As the third edition of Émergences musicales Montreux-Riviera, organised by the Fondation de la Saison Culturelle de Montreux in partnership with the Caux Initiatives of Change Foundation, approaches, the Caux Palace – an iconic venue perched above Montreux between the sky, mountains and Lake Geneva – is once again set to become an extraordinary creative laboratory.

The little sister of the famous ‘Rencontres d'Astaffort’ founded more than thirty years ago by Francis Cabrel in his native village in south-western France, Émergences Musicales and its artistic residency perpetuate the same spirit: to reveal, support and inspire new French-speaking talent.

Each year, nine young French-speaking artists are chosen to perfect their writing, composition and stage presence alongside recognised professionals in an inspiring setting that breaks the solitude of an artist's early days and encourages encounters, particularly through intimate concerts, but also through cultural mediation activities.

It was in this Belle Époque setting that the young Swiss artist Farah Erfani had a life-changing experience in December 2024. The 25-year-old guitarist, author, composer and performer talks to us about her experience at Émergences Musicales 2024 and her artistic journey, between family heritage, the quest for authenticity and an unexpected connection with the Caux Palace.

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Farah, tell us about your musical journey and how it has shaped your artistic identity.

Farah: I started playing classical guitar at the age of 10 and studied it in Lucerne, although I also play electric and baroque guitar. At 14, I wrote my first songs in English, but it wasn't until I was 22 that I started writing in French, initially to pass the time on the train when I couldn't practise my instrument. To be honest, I didn't take it very seriously, but I soon noticed that people liked these songs and found them appealing.

Two years ago, I took a year off at the beginning of my master's degree because I wanted to work on and improve my guitar technique. At the same time, I thought it would be fun to develop my songwriting skills. One thing led to another, and without really realising it, I slipped into a professional career in this field. In early 2024, after a break-up, I decided to prepare my first solo concert, ‘Gainsbourg et moi’ (Gainsbourg and Me), and I started composing and arranging Serge's songs.

Your family has a deep connection with Caux. Can you tell us about it?

Farah: Yes, and it's a pretty crazy story that begins before the Second World War and spans two generations. It all started in England with my grandmother and her first husband, John Howard, brother of Peter Howard, a figure in the Initiatives of Change movement in the 1960s. When John died during the war in the Netherlands, a Dutch family who had taken him in, wrote to my grandmother. She decided to go to the Netherlands and met the eldest son of that family... who became my grandfather, and, as they say, ‘the rest is history’. An even more incredible detail: my grandfather was born on exactly the same day as John Howard.

Decades later, my mother discovered a book about Peter Howard. Fascinated, she contacted Initiatives of Change in London and was invited to a conference in Caux. That's where she met my father, and their love story began on the steps in front of the Caux theatre. They married in 1985. So Caux has been part of my story even before I was born.

How did it feel to come to the Caux Palace with this family history, but also as an artist?

Farah: There was a certain magic in discovering the place where my parents met. It was a bit mythical, because I had heard about Caux since I was a child without ever having been there. I retraced their meeting by seeing the benches, corridors and rooms of the Palace.

Caux is where my parents met. During my stay in Caux, I was walking in their footsteps.

In 2024, you were chosen as a young emerging French-speaking artist to come to Caux. What moments from the Émergences Musicales 2024 made the biggest impression on you?

Farah: It's hard to choose, because there were so many, but the most powerful moment was singing the song ‘Les maisons’ as lead singer in front of 400 people, without a guitar, accompanied by a band. I almost always accompany myself. Thanks to this experience, I discovered that I love just to sing - and that, obviously, the audience does too.

How did the residency shape your writing or your vision for your career?

Farah: I feel like this residency helped me understand my style, because I had to confront my artistic universe with others, which allowed me to put my work into perspective.

And in terms of my “career”, meeting and talking to other people who want the same thing helped me understand where I was and what paths were open to me.

Was there a particular project that was born or transformed in Caux?

