New French single : Bonjour, Pardon, Merci - July 3rd, 2026

[Nmj]

I love Dansons as well as BPM… but what for me gives the edge to BPM, is the fact that it sounds more like classic Celine in the vocals… it feels like something we haven’t had from her in a long time. 
 

Dansons called for a beautiful simplicity and BPM, called for more of the beautiful vocals that we’ve been missing. 
 

again, I feel like comparing the two songs is like comparing a black coffee to a vodka cranberry. Each serve their own purpose. 
 

We can like both for different reasons, let’s not forget that it’s the same artist (Celine) who has “Treat Her Like A Lady” and “Tell Him” or “I Hate You Then I Love You” on the same album. 😂🤣

[mirage]

On 7/8/2026 at 1:25 PM, yoyoma88 said:

Spotify BPM

Day 1 : 343,846
Day 2 : 163,080 (-53% drop)

Day 3 : 118,289 (-27% drop)
Day 4 : 120,175 (+1.6% increase)

Total BPM : 745,390

Let's hope it stabilizes

That's not much is it? I am not surprised with the lack of 'promotion' and on the other hand I am.

They were on a roll with the insta videos. Maybe even a little video of her dancing on BPM and some words about it would gain more interest and reposts than just uploading the cover and some boring lyric video.

Sometimes it feels Sony deliberate ruins her music career.

Edited July 8, 2026 at 09:21 PM by mirage

[queenofvegas]

On 7/8/2026 at 1:28 AM, LukeD said:

No, he did not mean that people who do not speak French would not get the message. As you said, everyone can access translations. His comment was about the quality of the lyrics, their applicability and durability. And usually these are not criteria fans are concerned with as long as the beat and the vocals sound good. Especially fans in this forum, I will add. I will never forget how I organised the 'Survivor' game a few years back where each week members would vote to eliminate songs from Celine's catalogue - just about 30 to 40 members participated in the rounds focused on her English music, but when it came to her French music I ended up playing with just about 5 people. 😅 So the point Alex made was not about understanding the message of a specific song. He made a judgement based on contextual information as he has actually dived into Celine's French music. This has given him perspective to understand where BPM sits with the rest of her catalogue. And it is true that most members here lack this contextual information and I am not saying this to offend anyone. In my books, this is a well documented reality.  

Also, there IS a theme in comments of French speaking fans that the song is bland and that Celine's enunciation is not good. The last point especially is not something we can disregard by saying 'who cares'. People do care and if you remember most complaints about the 'Courage' album related to poor enunciation - sometimes it was difficult to understand what Celine was saying. And I think, as fans, we should be having these discussions that go beyond whether we like or dislike a song.

To end this on a positive note, my mom heard the song and she said it's brilliant, like 9/10. So yes, many people like it and that's great. If it performs well, I'll be happy.  

That's all well and good, but I was responding to the actual words said in his comment lol. It definitely comes across as if he said non French speakers don't truly understand the song and they're just picking up on the beat and rhythm. Which I don't think is true at all and why I felt the need to respond.

Slow ballads like Dansons, while good in its own right, are a much more acquired taste. And I don't think that has anything to do with the lyrical content.

[jolo87]

On 7/8/2026 at 9:46 AM, CelinesDIVO5 said:

With all due respect, I don’t think we can say that Mariah doesn’t give to her fans. I actually thought her most recent album was rather good. And she really puts together amazing packages for her anniversary albums. Like Celine, I believe Mariah actually cherishes her fans. She’s always worked hard on her music. She writes and spends countless hours in the studio. Even in recent recordings, you can hear the carefully placed layers of vocals, harmonies and backing vocals that she puts on her tracks. She re-records vocals for remixes. Whether or not you like her or her music, you cannot take away the fact that she works very hard, and takes a lot of stock in what she offers her fans. 

I just meant her live performances. She gives her all in the studio, yeah. But that's not how she gets paid. 

