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About this concert
RADICAL PRODUCTION PRÉSENTE : : JOHNNY MARROn ne présente plus Johnny Marr. Depuis plus de quatre décennies, l’ex-guitariste de The Smiths, de The The et d’Electronic est l’artisan d’une œuvre aussi culte qu’élégante, et incarne à lui seul un pan entier de l’histoire du rock britannique. Johnny Marr fera son grand comeback en France pour deux concerts exceptionnels à l’automne 2025, et sera sur scène le 22 octobre à l’Élysée Montmartre (Paris).Johnny Marr a débuté sa carrière au sein de The Smiths, entamant ainsi une trajectoire exceptionnelle en tant que l’un des auteurs-compositeurs et guitaristes les plus influents de la scène musicale indépendante britannique. Son parcours créatif l’a ensuite mené au cœur de formations emblématiques telles que The The, Electronic, Modest Mouse et The Cribs, tout en collaborant avec des artistes de renom comme The Pretenders, Talking Heads, The Avalanches, ou encore le compositeur Hans Zimmer — avec qui il a enregistré la bande originale du dernier film James Bond, No Time To Die, comprenant le morceau-titre nommé aux Oscars, coécrit avec Billie Eilish.
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What fans are saying
March 4th 2025
A day to remember. Johnny played a lot of old and new songs included some nice versions from his heart i believe. He also showed so kind with us the audience and think he also enjoyed. Hope we can repeat it again to enjoy him live. Thank you!!!!
Barcelona, Spain@Parc del Fòrum
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Johnny Marr Biography
The early 1980s weren’t the best of times to be an aspiring guitar player. Twenty years earlier, the head of Decca records, Dick Rowe, had made the biggest A&R gaff in pop history with the legendary clanger "Guitar groups are on their way out, Mr Epstein". But in 1982, Rowe’s apocalyptic prophecy suddenly sounded frighteningly real. After the initial roar and storm of punk, British pop music had succumbed to a synthesizer-driven pursuit of new waves and new romanticisms. In an age of Vienna’s, Tainted Love’s and Too Shy’s, the pure sound of six-stringed, melodic pop - be it as amorous as The Beatles, as lascivious as The Stones or as giddy as T.Rex - was fast becoming a lost cause with few willing to fight its corner.
That all changed with Johnny Marr.
Born in Manchester on Halloween 1963, of Irish heritage, Marr’s earliest musical memories are the get-togethers of his extended family, perhaps - as his early guitar idol Marc Bolan would sing - dancing himself out of the womb to the traditional strains of Black Velvet Band. As a child he’d be spellbound by his parents’ record collection: the forlorn dramas of Del Shannon, the prison doldrums of Johnny Cash and the heart-popping bliss of his mother’s Four Tops singles. All these influences would linger at the back of the boy Marr’s brain, waiting for the command to attack his finger tips at a later date.
That date finally came during the early summer of 1982 when Marr, just 18 years-old, formed The Smiths after seeking out the reclusive and elusive Stretford poet, Morrissey. Musically, the sound of The Smiths was a guitar noise nostalgically familiar yet equally dumbfounding in its pristine newness. The tunes were giant, euphoric and instantaneous but woven together with such nimble flair it appeared as if the guitar was playing Marr instead of the other way round. Lost for words, early critics of the day undersold him with the words "jingle" and "jangle" when, had they tried, they might better have described the sound of Johnny Marr as that of Van Gogh’s Starry Night in angry animation. Or the echo of diamonds raining down upon zinc-plated cobblestones. Or the sound of kitchen cutlery bouncing off a gaffer-taped Telecaster (which, ridiculous as it sounds, is how Marr achieved some of the resonant clangs in This Charming Man.)
CONTINUE OVER AT http://smarturl.it/JM_bio
Read MoreThat all changed with Johnny Marr.
Born in Manchester on Halloween 1963, of Irish heritage, Marr’s earliest musical memories are the get-togethers of his extended family, perhaps - as his early guitar idol Marc Bolan would sing - dancing himself out of the womb to the traditional strains of Black Velvet Band. As a child he’d be spellbound by his parents’ record collection: the forlorn dramas of Del Shannon, the prison doldrums of Johnny Cash and the heart-popping bliss of his mother’s Four Tops singles. All these influences would linger at the back of the boy Marr’s brain, waiting for the command to attack his finger tips at a later date.
That date finally came during the early summer of 1982 when Marr, just 18 years-old, formed The Smiths after seeking out the reclusive and elusive Stretford poet, Morrissey. Musically, the sound of The Smiths was a guitar noise nostalgically familiar yet equally dumbfounding in its pristine newness. The tunes were giant, euphoric and instantaneous but woven together with such nimble flair it appeared as if the guitar was playing Marr instead of the other way round. Lost for words, early critics of the day undersold him with the words "jingle" and "jangle" when, had they tried, they might better have described the sound of Johnny Marr as that of Van Gogh’s Starry Night in angry animation. Or the echo of diamonds raining down upon zinc-plated cobblestones. Or the sound of kitchen cutlery bouncing off a gaffer-taped Telecaster (which, ridiculous as it sounds, is how Marr achieved some of the resonant clangs in This Charming Man.)
CONTINUE OVER AT http://smarturl.it/JM_bio
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