#Couleurs m83 free#
Their sound should be free to ricochet off walls or spread across some vast expanse, not shoot upwards in a confusingly vertical venue where so much gets lost in the rafters. There’s something about the shape of Nokia, if not its size, that isn’t particularly conducive to a band like M83. Humility never gets old, especially when delivered in a thick accent, but he made a fair point. Hearing it all come together live creates a kind of neo-nostalgia, summoning memories of unrealized John Hughes films we might have seen if the ’80s had stretched into infinity. “It’s way too big for us,” Gonzalez said at the end of their set, looking up at the Nokia’s infinite balcony. STORY: Outside Lands: A Rock Festival Fit For Foodies The set veered between Hurry Up and 2008’s Saturdays = Youth - “Sitting,” “We Own The Sky” and “Claudia Lewis” inspiring the most visceral reactions - before ultimately coming to “Midnight City,” the band’s first quantifiable “hit” in the U.S. So when M83 tackled “Kim and Jessie” just three songs in, the 2,300-strong crowd was already swaying in unison, transfixed. Live, her operatic voice rings with the kind of sequined glee you normally only find in Arcade Fire’s Régine Chassagne. To listen to her on an album, Kibby’s whispered vocals recall a Kids era Chloë Sevigny playing narrator. GALLERY: The Top 25 Concert Tours of 2011įrom the start of the show, which kicked off with “Intro” from Hurry Up and throwback “Teen Angst,” Kibby’s playfulness balanced out her thoughtful maestro as a constant reminder that dancing was encouraged. It’s the kind of control he appears happy to relinquish on stage, giving his metaphoric brooms freedom to show off - most notably keyboardist and vocalist Morgan Kibby. Gonzalez conducted M83 like the Sorcerer’s Apprentice in a tight t-shirt, furiously twisting the knobs of his soundboard, bending them to his will and meticulously curating every movement. Inside Coachella Day Three: The Weeknd, Swedish House Mafia Close Out Comeback Festival