Hong Kong 1994

Back in 1981, Jean-Michel Jarre caused a mini-sensation by performing concerts behind the closed walls of China. Jarre was the first international artist to perform in Beijing and Shanghai after the Cultural Revolution and the Concerts in China tour represented Jarre’s desire to involve himself with the Chinese culture.

On a near-identical stage to that used for Europe in Concert last year, Jarre performed in the Far East for the first time in 13 years, on March 11th 1994, in the new Hong Kong Stadium. In order to ensure that the show could go on in Hong Kong, Jarre agreed to perform for free. A couple of days before the show, he explained his motives.

“It is no secret that I really wanted to do this. I see the stadium as an opportunity to give a different image of Hong Kong to the world. It is known as a business centre, and this is a chance to build a bridge to culture. It’s my personal interest.

“I was looking for the opportunity to develop my friendship with the Chinese community on a personal basis. I hope this will lead to me being able to come back in 1997 and do something else. 

"That would be fantastic - the chance to perform in the middle of something finishing and something starting, a mixture of East and West.”

Photographs by Arnaud de Wildenberg

The Opening was a sell-out, with all 40,000 tickets being sold in just two days, such was the interest in Jean-Michel Jarre’s concert.

The show had a definite Eastern feel, with a completely re-arranged version of Fishing Junks at Sunset which lasted almost 12 minutes. It featured a traditional Chinese orchestra and an amazing Chinese dragon. Also new to the show was a beautiful version of Souvenir of China, where Jean-Michel was accompanied by Dominique Perrier for a stunning solo.

Jean-Michel Jarre, sporting a dazzling new black and white striped jacket, performed with a new musician; Michel Vally replacing Guy Delacroix on bass, and sadly, due to other commitments, Michel Geiss also couldn’t assist with the show.

The show had some big differences and some subtle differences from those shows seen last year for Europe in Concert.

One of the main differences was the start to the evening. With the throbbing heartbeat introducing the performance to the seated crowd, instead of his usual inconspicuous entrance in heavy overcoat to the introductory notes of Chronologie I, Jarre walked to centre stage from the back and took his place behind the familiar semi-circular Lag keyboard. The keyboard lit up brightly as Jarre played the now anthem-like track of Chronologie II, partly thanks to new keys after one was broken at the final concert in 1993 in Tours.

However, gone were the dinosaurs and many of the laser images that accompanied the track in Europe, replaced by the furious sequence of projections 5, ON, 4, IN, 3, OFF, 2, OFF, 1, UP projected as a back image. 

Red swirls of light filled the screens as the local Hong Kong 100-strong choir filed onto the back of the stage. Ending in a triumphant crescendo of the choir and Rondat's solo, it was a tremendous start to the extravaganza.

With the applause still ringing around the stadium, Jarre greeted the crowd with the words, “Good evening Hong Kong. I am very happy to be here this evening for the opening of this magnificent Hong Kong Stadium. I haven't performed in Asia for quite a few years and I'm happy to be back in Asia, sharing the evening with the Chinese community and all of you. Thankyou.”

Finishing with 'Thankyou' in Chinese, the Voice of Time continued the spectacle, this time under a different guise but still with the same words of wisdom. Equinoxe IV followed with the shrill cries from Rondat's guitar and the familiar lunar landscapes as a setting.

The first surprise of the evening followed, with Jarre describing it as the track he composed “after my first trip to China and has been inspired by the first impressions I've got from the Chinese community” - the beautiful and unforgettable Souvenir of China.

Similar to the performance in Lyon, Jarre played the track sitting down with the Roland keyboard resting upon his legs. The infamous Nikon camera clicks reverberated around the stadium as the screens filled with a deep red glow and Chinese emblems and masks were emblazened on top in a striking white and orange. Guy Delacroix was sadly missed here but Dominique Perrier made up for it with his solo performance. A track that you never ever get tired of.

The Voice of Time returns with the screens now a glorious purple, again with the same 'Where are you going', accompanied by the clock movements and chimes. This was Chronologie IV. Laser images dancing, running, jumping, somersaulting and leaping around the screens. Lasers play into the crowd and Jarre encourages the local Hong Kong crowd to clap along with the familiar images being projecting onto the screens. The finale ends with Jarre playing the final lingering note from his portable keyboard above his head.

Oxygene IV follows with now a solitary figure watching over Jarre as he plays the track from the analogue keyboards and his portable.

Chronologie VI follows with the humidity in the air very clear now as the lights search out into the stadium. The humidity in Hong Kong is famous but it has to be experienced to be believed. The keyboards had to be kept covered in plastic sacks (Docklands all over again) during rehearsals and onlookers saw Jarre playing the Lag from underneath the plastic !

