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Songs like "Société Tu M'auras Pas" enshrined Renaud as the voice of Paname (Parisian argot for the city's suburbs), but despite his initial flush of success he still dreamed of pursuing a career in drama, spending virtually all of 1977 co-starring in Martin Lamotte's play Le Secret de Zonga. His sophomore LP, Laisse Béton, finally hit retail in 1978, and its title cut topped the French pop charts, vaulting Renaud to national stardom and popularizing "Verlan," the coded French slang sourced for its lyrics. For the 1979 follow-up, Ma Gonzesse, Renaud explored more personal and intimate themes than on previous efforts. The record proved another massive success, culminating in a sold-out, weeklong live stint at Paris' famed Théâtre de l'Hôtel de Ville. Buoyed by the hits "Dans Mon HLM" and "Les Aventures de Gérard Lambert," 1980's Marche à l'Ombre was another blockbuster, and Renaud spent the entire month of March headlining Paris' Bobino Theatre, a residency that yielded two separate concert LPs, Live à Bobino and Le P'tit Bal du Samedi Soir. Despite his popularity, the singer was not without his critics, who questioned what right a multi-millionaire superstar on the cusp of age 30 had writing and singing songs articulating themes of urban despair, youthful rebellion, and socioeconomic struggle. Renaud responded by turning inward, populating 1981's Le Retour de Gérard Lambert with sharply evoked narratives spanning the spectrum of human behavior and emotion. The album also included a much-acclaimed anti-drug anthem, "La Blanche."
Renaud continued his maturation with 1983's Dès Que le Vent Soufflera. His most tender, introspective record to date, its sound largely abandoned his signature folk-rock approach for a sound inspired by mainstream French pop, a formula that generated his best-selling album to date. In 1985 Renaud founded the Ethiopian famine charity organization Chanteurs Pour l'Ethiopie, and with friend Franck Langolff composed the all-star benefit single of the same name, selling more than a million records. That same year he issued the solo LP Mistral Gagnant, recorded in the U.S. with producer Jean-Philippe Goude. The June 1986 motorcycle accident that claimed the life of his longtime friend, the celebrated anti-establishment comedian Coluche, was the inspiration behind the 1988 album Putain de Camion. While a commercial letdown, the record was nevertheless widely acclaimed by the press and earned Renaud the Ville de Paris prize, the Ministère de la Culture Prize, and the SACEM Award. Politics returned to the forefront for 1991's Marchand de Cailloux, an album inspired by the Gulf War and the ongoing strife in Northern Ireland. That same year, Renaud co-starred in filmmaker Claude Berri's epic adaptation of the Emile Zola novel Germinal, and while filming in northern France he began work on Cante el'Nord, a 1993 album spotlighting the traditional music of the region. By contrast, Marseille was the inspiration behind 1995's A la Bell de Mai, a collection of original songs that also paid tribute to enduring rebel icons including Che Guevara, Emiliano Zapata, and Pancho Villa.
With 1996's Renaud Chante Brassens, Renaud paid tribute to his spiritual antecedent George Brassens, covering 23 of the late French icon's songs and dubbing Brassens "a poet-rebel against all institutions." Although the record was warmly received, Renaud's life soon went into free fall. He separated from his wife of close to two decades and suffered a nervous breakdown, at the same time battling alcohol abuse. He toured Germany and Ireland in 1997, but otherwise disappeared from the live circuit until late 1999, touring small concert venues throughout France in the company of pianist Alain Lantry and guitarist Jean-Pierre Buccolo. Originally scheduled to span three months, the tour instead extended into the following summer, followed in early 2001 by a two-week trek through Quebec. That same year Renaud earned a lifetime achievement honor at the Victoires de la Musique awards. No less significantly, he was the subject of Hexagone 2001, a collection of remixes masterminded by contemporary hip-hop artists. Finally, in mid-2002 Renaud returned with Boucan d'Enfer, his first new material in seven years. An unflinchingly honest song cycle detailing his struggles with depression and drink, the album sold close to 500,000 copies in its first week of release. A sold-out 170-date tour followed, with an April 2003 date at the Lille Zenith documented via the live disc Tournée d'Enfer. In early 2005 Renaud produced the eponymous debut LP by singer Romane Serda, who became his wife that August. At year's end, he also published a children's book, Le Petit Oiseau Qui Chantait Faux. With 2006's Rouge Sang, Renaud returned to the protest spirit of his classic work, decrying the rise of right-wing extremists and bourgeois bohemians alike. Three years later he released Molly Malone: Balade Irlandaise, a project that he had envisaged almost two decades earlier. The record collected Renauds favourite, traditional Irish songs, which he translated into French and recorded in the Irish capital, Dublin. ~ Jason Ankeny, Rovi