Re: Tour 2025
Posted: Sat Jun 28, 2025 1:33 pm
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Tour 2025
Page 47 of 73
Re: Tour 2025
Posted: Sat Jun 28, 2025 1:37 pm
Classic futurism is back… That was the thought that formed in my mind after seeing Jean-Michel Jarre’s concert this week. Let me just explain exactly what I mean by this.
It’s not easy to know how to begin describing an experience so overwhelming and deeply impactful. What I witnessed was much more than just music being played on a stage. But let’s start with what I expected before the concert. Because as I left the venue after the concert, I kept thinking: Jean-Michel Jarre rarely gives fans exactly what they expect. There are two possibilities, either the opposite of what you anticipate happens, or exactly what you expect happens—but with two hundred times the intensity, on a much higher level. In my case, both happened on the same evening.
So, before the concert, I had two sort of expectations. Based on some comments and a few videos recorded at sunny outdoor events, I assumed the visuals would be a bit less spectecular this time, more minimalistic and simple. The second thing was that since Jarre would be touring alone, his stage presence might feel more personal and intimate—especially compared to last year’s massive performances in front of huge crowds and with many collaborators (Claude, Adiescar, Brian May, Zaho de Sagazan, other performers at the Closing Ceremony).
This second assumption turned out to be not only accurate, but much more significant than I expected. Throughout the concert, we constantly saw close-up camera shots of Jarre’s face, hands, feet, how he used his instruments, his reactions—and he even had a camera on his head during Oxygene 2. This wasn’t just there for the people in the back—it was clearly intended to let us see him up close. I felt that it was a kind of gesture, especially to the real fans who are interested not only in the music but in Jarre himself as a creator, who want to see exactly how he brings his music to life live. Moreover, the entire visual design contributed to this feeling of intimacy—but I’ll return to that later.
As for my first assumption, it didn’t hold up at all. I can hardly believe I’m about to write this—but here it is: visually, this show in many ways surpassed the Starmus concert. Yes, last year I stood closer to the stage and didn’t see the big picture—but I’ve since watched the high-quality footage of it countless times. This time, the stage was smaller, there were no drones, fireworks, building-sized projections, no special stage setups, or even the laser harp. Without the lights, lasers, and screens, it would’ve been just one man standing in place... and yet, somehow, I was still even more impressed by it that when I was in Bratislava.
Throughout this concert, I went from one jaw-dropping moment to another. The experience was simply overwhelming—that’s the best word I can use. I was probably lucky to see it in an indoor place, in pitch black. The animations, lighting, and lasers were all incredibly high detailed. Every second bombarded me with vibrant colors, continuously shifting and blending into one another, combining and showcasing dozens of styles of visual art: surrealist painting, abstract art, geometric shapes, noir styles, warm tones, 3D effects and optical illusions, modern art, classical painting, minimalist spatial figures, and modern CGI-like animation—all moving, forming, evolving uninterruptedly for 1 hour and 45 minutes. The laser effects were so detailed and coordinated with the music so well that it’s hard to describe. They collided, they were synchronized with the beats, noises and melodies, and even seemed to alter what was shown on the screens, like seemingly slicing the sceens open with laser beams.
Every second was packed with stimuli. No matter where I looked, something was happening in every single moment. Especially the visuals during Zoolookologie, Exit, Brutalism, Sex in the Machine, and Oxygene 19 stood out—each of them could get their a detailed analysis one by one. Honestly, I’ve never seen anything like it at any concert. I kept catching myself feeling that my sense of reality was being played with. At moments, I wasn’t seeing screens and lasers anymore but a cohesive spatial animation, as if I were inside a CGI music video or a VR universe blending countless visual styles. Jarre himself, often standing in colored lights against a pitch-black background, appeared at times more like a hologram than a real human, so the line between reality and animation was no longer visable. And yes, I know it’s all an illusion, a trick, a sensory overload designed to overwhelm so you can’t focus on every detail about everything—but it works amazingly.
