wang is no exception to the rule… On the contrary! Nourished by his feelings, from the darkest to the happiest, the artist reveals himself through “Magic Man”, his second solo album, in the most genuine way possible. In full world tour for the promotion of this opus, the artist invited the Parisian public to follow him on this journey during two performances at the Zénith de Paris. The KARAOME team went to the first date, Sunday January 15th.

It is in front of a sold-out Zénith in maximum configuration that LAURIE, a Franco-Chinese singer who joined Team Wang not long ago, presents herself. The young woman has the heavy task of opening the ball, preparing the audience for Jackson's arrival while presenting her own works. Entering the stage like a Queen, LAURIE quickly receives the full support of the entire audience. Accompanied by two dancers, she delivers a performance combining sensuality and emotions. Like the headliner, she brings a member of the public up on stage for a few minutes of lascivious dancing before indulging in her third track. She ends with a pop track, allowing a few people in the pit to wiggle their hips.

After a few minutes where impatience reigns, fueled by the broadcast of three clips on giant screens, the first part of Jackson's show begins! The word “MASKED” frames the scene as “100 Ways” echoes. The dancers are the first to appear, taking over the stage to the rhythm of electro notes. Then one of the main actors of this evening makes its entrance: the Elevator which will allow you to travel through the emotions of Jackson Wang.

The staging is elaborate and introduces a myriad of stars into the eyes of the audience as fireworks greet the singer. The latter takes possession of the scene and continues perfectly with “Go Ghost”. The rhythm changes, becomes more rock than before to darken more with “Blackout”. This first part reveals negative emotions and begins this journey at the darkest moments. Jackson finds himself alone, the dancers having left him and the elevator having gone up. Then, after dropping the jacket, to the delight of the audience, “I Don’t Have It” begins. The pain present in the voice of the artist runs through the assistance as the dancers return just like the elevator. A battle begins, lost by Jackson who is kidnapped on the last notes of the piece.

A musical interlude then begins: musicians enter the stage accompanying a performance by dancers dressed entirely in black. The word “ABANDON” is reflected in the screens marking the start of a second chapter in this journey. “Just Like Magic” resonates and the atmosphere becomes lighter thanks to the more rock rhythm. Despite everything, the scenography continues to display black and white tones, sometimes tinted with a bright red. The last notes fly away at the same time as Jackson leaves in the elevator. “All The Way” creates a sensation since the singer appears at the back of the audience, which he crosses to join the stage greeted by a shower of confetti. “BULLET TO THE HEART” reinforces the feeling of despair that emanates from the performance. Jackson sits on one of the steps as the dancers perform around him. The pain of this bullet in the heart crosses all the people present who show unfailing support for the singer. The wound still bleeds and won't heal as the notes of "Drive You Home" ring out, heartbreaking. The Zenith bleachers, standing from “All The Way” as well as the pit witness Jackson’s soul being laid bare as tears stream down his face.

A first exchange begins between the singer and his audience to whom he addresses a first message of hope instilling in him the strength to believe in himself, to become this magical man capable of realizing his dreams. Then, a white veil separates the stage from the public and “Blue” starts. Fans give voice accompanying Jackson who removes his headset to take full advantage of it. The atmosphere softens as the spots sport a bright white, a sign that the light is gaining ground against the darkness of the early evening. “Dopamine” reinforces this feeling as the room turns pink, warming it up. The title, a real success, strengthens the bond between Jackson and the audience who he asks to sing louder while putting their hands in the air.

Jackson leaves stage. The screens take over, broadcasting a film in which the singer opens up about his loneliest, darkest moments. The pressure mounts, as does the impatience to discover the rest of the journey that will allow the artist to be reborn from his ashes. But first, a second musical interlude honoring the musicians. The guitarist also takes advantage of this moment to make the strings of his instrument cry, to the delight of solo enthusiasts. After a few minutes, it is the turn of the word “HOPE” to appear, introducing a third chapter tinged with hope. “LMLY” resounds as the singer returns to the stage dressed in red. The atmosphere warms up, becomes more intimate. Love is at the heart of this part like ashes rekindling flames.

A new MC then Jackson descends into the pit to choose the one who will accompany him during “I Love You 3000”. Particularly comfortable on stage, the designated young woman lends herself to the game, intertwining her hand with that of the singer and repeating the known words. She disappears as the last notes fly away, leaving Jackson alone on stage grabbing a bottle of liquor. Like an echo of his gesture, “Poison” begins! Dancers and musicians return and the audience's temperature soars. The act concludes with the return of the elevator that takes Jackson away as a new movie hits the screens.

Images of rehearsals and backstage parade accompanied by Jackson's voice-over. Again, this message of support, self-confidence, believing in your dreams and becoming your own “Magic Man”. And as a positive conclusion after hitting bottom and climbing the slope, the fourth and final chapter of this journey begins. Titled “MAGIC MAN”, it opens with “Come Alive”.

Jackson lives again! The rock'n'roll rhythm surrounds the Zénith which sways while, in continuity, "Champagne Cool" settles in, drawing the audience into a jazzy atmosphere. It's party time and when the first notes of "The Moment" sound, Jackson returns to the pit in search of a new partner. In a cozy atmosphere, tinged with blue, the young woman is installed on a chair and attends a lascivious dance demonstration by the singer. Then, in symbiosis with the rhythm of “Dead”, Jackson takes her into the elevator for an unequivocally intimate moment. A moment she will remember! Back on the boards, he continues with the catchy “Drive It Like You Stole It”.

New words from the artist who reiterates his positive message while thanking his fans for supporting him. Boosted by this love, he does not hesitate and plays with his audience, asking him what he can do in Paris at 3 a.m. while specifying, with a smile, that he will not accept the answer "don't come in our house”. Then, he takes advantage of this moment to officially introduce the four musicians present, letting them express themselves through their instruments. After a dance demonstration, the first notes of “Cruel” resonate, warmly welcomed by an overexcited audience!

The fireworks adorn the stage while the dancers are back for a performance worthy of the video clip and which is reminiscent of a certain Mickaël Jackson, a fan of high quality visual performances. The home stretch of this evening is emerging but no one thinks about it, taking full advantage of the moment. Under cheers and a standing Zenith, the emblematic “Blow” resounds! As a liberation, the public chants the lyrics in heart swaying in rhythm with the bass. The famous “Blow” introducing the chorus echoes the fireworks that ignite the audience. The room and the singer become one, mixing their voices as confetti floods the heights of the Zenith while Jackson leaves the stage.

He returns after a few minutes on the notes of “Pretty Please” wearing a t-shirt from the merchandising. The room is tinged with blue and purple while the electro notes transform the pit into a dance floor. Dancers and musicians return to the stage to perform with the audience. Even LAURIE makes an appearance as members of the public are invited to come up. Remix versions of “100 Ways”, “Cruel” and “Blow” conclude this journey on a positive note, far from the start of the evening.

Through this trip, Jackson Wang proved that he was an artist in his own right. Both a singer and a dancer, he is also a performer who delivers himself through his staging. Certain aspects of his performance are reminiscent of Mickaël Jackson who stood out for his precise dance steps, his full universe and his committed texts. Finally, and this despite the limited capacities of the Zenith, Jackson delivered a real visual spectacle, proving that it is possible to put on a real show whenever you want.