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Reinhold Hoenle

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“Yellofier is one of my best friends”

For more or less forty years the meticulous studio perfectionist Boris Blank and the ingenious improvisation bohemian Dieter Meier have been guaranteeing electronic soundscapes with charm and charisma. Both Yello characters spoke with ADAM The Magazine about their first concerts, the collapse of capitalism and their current album “Point”.

You call your current album “Point”(full stop) – and not “Comma”. Are you making a full stop behind Yello’s career after 41 years?
Dieter Meier: No, I see it as The Point of Yello. Like a headlight, focused on Yello.
Boris Blank: Or The Point of no return. We have arrived at a point from which we can no longer return. It always goes forward.

How did you come up with the idea of “Point”?
Blank: We always have dozens of ideas for an album title. The selection is an extremely difficult process. It shouldn’t sound stupid and has to have a certain swing. Dieter called me from Buenos Aires and asked: “Boris, are you busy? I have a title for the album: Point Yello” (clicking his fingers). And I said: “That’s it. That’s the beat.” There are hot spots, middle points and meeting points – and now there is also the Yello point.

Is this unity typical for Yello?
Meier: We discuss a lot, but we are not mavericks, simply eager to find a consensus. In everything! Otherwise we could not have done what we do, for forty years.
Blank: If there is any friction, we use our experience to alleviate the situation early on. Ultimately we always agree on something that is amazing, that we both enjoy. It was like that in the old days, but maybe now we have also mellowed a little with age.

Is the clear division of responsibility in Yello an advantage?
Meier: It is the only way it can work. Boris loves to fiddle about in the studio for years and to work on fifty sound pictures at the same time. I have a lot of other things going on so I don’t have any problem with not hearing from him for maybe three and a half years. (smirks)

Are you not curious?
Meier: Yes, I am, but it is quite dangerous listening to and commenting on a work in progress, as it could make your partner insecure in his creative process in which he is advancing slowly on unknown territory. This is the reason why it’s a magic moment for me when I’m permitted to listen. Something that is also specific to us as a team is that in the past four years I have only spent roughly 6 weeks in the studio and Boris maybe 220 … That’s the small difference.

“Point” is the first album since Yello gave concerts. Did the live experience inspire you?
Blank: Not in any way! As Dieter already said I have dozens of half-finished pieces. They have been waiting for a long time to be animated or resurrected.

But you are supposed to have said that you would have given concerts earlier if you had known how much fun it is?
Blank: We gave the concerts now because we thought that we had to do it as long as we are still young. Yello is a young live band. We still have a lot to do. Maybe even a proper tour, not with small instruments on the stage, but offering an audiovisual 360 degree all-round experience. A lot of people said you don’t need to have that many musicians on the stage. It was enough if you are there. But I didn’t want a fake tour premiere like the Pet Shop Boys offered, with Chris Lowe pretending to play music on his laptop. The people should experience our brass players. I could also imagine other concepts.

That sounds very analytical and controlled. What emotions did you experience?
Blank: It took a very long time until Dieter was able to motivate a hermit like me to come out of his shell and dare to get up on –>
the stage. I feared that we might be pretending to be something we weren’t. At the first concert my knees were still trembling but then I sensed how good Dieter felt on the stage and how the people
liked us. I was extremely impressed by this positive energy.
Meier: When I used to go on the stage with my band Out of Chaos, the name said it all. At that time I had a lot more freedom. I could sing the chorus twice and the musicians reacted accordingly. In the case of Yello it’s all measured down to the tenth of a second. You cannot improvise, nothing is spontaneous. It has a certain allure, but I hope that we can be more spontaneous on the next tour. The Yellofier, the fantastic App that Boris invented which even makes it possible for laypeople to compose fascinating pieces, also inspires us.

How did the happy single “Waba Duba” emerge?
Blank: That was an example of using the Yellofier. It’s one of my best friends. I always have it with me. When I’m out with the dog in the forest I experiment with the vowels and record it straight away. I can use fun random generators. In “Out Of Sight” I recorded my wife, Patrizia, enthusing while cooking in the kitchen: “Che belle, belle, belle!”

Am I right in thinking that in“Waba Duba” there is a quote from “The Race”?
Blank: It’s not the first time I’ve heard that. The baritone saxophone is one of the most significant sounds in Yello’s repertoire. I often use it, because I like it a lot.