On top of that, the music itself was equally detailed. The Oxymore tracks, for example, were full of strange sounds and sonic textures. Of course, I understand if someone finds this too much—just like how some listeners find Oxymore overwhelming with its complex layers of noises. But I can’t say agree with critisims like that. It’s almost like saying, “it’s too good”. That’s what a show is supposed to be—it’s not an everyday event, and this high detailed experience makes it all the more memorable.
Besides, there were musical and visual moments where the concert slightly eased up, in a good way. After the overwhelming Exit, for instance, even Industrial Revolution 2 felt slightly more restrained (though only by comparison), and these calmer segments helped the overall flow.
So overall, Hungarian visual artist Dávid Szauder’s work on this tour’s visuals was simply magical, after István Bányai’s Oxygene 8 music video, there’s again a Hungarian contribution to Jarre’s legacy. Jarre mentioned Szauder’s name several times during the concert and dedicated some tracks to him.
And yes, I am fully aware that what I saw had been mostly generated using AI. But honestly—does that reduce its artistic value? My entire emotional review of this concert proves in itself that it doesn’t. Catharsis is catharsis. In Leonardo da Vinci’s day, artists had to mix pigments from natural materials. Today, you can just go to the store and buy paint. A beautiful painting is still beautiful. We once had to write every letter by hand, then we used typewriters. Just because this visual spectacle wasn’t created entirely by human hands from scratch doesn’t mean it wasn’t born from Jarre’s and Szauder’s minds. Like any artist, they were shaped by the artistic works they consumed, and they had to give precise commands, they got some results, and then program them meticulously to faithfully represent their vision. This visual experience was the result of immense work and without doubt, it’s a legitimate piece of art.
Let’s now talk specifically about the music.
We haven’t yet discussed the setlist in detail, so now’s the time. For years now, Jarre has faced criticism for not changing up his standard repertoire enough. I think nobody can complain about that this time. He performed tracks I never ever expected to hear live in my lifetime.
The balance between older and newer tracks was perfectly balanced. Interestingly, with just two exceptions, all the music was from either before 1985 or after 2014, while the 30 years in between were mostly left out this time. And that’s exactly what made this concert special: his early works, which were slightly modernized, still formed a coherent tracklist with his more recent compositions inspired by more modern styles. It’s incredible how far ahead of his time Jarre was with some of his earlier pieces.
A perfect example of this was Zoolookologie. I don’t think I’ll ever forget this experience—hearing a track live from my No.1 favorite album, performed by my favorite artist. It was cathartic, especially with the brilliant visuals that accompanied it.
Four tracks were from his latest studio album, Oxymore. I’m not one of the older fans—I wasn’t even born during the Oxygene/Equinoxe/Magnetic Fields era—so Oxymore does fit my taste too, not just his early albums. I’ve listened to this album again and again over the last three years. In terms of innovation, it’s like the 21st century Zoolook, incredibly creative avant-garde techno. I was expecting the mind-blowing visuals of Brutalism, but Sex in the Machine truly surprised me by how well it went down live. (And the appearance of the waterphone at the end ensured that no Jarre concert goes by without a bizarre, unique instrument… although I bet most people were wondering why he was hitting a pasta strainer with a bow…) As someone quite familiar with Oxymore, I noticed immediately that these versions had been altered—they weren’t quite the same as on the album. Even Epica had been reworked. Not that it was necessary—they’re still fresh tracks—but I assume he wanted to give them extra punch now that they’re no longer being performed in IRCAM’s dark room for 200 people like two years ago.
It was also really great to hear that Magnetic Fields 1 is back, this was the first performance since the beginning of his new era. The updated version worked perfectly, for me it makes sense that it has such an energetic tempo, it’s the opening track, meant to energize the audience. And Arpegiator? That was a thrilling surprise! Let’s not forget: the last time he played it was in Maoist China in 1981. Never since. Yet, it’s a brilliant, classic track. Both of these were massive gifts for the fans.
Oxygene 2 was also incredibly memorable—not just because we could follow exactly how he played it, but also because he performed it differently than at some previous shows (at least in the footage I’ve seen). He started with 45 seconds of experimental sound textures and noises before launching into the actual melodic intro and then the full track. As if the intro had its own intro. Many people complain that Jarre doesn’t improvise during concerts. He’s an electronic musician, he not meant to meant to improvise melodies live every single evening. He is master of shaping noises and this unexpected 45 seconds were perfectly satisfying to me.
