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They famously didn’t make a DVD to accompany the set, on the presumption that the spectacle couldn’t possibly be captured on film. They were Star Wars fans, and it showed-not just in the music’s scale, but in its range, from the imperious and militaristic (“Robot Rock,” “Technologic”) to the goofy, playful, and weird (“Crescendolls,” “Burnin’”).Īnd for as inelastic as their funk was in both spirit and practice, the sequencing and recontextualization of their various musical ideas-bits of “Around the World” quoted in “Television Rules the Nation,” or the melody of “Harder Better Faster Stronger” laid over a new harmonic pattern-used the cut-and-paste process of techno to make something with the playful, referential quality of jazz. But it also proved their ability to transfer the grandeur and narrative ambition of ’70s arena rock to the digital era. The Alive 2007 show is considered a staple in live performances featuring the signature ‘Pyramid’ and groundbreaking visuals, which is now complemented by a fully remastered audio track which aims to maximize the experience. The expected audience for their Coachella set was around 10,000-approximately 40,000 showed up.Īlive 2007-which captured the same set the next summer in Paris-served as both a de facto greatest-hits album and a referendum on the group’s commercial success. The first professionally recorded live show revived meticulously by remastering and restoring the audio and video. Daft Punk’s Coachella set-the giant pyramid, the laser lights-wasn’t just considered one of the most memorable in the festival’s history, it helped mark a shift in dance music’s evolution from subculture to center stage. In the intervening decade, not only had their 2001 album, Discovery, been absorbed into the global mainstream, but newer artists like David Guetta, Calvin Harris, and Kaskade were starting to repackage house music for the kind of big-tent audiences that might also go see U2 or Red Hot Chili Peppers.
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It wasn’t that they didn’t want to, but that, in Thomas Bangalter’s words, their ideas were crazy, and crazy is expensive. It may not be better or stronger than the original Alive 1997, but it's definitely harder and faster.When Daft Punk was invited to play the Coachella festival in 2006, they hadn’t toured in nearly 10 years. Earlier this year, Daft Punk’s iconic Alive show was shared in full online using never-seen-before fan footage and some expert editing. Even songs from the comparatively desultory Human After All sound rejuvenated in context, with 'Robot Rock' getting the show off to a rousing start. In 2019, Daft Punk's 'Random Access Memories' was revealed as the best-selling dance music album of the decade. (The visuals included in the regular and deluxe editions reveal quite the stage show as well.) It has the feel of a greatest-hits-live concert, but energized by Daft Punk's talents at weaving songs in and out of each other. As on their first two classic full-lengths, Thomas Bangalter and Guy-Manuel de Homem-Christo display excellent crowd control, pacing the record well, spacing the hits, and building the mood like the good crowd-pleasers they are. While the original featured only a handful of tracks (but found them transformed and tweaked ad infinitum), Alive 2007 is packed with productions, most of them short and many of them getting a big crowd response (all recorded at one show in Paris in June of 2007). Timed to perfection, Daft Punk's second live album landed exactly ten years after the first, and provides a fitting complement to Alive 1997, easily the best live non-DJ electronica record ever released.