Air, Through Sound and Vision

For over 25 years, Air has crafted dreamlike sonic worlds that blur the boundaries between musical genres. Since meeting as teenagers in Versailles, Nicolas Godin and Jean-Benoît Dunckel have consistently blended their talents, developing an enduring chemistry. 

Their breakout album, Moon Safari (1997), fused trip-hop, downtempo and electronica into a cinematic sound uniquely their own. The album’s wide-eyed spirit helped launch the French Touch movement and sold over 1.7 million copies worldwide.

In the years since, Air continued refining their moody yet euphoric approach across albums including 10,000 Hz Legend (2001) and Pocket Symphony (2007). Now, following some time apart in which they explored individual projects, Godin and Dunckel have reunited and are set to transport audiences once more with their multisensory live experience. 

How did you envision bringing the atmospheres of your musical universe to life on stage?

Nicolas Godin: Our box that we transport in two big trucks? (laughs) 

Jean-Benoît Dunckel: It’s the work of artists who trusted us; it’s their vision of our universe expressed through the graphics on our covers, through videos, and through many other things that surrounded us visually and graphically. It’s a reinterpretation of our past images, renewed and reimagined. It’s wonderful because they were very free, extremely free, to be inspired and to fully realize their vision. We talked about many things, but it was important that it was their vision of our universe. There is a unique atmosphere to Air, and we tried to maintain that. There are things that define Air and others that don’t, but we tried to stay within that aesthetic. What’s great is that this box is like our studio because, in the beginning, Air was a home studio band; we were in our universe with our instruments, and it’s important to keep that. The box is exactly the size of a laptop in landscape format, which was well calculated, and it looks great in photos and on social media.

What compelled Air’s return to the live stage together for this tour?

NG: We did quite a few tours up until 2018. Then COVID hit, and everything stopped. We got used to not doing concerts, which was quite unusual for us because since 1997, we’ve been touring every two years or so. The question wasn’t really “Should we tour again?” but rather “Why aren’t we touring?”. What was abnormal was not being on tour. We had to decide whether we were done or if we wanted to hit the road again.

In what ways did your separate solo explorations allow new dimensions to emerge within your individual artistic processes? 

JBD: During our time apart, we each explored solo projects and collaborations. I delved into film scores and various artistic collaborations, which expanded my creative horizons. These experiences allowed us to grow individually, and I believe if we make music together again, it will be richer because of these diverse influences. It’s like we’ve doubled our experiences.

NG: Exactly. We each developed in our own ways, which brought new perspectives to our music. The time apart was crucial for personal growth and artistic exploration.

Moon Safari (1997) was released in the pre-streaming era. What are your thoughts on listeners’ evolving relationship with music in the digital age?

NG: Having experienced the pre-streaming era, I think there was a charm in buying and listening to records. I feel a bit sad for those who didn’t experience it; it was a very pleasant experience. You had to work a bit, earn pocket money to buy records. When you discovered music, you really dived into it. You had an album that you listened to non-stop for a year. Things had value because you paid for a cassette, something tangible. I’m 54 now, so I’m talking about a different time… I feel like when we paid to do things, we were more involved. Today everything is available, you can scroll endlessly. I don’t know if social media and streaming make people happy or not. 

The commercial system of records gave a certain aura to music at one time. In concerts, there’s still that magic when the lights go out and we go on stage. The magic of making music is still there live. But making a good record was about capturing a moment between individuals. Today, young people make music with their computers. It seems sterile, but then again, being a bit older, I think it’s healthy not to be in tune with what young people are doing because it’s a bit depressing if a 20-year-old’s music pleases me. When I was 20 and making music, I didn’t want 50-year-olds to like it; it wasn’t my ideal (laughs).

Thinking back on your previous U.S. tours over the years, are there any cities, venues or people you encountered that really stand out in your memories?

JBD: Los Angeles is a place where we spent a lot of time. We did a unique Virgin Suicides (2000) concert at Legion Hall. We spent a lot of time there, at the Château Marmont hotel and the Ocean Way studio. We did a lot of sessions for Talkie Walkie (2004), so we have a special relationship with Los Angeles, which influenced our music. A bit of San Francisco and New York too, where it all began. We met Mike Mills there, who made all the Air videos, including the “Sexy Boy” clip set in New York. We also discovered the United States from the inside, having done several world tours by bus, crossing the U.S.A. many times. It’s a federal state with many different mentalities. Dallas or Maine, they have different mentalities. It’s a fascinating country with everything: excellence, mediocrity, poverty, wealth… The U.S.A. is quite poor inside; people are poor, which is something to discover that you don’t necessarily see in the newspapers.

NG: I couldn’t have said it better. I loved all the years we spent in Los Angeles. Coming from the suburbs, it reminded me of the suburbs, so I knew all the codes. Watching TV shows as a kid, everything happened in Los Angeles. So being there, I was in my T.V., it was very pleasant. Cut off from reality, I lived a fantasy, my childhood fantasy. It was crazy, like being in an episode of Columbo or Starsky & Hutch. It also reminded me of the south of France because it’s sunny, with corniche roads, vegetation, beautiful houses, and we developed real friendships there. The showbiz world is superficial, but we met people who became genuine friends. 

Based on your experiences creating in Paris as well as time spent in L.A., what are some of the main differences between the creative cultures in each city?

JBD: In Los Angeles, creativity is highly encouraged. There’s money, professionals ready to produce your ideas, and they take creativity very seriously because it can lead to amazing projects that make money. It’s very stimulating and helped us a lot at the beginning. In Paris, there’s a certain cynicism and a reluctance to fully embrace new ideas, because it’s not how things are traditionally done. This can stifle creativity.

NG: On the other hand, Paris nourishes you intellectually and spiritually. While Los Angeles can be very capitalist and drain your creativity without giving back. Paris offers a more reciprocal relationship, it’s a place where you give and receive inspiration. That’s why we never settled in Los Angeles. We knew the system would leave us empty.

If you had to select one composition from Moon Safari (1997) as the most emblematic of the United States, which melody springs to mind?

JBD: I’d say “Sexy Boy” because we shot the video in New York, so I always associate it with New York.

NG: For me, it would be “Kelly Watch the Stars” because it’s a tribute to Jaclyn Smith from Charlie’s Angels. Watching TV shows set in Los Angeles as a kid, the sun, the consumer society, the beautiful cars, the cocktails—it was all very appealing growing up in the suburbs of Versailles. It was like an idealized version of life.