From the Electronica albums, he selected tracks that work perfectly live. I get it, many fans don’t like Exit or the Zero Gravity remix. That’s exactly why I was so shocked by what I heard. Alongside Oxygene 2 and RV4, and I swear I’m telling the truth: the Zero Gravity Remix received the loudest applause. Yes, the one with an EDM-style “drop.” It's clear why he keeps performing it: it simply works. That’s all there is to it. People online complain about it—it’s not even one of my own personal favorites—but at two concerts over the past 14 months, it was among the top crowd-pleasers. The visuals for it were stunning, too, as if a person made of raindrops was dancing on an old film reel recorded with very few frames per second. Even Exit received much more applause compated to many classic tracks than what you would expect.
At the concert, I never saw anyone (older fans included) looking bored, whispering, or walking out. Everyone just sat there in stunned silence, probably because they were so blown away by everything. The crowd was full of young people, as others have pointed out: smartphones everywhere. In front of me, two girls around 18–20 were sitting, and based on their reactions, they recognised at least some of the songs. Jarre did the impossible: he convinced a many young people that an artist their parents or even grandparents listened to is actually cool and worth hearing today. In my opinion that’s a greater achievement than the 3.5 million people in Moscow, haha!
So back to the beginning: overall, I think this experience was just as fascinationg as the Starmus concert was.
And I didn’t expect that. I went there thinking it wouldn’t have the same impact. But it absolutely did, just in a different way. A lot of things were missing here that made Starmus great, but in other aspects, this concert gave me even stronger impressions. That was an outdoor show with fireworks and many musicians. This was an indoor, closed event, but for that very reason, an extremely immersive experience. In a completely darkened hall, this music paired with this visual production became something else, something beyond a traditional concert experience.
The Starmus concert was perfect for someone who just discovering Jarre’s music. This one was made for true fans. Both concerts were equally great, and I consider myself incredibly lucky to have experienced both types of Jarre performances. Now, the only thing left on my wishlist is a thematic concert focused on a single album and then I’ll have no further Jarre concert-related requests.
This concert was a triumph of technology. And that’s why the thought keeps echoing in my mind: Classic futurism is back! This concert demonstrated, in every second, that technology is indeed capable of creating miracles too, real, artistic miracles. Tools like AI are absolutely capable of conveying emotion and thoughts. In a world full of dystopian sci-fi stories, it’s refreshing to see that Jarre still believes in traditional positive futurism, in the hope that technological advancement can move culture forward in meaningful ways.
I just have to say one more thing: everyone should watch the Oxygene 4 remix he performed near the end. Not for the music, but to watch his feet. Watch how he moves, dances, how he jumps. The sheer energy! That’s not animation, I was watching closely out of curiosity, and I can confirm: the almost 77-year-old JMJ dances his heart out to this track every night. His hands, especially in close-up, do reveal that he’s not 30 anymore... but only his hands. Think about it, how much success he had. Enough for 10 lifetimes. More critical and popular acclaim than 10 music legends combined. And yet, he’s still here, still pushing boundaries after 57 years in electronic music.
The guy who was making his first electronic composition when The Beatles recorded their White Album is still here. Not his son, not his student, he himself, still the same artist. Jean-Michel Jarre adds to his legacy with every concert. Crafting a legacy that spans generations.
We should all pay close attention, because we may never see another artist like him again.
It’s not easy to know how to begin describing an experience so overwhelming and deeply impactful. What I witnessed was much more than just music being played on a stage. But let’s start with what I expected before the concert. Because as I left the venue after the concert, I kept thinking: Jean-Michel Jarre rarely gives fans exactly what they expect. There are two possibilities, either the opposite of what you anticipate happens, or exactly what you expect happens—but with two hundred times the intensity, on a much higher level. In my case, both happened on the same evening.
