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Justice’s Gaspard Augé on his BBC Euro 2020 theme, Force Majeure: "English people have better taste in music"

Justice’s Gaspard Augé has been discussing the making of Force Majeure, the pulsating synth-powered track that is currently being used by the BBC as the main theme for its coverage of the delayed Euro 2020 football tournament.

On hearing that the track had been selected, Augé told BBC News that "It was really just the best news for me,” adding that “I made this track with some sort of sporting event - a boxing match or a football match - in [my] head.”

Augé hails from Paris, and on learning that French TV channel TF1 had selected UK band Coldplay’s Higher Power as their Euro 2020 theme, he quipped: "Maybe it means Brexit is over," adding that “to be fair, to me it just means that the English people have better taste in music."

On a more serious subject, the producer also commented on the cease and desist letter that Justice sent to Justin Bieber earlier this year, in which they asked him to stop using the “cross” logo that they believe they trademarked some time ago.

Gaspard Auge

(Image credit: Jasper J. Spanning)

Their emergency request that Bieber stop selling the album and merchandise that uses the logo has been turned down, but BBC News reports that Justice’s lawyers say that this was a provisional decision and that proceedings are ongoing.

For his part, Augé says: "People when they reach that level of fame they feel like they can get away with anything. And I guess because they can."

Force Majeure is taken from Gaspard Augé’s debut solo album, Escapades, which was released on 25 June on Ed Banger Records. The album was completed in just a few months, and promises to evoke “a sense of bombastic playfulness”.

“I've always been obsessed with making larger than life music,” Augé says. “Mostly because it's more fun.” 

Ben Rogerson

I’m the Group Content Manager for MusicRadar, specialising in all things tech. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 20 of which I’ve also spent writing about music technology. 

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