Théa

and L-D-21-490 (L3)). THÉA establishes herself as the figurehead of a generational momentum as carefree as insolent where the "kidz fucked up" become the "new h4rdr0ck3rs" embodying a new phenomenon that turns everything upside down. THÉA does not spare herself her past wounds.

Surely to never forget that it was sometimes difficult to free herself from the yoke of others' gaze and constant stigmatization. The one that wounds, but which therefore allowed her to compose her songs which she describes as "shops of tears" as she expressed in a former track.

THÉA still seeks poetry in the territory of strangeness and in the unpredictable energy of concerts. Where bodies become a political weapon for emancipation and freedom. Like celebration when it becomes a way of creating a new space that does not exist in social norms.

THÉA builds her journey with the memory lodged in her body of that first improvised concert in a Montreuil squat after lockdown. A gesture of agit-prop and survival.

Now she says she feels "too beautiful on stage", with the infinite pleasure of interaction nourished by this foundation of intersectionality. For her, music does not have the function of repair, quite the opposite: "music is not a 'safe place'.

It is instead a place of catharsis and intertwined pains". Music as an ideal vector to continue her disquiet and this burning and feverish desire for perpetual endangerment. Writing feelings and furies that frighten her.

This life of a woman on the run is decidedly full of dreams as dangerous as they are salvatory. © Didier Varrod