[yoyoma88]

Spotify BPM

 

Day 1 : 343,846

Day 2 : 163,080 (-53% drop)

 

Day 3 : 118,289 (-27% drop)

Day 4 : 120,175 (+1.6% increase)

Day 5 : 114,365 (-5% decrease)

 

Total BPM : 859,755

[CourageProject]

I think you guys are putting the song above just because it's from Celine, i know it's hard to seperate art from the artist. But this song is simple and more for the fans than it is for the public (so was Dansons). Some of you really need to start expecting less. What we've got is far more than we could've imagined a year ago

[jpatdeleon09]

On 7/9/2026 at 10:38 AM, yoyoma88 said:

Spotify BPM

 

Day 1 : 343,846

Day 2 : 163,080 (-53% drop)

 

Day 3 : 118,289 (-27% drop)

Day 4 : 120,175 (+1.6% increase)

Day 5 : 114,365 (-5% decrease)

 

Total BPM : 859,755

This is only spotify? We are counting streams only Spotify and YouTube. What more in other streaming platforms like Apple Music, Amazon, etc.?

[emiliejolie]

On 7/9/2026 at 6:16 AM, CourageProject said:

I think you guys are putting the song above just because it's from Celine, i know it's hard to seperate art from the artist. But this song is simple and more for the fans than it is for the public (so was Dansons). Some of you really need to start expecting less. What we've got is far more than we could've imagined a year ago

You are so right

[manu23]

On 7/9/2026 at 6:16 AM, CourageProject said:

I think you guys are putting the song above just because it's from Celine, i know it's hard to seperate art from the artist. But this song is simple and more for the fans than it is for the public (so was Dansons). Some of you really need to start expecting less. What we've got is far more than we could've imagined a year ago

True. She is making such an effort to overcome her illness and gain her voice back that it´s a pity she is not offered better songs. They are not bad, but just not what her came back deserved. Maybe in English...

[rodrigofreitas]

On 7/9/2026 at 1:30 AM, jpatdeleon09 said:

This is only spotify? We are counting streams only Spotify and YouTube. What more in other streaming platforms like Apple Music, Amazon, etc.?

That's just from Spotify.
We can only see figures for Spotify and YouTube; the other platforms do not show streaming numbers.

We can never expect high streaming numbers from Spotify, especially for a song in French.

Just a reminder: Deezer is a French platform and the most widely used one in the country. Consequently, the majority of streams Céline receives in France come from Deezer, and we cannot see them.

[CelinesDIVO5]

On 7/8/2026 at 9:45 PM, jolo87 said:

I just meant her live performances. She gives her all in the studio, yeah. But that's not how she gets paid. 

Exactly. That’s not how she gets most of her money these days, but she still churns things out for her fans despite that fact. 

[rodrigofreitas]

This 02 remixes are really good. Sony, wake up! 
 

 

[CelinesDIVO5]

On 7/9/2026 at 1:45 PM, rodrigofreitas said:

This 02 remixes are really good. Sony, wake up! 
 

 

They could so easily have used Celine’s vocal on these remixes.

Edited July 9, 2026 at 07:49 PM by CelinesDIVO5

[yoyoma88]

Spotify BPM

 

Day 1 : 343,846

Day 2 : 163,080 (-53% drop)

 

Day 3 : 118,289 (-27% drop)

Day 4 : 120,175 (+1.6% increase)

Day 5 : 114,365 (-5% decrease)

Day 6 : 110,875 (-3% decrease)

Total BPM : 970,630

 

[jpatdeleon09]

On 7/10/2026 at 1:45 AM, rodrigofreitas said:

This 02 remixes are really good. Sony, wake up! 
 

 

Yeah! They should release remixes as well. Like they did in Ashes. Maybe some french DJs can do that?

[Celinemaniac]

On 7/10/2026 at 8:57 AM, jpatdeleon09 said:

Yeah! They should release remixes as well. Like they did in Ashes. Maybe some french DJs can do that?

Nobody bothers. That's a fact.

