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In the 19th century song is a fluctuating reality, in its functions, its structures and its poetics. Recording as a possibility after 1877 initiates a change in paradigm: sound recording becomes a form of performance. Song recordings multiply starting in the 1890s, thanks to inventors such as Charles Pathé or especially Henri Lioret, with his celluloïd cylinders. The corpus for this paper of more than 200 recordings made by Lioret between 1893 and 1895, accessible on the Phonobase site, enables bringing to light a certain number of signs indicating a new aesthetic, originating in cafe concerts but not quite identical to these: eclecticism in style, domination of a capella — which a contrario highlights the presence of instruments if any — theatrical effects using several voices and commentary and, most especially, anonymity of the performers. In response there will be, but only starting in 1897, recordings of stars with their names indicated: after pure scenic glory, will come phonographic stardom.