“Way Down” sounds unusually relaxed, with swing and funky at the same time …
Blank: Yes, the electro-reggae really has a lot of influences. I’m not sure why. When I sent Dieter the demo version, he thought we would only have to record his vocals as my voice alone is too weak. The texts are completely Dadaistic. What’s that line again? “Bring that beef back home”?
Meier: What are you singing there? “Bring that beat back home!”(they’re having fun)

The shimmering, hypnotic counterpart is “Insane”. A hymn to craziness?
(Both of them say that they don’t know which of the twelve songs I’m referring to)
Blank: Dieter doesn’t know what he is singing either. He has a wonderful way of describing it: “Inspiration comes to me and when the song has been recorded it leaves me again.”

How important are the yearning for true love and hot eroticism as the driving force for your musical works?
Meier: Where do you see eroticism?
In “Hot Pan” …
Blank: Ok.
Meier: Interesting. I never saw it like that
Blank: Do you have a psychiatrist? (they laugh)

The song has a pulsating rhythm and you sing about “hardcore” and “shakin’ my body upside down”. Is my imagination really overexagerrating?
Blank: Not at all. Sometimes the critics write – I don’t know, whether it’s women – what an erotic voice Dieter has. Someone even wrote you could get pregnant listening to his voice.
Meier: Is that true???

Did you never make music to impress a woman?
Meier: No, no, no! That was never our impetus and we also never had groupies

But both of you have longer relationships than the majority of stars in the music business. What is your “secret”?
Meier: Our wives have their own ideas and fulfil them themselves. Independence has to be guaranteed. When my wife and I see each other, we always have lots to talk about. The conversations are very enriching.

Do you want to take more time in the future to do things together with your partners?
Meier: I don’t. I develop things with other people, but I have endless time. Whatever I do, agriculturally or oenologically, is my pleasure. Therefore I don’t experience stress. And my wife has handed over the responsibility for her company enSoie to our three daughters and retreated almost entirely into her private life.

Would you, as a musical visionary, also venture a prognosis, at which “Point” of Corona we currently find ourselves and where the development will lead us?
Meier: I am convinced that the world – when the problem has been solved on a medical level, and that doesn’t seem to be sorcery – will revolve just like before. And that would not necessarily be a good thing. The capitalist madness will continue.
Blank: I hope not!
Meier: Neither do I, but the only purpose of the system is the profitability of assets. The combustion of oils and coals has severe consequences, the contamination of the seas and the reckless handling of animals. Then there are the billions of debt that the states have accumulated. A total collapse is imminent. But the system will only change when we cannot breathe any longer.

Yello was founded in 1979 by the avant-garde linguistic artist Dieter Meier (vocals) and the techno pioneers Boris Blank and Carlos Péron (synthesizer). The single “Bostich” gave the Zurich band a club hit even in New York. They began their most successful period as a duet with the fourth album “Stella” and the releases “Desire” and “Vicious Games”. At the end of the 80s they released their goose bump ballad “The Rhythm Divine” with guest singer, Shirley Bassey, and the iconographic “The Race”. Yello only began to give concerts in 2016 as the sound tinkerer, Blank, doubted for a long time that his music could be reproduced adequately live. The current album “Point” bears the unmistakable signature of both techno legends. The songs are unconventional and the sound is brilliant.

Photos Copyrights: Universal Music

Pasquale Aleardi

Multitalent & Dreamer
Zurich all-rounder performs in clubs and on Broadway

Pasquale Aleardi (48) expresses his passion for acting and music to the fullest. He personifies Kommissar Dupin in the tv series of the same name, tours with the band Die Phonauten through clubs and is one of the main actors in the first Cirque-du-soleil-Musical “Paramour”.

Multitalent Pasquale Aleardi is in his home town of Zurich as he intended to stage two concerts in Switzerland while touring with his band, die Phonauten, diffusing good vibes through funk, soul and pop. As the concerts had to be postponed due to one of his fellow musicians coming down with pneumonia, he, his wife Petra Auer (35) and their sons Leonardo (3) and Armando (1) took the opportunity to visit relatives and friends. The couple first met at their home of choice, Berlin, where she and he had moved to pursue their acting careers.

