Because Beaubourg: Backstage at the Centre Pompidou's Last Hurrah

Friday, 24 October, morning. It’s not yet 11am, and a long queue forms across the Piazza ahead of the building’s opening, under a bright autumn sky. The Centre Pompidou and Because Music teams are buzzing with energy – fine-tuning, adjusting, solving last-minute details – rushing in all directions, clad in the “crew” black outfits of the event.

The daytime programming, entirely free, was designed to appeal to all audiences. Children and families enjoyed creative workshops on Level 3, along with chocolate cake and hot or cold drinks. Architectural tours, open to all ages, drew numerous enthusiasts. A rich schedule of film screenings, talks, debates and performances rounded out the offering.

On Level 2 – where the exhibition dedicated to German artist Wolfgang Tillmans was recently held – two immersive experiences awaited. One, Iris Augmented, was created especially for the occasion by the electro duo Justice; the other, Camera/Man, was by Thomas Bangalter, one half of Daft Punk. A long corridor connected the two, cutting across a 6,000-square-metre expanse. A table here, a few books forgotten on a shelf there – the worn carpet bore the footprints of countless readers from the Centre Pompidou’s former public library.

On Level 4 – now cleared of artworks, some evoked only as ghostly presences – visitors discovered a new set of installations. Many were participatory: some offered a chance to explore iconic works by artist Jonathan Yeo through augmented reality glasses, others invited guests to customise T-shirts in the space once dedicated to Plight by German artist Joseph Beuys. Artist Shygirl presented a multisensory environment exploring themes from her album Alias, while rapper Shay curated the Jolie Garce Club, a journey through her career and artistic identity. Nearby, a France Culture corner hosted appearances by featured artists: Sébastien Tellier, Pedro Winter…

Beaubourg will not offer, to eyes that grant them no life, mute collections of objects petrified in death. Beaubourg will be a living place, a space for research and creative confrontation, like the first museum recorded in history: that of Alexandria.
Prime Minister Jacques Chirac, 1974

Higher up, on Level 6 – the rooftop of Paris, with views of Montmartre – thrill-seekers laced up roller skates and danced under a giant disco ball to high-energy DJ sets by Breakbot & Irfane, Jérémy Chatelain, Marine Neuilly… Even the bearded Sébastien Tellier was spotted roaming about before his own showcase. Skilled skaters showed off spins and stunts to the delight of the crowd. Across the way, in the now-empty Georges restaurant facing the Tour Saint-Jacques, performances by Midas the Jagaban, Maureen, Klyne and others kept the energy high.

Every corner of the building was filled – everyone wanted to experience one last moment at Beaubourg. Visitors grabbed drinks or snacks from numerous stands, lingered in the golden light admiring the views over Paris, and chatted about everything and nothing. Meanwhile, in the former Galleries 3 and 4 on Level 1 – merged for the occasion – performers from across the musical spectrum took to the stage: Catherine Ringer, Christine and the Queens, Keziah Jones… and a surprise appearance by Aya Nakamura, who joined her protégé RnBoi to the delight of an ecstatic teenage crowd, singing along to every hit. A passing influencer sparked a frenzy – fans chased after him for selfies and TikToks… only to realise it wasn’t who they thought. It didn’t matter – the crowd flowed back toward the Forum.

This was the heart of the party, beneath the watchful eye of Georges Pompidou, whose anamorphic portrait by artist Victor Vasarely hung from the ceiling. As the upper floors closed each evening, the audience streamed back down, as if drawn by an invisible compass. All eyes turned to the Children’s Gallery, transformed into a DJ booth. Friday night into Saturday was hosted by DEEWEE Club Night, while Saturday into Sunday went 100% ED BANGER RECORDS, featuring Pedro Winter on the decks and the electrifying Mayou Picchu.

At 3am, the excitement reached its peak. Rumours of a major surprise swirled through the crowd. And then it happened: alongside DJs Fred Again (who had appeared unannounced), Erol Alkan and Busy P, emerged none other than… Thomas Bangalter – without his Daft Punk helmet. Collective hysteria. Over 18 years since the legendary duo’s last live show (Alive tour, 2007), Bangalter took over the turntables for a blazing set, opening with a sample of Jacques Chirac’s 1974 speech to the French National Assembly in defence of the then-forthcoming Centre Pompidou. What followed was a stream of Daft Punk’s greatest hits (“Contact”, “Rollin’ & Scratchin’”, “Digital Love”), alongside tracks from The Chemical Brothers and the late DJ Mehdi. The vibe was that of an electro mass.

The night owls kept the party going until the early hours of the morning, in an atmosphere of rare fervour and shared experience. Everyone is now convinced: this final Because Beaubourg evening is one of those moments that will remain etched in the memories of those lucky enough to be there and will mark the history of the place forever. Because more than anything, it was the iconic building itself that was being celebrated. ◼