ABSTRACT
This chapter offers a critical perspective on concerts that are defined as mechanisms formed by states aiming at organizing an international order by establishing clubs. Drawing on historic experience, it questions the effects on international cooperation of the selective logic of concert-type clubs and of their multiplication. Doing so, it first observes the role of France in consolidating club practices with global scope and then the effects of the entrance of new actors into the concert’s figurations. It concludes that these evolutions lead to growing discontent, complexity and coercion, as the selection principle appears to be more an end than a mean.