With the choir torch-lit and the Sex-No Sex images scrolling slowly around the screens, Jarre appears with the familiar bright red accordion, tapping the beat with his feet. This is a part he clearly enjoys and was certainly one of the highlights of the show, both musically and visually.

The infamous Laser Harp, now designed by a new company, literally unfolds in front of Jarre for Chronologie III, a distinct bright green colour. Striking it with his usual vigour, Jarre precedes the hugely talented vocals of Julie Lecrenais. The familiar plush red curtains are pulled aside to reveal the morphing sequence between ape to man, to owl, to man again. To close, the beam folds back up again and disappears under the stage - a very nice effect indeed.

Magnetic Fields II followed with a very nice new introduction before the main piece - although maybe the one used for Europe in Concert was preferable. Jarre, again using the Roland portable, is almost obliterated by the dry ice effect but the crowd is probably concentrating on the laser beams that are flying out from the stage into the stadium, forever changing direction and position. With Jarre running across the stage with great haste to join him, Dominique Perrier solo's the finale with the screens flashing white, black, white, black, revealing the frightening array of scaffolding behind.

With multitudes of roman candles shooting from everywhere possible on stage, Chronologie VIII premiers in Hong Kong. Less laser images this time but Mahut is ever present and Jarre encourages the crowd with his enthusiastic clapping. The Chinese theme enters at the end with masks and pagodas rising from (seemingly) beneath stage as Jarre waves to all corners of the stadium on the walkways.

The Supermarket of the Century followed as usual (strawberries, strawberries, strawberries) and the Digisequencer kicks in with Jarre illuminated from above. Rondat, seated, joins in with his delicate guitar rifts and all seemed well until the Digisequencer stopped suddenly mid-track. A remarkable recovery is made by Rondat in what seemed less than a second until Jarre manages to start it up again. As in Barcelona where Jarre invited Spanish flamenco, for Hong Kong he invited a local Chinese percussionist with traditional Chinese instruments to join the track, just left of centre stage.

With smoke pouring from the top of the screens and fireworks cracking above stage, the track finally reached a finale with Jarre playing the baroque organ.Whether Jarre would continue to use the Barbarian Organ after the problems with it in Europe were answered when the simplistic notes of Band in the Rain echoed around the vast stadium. Still with it's distinct umbrella but lacking the rain and wind effects, the track captivated the crowd and these cheered with joy when the waterfall effect of fireworks melted down over the stage.

One of the most anticipated pieces was the newly re-arranged Fishing Junks at Sunset which Jarre had enthused about to reporters the previous day. Together with local musicians and local instruments, this was a complex re-arrangement and will perhaps make the Hong Kong live CD that extra bit special. Since this track has never been played live anywhere but the Far East, it was remarkable to hear it being live once again, especially in the vast setting of a stadium.

It was an especially remarkable performance after the rehearsals the night before were stopped short because the local Hong Kong authorities decided it was necessary to cut the power at 11pm. Jarre was informed by producer Jean-Claude Camus and called out to the crew 'We have a big problem, the power is cut at 11pm and so we have to play Fishing Junks with the Chinese orchestra now. Unfortunately we can only play it once.'

For the actual performance, Jarre accompanied on the semi-circular Lag and the other French musicians added futuristic touches to it, but the ever-present Chinese notes overpowered all to create a beautiful new rendition of the piece. Fishing Junks sailed across the screens as a wonderfully animated Chinese dragon entered the stage from the left, swirling to the centre stage and surrounding Jarre on the keyboard before leaving the other side.

In complete contrast, Rondat's guitar screeches echo around the stadium for the introduction to Rendezvous IV and finally the local audience were on their feet, really enjoying the track. With the familiar leap into the air, Jarre brings the track to an end with a huge applause from the crowd.

The encore of Rendezvous II was powerful as usual and one can never tire of hearing this track played live. To finish, with Jarre conducting the choir, ballerinas swayed with white handkerchief at the side of the stage to symbolise the theme of Peace.

Introducing the musicians before leaving stage, Jarre was destined to return for the encore of Chronologie IV, played with ever-present vigour and enthusiasm. It was initially intended for Jarre to walk through the crowd for this using his portable keyboard but the organisers refused after both the safety of Jarre and the audience was considered. A shame as it would have been reminiscent of Jarre's performance in China.

Reflecting on the show, Jarre commented, “It is very difficult to put a project like this on. On a personal level, artistically speaking ... I was pleased at the warmth of the response from the crowd.”