A Brighton-based musician has described being caught up in civil unrest while performing in Paris as one of the most extraordinary situations he has ever encountered.
Joe Delaney-Stone, aged 30, was touring with his group Dutch Criminal Record when their vehicle was burgled during disturbances in the French capital on Saturday, October 17.
Equipment including laptop computers, passports and external hard drives went missing shortly before the group were scheduled to perform, after the band members and audience members had sought refuge inside the venue to avoid tear gas that had begun spreading through the surrounding streets.
Joe recounted observing makeshift barricades constructed from burning shared bicycles, alongside officers from the riot division deploying tear gas munitions in the surrounding thoroughfares.
The quartet, who have maintained their lineup for twelve years, originally hail from the Brighton area and attended the same educational institution in Chichester.
The ensemble had already relocated their scheduled concert from Supersonic Records following warnings from their event organiser that demonstrations were anticipated in the vicinity of that establishment.
The decision to proceed with the performance despite the volatile situation was driven by financial considerations, as cancellation would have resulted in forfeiture of their performance fees.
The concert was subsequently moved to a venue named Le Truskel.
Upon arrival, the demonstrations visible from the location initially appeared peaceful.
The group unloaded their musical equipment and parked their van directly in front of the performance space.
When the musicians ventured out to purchase food following their soundcheck at approximately six in the evening, the character of the surrounding area had shifted dramatically.
The roadways had become deeply disordered.
As the two band members navigated their return along Rue de Montmartre, law enforcement officers deployed to contain the unrest arrived at an intersection approximately fifty metres from the venue where the group was scheduled to perform.
Officers discharged approximately five to six canisters of tear gas in the direction of demonstrators, who responded by hurling glass containers at police vehicles before falling back and constructing additional barricades.
The musicians sprint to reach the venue.
Joe indicated that both he and his colleague received substantial exposure to the chemical irritant as authorities deployed the gas.
The musicians managed to exit the affected area promptly, though the experience proved deeply uncomfortable.
Back at the performance space, audience members had already begun gathering outside when the tear gas began drifting toward them.
Alarmed for the assembled crowd, the band requested that venue personnel admit everyone inside ahead of schedule.
The group remained sheltered within the building for approximately sixty minutes, anticipating that the situation would subside.
At around half past eight in the evening, Joe ventured outside to retrieve his performance attire from the van and discovered a shattered window.
Baggage containing personal effects had been removed, with debris scattered across the pavement.
The theft proved especially distressing for bassist Sam, a music production professional whose stolen computer contained ongoing work for clients.
The situation exceeded immediate comprehension in that moment.
Following removal of the broken glass, the band proceeded with their performance.
Joe noted that the group initially required time to compartmentalise the traumatic occurrence, though the assembled audience provided meaningful support throughout the evening.
The group reflected that performing felt analogous to a string ensemble continuing to play while catastrophe unfolded around them.
The incongruity of presenting a concert amid such turmoil seemed extraordinary.
However, the devotion of their followers proved transformative; when the first composition commenced, audience members demonstrated their familiarity by singing along with the lyrics, and the crowd substantially lifted the performers’ spirits.
Ultimately, the concert proved highly successful.
The ensemble initiated a crowdfunding campaign to reimburse stolen items and address vehicle damage.
Joe noted that the touring lifestyle inherently involves a precarious financial equation, with expenses frequently surpassing income.
The vandalism and theft, with losses estimated at approximately two thousand three hundred pounds, represented an additional hardship.
At the time of publication, the campaign had accumulated two thousand pounds in contributions.
Joe indicated that any funds exceeding the two thousand three hundred pound target would be donated to Fondation de France, an organisation backing educational initiatives.
This decision was intended to honour the original student demonstrators’ demands for enhanced schooling, additional educators and investment in their prospects, concerns Joe believed had been obscured by the accompanying violence.
The group expressed particular gratitude toward those who had offered assistance.
The response surpassed expectations, leaving them profoundly moved and genuinely lost for adequate words to convey their appreciation.