«At a birthday party I heard a woman speaking with a Grisons  accent which immediately grabbed my attention as I have a thing for that accent », he recalls. «Ultimately her appearance and her kind aura bowled me over.» Since they have become parents, Auer has taken a step back from acting, enabling Aleardi to continue to follow his diverse talents successfully and to provide for his family. As his father was born in Italy, his mother in Greece and he works for the most part in Germany, only few of his followers will be aware that this protagonist is actually Swiss.

Aleardi never considered getting into the immigrant family business of trade and production of culinary specialities. «As a boy I was fascinated by the fact that there were people who made themselves small and could slip into the TV», he explains how he began to get enthusiastic about acting. «And later I wanted to be like «Starsky & Hutch» driving around in a police car all day!» He began to play the piano at the age of 11, later he took up school theatre and finally completed his studies at the Academy of Theatre in Zurich.

After earning his spurs in German theatres and playing in cinema and TV productions alongside stars such as Til 
Schweiger, Heike Makatsch and Veronica Ferres and being co-pilot in the Swissair drama «Grounding», Aleardi started to get major, leading roles in particular since the series «Schicksalsjahre» (2011, with Maria Furtwängler). The series «Kommissar Dupin» is based on crime thriller bestsellers about the eccentric Inspector Dupin and has already been sold to over 40 countries while boosting tourism figures in Brittany. Aleardi received the Swiss Television Film Award for his role as the leader of the tunnel builders in the co-production «Gotthard». And in the film version of Udo Jürgen’s musical «Ich war noch niemals in New York» he joins a high-ranking cast to play the gay ship’s magician, Costa.

Aleardi made it big as a musical actor as early as 2015, when he was asked to sing in English on Broadway as the lawyer Billy Flynn, following just one season of «Chicago» in Stuttgart. It was clear to him then: simply unbeatable. However, something else was to turn up that would mean even more to him on an emotional level. «The first time I saw a Cirque Du Soleil show live at the beginning of the nineties in Paris, it aroused a crazy dream inside me to take part in it myself one day, although I have absolutely no artistic talent », reveals Aleardi with a grin. And indeed, at the end of 2018 he was asked to play the main role as the director AJ Golden in the first European Cirque Du Soleil musical production «Paramour». «It is so spectacular on a musical, dance and artistic level that I am going to extend my stay in Hamburg by two months in the spring.»

His family, who generally accompany him, will presumably move with him to the next Dupin filming. It is no big deal for them anymore. «We have become highly efficient and only take the essentials with us», emphasises Aleardi proudly. «Three suitcases. It’s liberating!»

„Kommissar Dupin – Bretonisches Vermächtnis“ was broadcasted in June 2020 in ARD.

Pasquale Aleardi will be singing in the Neue Flora in Hamburg in the Cirque Du Soleil Musical “Paramour”.

The concert with die Phonauten is rescheduled for 15th December in the Casinotheatre Winterthur.

Photos Copyrights: Anna Sophie Grünwald

First choice einsiedeln

On a stony path towards the summit

Anatole Taubman (47), who has taken part in over 100 international film and TV productions, has been ambassador for Unicef Switzerland for vulnerable children since 2010. In an ADAM interview the actor tells of ups and downs of his own youth.

 

What has been your most formidable experience to date as a Unicef ambassador?

When you are travelling for Unicef, every experience is remarkable. I was particularly moved by what I saw in Rumania, because it is practically just around the corner from Switzerland. Not much functioned properly even in the capital, Bucharest – and in the country, on the border to Moldova, even less. That had a profound effect on me.

What was most daunting for you?

In the country families live in houses, or rather huts, some with windows without windowpanes, although the temperatures in winter drop below freezing point. A farmer gathering his six children together around the hearth in a self-built mud house. The sad eyes of the children in the orphanages. Some were lucky that they had been saved from the traffickers and organised crime, after their alcohol and drug dependent parents has sold them for a few bottles of vodka and cigarettes. It sends shivers up and down my spine just thinking about it.

What is your job?

As a spokesperson, I campaign worldwide for UNICEF issues and for vulnerable children, as this is a subject close to my heart. My contribution is to sensitize the public to the abuse and the basic needs of children. On field visits I get a first-hand impression of the children‘s situation and UNICEF’s work. In Switzerland, I am actively engaged in events organised by UNICEF Switzerland, such as e.g. Cycling for Children. I am also committed to my position on the children’s jury, which organises the Zurich Film Festival in conjunction with UNICEF.