[jpatdeleon09]

On 7/10/2026 at 6:27 PM, Celinemaniac said:

Nobody bothers. That's a fact.

Then, I guess they are already happy with the result

[Celinemaniac]

On 7/10/2026 at 5:21 PM, jpatdeleon09 said:

Then, I guess they are already happy with the result

 

Personally, if I were managing her career during all this downtime, I would have gotten Mark Ronson to do a mystical remix of "Refuse to Dance", just like the one he did for the legendary Mina's "Ancora ancora ancora", which got played in every club and radio station. And that's just one idea.

[Shaun]

UK Charts:

Official Downloads Chart: #70

Official Sales Chart: #76

[yoyoma88]

Spotify BPM

 

Day 1 : 343,846

Day 2 : 163,080 (-53% drop)

 

Day 3 : 118,289 (-27% drop)

Day 4 : 120,175 (+1.6% increase)

Day 5 : 114,365 (-5% decrease)

Day 6 : 110,875 (-3% decrease)

Day 7 : 100,991 (-9% decrease)

Total BPM : 1,071,621

[mebe]

The song is now down to only 153k on Youtube Music

[yoyoma88]

Madonna latest album just hit no 1 in U.S (125k) and U.K (50k). These are big numbers, and all is due to dedicated fans pushing sales buying multiple variants and great promo. 

There is no way Celine can ever hit that number in U.S. Courage hit 1 with 100k and that was a bundle. Her streaming power was even less than kylie. I applaud Madonna for her desire to try new thing and collab

I only can wish Celine can have that ambition. The thing is the more she is away from spotlight, the fans have moved on and less invested on her. Not to mention, her team and marketing effort. She almost had resurgence with Ashes but noone capitalized it. 

[mirage]

On 7/11/2026 at 12:43 AM, yoyoma88 said:

Madonna latest album just hit no 1 in U.S (125k) and U.K (50k). These are big numbers, and all is due to dedicated fans pushing sales buying multiple variants and great promo. 

There is no way Celine can ever hit that number in U.S. Courage hit 1 with 100k and that was a bundle. Her streaming power was even less than kylie. I applaud Madonna for her desire to try new thing and collab

I only can wish Celine can have that ambition. The thing is the more she is away from spotlight, the fans have moved on and less invested on her. Not to mention, her team and marketing effort. She almost had resurgence with Ashes but noone capitalized it. 

The promo has been crazy for this album, and she has like 18 versions of the album out. So really a collectors thing. Take in the great press the album has been getting.

[Ajax]

One thing Madonna has always had is a complete artistic vision. She doesn’t just care about the music—she cares about the entire package. The visuals, the artwork, the presentation, the storytelling… everything matters. She oversees it, she makes decisions, and she protects the identity of her work.

My issue with Céline isn’t necessarily that the people around her are incompetent. It’s that she herself doesn’t seem to care enough about those details. Just look at the artwork for her new single. It genuinely looks like a Windows desktop wallpaper from the late ‘90s. It’s unimaginative, dated, and completely disconnected from the importance of this comeback. It feels as though nobody stopped to ask whether this was really the best way to reintroduce one of the greatest singers of all time.

Musically, I think this comeback is a real disappointment.

I’m seeing more and more people expressing similar opinions. Some are even wondering whether AI played a role because of the odd lyrics and the strangely artificial overall feel. The tempo feels rushed, the vocal production sounds unnatural, the processing is obvious, and the pronunciation is, frankly, painful. It’s simply not an enjoyable listen.

What makes this even more confusing is the context.

Céline suddenly spoke with remarkable honesty and precision about her vocal condition. She explained that she no longer wanted audiences to hear the version of her voice she was unhappy with, and that she was working tirelessly to rebuild it. I have nothing but respect for that. I don’t blame her for not being able to archive it, she’s sick,and I certainly don’t expect miracles. But even if her voice isn’t fully back, there were still artistic choices available. They could have slowed the song down. They could have adapted the melodies. They could have paid closer attention to pronunciation. Above all, they could have produced the song in a way that genuinely complemented the voice she has today.