Farah: Yes, the song ‘Les maisons’ had a profound effect on me personally. I also had an important encounter: Samir Flynn. We come from very different worlds, he from rap, I from classical music, but ‘Les maisons’ brought us together. This song deals precisely with the theme of upheavals, encounters and farewells in life.

This residency helped me understand my style, because I had to confront my artistic universe with others, which allowed me to put my work into perspective.

Speaking of your vision as an artist, what values guide your music and how do they translate into your compositions or performances?

Farah: I think that, fundamentally, I am dissatisfied with the present, both on a personal and societal level. In search of a remedy for this emptiness, I turn to the past and possible futures. Perhaps I am chronically dissatisfied with myself and my surroundings — but not out of negativity, rather out of idealism. So my songs are often tinged with nostalgia for a time I never knew. I'm looking for landmarks, direction, hope... And in the midst of all that, love comes along unexpectedly.

You come from a multicultural family. How have these roots influenced your music and your view of the world?

Farah: I sometimes feel like I come from everywhere and nowhere. My mother is English, my father is Iranian, and I grew up near Lausanne before moving to German-speaking Switzerland at the age of 19.

This whole array of cultures and languages made me realise that our ways of approaching the world are not absolute. On the contrary, if we always stay in the same bubble, we often end up lacking open-mindedness. The same applies to music! The influences of different styles, in my case classical, chanson and rock, complement and reflect each other. And it is perhaps precisely by linking contrasts that we end up discovering ourselves.

Do you think art and music can contribute to social or cultural change?

Farah: Yes, absolutely, because art reflects the energies and ideas of the moment. When you write songs, you put feelings into words.

However, I think that some things are more politically engaged than others. For my part, I very often write without asking myself questions and without planning what my song is going to be about: I work, so to speak, ‘on inspiration’.

I made an exception for ‘Déconnexion’, a song that expresses my unease about a world without connections, because it's a subject that preoccupies and concerns me. It's a very different writing process, but just as rewarding, because you have to find the inspiration of the moment for the idea rather than the idea of the moment for the inspiration.

I am convinced that art can change things, regardless of its source of inspiration.

What do you want to convey to your audience?

Farah: I hope to offer them a moment suspended in time that speaks to them and reflects who they are. I hope to offer a sympathetic hand to their doubts and fears, whether personal or societal, and gently show them my vulnerability so that they know they are not alone, and that in reality, we are all connected by this feeling of loneliness.

Ultimately, I hope to inspire others to courageously follow their own path. This reminds me of a quote by Giacometti: ‘I think the best way for an artist to be revolutionary is to do their work as well as possible.’

I hope to inspire others to follow their path with courage.

Let's talk about the future... what are your plans as an artist and how could places like Caux or events like Émergences musicales contribute to them?

Farah: I am in discussions with a record label at the moment, and working with them would provide me with great support and various professional opportunities. A few weeks ago, I formed my own band and I can't wait to play with them!

We are doing a week-long residency in Tuscany in the spring to prepare the arrangements for my songs. Then, of course, the idea is to go into the studio to record our first album. People often ask me why I'm not on streaming platforms yet: the fact is, I want to do things right, so I'm preparing myself and taking the time I need.

Caux has a truly magical energy and I would love to go back there for a music project if the opportunity arises! As for Les Émergences, I am very grateful to be part of this family; being able to contribute to it would be an honour.

After your experience with Les Émergences Musicales, what advice would you give to young artists?

Farah: Be bold. Have guts. You often don't lose much by trying, and you shouldn't take rejection personally. Send messages to people you don't know to collaborate, organise concerts or residencies yourself (which I did last summer), sign up for lots of springboards... In short, connect with the public and other artists. That's what allows you to move forward, find and even create opportunities! 

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Did you know? The Caux Palace opens its doors to artists and cultural organisations for creative residencies, subject to availability. With its exceptional location, it is the ideal place to stimulate creativity and recharge your batteries away from the hustle and bustle of everyday life.

Interested? Contact us

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