I recognize Folamour from images of his face plastered across the bendy bus where his album launch for ‘Movement Therapy’ is set to occur, just south of Champ-du-Mars in Paris.
We have just enough time to fit in a conversation about ‘Movement Therapy’ and the future of the electronic music landscape. We’ve gathered here to toast the album's release in a 50-person bendy bus, adorned with vibrant lights and speakers, ready to travel through central Paris in the mild evening warmth.
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Folamour presents a remarkably open and inviting presence. He expresses that he’s “super excited to see how people react in such a small space and how we will all feel.” His effortless charm is understandable; he is intensely focused not just on making the crowd feel good but on being a part of it, stating, “most of the time I am just one of the people in the crowd but it just happens that I am on stage.” He wears a ‘Movement Therapy’ bucket hat and a custom-made T-shirt featuring the lyrics to ‘Pressure Makes Diamonds’ on the back; he shares that he wanted to wear something to honor the album that didn’t include his name, showing a commendable modesty about his own brand.
Bruno Boumendil, known as Folamour, has gained iconic status in the music world over the past seven years. He has been honing his message for the last four years as a socially and spiritually aware DJ; on ‘Manifesto,’ he presented a social vision of Utopia, and ‘Movement Therapy’ articulates a clear path to achieving this utopia through meaningful movement.
Folamour passionately discusses movement: “I was really interested in recognizing how beautiful it is to gather and dance together, with people united around music. I began to understand it differently than before; earlier, it was about evoking feelings in a couple of hours, but now I see the social and almost political aspects of gathering people for a few hours.”
The lyrics to ‘Pressure Makes Diamonds’ touch on political themes: “[in]justice on the streets, what’s going on… will we be safe, will we be loved… pressure makes diamonds.” His vocals resonate with intensity. The chorus is unmistakable, accompanied by a catchy house beat with a bubbly synth, sending the crowd into a frenzy.
The back of the bus offers a bit more room, and the intensity of dancing escalates as bystanders begin filming the party bus. The atmosphere mimics that of a warehouse rave, yet there's a touch of absurdity with the presence of handrails; nonetheless, the transition from commuters to partygoers is swift once the set begins. Everyone dances vigorously to ‘Paradiso,’ maintaining movement even as we find ourselves stuck in traffic. When he played ‘Ca va aller’ (it’s all going to be fine), the crowd passionately sang along to the chorus. A standout track on the album has to be ‘Naarms Sunset,’ which opens with a dark synth that transitions into mantra-like vocals over a classic house sound, creating a progressive and groovy track infused with a satisfying melancholy in the keys. Folamour embraces extended sections of disco horns during the set. A group of girls who arrived solo in matching outfits—jorts paired with striking tops, quirky sunglasses, and adorned with jewelry—begin to form friendships at the back of the bus, and within ten minutes they’re taking selfies with the disposable camera being circulated among the crowd.
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Folamour was only ready to release an album if it conveyed a coherent message; as a celebrated selector, he sought a project that transcended just being a collection of dance tracks. “Sometimes I feel like club music can lack purpose if I don’t have a subject. I wanted to create an album that embodies club music while discussing important themes.”
He emphasizes, “there’s a difference between performing for work and traveling for inspiration… it took me all these years to feel at ease producing a club music album that I could confidently call a proper album, rather than just a collection of tracks with a theme.”
Reflecting on his earlier work, he shares, “everything was more pop and neo-soul, slower and more ambient. With this album, I thought to create something that truly resonates with me,” while still remaining highly danceable. When not incorporating samples, he explains, “I’m entirely free to experiment and make things that shouldn’t work but do (at least for me!). Like in ‘Time,’ for example. I aimed to convey beauty and hope amidst an emotional storm, creating a bridge with strings that radically shifts the vibe of an almost techno track.”
His motivations stemmed from feeling stagnant after “non-stop touring. I started to sense that I was no longer in motion… I was always occupied but felt I wasn’t evolving, feeling confined.” He ties it back: “Everything relates to movement, discovery, and shared experiences, whether that’s traveling, sports,
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I recognize Folamour from images of his face displayed on the bendy bus where his 'Movement Therapy' album launch is set to occur, just south of