Love Again is a good example. Technology was used there to support her voice without drawing attention to itself. The production was tasteful, polished, and elegant. It enhanced her performance instead of exposing its weaknesses. Ironically, her voice today is probably in better shape than it was then, yet this new release sounds considerably less refined.

But what surprises me most is the complete lack of artistic ambition.

After everything she’s lived through, this could have been the defining studio album of her career. Imagine Céline spending a year or two with just one or two exceptional writers and producers, exploring entirely new musical territory. Writing about grief, illness, resilience, identity, fear, hope… discovering how her new voice wants to express itself instead of trying to recreate the old one.

Instead, it feels like the traditional approach: songs are pitched, selected, recorded quickly, and assembled into a product. The result feels disposable—generic songs, generic production, and very little artistic identity.

People often say, “But Céline is a live performer.”

I know she is.

But that doesn’t explain why her studio output has to remain so artistically conservative, and bad.  The fact that she’s a stage artist shouldn’t prevent her from making a genuinely beautiful, thoughtful, and deeply personal album. If anything, everything she’s experienced over the last few years should have inspired exactly that.

I’m embarrassed by this release  really  

Shania Twain also lost her voice too yet she didn’t stop either on stage. Fine with that.  There are countless ways to build a successful live show around a different voice, through playback. I suspect that’s ultimately what Céline will do as well: present audiences with the illusion of the “old Céline” through an extraordinary production, likely with significant playback support.

What also troubles me is the communication.

We were given unprecedented transparency. Detailed explanations about the diagnosis. About the vocal rehabilitation. About refusing to sing unless the voice met her own standards.

Then… silence.

And eventually, this.

As a fan, that’s difficult to process.

Not because her voice has changed—I accepted that a long time ago.

What’s difficult is that none of the artistic decisions surrounding this comeback seem to reflect everything she herself taught us to expect over the last few years.

That’s why this feels less like an artistic rebirth and more like a missed opportunity.

And perhaps that’s what saddens me the most.

[Celinemaniac]

On 7/11/2026 at 10:23 AM, Ajax said:

One thing Madonna has always had is a complete artistic vision. She doesn’t just care about the music—she cares about the entire package. The visuals, the artwork, the presentation, the storytelling… everything matters. She oversees it, she makes decisions, and she protects the identity of her work.

My issue with Céline isn’t necessarily that the people around her are incompetent. It’s that she herself doesn’t seem to care enough about those details. Just look at the artwork for her new single. It genuinely looks like a Windows desktop wallpaper from the late ‘90s. It’s unimaginative, dated, and completely disconnected from the importance of this comeback. It feels as though nobody stopped to ask whether this was really the best way to reintroduce one of the greatest singers of all time.

Musically, I think this comeback is a real disappointment.

I’m seeing more and more people expressing similar opinions. Some are even wondering whether AI played a role because of the odd lyrics and the strangely artificial overall feel. The tempo feels rushed, the vocal production sounds unnatural, the processing is obvious, and the pronunciation is, frankly, painful. It’s simply not an enjoyable listen.

What makes this even more confusing is the context.

Céline suddenly spoke with remarkable honesty and precision about her vocal condition. She explained that she no longer wanted audiences to hear the version of her voice she was unhappy with, and that she was working tirelessly to rebuild it. I have nothing but respect for that. I don’t blame her for not being able to archive it, she’s sick,and I certainly don’t expect miracles. But even if her voice isn’t fully back, there were still artistic choices available. They could have slowed the song down. They could have adapted the melodies. They could have paid closer attention to pronunciation. Above all, they could have produced the song in a way that genuinely complemented the voice she has today.

Love Again is a good example. Technology was used there to support her voice without drawing attention to itself. The production was tasteful, polished, and elegant. It enhanced her performance instead of exposing its weaknesses. Ironically, her voice today is probably in better shape than it was then, yet this new release sounds considerably less refined.