So, before the concert, I had two sort of expectations. Based on some comments and a few videos recorded at sunny outdoor events, I assumed the visuals would be a bit less spectecular this time, more minimalistic and simple. The second thing was that since Jarre would be touring alone, his stage presence might feel more personal and intimate—especially compared to last year’s massive performances in front of huge crowds and with many collaborators (Claude, Adiescar, Brian May, Zaho de Sagazan, other performers at the Closing Ceremony).
This second assumption turned out to be not only accurate, but much more significant than I expected. Throughout the concert, we constantly saw close-up camera shots of Jarre’s face, hands, feet, how he used his instruments, his reactions—and he even had a camera on his head during Oxygene 2. This wasn’t just there for the people in the back—it was clearly intended to let us see him up close. I felt that it was a kind of gesture, especially to the real fans who are interested not only in the music but in Jarre himself as a creator, who want to see exactly how he brings his music to life live. Moreover, the entire visual design contributed to this feeling of intimacy—but I’ll return to that later.
As for my first assumption, it didn’t hold up at all. I can hardly believe I’m about to write this—but here it is: visually, this show in many ways surpassed the Starmus concert. Yes, last year I stood closer to the stage and didn’t see the big picture—but I’ve since watched the high-quality footage of it countless times. This time, the stage was smaller, there were no drones, fireworks, building-sized projections, no special stage setups, or even the laser harp. Without the lights, lasers, and screens, it would’ve been just one man standing in place... and yet, somehow, I was still even more impressed by it that when I was in Bratislava.
Throughout this concert, I went from one jaw-dropping moment to another. The experience was simply overwhelming—that’s the best word I can use. I was probably lucky to see it in an indoor place, in pitch black. The animations, lighting, and lasers were all incredibly high detailed. Every second bombarded me with vibrant colors, continuously shifting and blending into one another, combining and showcasing dozens of styles of visual art: surrealist painting, abstract art, geometric shapes, noir styles, warm tones, 3D effects and optical illusions, modern art, classical painting, minimalist spatial figures, and modern CGI-like animation—all moving, forming, evolving uninterruptedly for 1 hour and 45 minutes. The laser effects were so detailed and coordinated with the music so well that it’s hard to describe. They collided, they were synchronized with the beats, noises and melodies, and even seemed to alter what was shown on the screens, like seemingly slicing the sceens open with laser beams.
Every second was packed with stimuli. No matter where I looked, something was happening in every single moment. Especially the visuals during Zoolookologie, Exit, Brutalism, Sex in the Machine, and Oxygene 19 stood out—each of them could get their a detailed analysis one by one. Honestly, I’ve never seen anything like it at any concert. I kept catching myself feeling that my sense of reality was being played with. At moments, I wasn’t seeing screens and lasers anymore but a cohesive spatial animation, as if I were inside a CGI music video or a VR universe blending countless visual styles. Jarre himself, often standing in colored lights against a pitch-black background, appeared at times more like a hologram than a real human, so the line between reality and animation was no longer visable. And yes, I know it’s all an illusion, a trick, a sensory overload designed to overwhelm so you can’t focus on every detail about everything—but it works amazingly.
On top of that, the music itself was equally detailed. The Oxymore tracks, for example, were full of strange sounds and sonic textures. Of course, I understand if someone finds this too much—just like how some listeners find Oxymore overwhelming with its complex layers of noises. But I can’t say agree with critisims like that. It’s almost like saying, “it’s too good”. That’s what a show is supposed to be—it’s not an everyday event, and this high detailed experience makes it all the more memorable.
Besides, there were musical and visual moments where the concert slightly eased up, in a good way. After the overwhelming Exit, for instance, even Industrial Revolution 2 felt slightly more restrained (though only by comparison), and these calmer segments helped the overall flow.
So overall, Hungarian visual artist Dávid Szauder’s work on this tour’s visuals was simply magical, after István Bányai’s Oxygene 8 music video, there’s again a Hungarian contribution to Jarre’s legacy. Jarre mentioned Szauder’s name several times during the concert and dedicated some tracks to him.
