BONNE NUIT SPEAKS ABOUT CRIER VOMIR PLEURER AT ROCK EN SEINE 2026

For Bonne Nuit, the end of the world is something you can dance to. The French duo from Provence channel generational anxiety, political frustration and a fascination with excess into electronic music where irony and confrontation coexist with the collective release of the dancefloor. On their latest EP, “Crier Vomir Pleurer”, that tension becomes increasingly visible: climate collapse and inequality sit alongside ’80s synths, punk energy and a desire to turn every concert into something closer to theatre than a conventional live show. In this conversation, Bonne Nuit discusses friendship, nostalgia, partying as escape, their provocative visual universe and why, behind the humour and shock, their music remains inseparable from the world and the uncertain future their generation has inherited.

Álvaro Ramos: First of all, could you introduce yourselves to an international audience? How would you define Bonne Nuit as a project?

Bonne Nuit: We’re Bonne Nuit, a French duo from Provence. We’ve been friends for a long time (almost ten years now) and we make electronic music. We’re two products of this world.

ÁR: How did the group come together?

BN: We’ve been making music together for around six years, but we’ve known each other for almost ten. We were friends before we started the project, so Bonne Nuit grew naturally out of that relationship.

ÁR: How do you think your new EP, “Crier Vomir Pleurer”, will change your career or the direction of the project?

BN: It’s not a huge change for us. It feels more like a continuation. We’re playing better shows and bigger festivals, and we’re reaching a larger audience, but it’s not a revolution. It’s about getting better and better, and we want to keep pushing that further with whatever comes next.

ÁR: There’s a lot of irony in your lyrics. At the same time, we’re living through a period in which almost everything feels political, and your music is explicitly political too. What are some of the messages you want to put out into the world?

BN: We don’t really have a filter, so we just say what we want to say. There’s a line we repeat during our concerts: “Kill the rich.” It’s one of the strongest messages in the show. Obviously, it doesn’t mean that we literally want to kill rich people. It’s about the enormous inequalities between the richest people in the world and people like us. We think greater equality is possible. We want to shock people, but we also want to question the world we live in. We talk about the end of the world, about this feeling that there’s no possibility of surviving what’s coming. Climate change is something everybody is experiencing, and we think it’s important that it has a place in our shows.

ÁR: So, in a way, the show puts a light on the darker feelings of your generation?

BN: Yeah, that’s one of the main ideas behind the show.

ÁR: How do you relate to nostalgia? Punk is obviously rooted in a very specific history and aesthetic, so how do you take those references and make them feel contemporary?

BN: We don’t really think about it that much. Sometimes we use synths or sounds that we really love from the ’80s, and maybe we ask ourselves if it’s too much; but if we like it, we use it. We want to be able to take things from every decade. We don’t want to be limited to one specific period.

ÁR: What do each of you bring individually to Bonne Nuit? What is the essence of each person within the duo?

BN: One of us mostly writes the lyrics, while the other works more with the machines, drums and instruments. We have different roles, but they come together within the project.

ÁR: Do you believe partying can be a form of resistance?

BN: Partying is a way of life, but it’s also a way of escaping reality. At the same time, we’re not really club people. We’re not the kind of people who are always going out until very late. But we love punk music because it can be festive. That side of music is important to us. You can party and enjoy yourself without necessarily needing drugs or going too far. For us, partying is more about the energy you create together.

ÁR: Who were some of your references when you started, and who inspires you now?

BN: Mostly French references. There’s Daft Punk, obviously, but also artists from the French Chanson tradition, like Jacques Brel and Barbara. We really like that history. But we’re always discovering new things as well.

ÁR: What about the visual side? I’m particularly interested in your imagery and your cover artwork because it can be quite shocking. How do you develop that part of Bonne Nuit?

BN: There are three of us working on that side of the project, including our artistic director. We talk constantly about our image and what we want it to communicate. We want the visual side to be as striking as the music. It’s something we work on every day; it’s not separate from the project.

ÁR: How important are clothes and styling when it comes to constructing the live performance?

BN: Very important. We work closely with someone on the clothes we wear during the shows because we want the audience to be surprised. We like the idea of costume and theatre. Clothes are another way of creating something spectacular. We don’t want to just go onstage and play a regular concert. We want it to feel like a performance.

ÁR: Finally, what advice would you give to a new generation of artists, to someone young who is just starting to make music?

BN: Our advice to the new generation is to quit. Because of climate change. That’s the last thing we want to say.

Questions by @alraco43