But what surprises me most is the complete lack of artistic ambition.

After everything she’s lived through, this could have been the defining studio album of her career. Imagine Céline spending a year or two with just one or two exceptional writers and producers, exploring entirely new musical territory. Writing about grief, illness, resilience, identity, fear, hope… discovering how her new voice wants to express itself instead of trying to recreate the old one.

Instead, it feels like the traditional approach: songs are pitched, selected, recorded quickly, and assembled into a product. The result feels disposable—generic songs, generic production, and very little artistic identity.

People often say, “But Céline is a live performer.”

I know she is.

But that doesn’t explain why her studio output has to remain so artistically conservative, and bad.  The fact that she’s a stage artist shouldn’t prevent her from making a genuinely beautiful, thoughtful, and deeply personal album. If anything, everything she’s experienced over the last few years should have inspired exactly that.

I’m embarrassed by this release  really  

Shania Twain also lost her voice too yet she didn’t stop either on stage. Fine with that.  There are countless ways to build a successful live show around a different voice, through playback. I suspect that’s ultimately what Céline will do as well: present audiences with the illusion of the “old Céline” through an extraordinary production, likely with significant playback support.

What also troubles me is the communication.

We were given unprecedented transparency. Detailed explanations about the diagnosis. About the vocal rehabilitation. About refusing to sing unless the voice met her own standards.

Then… silence.

And eventually, this.

As a fan, that’s difficult to process.

Not because her voice has changed—I accepted that a long time ago.

What’s difficult is that none of the artistic decisions surrounding this comeback seem to reflect everything she herself taught us to expect over the last few years.

That’s why this feels less like an artistic rebirth and more like a missed opportunity.

And perhaps that’s what saddens me the most.

 

I agree with every single word.

 

[emiliejolie]

On 7/11/2026 at 9:23 AM, Ajax said:

One thing Madonna has always had is a complete artistic vision. She doesn’t just care about the music—she cares about the entire package. The visuals, the artwork, the presentation, the storytelling… everything matters. She oversees it, she makes decisions, and she protects the identity of her work.

My issue with Céline isn’t necessarily that the people around her are incompetent. It’s that she herself doesn’t seem to care enough about those details. Just look at the artwork for her new single. It genuinely looks like a Windows desktop wallpaper from the late ‘90s. It’s unimaginative, dated, and completely disconnected from the importance of this comeback. It feels as though nobody stopped to ask whether this was really the best way to reintroduce one of the greatest singers of all time.

Musically, I think this comeback is a real disappointment.

I’m seeing more and more people expressing similar opinions. Some are even wondering whether AI played a role because of the odd lyrics and the strangely artificial overall feel. The tempo feels rushed, the vocal production sounds unnatural, the processing is obvious, and the pronunciation is, frankly, painful. It’s simply not an enjoyable listen.

What makes this even more confusing is the context.

Céline suddenly spoke with remarkable honesty and precision about her vocal condition. She explained that she no longer wanted audiences to hear the version of her voice she was unhappy with, and that she was working tirelessly to rebuild it. I have nothing but respect for that. I don’t blame her for not being able to archive it, she’s sick,and I certainly don’t expect miracles. But even if her voice isn’t fully back, there were still artistic choices available. They could have slowed the song down. They could have adapted the melodies. They could have paid closer attention to pronunciation. Above all, they could have produced the song in a way that genuinely complemented the voice she has today.

Love Again is a good example. Technology was used there to support her voice without drawing attention to itself. The production was tasteful, polished, and elegant. It enhanced her performance instead of exposing its weaknesses. Ironically, her voice today is probably in better shape than it was then, yet this new release sounds considerably less refined.

But what surprises me most is the complete lack of artistic ambition.

After everything she’s lived through, this could have been the defining studio album of her career. Imagine Céline spending a year or two with just one or two exceptional writers and producers, exploring entirely new musical territory. Writing about grief, illness, resilience, identity, fear, hope… discovering how her new voice wants to express itself instead of trying to recreate the old one.