How do you establish contact with the children?

On all UNICEF field visits you can see how children benefit from the work done by UNICEF, for example in schools or programmes in the area of child protection. The trip always includes communication with the children, who talk of their own personal experiences in life.

How did you deal with your own childhood that was anything but easy?

I believe that it is a lifelong challenge, which I have been addressing intensively for over five years.  Following a medical emergency last year, I suddenly stood – Thank God! – at a real crossroads in my private and professional life. I desperately needed to and wanted to change myself and my daily life. My inner peace and my inner harmony have now become my top priority. The path there is steep, sometimes painful and sad, but honest. I am grateful that my wife, friends, family, yoga and Zen help me along the way. However, everyone has to walk their path alone – and it is a good feeling to accept responsibility for oneself.

You now have a flat again in Switzerland. Why have you returned to Einsiedeln?

To put it bluntly, the boarding school at the monastery in Einsiedeln was my first real home. It provided me with a solid grounding and a sense of security. At the age of 10, after my father’s death, my mother had to give me away again, this time for two years to an extended family practicing curative education in the Prättigau region. I then returned to her in Zurich. The 6th primary school year went well but in grammar school the disciplinary problems began. Einsiedeln became my salvation and I seized this last opportunity. This is how it became my home and the prefect Father Kassian a type of replacement papa.

How did that change your life?

Fundamentally and in the long term. I began to enjoy learning and managed to pass my school leaving examination with 5.18 – I have never been as proud of anything in my life! I knew that I wanted to become an actor after Father Kassian dared to let me, who was best known for playing the class clown, play the part of old Shylock in Shakespeare‘s «The Merchant of Venice» at the age of 17 in our theatre course and I was actually taken seriously in the role.

Do you enjoy being able to play someone else?

It definitely used to be a form of escape. What still fascinates me, what makes me burn with passion, is the challenge to breathe life into the figures that are described in the script through words. And the more I find my inner peace, the more authentic I become as an actor. I now understand completely, when a director says: «Anatole, just do nothing. Have confidence in yourself, simply be there, say your text, believe it – and the public can read the rest from your face.»

The son of a Vienna born mother with Slovakian grandparents and an East Prussian father with Russian and Polish grandparents was born on 23rd December 1970 in Zurich. After attending the renowned acting school Circle In The Square in New York he worked very successfully as a model for two years. His multilingualism and his distinctive face that is difficult to categorise made it possible for him to develop into a much sought-after character actor. In Marc Foster‘s James-Bond film «Quantum Of Solace» he played Elvis, the left hand of the main villain. Taubman is in a relationship with the former Circus Knie media spokeswoman and ex «Glanz & Gloria» presenter Sara Hildebrand and has three children from previous relationships. In 2018, he played in «Zwingli» as Zwingli’s best friend Leo Jud and in the 2nd season of the Netflix series «Dark» the nuclear plant owner Bernd Doppler. He will soon be appearing in «L’Apparition» from the cult director Xavier Giannoli.

 

 

Photos Copyrights: Lukas Schweitzer, UNICEF Mirjam Kluka,

Bentley

FOUNDED ALMOST 100 YEARS AGO, THE LUXURY BRAND BENTLEY HAS GONE FROM STRENGTH TO STRENGTH SINCE BEING TAKEN OVER BY THE VOLKSWAGEN group. LAST YEAR FOR THE FIRST TIME OVER 11,000 MODELS OF THE «SILENT SPORTS CAR» WERE PRODUCED IN THE NORTHERN ENGLISH CITY OF CREWE. ADAM INTERVIEWED BENTLEY EXPERT RICHARD CHARLESWORTH.

Mr. Charlesworth, in what way has Bentley enhanced your life?

I was lucky enough to work for 40 years for a company that builds the car I love. I also enjoyed meeting a number of interesting people during my career including customers, employees and journalists.

How did Bentley enter your life?

I grew up in Crewe. My parents were farmers and we could see the factory, where Bentley and Rolls Royce were built at the time, from our field. So I went over to the neighbours, knocked on their door and asked if they maybe had a job for me, then I started to work in the sales and marketing department.

What was the reason for the merger between Bentley and Rolls Royce in 1931?

