Watoo Watoo is looking for gigs (almost) everywhere!
We now play with the computer as a backing band (the songs are stripped down to the core on the 'tape'), MichaŽl plays the bass & Pascale sings. We also use an omnichord, a stylophone (two analog instruments) & Pascale plays some percussions. We play a few times a year in Bordeaux, but we absolutly want to play in other cities!
Last live performance was in november 2004 for TV7 Bordeaux, a local TV. We played 4 songs. Two of the songs can be watched here.
In 1999, we played twice in San Francisco. The backing band was the Fairways, a really great band who also supported us. One of the gigs was a radio session for WKALX. Which doesn't sound so good, unfortunatly.
Two weeks later, we played at the Popin, the gig was organized by Popingays. Guillaume from Gypsophile was at the guitar.
In 1998, we played 2 gigs. In October, we played with Mumbly (my other band) & with the Lucksmiths, a great Australian band that was supporting Belle & Sebastian at the time. A video of the 3 bands was recorded, & I'll put it online one of these days.
Another concert was in
ENST (Paris) for the French Popfest, in April 1998. It was cool. I played a
gig with my other band Mumbly, so you can guess I was pretty tired just after.
We played in New York City
on the 10th of January 1997,
for the Popfest,
a great indiepop festival...
what the well known Jim Curran wrote about the Popfest, & about our set...
" I felt like I was descending into the catacombs. Fez Under Time Cafť,
a name I could tell had some meaning that I couldn't divine, was beginning to
make sense as we were admitted behind the burgundy velour and down the staircase.
When the bar appeared in all its naugahyde-upholstered glory it all started to
come clear. We were in the basement, among a good two hundred popkids at the east-coast
Popfest '97 (the west-coast Popfest having been held one week earlier in Pomona,
California). I was really excited as the weekend approached. I'm far from an indie
scenester and I knew I'd be meeting a number of like-minded pop-people for the
first time. Since many of the organizers and attendees subscribe to the indiepop
Internet mailing list, it was kind of strange knowing that we'd all be unmasked...
that there would be no hiding behind clever monikers like Testcard, Popptart,
The Duke of Harringay, Le Grand Magistery. It wasn't the first time I'd met people
I knew only by their Internet keystrokes, but it was the first time I'd meet so
many of them at once, so many strangers that formed such an intimate community
of obsessive note-writers and record-collectors. The room was abuzz. There were
records and zines to be bought, drinks to be drunk, people to be met. I was handed
my ceremonial cherry pin by the black-elbow-length-gloved Kat Kinsman, and the
whirlwind began. As I spun around I caught a glimpse of a Lite Brite, which proclaimed
"POP FEST." And suddenly Kat was on stage kicking off the east-coast Popfest '97.
Watoo Watoo, a sweet little Parisian husband-and-wife duo, played first. Michael
played bass on most songs and Pascale sang, and they were backed by a chronically
malfunctioning cassette recorder that proved really distracting. But if you could
overlook the technical difficulties and Michael's profuse apologies, which admittedly
wasn't easy, Watoo Watoo came across as charming, and Pascale's soft, pretty voice
glided along with Michael's bass and guitar riffs."