Instead, it feels like the traditional approach: songs are pitched, selected, recorded quickly, and assembled into a product. The result feels disposable—generic songs, generic production, and very little artistic identity.

People often say, “But Céline is a live performer.”

I know she is.

But that doesn’t explain why her studio output has to remain so artistically conservative, and bad.  The fact that she’s a stage artist shouldn’t prevent her from making a genuinely beautiful, thoughtful, and deeply personal album. If anything, everything she’s experienced over the last few years should have inspired exactly that.

I’m embarrassed by this release  really  

Shania Twain also lost her voice too yet she didn’t stop either on stage. Fine with that.  There are countless ways to build a successful live show around a different voice, through playback. I suspect that’s ultimately what Céline will do as well: present audiences with the illusion of the “old Céline” through an extraordinary production, likely with significant playback support.

What also troubles me is the communication.

We were given unprecedented transparency. Detailed explanations about the diagnosis. About the vocal rehabilitation. About refusing to sing unless the voice met her own standards.

Then… silence.

And eventually, this.

As a fan, that’s difficult to process.

Not because her voice has changed—I accepted that a long time ago.

What’s difficult is that none of the artistic decisions surrounding this comeback seem to reflect everything she herself taught us to expect over the last few years.

That’s why this feels less like an artistic rebirth and more like a missed opportunity.

And perhaps that’s what saddens me the most.

I do agree with every single word you wrote. I do thank you for this.

[rachel9767]

On 7/11/2026 at 8:23 AM, Ajax said:

One thing Madonna has always had is a complete artistic vision. She doesn’t just care about the music—she cares about the entire package. The visuals, the artwork, the presentation, the storytelling… everything matters. She oversees it, she makes decisions, and she protects the identity of her work.

My issue with Céline isn’t necessarily that the people around her are incompetent. It’s that she herself doesn’t seem to care enough about those details. Just look at the artwork for her new single. It genuinely looks like a Windows desktop wallpaper from the late ‘90s. It’s unimaginative, dated, and completely disconnected from the importance of this comeback. It feels as though nobody stopped to ask whether this was really the best way to reintroduce one of the greatest singers of all time.

Musically, I think this comeback is a real disappointment.

I’m seeing more and more people expressing similar opinions. Some are even wondering whether AI played a role because of the odd lyrics and the strangely artificial overall feel. The tempo feels rushed, the vocal production sounds unnatural, the processing is obvious, and the pronunciation is, frankly, painful. It’s simply not an enjoyable listen.

What makes this even more confusing is the context.

Céline suddenly spoke with remarkable honesty and precision about her vocal condition. She explained that she no longer wanted audiences to hear the version of her voice she was unhappy with, and that she was working tirelessly to rebuild it. I have nothing but respect for that. I don’t blame her for not being able to archive it, she’s sick,and I certainly don’t expect miracles. But even if her voice isn’t fully back, there were still artistic choices available. They could have slowed the song down. They could have adapted the melodies. They could have paid closer attention to pronunciation. Above all, they could have produced the song in a way that genuinely complemented the voice she has today.

Love Again is a good example. Technology was used there to support her voice without drawing attention to itself. The production was tasteful, polished, and elegant. It enhanced her performance instead of exposing its weaknesses. Ironically, her voice today is probably in better shape than it was then, yet this new release sounds considerably less refined.

But what surprises me most is the complete lack of artistic ambition.

After everything she’s lived through, this could have been the defining studio album of her career. Imagine Céline spending a year or two with just one or two exceptional writers and producers, exploring entirely new musical territory. Writing about grief, illness, resilience, identity, fear, hope… discovering how her new voice wants to express itself instead of trying to recreate the old one.

Instead, it feels like the traditional approach: songs are pitched, selected, recorded quickly, and assembled into a product. The result feels disposable—generic songs, generic production, and very little artistic identity.

