He Doesn't Touch a Fader Until He's Listened
In Marseille's venues he works the same way. The sound check starts and Bruno stays still, not moving anything, while the band asks if he's ready. He's not listening to the band or the mic: he's listening to the room. And only once he understands it does he touch anything, all at once, and the space comes alive. Stillness isn't his weak point; it's the tool. He'd rather have his work valued than be told he's a nice guy.







