I got to know the guys so closely during that time. “The eight shows that they’d planned eventually turned into something like 80 shows! We toured for two years, pretty much we started in 2006 and it ended at the tail end of 2007. Then we had a long chat about how much we all loved Paul Williams,” Peter remembers. When I told them I’d done Paul Williams’ front-of-house their eyes widened and they were pretty impressed. It was originally scheduled to be just eight shows, but I met Thomas and Guy-Manuel – they asked me what I’d done. He called me one day and just said: ‘I know a couple of guys who want to do a short tour, would you be up for it?’. They asked him if he knew any front-of-house engineers and he suggested me. I had done a tour with Martin Phillips, who was doing all the lighting for their videos, so they’d already asked him if he’d help design the live show. They needed someone to mix their front-of-house. “They hadn’t performed in 10 years at that point, so they were kind of looking for a crew. “I first met Daft Punk in 2005, when they were preparing their live tour,” Peter tells us. We spoke to him about his tour memories, his first encounter with ‘the robots’ and how the record’s concept developed. Joining them on the tour was engineer Peter Franco, who engineered their Grammy Award winning live album Alive 2007 and went on to work on Random Access Memories. Although initially set to be a short-term affair, the Alive tour became a near-two-year undertaking.
CANCIONES DE DAFT PUNK RANDOM ACCESS MEMORIES SERIES
Rarely do artists nail a specific feeling with such mathematical exactitude perhaps Daft Punk are robots after all.Following their third full-length LP Human After All in 2005, the duo decided to embark on a series of live dates. What’s remarkable is that it’s just as powerful on the umpteenth listen.
They introduced Italo icon Giorgio Moroder to a new generation that hadn’t even been born by his ’70s heyday, helping kick off the decade’s disco revival with Pharrell Williams and Chic’s Nile Rodgers, they came up with the joyful, effervescent “Get Lucky”, a song so effortlessly delectable that hearing it for the first time was like being reacquainted with a childhood friend. Yet once again, even as the culture was trending in one direction, they feinted left: Their 2013 album, Random Access Memories, released at the height of the EDM boom, all but abandoned obvious digital trappings in favour of slinky organic disco played by real human musicians. Not only did Daft Punk help popularise electronic music, but their legendary 2006 Coachella performance from inside a neon pyramid helped set the stage for EDM’s turn toward hi-def spectacle in the 2010s. With songs like “One More Time”, Daft Punk proved their unrivalled ear for a platinum hook a cut like “Robot Rock”, meanwhile, was pure alchemy, turning a forgotten hard-rock obscurity into an unforgettable anthem. A pattern emerged: Dance music purists were initially aghast, yet both records quickly rewired the collective consciousness, paving the way for crate-digging iconoclasts like Justice and Kanye-and minting a fair number of stone classics in the process. But Daft Punk didn’t linger on their creation their next two albums, 2001’s Discovery and 2005’s Human After All, largely abandoned house and disco in favour of audacious sample flips from obscure ’70s rock and funk. Such sound-sculpting helped give birth to the “French touch”, a wildly influential production style whose luxe detailing continues to resonate through dance music decades later. The duo’s innovation was to take the wriggly, rough-hewn style-a descendent of disco, rooted in Black and queer communities in America’s cities-and sand down its edges, giving looped funk basslines both sensuous heft and Gallic panache. Shortly after, in 1993, the two regrouped as Daft Punk, trading their guitars for synths and samplers, and paying homage to the silky, hypnotic thump of Chicago house. Parisian natives Guy-Manuel de Homem-Christo and Thomas Bangalter, born in 19, respectively, met in school and played briefly in a rock band, Darlin’, with future Phoenix member Laurent Brancowitz. Few acts have done as much to translate electronic music’s sometimes arcane pleasures to pop’s broadly universal contours.
Daft Punk may pretend to be robots-their gleaming cyborg helmets are among the most recognisable silhouettes in modern music-but it’s the French duo’s warm, clearly human hearts that make them so beloved.
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