And yes, I am fully aware that what I saw had been mostly generated using AI. But honestly—does that reduce its artistic value? My entire emotional review of this concert proves in itself that it doesn’t. Catharsis is catharsis. In Leonardo da Vinci’s day, artists had to mix pigments from natural materials. Today, you can just go to the store and buy paint. A beautiful painting is still beautiful. We once had to write every letter by hand, then we used typewriters. Just because this visual spectacle wasn’t created entirely by human hands from scratch doesn’t mean it wasn’t born from Jarre’s and Szauder’s minds. Like any artist, they were shaped by the artistic works they consumed, and they had to give precise commands, they got some results, and then program them meticulously to faithfully represent their vision. This visual experience was the result of immense work and without doubt, it’s a legitimate piece of art.
Let’s now talk specifically about the music.
We haven’t yet discussed the setlist in detail, so now’s the time. For years now, Jarre has faced criticism for not changing up his standard repertoire enough. I think nobody can complain about that this time. He performed tracks I never ever expected to hear live in my lifetime.
The balance between older and newer tracks was perfectly balanced. Interestingly, with just two exceptions, all the music was from either before 1985 or after 2014, while the 30 years in between were mostly left out this time. And that’s exactly what made this concert special: his early works, which were slightly modernized, still formed a coherent tracklist with his more recent compositions inspired by more modern styles. It’s incredible how far ahead of his time Jarre was with some of his earlier pieces.
A perfect example of this was Zoolookologie. I don’t think I’ll ever forget this experience—hearing a track live from my No.1 favorite album, performed by my favorite artist. It was cathartic, especially with the brilliant visuals that accompanied it.
Four tracks were from his latest studio album, Oxymore. I’m not one of the older fans—I wasn’t even born during the Oxygene/Equinoxe/Magnetic Fields era—so Oxymore does fit my taste too, not just his early albums. I’ve listened to this album again and again over the last three years. In terms of innovation, it’s like the 21st century Zoolook, incredibly creative avant-garde techno. I was expecting the mind-blowing visuals of Brutalism, but Sex in the Machine truly surprised me by how well it went down live. (And the appearance of the waterphone at the end ensured that no Jarre concert goes by without a bizarre, unique instrument… although I bet most people were wondering why he was hitting a pasta strainer with a bow…) As someone quite familiar with Oxymore, I noticed immediately that these versions had been altered—they weren’t quite the same as on the album. Even Epica had been reworked. Not that it was necessary—they’re still fresh tracks—but I assume he wanted to give them extra punch now that they’re no longer being performed in IRCAM’s dark room for 200 people like two years ago.
It was also really great to hear that Magnetic Fields 1 is back, this was the first performance since the beginning of his new era. The updated version worked perfectly, for me it makes sense that it has such an energetic tempo, it’s the opening track, meant to energize the audience. And Arpegiator? That was a thrilling surprise! Let’s not forget: the last time he played it was in Maoist China in 1981. Never since. Yet, it’s a brilliant, classic track. Both of these were massive gifts for the fans.
Oxygene 2 was also incredibly memorable—not just because we could follow exactly how he played it, but also because he performed it differently than at some previous shows (at least in the footage I’ve seen). He started with 45 seconds of experimental sound textures and noises before launching into the actual melodic intro and then the full track. As if the intro had its own intro. Many people complain that Jarre doesn’t improvise during concerts. He’s an electronic musician, he not meant to meant to improvise melodies live every single evening. He is master of shaping noises and this unexpected 45 seconds were perfectly satisfying to me.
From the Electronica albums, he selected tracks that work perfectly live. I get it, many fans don’t like Exit or the Zero Gravity remix. That’s exactly why I was so shocked by what I heard. Alongside Oxygene 2 and RV4, and I swear I’m telling the truth: the Zero Gravity Remix received the loudest applause. Yes, the one with an EDM-style “drop.” It's clear why he keeps performing it: it simply works. That’s all there is to it. People online complain about it—it’s not even one of my own personal favorites—but at two concerts over the past 14 months, it was among the top crowd-pleasers. The visuals for it were stunning, too, as if a person made of raindrops was dancing on an old film reel recorded with very few frames per second. Even Exit received much more applause compated to many classic tracks than what you would expect.
