ABSTRACT
Renaud uses verlan, a Parisian equivalent of Cockney slang based on the inversion of syllables, but also a whole repertoire of more obscure registers of slang, just like Aristide Bruant and Leo Ferre before him. One of Renaud's undoubted achievements is the range of his social satire, and the sharpness of his observations. The macro-politics of Renaud's songs are as recognisable as his sexual politics: they fit predictably into the marginal, anarchistic tradition of Bruant, Ferre and Georges Brassens. Renaud also indulges in satire of a more general and social kind, particularly on his more albums, where his attacks on institutions have been more diluted. The music of Renaud's songs is usually fairly simple: a catchy melodic hook and predictable harmonies. Bobino was subsequently closed down for redevelopment and Renaud, along with other chanson figures, had to confront the stage of the Zenith concert hall - not as intimate, and where he seemed less at home.
