Serge, I wanted to kick off by asking you about your live shows. You seem to be almost drunk with joy and excitement when we see you up on stage. It's as if you can't get enough of being under the spotlight ...
Yes, it's true, I've always found performing to be a totally euphoric experience. When Charles Aznavour came to see me recently in my show, Symphonique, he came backstage afterwards and told me I come across as particularly greedy when I'm out on stage. But the thing is, when I go out there under the spotlights I feel completely at home, like I'm stepping into my apartment or something. I guess some people like that, and some people don't! But I have to say the audience generally loves it. Maybe people get a buzz out of the incredible energy of it all. I mean, I don't exactly do rock'n'roll or anything, but I don't let anyone pause for breath. I belt my songs out non-stop! Personally, I can't bear it when you're at a concert and there's a big pause between songs.

Your singing style seems to have changed quite a bit on your new album. Your vocals are a lot more restrained than usual ...
I've completely changed my singing style on the new album really, in that I decided I was only going to use loud, powerful vocals when they're really necessary. When I went out on the road with Symphonique I had to sing really loudly and emphasise every word or I ended up drowned out by the orchestra. But this time round I decided to take the completely opposite approach! I started off by getting rid of the piano - and the minute I did I realised what an incredibly heavy instrument it is! But it's funny, when I made that technical decision to work without the piano, I didn't realise that I was, in fact, altering my whole musical 'universe'.
Anyway, when I went out on the road this time round it was with a much smaller set-up - just accordion, guitar and percussion instruments! And I must say, I learnt a lot working with my three young musicians. I feel I made a huge amount of progress compared to what I'd been doing before. It was like my songs suddenly got a whole new lease of life! And before I knew it I was singing differently too - I felt a lot freer, like I didn't have to sing at the top of my voice and power everything out any more! We did about 120 concerts in this new style and after that I decided I wanted to record my next album in exactly the same spirit. Feuille à feuille was recorded in an atmosphere of excitement and enthusiasm, with musicians who'd known each other for three years but who hadn't got tired of playing together at all. I've had the experience of working with certain producers who only seem able to work when there's an atmosphere of stress and tension - and I find that completely unbearable. I'm happy to say my new album was recorded without the exchange of a single angry word!

Have you taken singing lessons at any stage of your career?
No, never. My father was a singer and I learnt everything I needed to know watching him. I've always sung by following my instinct, even as a kid. I actually feel there are two very separate parts of me - my instincts and my intellect! And I'd say my intelligence, if I have any, is totally separate from my body, and that causes a rift between my 'animal side' on the one hand and my 'literary side' on the other. I feel like these two distinct sides of my personality are always in total conflict with one another!
I think this maybe explains the fact that even though I've been singing for 37 years now, a lot of people aren't aware that I write my own songs! Really, I feel that Feuille à feuille is the first time people will actually realise I'm a songwriter, because this time round I totally respect the melodies! There's no exaggerated vocal effects on my new album. I just sing the tunes as they are, without pushing them to extremes. And that means people can simply sit back and listen to the words for once. I think what it comes down to is, the less fuss you make about it, the more people will realise your songwriting capabilities.

But what was it that actually triggered off this urge to sing so differently on your new album?
I think that over the years my experience as an actor has taught me how to hold myself back a bit in my songs. Being up there on stage acting out other authors' texts has made me come to realise that you don't have to give your all on every word and emphasise every single phrase. Over the years I've really learnt to respect songs as they're written - even when it was me who wrote them! Having said that, however, audiences obviously think there's something wrong if a song like Je suis malade doesn't have a rousing crescendo ending. But over the last year and a half I've been trying out a new technique and not simply standing there belting everything out on stage. I've been trying to put myself more in the position of being a vehicle for a simple idea or emotion.

And do you regret not having tried out this new technique before now?
No, I don't. I've never regretted anything I've done in my career. I get a lot of pleasure out of progressing and trying out new things as I go along. The way I see it, singers who've been as good at the end of their careers as the beginning are the ones who've learnt to tone things down, the ones who haven't been afraid of keeping things simple!

Interview: Bertrand Dicale
Translation: Julie Street

Serge Lama, Feuille à feuille, Warner