People often say, “But Céline is a live performer.”

I know she is.

But that doesn’t explain why her studio output has to remain so artistically conservative, and bad.  The fact that she’s a stage artist shouldn’t prevent her from making a genuinely beautiful, thoughtful, and deeply personal album. If anything, everything she’s experienced over the last few years should have inspired exactly that.

I’m embarrassed by this release  really  

Shania Twain also lost her voice too yet she didn’t stop either on stage. Fine with that.  There are countless ways to build a successful live show around a different voice, through playback. I suspect that’s ultimately what Céline will do as well: present audiences with the illusion of the “old Céline” through an extraordinary production, likely with significant playback support.

What also troubles me is the communication.

We were given unprecedented transparency. Detailed explanations about the diagnosis. About the vocal rehabilitation. About refusing to sing unless the voice met her own standards.

Then… silence.

And eventually, this.

As a fan, that’s difficult to process.

Not because her voice has changed—I accepted that a long time ago.

What’s difficult is that none of the artistic decisions surrounding this comeback seem to reflect everything she herself taught us to expect over the last few years.

That’s why this feels less like an artistic rebirth and more like a missed opportunity.

And perhaps that’s what saddens me the most.

I can’t agree more😪 And again taking Madonna as the example, having that unique artistic vision is always the most iconic abt her and what makes her to reach the top, we probably can’t ask the same for Celine as said what Celine love  most and always deliver is live performances, and we the fans never question that, but as one of the best singer of all time like Madonna there’s no excuse, not for just the singer herself but the whole team, found anything lacking and can’t resolve on your own? Go and reach for a better team who can achieve more! That’s how the showbiz, or say the game works tbh, unfortunately it’s a competition after all, you have to make the right choice and do the best in every way possible to keep being at the top.

[yoyoma88]

I don't know why, but there seems to be a reason the team wants her out of spotlight before the show.

Like they don't even think to share a picture of celine in studio, or recording a video message when dansons or BMP was released.

Like as if they want to keep her looks a secret and reveal it in Sept. To me the songs are just made to fit her Paris announcement.

Her new management with Glastry Management is the worse. The management only have Rolling Stones and her as big artist and fail in every way when it comes to marketing. 

Her monthly followers just sit at 18 million. It's abysmal. Most of her listeners were just gone and move on. She lost lots of casual fans since 2020 and her illness, but the team could have done something better to regain them back

She needs to do a power ballad with big dramatic music and music video like It's All Coming Back. Of all female artists, she is known for this over-the-top ballad and people like her like that

[sarit_celine]

Celine is a hell of a strong woman given the health situation she has to deal it but that doesn't mean they should give her s$%@$% of new music to record. If it takes more time to find the songs that thouch the heart deep within - so it be.

[Ajax]

Yes, it’s fair to say that her team sucks ok. But that still doesn’t explain why Céline herself seems unable to build a truly meaningful studio album. Why approve these songs? Why approve these vocal takes? Why approve this production? Why not be being able to build a concept and explore new directions, take times with one composer.

On every fan forum, you see the same explanation: “There’s a bigger strategy behind it. These songs are just meant to keep us engaged until the real comeback—the concerts.”

But these songs still carry her name, her image, and her artistic identity. They become part of her legacy, whether they’re intended as placeholders or not.

That’s what I struggle to understand.

The gap between the depth and complexity of everything she’s been through—which should naturally become an extraordinary source of artistic inspiration—and the complete mediocrity of these two songs and everything around it is astonishing. And I don’t say that cynically.

When you consider her talent, even the actual voice I would say? the extraordinary resources at her disposal—financially, creatively, and through the incredible network of writers, producers, and musicians she could work with—it’s almost impossible to understand how these are the songs that emerged.

Especially after everything she herself has said over the doc about her voice, her standards, and her artistic intentions.

To me, it’s a complete mystery.

Edited July 11, 2026 at 12:40 PM by Ajax