The engineers at Bentley and Royce both gained their first experience at the railway and applied this expertise later in the construction of their cars. They focused on large volume engines, which deliver maximum performance with low resolutions. Bentley built excellent sports cars but had economic problems, which gave Royce the opportunity to incorporate the threatening competitor.

Why was this extremely British brand taken over by a German group in 1998?

Due to the fact that Rolls Royce and Bentley consistently lagged behind their competitors in the luxury class on a technological level and did not have the resources to be able to invest enough in research, the British concern Vickers had to sell their shares. VW won the bidding war against BMW, which nevertheless was able to secure the rights to the trademark Rolls Royce.

Was it clear from the outset that Bentley would stay in the North English city of Crewe?

Naturally the workforce feared that VW could relocate production to Germany, but two days after the deal the chairman of the board at the time, Dr. Piëch, came into the plant and reassured us: «We bought Bentley because we love what you do. We have great respect for your work. There are things that we cannot improve on, others we can. We want to support you in improving them and consequently polish the new jewel in VW’s crown.»

How did he manage to do that?

Two months later VW promised an investment of 500 million pounds to modernise the plant and to develop a new model, the Continental GT. Bentley shines today not only because of the most modern technology, it has also added more luxury to its range. For example double the amount of wood is built into our cars as in the 70s.

Bentley has even advanced to become the official vehicle for Queen Elisabeth II. Why?

When her father, George VI. was King, the Royals still drove Daimlers. Then she received a Phantom IV as a wedding present in 1947. Rolls Royce subsequently became the official state car. As it was already certain in 2002 that soon only Bentleys would be built in Crewe, the Queen received a model for the first time on the occasion of her golden jubilee. The entire royal family are now only seen in Bentleys, both in a business and private capacity.

Even the «green» Prince Charles?

Yes, as he strongly advocates environmental protection, two Mulsannes with an 8-cylinder engine were converted especially for him so they could run on bioethanol.

Ettore Bugatti once described Bentley as «the fastest truck in the world». How true is that today?

His statement, which was intended as an insult to his rival in motorsports, can be considered as a compliment. We always built big cars and do not have to apologise for that. If you want to buy a small car, don’t buy a Bentley! A Mulsanne or Flying Spur have five comfortable seats, sufficient legroom and if necessary can reach speeds of 300 kilometres per hour!

What are Bentley’s ambitions in automobile sport?

Following the double victory in the 24 hour Le Mans in 2003 with the Speed 8 sports car we are now successfull with the Bentley Continental, which delivers 608 PS in the GT3 street version, in the touring car series.

 

 

 

Photos Copyrights: Bentley

SEVEN

SOUL SINGER SEVEN (38), WHO HAS BEEN FIRMLY ESTABISHED IN THE SWISS MUSIC SCENE FOR YEARS, MADE HIS BREAKTHROUGH IN GERMANY IN 2016 IN «SING MEINEN SONG – DAS TAUSCHKONZERT» AND ON TOUR WITH THE FANTASTISCHE VIER. THE NEW ALBUM «4COLORS» SURPASSES EVEN THE HIGHEST EXPECTATIONS.

It was evident from an early stage of his now 15 year-long recording career, that Jan Dettwyler alias Seven, from Aargau, attached more importance to content and style both in his albums and his concerts than most of his musical competitors. He does not focus on short term success but on quality and self-fulfilment. Like his inspiration, Prince, he is less concerned with a hit single and more with the convincing piece of art. In an era, in which legal and illegal downloads of individual songs supercede the classic albums, he presents in «4Colors» an ambitious concept album instead of a mainstream CD, which would have been a safer option to keep the captured television audience on board.

Concert dates:
26.10. Zürich Volkshaus
03.11. Bern Bierhübeli
04.11. Baden Nordportal
www.sevenmusic.ch

«The crux of the matter was that I wanted to make four albums because I had four stacks of different new songs on my table, but I knew that the scale of that workload proved impossible and would be completely daft», Seven remembers. He suddenly realised: «Hey, there are actually four music styles, four moods, four colours. So I‘ll make an LP from four EPs – as we used to call the small albums.» The solution to his problem gave him both the concept and the title. He composed a film music intro to each piece, which he recorded with the Arts Symphonic Orchestra in London.

