Air breezes into the Hollywood Bowl with chill, orchestral vibes in honor of ‘Moon Safari’

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From the late 90s to the mid-2000s, a unique style of smooth, relaxing music became popular. It blended the grandeur of ELO with the playful vibe of Serge Gainsbourg, and also drew influence from British trip-hop, vintage exotica, orchestral arrangements reminiscent of the Largo club scene, and the robotic vocals of Daft Punk. It’s hard to perfectly describe – maybe “conversation pit” music? – but Air’s album “Moon Safari” is a perfect example of this sound.

In 1998, French musicians Nicolas Godin and Jean-Benoît Dunckel, known as Air, released their first album, “Moon Safari,” to widespread praise. The album combined dreamy, atmospheric synthesizers with simple, funky basslines and relaxed rhythms. “Moon Safari” became a defining example of sophisticated French pop, and singles like “Sexy Boy” and “Kelly Watch the Stars” showcased their talent for creating catchy melodies. Immediately after, Air composed the soundtrack for Sofia Coppola’s first film, “The Virgin Suicides,” and these two projects cemented their status as the quintessential band capturing the mood of late 1990s/early 2000s European introspection.

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Air played their classic album, “Moon Safari,” at the Hollywood Bowl on Sunday, accompanied by the Hollywood Bowl Orchestra, marking the end of KCRW’s festival season. Since the album came out, Sofia Coppola’s daughter, Romy, has grown up and become a social media influencer, but the film “The Virgin Suicides” is still popular with younger generations. Other artists who performed, like Bonobo, who DJed to start the night, have also become major concert headliners.

Air’s album, “Moon Safari,” remains excellent even today. But with so much music now used simply as background noise, their recent concert highlighted how captivating relaxing music can be. Air’s skillful performance gave their delicate songs a surprising strength and impact.

Right from the start of “La Femme d’Argent,” driven by Godin’s skillful bass playing, the atmosphere was perfect. The band, all dressed in white formalwear, clearly demonstrated the careful thought and structure behind the album’s relaxed sound. The music showcased the subtle textures of Dunckel’s synthesizers and how their Beatles-inspired chord progressions kept the listener engaged, even in the simplest parts.

Air’s stage design was particularly impressive, with the band performing on a raised, rectangular platform reminiscent of a James Turrell artwork. Visually bringing to life a famously dreamy album like theirs is a tough task, but Air handled it with remarkable style and flair on Sunday.

The Hollywood Bowl Orchestra typically blends into performances like this, enhancing the music with richer arrangements but acting as part of the band. While they added some energy during “Ce Matin-là” and heightened the drama of “Le Voyage de Pénélope,” the entire set felt carefully controlled, ensuring each musical idea had its moment. “Moon Safari” was already strong, but the orchestra’s contributions made it even better.

The latter part of the performance featured the band’s music for Coppola’s films – “Highschool Lover” and “Alone in Kyoto” (from “The Virgin Suicides” and “Lost in Translation”) – which resonated with many older millennials in the audience, including me, bringing back a nostalgic feeling. They experimented with a detached, electronic sound on “Electronic Performers,” singing about technology and emotions, but the self-aware references felt unnecessary. The shift from dreamy tracks like “Cherry Blossom Girl” to more energetic, krautrock-inspired songs like “Don’t Be Light” showed that it’s just as enjoyable to be energized and engaged as it is to relax and get lost in thought.

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2025-09-23 01:01