Isabelle Boulay - Nos Lendemains (2008)

1.    "Dieu des amours" — 2:54
2.    "Nos Lendemains" — 3:11
3.    "Ton Histoire" — 3:31
4.    "Où est ma vie?" — 3:21
5.    "Ne me dis pas qu'il faut sourire" — 3:20
6.    "Coucouroucoucou Paloma" — 3:50
7.    "L'amour d'un homme" — 3:13
8.    "Juste une étoile" — 3:00
9.    "N'aimer que t'aimer" — 3:59
10.    "Reviens, reviens, reviens" — 3:01
11.    "L'appuntamento" — 3:57
12.    "Je ne t'en veux pas" — 3:41
13.    "Vouloir t'aimer" — 3:58

Isabelle Boulay – Vocals
Denis Benarrosch -  Drums, Percussion
Marc Berthoumieux - Accordion
Benjamin Biolay - Piano, Trumpet
Dominique Blanc-Francard - 6-String Electric Bass, Arranger, Castanets, Celeste, Guitar, 
Musical Direction, Organ (Hammond), Percussion, Piano, Realization, Tamboura, Vibraphone
Jean Pierre "Titi" Bucolo - Dobro, Guitar 
Nathalie Carlucci - Alto
Hervé Cavelier - Violone
Laurent Coppola - Drums
Jean-Claude Ghrenassia - Contrabass
Emmanuel Guerrero - Clavier, Direcccion de Cuerdas
Cyril Guignier - Alto
Agnès Hampartzoumian - Choeurs
Patrick Hampartzoumian - Percussion, Programming
Florence Hennequin - Cello
Alain Lanty - Fender Rhodes, Piano
Vanessa Menneret - Alto
Eric Sauviat - Dobro, Guitar, Guitar (Acoustic), Guitar (Electric), Mandoline, Ukulele
Jacques Vénéruso - Choeurs, Guitar
Florence Veniant - Violone
Laurent Vernerey - 6-String Electric Bass

Part of the Franco-country movement in Quebec, but entirely separate in tone from some of the older notables, Isabelle Boulay takes a more modern, more somber approach to her music, as shown on Nos Lendemains. The tone on her 2008 album is generally one of mild sadness, with Boulay imbuing her vocals with just a touch of melancholy. The tone, however, is served extraordinarily well by Boulay, fitting herself into the mood precisely and carrying the listener through a form of modern country music that doesn't come off as manufactured or simple, but instead suggests a Western take on something like Portuguese fado. The blues is inherent in her delivery, and her vocals can silkily portray that melancholy without becoming another drop in the proverbial river of down-spirited country music. With the exception of a couple of foreign-language pieces, the majority of Nos Lendemains is written specifically for Boulay (largely by French pop songwriters, with a few major names included), and capitalizes on the quality of her voice. Her quiet vocal tinkerings can easily outshine the boldest attempts to perform a simple country song by some of the more stereotypical Francophone divas. --- Adam Greenberg, Rovi

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