Jane Birkin in Deauville, France, in 1985. | Photo by Roland Godefroy

One half of the duo responsible for one of the sexiest songs of all time, Jane Birkin wears her intimacy on her sleeve.

Now, over forty years after recording “Je t’aime… moi non plus” with her then-lover Serge Gainsbourg, the British singer-turned-activist is getting intimate with concertgoers once again. This time, it’s not only to honor that famed former lover, but also to pay tribute to Japan, still reeling from a March earthquake and tsunami that killed thousands and sparked a nuclear horror story just days after the twentieth anniversary of Gainsbourg’s death.

Having already performed Gainsbourg’s oeuvre in just about every way imaginable, Birkin says she was reluctant to do it again. “Why do another tour, another concert?” Birkin asks in the tour’s foreword, a mission statement of sorts. But the Japanese disaster was her catalyst. Wearing that heart on her sleeve, she needed to do something, and the now 64-year-old songstress turned to “the only thing I can do”: a concert.

With Gainsbourg’s formidable collection of works at her disposal, the Briton set off for Tokyo to perform the songs of Serge once again, and with the help of Japanese musicians.

That initial Tokyo performance led to the international Serge Gainsbourg & Jane Via Japan tour, which stops in D.C. on Friday

Born in London, Jane Birkin won over the heart of M. Gainsbourg — and of France — as an aspiring actress in the late sixties. The charming, bucktoothed anglaise was catapulted into fame by her relationship with the notorious Gainsbourg, who had recently broken ties with bombshell Brigitte Bardot, and their scandalous first hit, the breathy and sensual “Je t’aime… moi non plus.” She remained Gainsbourg’s muse, even after they split, right up until his death in 1991. Birkin’s a Cesar-nominated actress, mother to French star Charlotte Gainsbourg, the iconic namesake of Hermès’ signature leather bag and a humanitarian known for her work backing Burmese democracy and Amnesty International.

But Birkin’s decade-spanning career has brought her back to where she began: Singing intimate songs written for her by her hero: Serge.

Tickets are still available for “An Evening With Jane Birkin” at D.C.’s 9:30 Club on Friday (doors open at 6 p.m.).

A number of Serge Gainsbourg’s and Jane Birkin’s albums, including “Jane,” “Arabesque” and “Rendez-Vous,” are available for checkout at the Alliance Française Library. Also check out Joann Sfar’s film “Gainsbourg: Une vie héroïque” (also available at the library) for Lucy Gordon’s interpretation of a young Birkin.

By Abby

Six local bands and a DJ performed, each set up at different locations inside and outside the Alliance. A selection of wine and grilled sausage sandwiches complemented the atmosphere, encouraging those present to stay throughout the evening.

The video below will reveal an eclectic collage of the night’s performances:

Those in attendance were eager to share their impressions of the evening:

“Good mix of different types of music, nationalities, and languages!” – Sandra Gagna

“The best band of the evening was the Bitter Dose Combo: an accordion for the gypsy vibe and trumpet for a retro rhythm. Ingenious use of indoor area, patio, and garage.” – Dana Pirvu

“Sausages on the patio: you can’t go wrong!” – Jean-Paul George

“I think it was really put together. I would absolutely play here again. This is a really good environment.” – Julie Ouedraogo, vocalist of Poets of Unk

We look forward to seeing you next year!

The day continued with merriment and cheer that seemed almost surreal. My friends and I danced, sang and met interesting people who we couldn’t have met under any other circumstance. This was one of those invaluable experiences that help you rediscover the commonality of people everywhere and the importance of dancing.

Barcella and his guitar were framed by a window view of the sky at dusk, and in front of them, an audience of attentive listeners who kept tapping their feet as Barcella filled the room with heartfelt music.

“Est-ce que la vie est comment une scène du film?” asks one song. “I always make a pause and ask myself questions,” explains Barcella during an interview after his musical performance. “I see my past and present to analyze my present.”

Barcella regards words as extremely important. “I am sure that words in my songs are not a coincidence. Words are like a therapy to me,” he declares.

Barcella has fun with words. It is almost as if those words were made of clay and Barcella were giving them shape in front of his audience’s eyes. He sings quickly, and he sings slowly. He takes the construction of words to its very limits.

“I remember all that happens in my life. I vibrate like my guitar and I give off songs, just like my guitar. I write about life and things people can relate to with sensibility,” confesses Barcella.

In fact, Barcella never wastes an opportunity to compose a new song. He explains that he often records words that he finds “beautiful” into his iPhone. “Every time I go through an emotion, I hear it as music. I also make a video of myself with my iPhone when I have found inspiration, and then work on the song when I get home.”

“Do you think of yourself as a magician of words?” is my last question to Barcella. His answer perfectly sums up all of his creative spirit: “Ce les mots qui sont magics.”

Barcella at the Alliance Française de Washington