«Blue is melancholia, cold, electronica, Iceland, maybe a tad of Björk», the musician begins to tell what the colours represent and demonstrates with an image overload. «Yellow is for Soul, community, late summer evenings at half five, the sun shines transversely into the city, then a bit of Neo-Soul, Badu and D’Angelo. Red is repetitive, the aphrodisiac of the 90s-R&B. It is quite clearly late at night, with a dancefloor and smoking is permitted! (laughs) The last four songs are purple and reflect Funk. A homage to Prince, although that sounds a bit megalomaniacal. I only though of that – honestly! – at a later stage.»

Seven has been working with ex-Prince keyboarder RAD in his band for three years, a musician who would have used her power of veto if she hadn’t thought that the genius up on his cloud, who died too early, would have approved of numbers like «Partytown» or «1978». The opportunity to get RAD on board arose when the American musician and her German husband moved to Constance, when her child began school. Seven called RAD and invited her to a session in a rehearsal room in Zürich. «We played a few songs that we were both familiar with. After «I Can’t Make You Love Me» from Bonnie Raitt we just looked at each other and have been inseparable on the stage ever since. It was musical love at first sight!»

Seven‘s love of his wife Zahra and his seven-year-old son has not suffered due to his success in Germany. «I perform three times more than I used to and usually don’t come home after concerts, but I devote three days completely to my family if I have been away for five», says the singer, who broaches subjects such as transcendence («Zeit», feat. Thomas D), military tanks («Die Menschen sind wir», feat. Kool Savas) and pain («Thank You Pain») on his new album. «Today we are always in mode: We look good, are happy, healthy, sporty, in love, successful and ultra-busy», explains Seven. «I feel we should just once say thank you to pain, because it forces us to change something in our lives, to progress.»

 

 

 

Photos Copyrights: Sven Germann

David Guetta

No one has had more influence on the European single charts in the last ten years than David Guetta. We met up with the enthusiastic House-DJ and music producer in Berlin, who didn’t let the divorce war from ex-wife Cathy slow down his continuous series of hits such as “Dangerous”, “Lovers Of The Sun” and the UEFA Euro 2016 hymn “This One’s For You”. On 19th October he’ll be appearing in the Zurich Hallenstadion.

The official UEFA Euro 2016 hymn “This One’s For You” and the spectacular performances at the foot of the Eiffel Tower and at the opening and closing ceremonies have still not satisfied David Guetta’s hunger for success in 2016. Now, just in time for his autumn tour, which will take him to Las Vegas, Ibiza and Zurich, he has given the Charles & Eddie soul classic “Would I Lie To You”from 1992 a modern sound guise. The electronic beats have – typical Guetta – not robbed the analogue soul from the song. That can also be attributed to his choice of singers – in this case Chris Willis, with whom he began his rise in 2002 from mere disc jockey to popstar DJ.
After him and Sia, he has discovered another talent on his current album “Listen” in Sam Martin. “Before we went into the studio together, I only knew the songs that he had written with Maroon 5, but not his voice”, according to the 48 year old Parisian. “When I heard it for the first time, I was totally shocked, because it is unbelievably good. I was blown away, especially by the high notes!”

When Guetta began to make his first vinyl mixes at the age of thirteen and then three years later started working as a DJ, House was still a subculture and it was inconceivable that someone could become famous through this music genre. “My parents said that my choice of profession wasn’t an actual job but an absolute catastrophe!”, he recalls with a laugh.

The rebellious son thought it was totally cool how Club-DJs at pirate radios played their funk albums and developed the new mainstream from the combination with electronic music and hip-hop, with which he, Avicii and Calvin Harris dominate today’s charts. Even if “Forbes” estimation of his annual income at 30 million dollars is only approximately correct, his parents must have stopped worrying about how their son is going to fare by this stage. The separation and divorce battle after 24 years of marriage has however been a painful reminder that money isn’t everything. “I experienced some of the saddest moments of my life. But I don’t want to complain, primarily because the years before consisted of partying in sexy surroundings.”

To distract himself Guetta made new songs and worked as a DJ again in classy clubs and gigantic arenas. “As soon as I am on the stage, I forget everything – even myself”, he explained and admitted that that could also be dangerous. “But I don’t take drugs, don’t drink and don’t smoke. The music and the energy of the fans intoxicate me and send me into a delirium. The feeling of sharing a unique moment with the crowd and being one with them, is something very special!”

Photos Copyrights: Warner Music