At the concert, I never saw anyone (older fans included) looking bored, whispering, or walking out. Everyone just sat there in stunned silence, probably because they were so blown away by everything. The crowd was full of young people, as others have pointed out: smartphones everywhere. In front of me, two girls around 18–20 were sitting, and based on their reactions, they recognised at least some of the songs. Jarre did the impossible: he convinced a many young people that an artist their parents or even grandparents listened to is actually cool and worth hearing today. In my opinion that’s a greater achievement than the 3.5 million people in Moscow, haha!
So back to the beginning: overall, I think this experience was just as fascinationg as the Starmus concert was.
And I didn’t expect that. I went there thinking it wouldn’t have the same impact. But it absolutely did, just in a different way. A lot of things were missing here that made Starmus great, but in other aspects, this concert gave me even stronger impressions. That was an outdoor show with fireworks and many musicians. This was an indoor, closed event, but for that very reason, an extremely immersive experience. In a completely darkened hall, this music paired with this visual production became something else, something beyond a traditional concert experience.
The Starmus concert was perfect for someone who just discovering Jarre’s music. This one was made for true fans. Both concerts were equally great, and I consider myself incredibly lucky to have experienced both types of Jarre performances. Now, the only thing left on my wishlist is a thematic concert focused on a single album and then I’ll have no further Jarre concert-related requests.
This concert was a triumph of technology. And that’s why the thought keeps echoing in my mind: Classic futurism is back! This concert demonstrated, in every second, that technology is indeed capable of creating miracles too, real, artistic miracles. Tools like AI are absolutely capable of conveying emotion and thoughts. In a world full of dystopian sci-fi stories, it’s refreshing to see that Jarre still believes in traditional positive futurism, in the hope that technological advancement can move culture forward in meaningful ways.
I just have to say one more thing: everyone should watch the Oxygene 4 remix he performed near the end. Not for the music, but to watch his feet. Watch how he moves, dances, how he jumps. The sheer energy! That’s not animation, I was watching closely out of curiosity, and I can confirm: the almost 77-year-old JMJ dances his heart out to this track every night. His hands, especially in close-up, do reveal that he’s not 30 anymore... but only his hands. Think about it, how much success he had. Enough for 10 lifetimes. More critical and popular acclaim than 10 music legends combined. And yet, he’s still here, still pushing boundaries after 57 years in electronic music.
The guy who was making his first electronic composition when The Beatles recorded their White Album is still here. Not his son, not his student, he himself, still the same artist. Jean-Michel Jarre adds to his legacy with every concert. Crafting a legacy that spans generations.
We should all pay close attention, because we may never see another artist like him again.
Re: Tour 2025
Posted: Sat Jun 28, 2025 2:52 pm
I don't think I understand the question about in ear monitoring1906 wrote: Fri Jun 27, 2025 10:27 pm at 10'36" ...Equinoxe 7... .. sort of
erhhh... wtf is this? is there something wrong with the in ear monitoring!?
Re: Tour 2025
Posted: Sat Jun 28, 2025 2:56 pm
You can also buy cheap Chinese knockoffs from Aliexpress.Richard-Eastham wrote: Fri Jun 27, 2025 7:36 pmThank you! I was going crazy trying to work out what brand these werethesynthesist wrote: Fri Jun 27, 2025 6:29 pm Sneaker head here, they were from a french brand called Pierre Hardy. He has multiple colors of this
https://us.pierrehardy.com/products/lx0 ... calf-black
As part of my "JMJ lookalike wardrobe" I ended up buying these adidas ZNChill Lightmotion+ trainers, the closest thing I could find, and much more affordable.
, they were from a french brand called Pierre Hardy. He has multiple colors of this 
https://aliexpress.com/item/32948802679.html
https://aliexpress.com/item/1005008993564130.html
Re: Tour 2025
Posted: Sat Jun 28, 2025 4:52 pm
it sounds like he's is playing with an IEM click track that's out of sync..Jote wrote: Sat Jun 28, 2025 2:52 pm I don't think I understand the question about in ear monitoring
Re: Tour 2025
Posted: Sat Jun 28, 2025 5:17 pm
WOW, what a huge review! Well written. I could write the same, although my ability to describe art in English isn't that advanced. It's great to hear that you're satisfied.Jarrepeggiator wrote: Sat Jun 28, 2025 1:37 pm Classic futurism is back… That was the thought that formed in my mind after seeing Jean-Michel Jarre’s concert this week. Let me just explain exactly what I mean by this.
