Cover Air, featuring Nicolas Godin and Jean-Benoît Dunckel, performing at Clockenflap (Photo: courtesy of Clockenflap)
Air, featuring Nicolas Godin and Jean-Benoît Dunckel, performing at Clockenflap (Photo: courtesy of Clockenflap)
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In town for Clockenflap, French electronic duo Air sits down with Tatler to reflect on their three-decade musical journey and to discuss their deep connection to their French roots
To say French duo Air has had a packed year is putting it mildly. The group, which consists of Jean-Benoît Dunckel and Nicolas Godin—was busy with the re-edition of their 1998 hit Moon Safari; they travelled to Europe, North America and Asia-Pacific for the “Air Play Moon Safari” global tour; and performed at the closing ceremony of the Paris Olympics with fellow French Touch buddies Phoenix. Most recently, they were in Hong Kong to play at Clockenflap—and, of course, Tatler couldn’t miss the chance to catch up with them.
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Above One of Air’s iconic songs, “Sexy Boy”
Why did you decide to work on the re-edition of Moon Safari for its 25th anniversary?
Jean-Benoît Dunckel (JBD): We wanted to release some tracks that our fans had never heard before, to bring something exciting to our tour. Because there’s nothing more exciting than playing live tracks—new or old—that evoke strong emotions. We wanted to create an unforgettable experience for the fans.
Nicolas Godin (NG): When we debuted in the music industry, making a record was a big adventure. We had to send demo-tape cassettes, wait for an answer from record companies, have a record deal and mix at the studio for weeks. There was this big production achievement. But these days, everybody can make a record on a laptop. The magic is gone in a way—at least for us. I would hate being a newcomer in the music industry now. But going on stage and performing in front of thousands of people is magic, it reminded us why we were in this business. Performing is still the dream.
What do you think of the evolution of electronic music in the past few decades?
NG: As mentioned, what we noticed in terms of technology is the rise of computers. When we started electronic music, we were using electronic instruments—it was much more fun to plug, to play with the wires. It’s complicated, it’s heavy to carry, and the sound is dirty, but it was raw and we love that. It’s authentic.
JBD: In terms of genre, I think electronic music is more about dancing and clubbing these days. Some bands like Justice are incredible for that—they’re punchy, they’re soulful, but this would be so much out of character for us. We’re all about atmospheric music.
NG: Also, the stage we performed at changed a lot. In the early 2000s, there were no barriers, the clubs were small, and we could connect to the crowd in a different way. Now, there are so many walls between the artists and the audience, it makes it impersonal.
Above Nicolas Godin from Air on stage at Clockenflap (Photo: courtesy of Clockenflap)
Nicolas Godin from Air on stage at Clockenflap (Photo: courtesy of Clockenflap)
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You were at the forefront of the French Touch movement, which saw for the first time French electronic music being widely exported outside of the Hexagon. How do you perceive this movement’s evolution?
JBD: The French Touch has been about a new generation of French artists from the 1970s and 1980s, from musicians to directors and visual arts, who have brought their art to the international stage. But it became driven by some bands like us, Phoenix and Daft Punk. It used to be about being independent, not being signed by any record company, refusing interviews, refusing to be attached to brands. It was about freedom. Obviously, this has changed a lot.
NG: But there was a French touch before us, and they greatly influenced us: Debussy, Raven, Eric Satie… We really were influenced by our French roots, and that’s the reason why it worked internationally for us.
Above Jean-Benoît Dunckel from Air on stage at Clockenflap (Photo: courtesy of Clockenflap)
Jean-Benoît Dunckel from Air on stage at Clockenflap (Photo: courtesy of Clockenflap)
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While inspired by your French roots, do you find any inspiration in Asia?
NG: We have great respect for Ryuichi Sakamoto, who passed away last year. We met him when he did a show in Paris, he was looking for two keyboards—and we found him these keyboards. What a chance to meet him, he’s one of our heroes. Similarly, he became very famous for taking inspiration from his Japanese roots. That’s a great lesson: nobody should try to copy someone else’s culture. You can have a chance to make an international career with your own culture.
You guys have been working together for 30 years. What keeps your creative spark alive?
NG: I think we’re just very complimentary. JB is a magician and I’m an alchemist. JB finds sounds and ideas, and I mix them together.
What is music to you?
JBD: Music is math that you can hear, but it is also a science of silence.
NG: For me, music is a mystery that I’m still trying to understand. It’s the best thing that connects us to the unknown.
Salomé Grouard was Digital Editor and Front & Female Content Lead at Tatler Hong Kong. Primarily focused on managing Tatler Hong Kong’s digital platform and content, she also covers gender equality, the music scene and sports through interviews with industry leaders, experts and trendsetters.
Interview highlights include renowned conservationist Dr Jane Goodall, Korean actor Park Seo Jun, singer Jorja Smith, Chinese TV host Yue-Sai Kan, YouTuber Kimono Mom, Japanese rapper Awich, and Brazilian jiu-jitsu fighter Mikey Musumeci.
She has also produced stories on revolutionising sexual wellness in Asia, activism within the surfing community, Asian trans musicians reclaiming their narratives through music and looked at the toxicity of gym culture through the lens of the plus-size community. She also covers music festivals, such as Hong Kong’s Clockenflap and Bali’s Suara.
