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The sixth album by Phoenix sounds like the perfect soundtrack to come from a nation that, despite everything going on elsewhere in the world, still seems to possess hope and joy in great abundance.
The world seemed to breathe a sigh of relief after the French Presidential elec- tion in May. However, when the four school friends from Versailles (Christian Mazzalai, Laurent Brancowitz, Thomas Mars & Deck d’Arcy), now in their early forties, began writing and recording the songs that would make up Ti Amo (10 of them, as always) it didn’t look like they were in step with the national mood at all.
They started work in 2014, shortly after, Charlie Hebdo happened. Then the Ba- taclan happened when they were in the studio, just a 20-minute walk from the terrorist attack on the concert hall.
“There was this feeling the world as we knew it was collapsing before our eyes,” explains guitarist Laurent Brancowitz. But strangely, the gloom was not being reflected in the songs the band were writing. “To our great amazement, amid the geopolitical tension and general darkness, the music we were creating was sounding so joyful, romantic and carefree.”
They came together in a new, unfamiliar studio space, as they do for each new record. “Having our own studio would be a danger for us – the end,” bassist Deck d’Arcy speculates. This time they occupied the top floor of La Gaîté Lyrique in the 3rd arrondissement of Paris, a former theatre that was refurbished as a centre for arts and digital creatives in the late 2000s.
Mazzalai, Brancowitz and d’Arcy began composing together, with Mars joining them from his home in Manhattan for 10 days out of every month. There they kept a strict 9-to-5 discipline for months, unlike past sessions of night work. They recorded the whole process – hundreds of hours of music. The favoured songs that eventually emerged featured sparkling synths dominating over gui- tars. The guitars that were present were often altered electronically.
J-Boy, the first single, is an acronym for “Just Because Of You”, the
repeated phrase of a digital love song that twinkles with the unhurried bliss of a long night on a dancefloor. There’s a disco feel to Tuttifrutti and a cocktail hour sunset sound to Goodbye Soleil. And title track Ti Amo melds a funky bassline to bold synths with an irresistible energy, while Thomas Mars sings of gelato, champagne and prosecco.
Ti Amo (Italian for “I love you”) is though not
a decidedly apolitical record,
being political is its own statement in 2017.
While the record still sounds positively French, Brancowitz explains that “It’s an album about our European, latin roots, our fantasized version of Italy. A lost par- adise made of eternal Roman summers (hyper-light, hyper-clarity, pistachio gelato), juke-boxes on the beach, Monica Vitti and Marcello Mastroiani, fearless desire and Antique marble.”
Their collaborator Pierrick Devin joined them as they explored (Devin would re- cord the album, co-producing it with the band and mixing part of it alongside Mi- chael Brauer), and their longtime producer, Philippe Zdar, was never far away, giving them special guidance during his studio visits.
Spending their days in Paris, reading the news, dreaming of Italy, they could be in no doubt that they were far removed from the preoccupations of the rest of their country. But Mars wouldn’t call his band’s work escapism as such. “I think you can tell it’s a 2017 record but there is this detachment and distance,” he says. “To me that’s not denial or escapism. It’s conscious, it’s what music and art are supposed to be: a world of possibilities.”
Brancowitz agrees that although they knew that the songs felt strange for the times, it was impossible to resist them. “At first there was this slight feeling of guilt, before we understood that abandoning ourselves to the healing power of music was exactly what we had to do.”
Now, in slightly more positive times, everyone can enjoy Ti Amo’s bright, sum- mery sounds for what they are. The album sits comfortably beside Phoenix’s fin- est work, such as their breakthrough fourth album, Wolfgang Amadeus Phoenix. A gold-seller in multiple countries, with a platinum single in the shape of 1901, it’s won a Grammy in 2009 for Best Alternative Music Album and is the one that put the band where they are today: adored festival headliners known for their showmanship and Mars’s frequent forays into the crowds.
Phoenix shouldn’t be missed at this summer’s festival appearances, which in- clude top slots at Glastonbury, New York’s Gorvernors Ball and Japan’s Summer Sonic.
If the sun is shining, Phoenix have got the right songs for the occasion.
Cut Copy is a GRAMMY® nominated, ARIA award-winning musical act with numerous festival-headling slots and over 1,000 sold-out headline shows spanning several continents to date. Initially the bedroom recording project of Dan Whitford, Cut Copy evolved into a full-fledged band with guitarist Tim Hoey, drummer Mitchell Scott, and bass player Ben Browning. The quartet’s studio albums include In Ghost Colours, which Pitchfork named as one of the best albums of 2008 and among the top albums of the 2000s, and 2011’s Zonoscope, which won two ARIAAwards and was nominated for a GRAMMY®. Their last album, 2017’sHaiku From Zero, represented the band at their most refined and efficiently emotive. Their new albumFreeze, Melt, mainly written during a Scandinavian winter during frontman Dan Whitford’s time in Denmark, reflects the time and place in which it was created, with a much more moody and evocative spin on their trademark synthesizers and melodies. Cut Copy have managed the clever hat trick of simultaneously expanding their sound while also refining it. While previous records explored peak-time hedonism, this is a soundtrack to the perfect gentle comedown. Cut Copy’s songs have been licensed for use in television, games and commercials, including FIFA 18, Chevrolet, Netflix, Amazon, and Levi’s® #LiveinLevis campaign. DJing and mixes have also been a big part of their identity–from the band’s famed Fabric mix, Fabriclive.29, to the 2014 Melbourne dance compilation, Oceans Apart. In addition to headlining massive sold-out shows, the band has gained prime slots at prestigious festivals such as Coachella, Ultra, and Lollapalooza in the U.S.; Primavera in Spain, Pitchfork in Paris; Summer Sonic in Japan; and Big Day Out in Australia.
I’ve been making music as Porches since 2009. It’s an ongoing exploration of any sounds or ideas that I find interesting in a particular moment. Ideally, as time passes, these seemingly disparate ideas will become unified in the context of the Porches catalogue. Kind of like a public diary.
My aim is to swim to the bottom of myself and find the most beautiful and strange things I can offer. Porches is my love affair with music and my love affair with the world. Music keeps me alive and I hope these songs can serve the people that listen to them as well.
My new album, Ricky Music, was written and recorded between Dec 2017 and the spring of 2019. Mostly in New York at my apartment, but some of it in Chicago, Los Angeles, and various cities while touring around Europe. This record is an account of the beauty, confusion, anger, joy and sadness I experienced during that time. I think I was as lost as I was madly in love. In these songs I hear myself sometimes desperate for clarity, and other times, having enough perspective to laugh at myself in some of my darkest moments. That’s sort of what this album is about, I hope you enjoy it.