Today, the trio does around thirty shows per year. Mainly in Lot-et-Garonne and in neighboring regions such as Gironde, Gers, and Landes. “We no longer do two performances per weekend, as we sometimes did on December 31st and New Year’s Day,” said the one-man band, who is still going strong despite being 73 years old.
The group will celebrate its 40th anniversary in October, without much fanfare. After prosperous years, the midlife crisis is catching up with musette balls as well. It all started with the arrival of dance schools. “Those who stay in the middle of the dance floor, monopolizing it. And pushing others around. I have witnessed a few conflict situations,” shared Alain Vignau.
Prefering those who have learned to dance “naturally and without affectations,” just as he mastered music as a self-taught musician. “I started at 12 or 13 years old. Then I began playing at dances with a small group at the Youth Center when I was 17. I was a student of Loris Capelli. He passed on his love for the accordion to me. Gradually, I played with several orchestras and even joined the army band during my military service in Bordeaux’s Nansouty district. I played for officer balls. There are worse things to do during military service!”
Today, the septuagenarian adapts to the changing landscape where musette is considered outdated. “Everything has changed, including the mindset of the dancers. If they could choose the repertoire for us, they would. They want more line dances. I do a few of those.”
Are we witnessing the last dance of musette? Dancers also demand “more modern pieces.” “Some orchestras are willing to change their pieces just to please or to secure a gig at any cost. That’s not my philosophy. We play retro-musette and some variety to meet the desires of those who are now 70 and wish to relive their 20s through music. We only play what we master. That’s our DNA.” And sometimes, it pays off: “People tell us they’re glad to hear things that are rarely played anymore.”
With an evolving audience and fewer organizers and village festivals, the question arises: is musette playing its final tune? “From June to September, we used to have a ball every weekend. Those days are gone.” The Vignau ensemble remains strong despite the backdrop. And without rehearsals: “We only rehearsed once in the past few years, during the Covid crisis. We had to refresh our memory after eighteen months off. Otherwise, like riding a bike, nothing is lost.”
Alain Vignau, an accordion purist and traditionalist, also has a passion for equipment. Although playing in a trio, the conductor is not fond of poorly decorated stages. “I arrive ten hours before each performance to set everything up. I don’t force the other musicians to do it, because it’s one of my passions.”