(...)
I noticed that too. It's completely different to evaluate a concert when watching clips recorded on a smartphone, compared to seeing a professional television broadcast, and even more so when attending the event in person. When I watch videos, I analyze every detail, rewind and pause selected moments, often nitpicking and noticing various flaws and shortcomings. When I'm there live among the audience, everything loses its critical edge, and I feel like a child in an amusement park. That's why I've decided to go to the next concert in Stuttgart. I already know what to expect, and I'm eager to experience it again.People online complain about it—it’s not even one of my own personal favorites—but at two concerts over the past 14 months, it was among the top crowd-pleasers.
That feet dance is the funniest gimmick of the entire show.I just have to say one more thing: everyone should watch the Oxygene 4 remix he performed near the end. Not for the music, but to watch his feet.
Re: Tour 2025
Posted: Sat Jun 28, 2025 5:50 pm
Wow! He uses a cheap ARp 2600 knock off from Behringer
Re: Tour 2025
Posted: Sat Jun 28, 2025 6:15 pm
Thanks!Xyxophas wrote: Sat Jun 28, 2025 5:17 pmWOW, what a huge review! Well written. I could write the same, although my ability to describe art in English isn't that advanced. It's great to hear that you're satisfied.Jarrepeggiator wrote: Sat Jun 28, 2025 1:37 pm Classic futurism is back… That was the thought that formed in my mind after seeing Jean-Michel Jarre’s concert this week. Let me just explain exactly what I mean by this.
(...)
I noticed that too. It's completely different to evaluate a concert when watching clips recorded on a smartphone, compared to seeing a professional television broadcast, and even more so when attending the event in person. When I watch videos, I analyze every detail, rewind and pause selected moments, often nitpicking and noticing various flaws and shortcomings. When I'm there live among the audience, everything loses its critical edge, and I feel like a child in an amusement park. That's why I've decided to go to the next concert in Stuttgart. I already know what to expect, and I'm eager to experience it again.People online complain about it—it’s not even one of my own personal favorites—but at two concerts over the past 14 months, it was among the top crowd-pleasers.
That feet dance is the funniest gimmick of the entire show.I just have to say one more thing: everyone should watch the Oxygene 4 remix he performed near the end. Not for the music, but to watch his feet.
I just want to add that those early videos from Oslo mislead everybody. The visuals of this concert can only be truly appreciated live, because all the 3D effects and the liveliness of the colors are lost if you're watching a phone recorded video, espically at an outdoor concert with too much natural light.
Re: Tour 2025
Posted: Sat Jun 28, 2025 8:33 pm
Re: Tour 2025
Posted: Sat Jun 28, 2025 8:53 pm
The audio quality is poor, but this video showcases the incredible beauty of the visual presentation. Brutalism looks otherworldly!
Re: Tour 2025
Posted: Sat Jun 28, 2025 9:03 pm
Yeah, he's not actually playing anything there1906 wrote: Sat Jun 28, 2025 4:52 pm it sounds like he's is playing with an IEM click track that's out of sync..
Re: Tour 2025
Posted: Sat Jun 28, 2025 9:44 pm
i know
Re: Tour 2025
Posted: Sat Jun 28, 2025 10:03 pm
Pula:
Re: Tour 2025
Posted: Sat Jun 28, 2025 10:04 pm
Jean-Michel Jarre, soon in concert in Brussels, would like to perform... in Iran or North Korea: "Don't be afraid"
Video: https://www.rtl.be/actu/magazine/cultur ... cle/754765
Re: Tour 2025
Posted: Sat Jun 28, 2025 10:13 pm
28/06/2025 - Jean-Michel Jarre @ Arena Pula!
Video:
Video: