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How Air’s ‘Moon Safari’ became an elegant masterpiece of '90s electronic music

Released in early 1998, Versailles duo Air’s debut album ‘Moon Safari’ was a gentle antidote to the wave of French Touch at the time. With an emphasis on melody and mood, it became a ubiquitous soundtrack to the end of the 20th century, and still sounds inspired today. Here, Ben Cardew explores its legacy

This feature was originally published by DJ Mag North America in 2019

So much electronic music is dominated by rhythm: the 4/4 stomp of techno; the woozy pulse of dubstep; the clattering breaks of jungle and drum and bass. However, some of the best electronic music — from Kraftwerk to Daft Punk, Masters at Work to Underground Resistance — is based on a wonderful understanding of melody, creating those hooks that stick in your head at the end of the night when the legs have been reduced to a mushy pulp. 

To this list we might add Air, the silkily nerdish duo from Versailles, who combine classical melodies with heady atmospherics, Serge Gainsbourg-esque élan and more than a hint of sex. Their music laid a framework for a generation of magenta-hued chill–out bands to idle out of the woodwork in their wake.

1998’s ‘Moon Safari’ was Air’s debut album, and, to date, their defining act. If you were young at the end of the 1990s and had anything more than a passing interest in electronic music you will have heard it, soundtracking dinner and after parties, school runs, chill-out rooms and 1,001 stodgy TV dramas. So ubiquitous did ‘Moon Safari’ become, in fact, and so many terrible bands did it inspire, that Air became almost persona non grata in the 2000s, their career hobbled by the intolerable omnipresence of their debut.

And yet, when you consider everything Air had against them, it was a minor miracle they even made their breakthrough. Air weren’t particularly fashionable, for a start. Even in the mid ’90s, when Parisian music was riding the sizzling wave of French Touch, band members Nicolas Godin and Jean-Benoît Dunckel resembled more the architecture and maths students they had so recently been than the fashionable men around town their peers aspired to. 

“It was the late 1990s and Paris suddenly had this incredible electronic music scene: all these clubs were opening up. I didn’t get to go to all the parties, though, because I was generally at home with my wife taking care of Solal, our baby,” Dunckel told The Guardian in 2016. “We were poor. I knew our livelihood depended on Air being successful.”

Air dreamed to be different, both visually and sonically. There was nothing edgy or unconstrained about the band, no whiff of rebellion to get the heart strings pounding, and little in the way of beats to dance to. Most of all, as a stylistic decision, Air chose to be quiet: a gentle Gallic nuzzle to the ear rather than a voluptuous bear hug.

‘Sexy Boy’, the first single to be taken from ‘Moon Safari’, is typical of the duo’s individualistic approach to songwriting, marked by an androgynous, indistinct vocal. "If we’d sung ‘sexy girl’, it would have been a disaster. ‘Sexy Boy’ felt different,” Godin told The Guardian. “The song was about who we wanted to be; we weren’t handsome when we were younger; our friends always had more success with girls.”

So Air were big, unfashionable softies in a musical decade marked by innovation, ambition and noise. It would have been easy for Air to spanner together disco samples and filters to create a French House tune that would temporarily captivate the Parisian nightclubs. What Air did was to rely on melody and timbre to make their hugely elegant point. ‘Moon Safari’ was the epitome of this, the album’s 10 tracks forming a closed loop of such melodic brilliance and galactic ambience that listening to anything else afterwards felt like scraping muddy boots on a silk-lined boudoir. These are melodies that stick in the brain like glue, suspended in zero G by a velvety ambience of Fender Rhodes, clavinet, vocoder, strings and Moog.

Countless articles have been written about the recording of ‘Moon Safari’, and you can see why: the album pulled off the difficult task of sounding both futuristic and retro, its mixture of vocoders, synths and Serge Gainsbourg bass resembling a 1960’s vision of the gilded future, a combination best heard on the impossibly lush string and vocoder jam ‘Remember’.

Album opener ‘La Femme d’Argent’ is a wonderful example of Air’s insouciant melodic brilliance. The track also features stunning bass work, sporting the kind of bassline that carries the song on its back and leaves you singing in the shower.

Air were classically trained musicians who wore their hearts on their sleeves. The atmosphere of their music was balanced by the human emotion in their songwriting. ‘You Make It Easy’, a glittering highlight, spoke of the magic of falling in love, Beth Hirsch’s vocal soaked in emotion, while ‘New Star in the Sky (Chanson pour Solal)’ seemed to inject a whole galaxy of love and wonder into four tightly-packed lines with the ultra efficiency of a haiku.

And it was this, ultimately, that separated ‘Moon Safari’ from the music that came in its wake. Among the trends that the album inspired were an international Serge Gainsbourg revival, a renewed interest in film soundtracks, and the career of Sofia Coppola, with the band scoring her directorial debut The Virgin Suicides the year after ‘Moon Safari’s’ release. You can hear the album’s influence in the work of acts like Kid Loco, Bent, Röyksopp, Crustation, Tim “Love” Lee, Cibo Matto, Sébastian Tellier and more. But what few of these acts seemed to grasp, in their search for ever lusher melodic beds, was at the centre of Air’s artifice was a beating heart. Rather than the clatter of drums, this was the rhythm that ‘Moon Safari’ moved to.

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Air's Moon Safari is an era-defining French album worth celebrating, 25 years on

There's no telling how many special moments have been soundtracked by Moon Safari, the acclaimed 1998 debut album from French duo Air.

An era-defining record of pristine, space-age lounge music delivered with cinematic atmosphere and a distinctively French je ne se quios , Moon Safari was a universal critical and commercial success upon release.

The lush easy-listening music was perfectly suited to post-club comedowns, hip cafes, and make-out sessions: smooth and dreamy enough to be played in the background, but singular and masterfully crafted enough to reward close listening.

It proved highly influential, too. But the wave of mellow, down tempo imitators and 'chill out' CD compilations it spawned struggled to surpass Air's chic, exquisitely woozy beauty.

'It was not meant to be played live'

Jean-Benoît Dunckel, one half of Air alongside Nicolas Godin, never expected Moon Safari's enduring success.

"We never imagined this album could work that way worldwide," he tells Karen Leng on Double J Lunch. 

"It took time, it took decades, [but] the success is not by us, the audience made [it]."

This year, the duo has been playing Moon Safari in full around the world on their first tour in seven years, including Australia.

"It was not made to be played live," says Dunckel. 

"We had to adapt it for the live [setting]. That is what the people want to get — this special feeling they heard the first time… to live again these feelings."

Having played two nights at the Sydney Opera House as part of Vivid Live , Air will live-stream their show at London's Royal Albert Hall this weekend.

"It's a beautiful venue," says Dunckel, who is keen to preserve a pristine performance of the album online for future access.

"It's really important to do that because… people can also discover the band live. Some people appreciate the live versions more than the recorded versions."

Performing as a trio, alongside drummer Louis Delorme, Air play inside an oblong box adorned with dazzling lights and visuals, which morph from swathes of minimalist colour to the perspective of a spaceship enjoying interstellar travel.

"We play in a box of light. It looks a bit like the studio on the cover of 10 000 Hz Legend," says Dunckel, referencing the band's second studio album — a weirder, wilder reaction to Moon Safari.

"It could be a home, it could be our world, our head, our architectural concept. It helps for people to enter into a world… people like [that] intimacy."

Dunckel says people often ask: "Are you not bored to play these songs you play for 20 years now?"

"Sometimes I struggle — because you have to concentrate, and you have to play. But I'm never bored. It's always a pleasure."

Moon Safari is a product of its era, but it's also aged beautifully.

It's an evocative listening experience, from the moment lengthy opener 'La femme d'argent' ushers you in with the sounds of water and slinky bassline, through to the weightless pop and robot-voiced melodies of 'Kelly Watch The Stars' and 'New Star in the Sky'.

In 1998, its retro-futuristic arrangements already sounded timeless. 25 years later, its ability to transport your mind and imagination elsewhere hasn't dated one iota.

"It could be a journey, a love story," remarks Dunckel. "That's why we're really attached to it. I think the audience is searching for that, too.

"It helps human relationships in every way," adds Dunckel. Over the years, Air fans have shared "so many stories" of what the album means to them.

"Most of the time it's for love. It's always, 'I met my girlfriend or wife this time'."

Back in 1998, Dunckel told triple j that while hiking in Iceland, his guide revealed Moon Safari was his love-making soundtrack.

There's "probably" plenty of babies in the world with some of the album's DNA in them since, Dunckel estimates of a new generation discovering Air for the first time.

"As we are getting old now, it's becoming that people say, 'oh yeah, my parents were listening to Moon Safari when we were travelling in a car; this family time'."

Sexy Boy, the surprising queer anthem

For many, debut single 'Sexy Boy' was their first introduction to Air. A seductive slice of synth-pop that brought vocoder back to the pop charts and sung in both French and English.

It's a seemingly simple song but Dunckel notes there's "a lot of tolerance and freedom" embedded in it.

"Sexy Boy, first of all, is a strange title because it breaks a certain taboo. The taboo is that heterosexual boys can check out other boys," he explains.

"Also, it became a gay slogan in a way. A gay anthem."

The song took on a new meaning in late 90s Paris when the electronic music scene's wider acceptance of the LGTBQI+ community led to more club and techno nights dedicated to queer punters and DJs emerging.

"There was a lot of gay parties," says Dunckel. "Homosexuality is everywhere in the world, and it's always existed, always there. So, it was important to liberate this movement."

Originally, the song's titular phrase was inspired by Parisian fashion culture.

"People are checking each other out all the time… In Paris, when a couple is meeting another couple, the girl is not going to check out the boy. She's going to check out the other girl: analyse what she wears, how she behaves, what is the fashion or type of the boyfriend.

"Sexy Boy is speaking about that. The fact a man wants to be a pretty man and he is checking [out] other boys."

A popular soundtrack choice, featured in teen rom-com 10 Things I Hate About You and noughties TV drama Queer As Folk, 'Sexy Boy' is also a testament to youth.

The French verses are "celebrating that golden age of being young," Dunckel explains.

"When you're young you don't realise you're at the top of your life. You have a lot of power, actually… because you're beautiful. Your skin, hair, you feel great, you have a lot of energy."

The makings of a classic

Despite its iconic status, Moon Safari was actually the last roll of the dice for Dunckel and Godin.

Raised in the conservative suburb of Versailles, the pair began making music together after meeting at school. But after having their demo tapes rejected by every record label they approached, they quit music and instead focused on their studies.

Each had established careers — Godin in architecture, Dunckel in mathematics — when an opportunity presented itself in a close friend landing a role with Virgin Records imprint Source.

They landed a deal with the label but ditching their jobs for a full-time career in music to support their burgeoning families was a gamble.

"We were 26 years old. We were not sure we come be musicians for the rest of our life," remembers Dunckel. "I was already working [as] a physics teacher… I had a baby."

Thankfully, their risk was rewarded when their debut album became a breakout international hit. Air was swiftly lumped alongside a fresh wave of Parisian artists reinventing the electronic music scene in the late 90s.

Dubbed French touch, the movement included Cassius, St. Germain, Étienne de Crécy, and Daft Punk, who recorded their breakout 1997 album Homework down the street from where Air made Moon Safari.

"There was a kind of energy circulating all over Paris," recalls Dunckel. "Paris is kind of small; all the media, artists and business part of it [were] working all together."

The worlds of music, fashion, contemporary art, cinema — "everything was mixed," Dunckel says.

"At this time, new generations of young people coming from the suburbs are even inside Paris and mixing all these rich, futuristic concepts together with new machines, samplers, computer programs to make music."

A fond farewell to youth

Despite being poster boys for the future of French music, Moon Safari was an evocative, nostalgia-drenched ode to Dunckel and Godin's past.

"In a way it was the end of my youth… That's why the songs [on Moon Safari], there are a lot of regrets and it's a goodbye to our youth and the innocence of it.

"It's full of vibrations from teenage times."

Although labelled an electronic act, Air's music wasn't rooted in beats and house music. Instead, they armed themselves with analogue Moog and Korg synthesizers, vintage drum machines, vocoders and the trusty Rhodes piano.

The resulting compositions bore the esprit of Serge Gainsbourg, electronic pioneers like Jean-Michel Jarre, and the 1970s film and TV soundtracks of Dunckel's childhood.

There's a fondness for the psychedelic grandeur of Pink Floyd and ELO. But also, Burt Bacharach arrangements, particularly in the wistful French horn topline of ''Ce matin là' (This morning) and the easy-going 'You Make It Easy' and 'All I Need', both featuring the lyrics and vocals of Godin's then-neighbour, Beth Hirsch.

From its lush, otherworldly sounds right down to its title, Moon Safari gives rise to cosmic ideas and conducive to escapism. That spirit is central to Air's entire ethos.

"I think music exists in paradise and you can feel this [album] is in a strange interface between our world and something else."

Such ephemeral expressions might be surprising coming from a former physics teacher, but Dunckel says "both sides of your brain help" when it comes to making emotive art.

"There is a mathematic aspect of music, that analyses and helps you perform and conceive music. But there is something else happening, your heart is talking.

"As a musician you're organising the vibrations of your heart and the feelings into music… vibrations travelling into space and air."

"When I do a song, it's all about 'what do I feel?'" Dunckel concludes.

"For me, good means it affects me. No good means I don't feel anything… if it affects me, it's going to affect others, too. They're going to feel the feelings I do, too."

Air live-stream their performance at London's Royal Albert Hall on Saturday 1 June. Details here .

Hear Karen Leng hosting  Lunch on Double J from midday Monday to Thursday.

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Air’s instant breakthrough of a debut is effortlessly cool—a haze of vaporized vocals, warm synths, and stainless steel hi-fi sensibility. Without being as kitschy or (wink, wink) ironic as its spacey “Sexy Boy” single might lead you to believe, the album is an immaculate collection of suave Moog moves and future-disco downtempo. A defining achievement in the chill-out subgenre, it rightfully dominated compilation racks at the turn of the century on the strength of songs like “Kelly Watch the Stars” and “You Make It Easy.”

January 16, 1998 10 Songs, 43 minutes ℗ 1998 - Source/ Parlophone Music, une division de Parlophone Music France.

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• Air play Moon Safari

Australian Exclusive 25 – 26 May 2024

In the Concert Hall

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Marking their era-defining debut album  Moon Safari , French pop duo Air return to the Sydney Opera House Concert Hall to play the classic album for the first time live in its entirety.

$8.95 booking fee applies per transaction

Prices correct at the time of publication and subject to change without notice. Exact prices will be displayed with seat selection.

The only authorised ticket agency for this event is  Sydney Opera House . For more information about Authorised Agencies, see the frequently asked questions below.

Sydney Opera House Insiders pre-sale 10am, Tuesday 12 March 2024

Become a Sydney Opera House Insider to receive exclusive pre-sale access What’s On e-newsletter pre-sale 10am, Wednesday 13 March 2024 General Public tickets on-sale 10am, Friday 15 March 2024

Wheelchair accessible

Gig Buddies , an organisation that pairs adults with intellectual disability with volunteers to attend social events, have offers available for Air play Moon Safari. Bookings are required. For more information contact [email protected] .

Find out more about  accessibility at Sydney Opera House

The duration of this event is approximately 105 minutes.

Event duration is a guide only and may be subject to change.

Suitable for all ages, recommended for ages 15+

Children aged 15 years and under must be accompanied at all times.

The Opera House is committed to the safety and wellbeing of children that visit or engage with us. Read our  Child Safety Policy . 

A rich, layered, flirty opus of retro-futuristic makeout music. Moon Safari  remains the cornerstone of their legacy. Stereogum

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Getting here

Covid-safe information, frequently asked questions, french space pop wizards recreate their voyage to the moon.

Twenty-five years ago, a pair of young French musicians set out on a journey through the pop cosmos – and came back with a romantic masterpiece. Melding lush electronics, swooning songcraft and irresistible European retro-futurism, Moon Safari contained a universe that continues to lure in listeners with its gorgeous, starry-eyed sonic wonder. Now, to celebrate the album’s 25th  anniversary, Air return to Vivid LIVE to play their iconic debut for the first time in its entirety, immersing the Sydney Opera House in their singular soundscape across three performances in the Concert Hall.

Nicolas Godin and Jean-Benoît Dunckel were university kids studying astrophysics and architecture when they combined their musical talents to form Air in the mid-’90s. Released in January 1998, their full-length debut Moon Safari became a pop culture sensation, selling millions of copies and launching the inescapable hits “Sexy Boy”, “Kelly Watch the Stars” and “All I Need”. It would become a defining soundtrack of the era, transfixing the likes of David Bowie, Beck and Madonna, and influencing such artists as Tame Impala’s Kevin Parker, Charlotte Gainsbourg and filmmaker Sofia Coppola – with whom Air would soon collaborate on music for The Virgin Suicides . The record topped the year-end lists of numerous publications, and was named one of the greatest albums of the ’90s by Rolling Stone . Twenty years on, Moon Safari has lost none of its beguiling magic; it’s a mood that invites you to lose yourself in the music forever.

After their sensational shows at Vivid LIVE in 2017, Air are ready to take us to the moon for a once-in-a-lifetime performance.

Presented by Sydney Opera House

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Following French pop duo, Air's sold-out Australian exclusive performances for Vivid LIVE, watch Sofia Coppola’s directorial debut, The Virgin Suicides featuring a score composed by the electronic music legends.

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Our foyers will be open 90 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and two hours pre-show for Western Foyer venue performances. Refreshments will be available for purchase from our theatre bars.

All Sydney Opera House foyers are pram accessible, with lifts to the main and western foyers. The public lift to all foyers is accessible from the corridor near the escalators on the Lower Concourse and also in the Western Foyer via the corridor on the Ground Level (at the top of the escalators). Pram parking will be available outside the theatres in the Western Foyer.

Visitors and ticketholders are strongly encouraged to plan ahead and allow extra travel time and use public transport whenever possible when arriving for an event or performance. Large crowds are expected on the Opera House precinct and around the CBD, and road closures may be in place.

For further information, please visit Transport NSW’s Vivid Sydney page.

The Sydney Opera House and Circular Quay precincts are very popular and attract large crowds during Vivid Sydney. Visitors are strongly encouraged to leave the car at home and use public transport wherever possible. During this time, there will be changes to transport timetables so allow extra travel time. 

Visit Transport NSW’s Vivid Sydney page for more details on service changes

There will be a range of road closures in the Sydney CBD during Vivid Sydney. For detailed information on road closures during Vivid Sydney, please visit Live Traffic NSW.

The Sydney Opera House car park will be open every evening during Vivid Sydney, however it is expected to reach capacity early. Patrons are encouraged to use public transport wherever possible and allow extra travel time.

Please note that if you drive and arrive early for parking, you may not be able to exit if there are road closures in place. For detailed information on road closures during Vivid Sydney, please visit  Live Traffic NSW .

The health and wellbeing of everyone attending the Opera House is our top priority. We’re committed to making your experience safe, comfortable and enjoyable, with a number of measures in place including regular cleaning of high-touch areas, air conditioning systems that maximise ventilation, and hand sanitiser stations positioned in all paths of travel. We remind our audiences and visitors to please stay home if you feel unwell. If you need to discuss your ticketing or booking options, contact our Box Office team on 02 9250 7777.

The health and wellbeing of everyone attending the Opera House is our top priority. We have a number of safety measures in place including regular cleaning of high-touch areas, air conditioning systems that maximise ventilation, and hand sanitiser stations positioned in all paths of travel. While face masks are no longer required, we ask all our patrons and visitors to practise good hygiene. Please stay home if you feel unwell and read more about our flexible ticket options .

The Sydney Opera House no longer requires patrons to show that they are fully vaccinated against COVID-19.

Attending the Opera House during Vivid Sydney

The Lighting of the Sails during Vivid Sydney is a free event. You do not need a ticket to view the incredible animations by Julia Gutman on the Sails every night from 24 May – 15 June.

If you are attending a performance as part of the Vivid LIVE program, a valid ticket is required. It’s highly recommended that you purchase tickets in advance.

It is highly recommended to purchase tickets in advance, as tickets may not be available at the door. 

In line with our venue security procedures, Opera House security will be scanning and checking bags on entry. Please travel lightly and do not bring items that require cloaking e.g. handbags bigger than A4-size, backpacks and umbrellas, which are not permitted inside our venues. 

Please follow the directions of Opera House staff and security.

Yes, cloaking will remain available but it is strongly encouraged that you travel lightly and leave large, bulky items at home.

The following items are prohibited:

• BYO alcohol
• Glass beverage containers
• Professional cameras or recording devices
• Laser pointers or selfie sticks
• Illegal substances including controlled, dangerous or illicit drugs
• Offensive signage or clothing

Further information about items that are prohibited onsite can be found on our  Conditions of Entry .

The health, safety and wellbeing of everyone at the Opera House is our top priority. In line with this commitment, the Opera House is a smoke-free site.

The Smoke-free Environment Policy applies to all areas of the Opera House precinct and covers all forms of tobacco and non-tobacco smoking, including cigarettes, vapes, e-cigarettes, cigars and water pipe tobacco smoking. Read our  Smoke-free Environment Policy .

Yes, a complimentary shuttle bus and buggy service will be in operation during Vivid Sydney. Please contact the Box Office to confirm operating hours on 02 9250 7777. 

Download shuttle bus route map during Vivid Sydney (PDF)

For patrons who are blind or have low vision, the Opera House will be hosting two audio-described sessions of this year’s images projected on to the sails on 4 and 6 June. Bookings are required. For more information please visit the event page .

Gig Buddies, an organisation that pairs adults with a learning disability or autism with volunteers to attend social events, have offers available for AIR Play Moon Safari, Astral People presents Spice Trail, Thelma Plum, BARKAA, dstreet Studio Party and Tia Gostelow. Bookings are required. For more information contact [email protected] .

How do I travel to the Opera House during Vivid Sydney?

The Opera House and Circular Quay precincts are popular and attract large crowds during Vivid Sydney. Visitors are strongly encouraged to leave the car at home and use public transport wherever possible. During this time, there will be changes to transport timetables. For further information, please visit Transport NSW’s Vivid Sydney page . 

There will be a range of road closures in the Sydney CBD during Vivid Sydney .  For detailed information on road closures please refer to the road closure map and visit Live Traffic NSW .

The Opera House Wilson car park will be open every evening during Vivid Sydney, however the car park is expected to reach capacity early and egress will likely be delayed due to long queues. 

Entry and exit may be impacted by the temporary closure of Macquarie Street during the Vivid Sydney drone show, Love Is In The Air , on the 8, 9 and 15 June.

What can I eat and drink during Vivid LIVE?

Ticketholders are welcome to bring their own water bottle (as long as it isn’t made of glass) but no other food and drinks are permitted inside our venues. BYO alcohol is strictly prohibited from the Opera House.

The Opera House has a range of onsite bars and restaurants which are perfect for a quick snack or sit-down meal. 

Food trucks will also be set up on the forecourt offering festival-goers a variety of snacks and small plates to dine on after dark. Vegan and vegetarian options will also be available. Open from 5pm every day of the festival. 

For more information on what’s on offer, visit the Eat & Drink at Vivid LIVE page.

Cashless payment methods are strongly recommended. Please bring a credit or debit card for any on-site purchases to assist with swift transactions.

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Air Announce Moon Safari North American Tour Dates

By Nina Corcoran

Air have been playing their 1998 classic Moon Safari on tour in Europe, and the French duo has now announced the North American leg of the anniversary tour. The shows in Canada and the United States take place in the fall. See all of Air’s upcoming tour dates below.

It’s been over a decade since Air last released an album of new material. After putting out Le voyage dans la lune in 2012—a soundtrack for the restored version of Georges Méliès’ iconic silent film—the duo did share the compilation LP Twentyyears four years later, and it included the two previously unreleased songs “Roger Song” and “Adis Abebah.”

See which album Air’s Nicolas Godin picked for a list of “ 33 Musicians on Their Favorite Albums of the Last 25 Years .”

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03-07 Paris, France - L’Olympia 03-08 Amsterdam, Netherlands - Paradiso 03-24 London, England - London Coliseum 05-30 London, England - Royal Albert Hall 05-31 London, England - Royal Albert Hall 06-02 Zurich, Switzerland - Unique Moments Festival 06-14 Barcelona, Spain - Sónar Barcelona 06-21 Rome, Italy - Cavea 06-22 Ferrara, Italy - Summer Vibez 06-24 Paris, France - Days Off Festival at the Philharmonie 06-26 Halifax, England - The Piece Hall 06-27 Southampton, England - The Guildhall Square 06-30 Dublin, Ireland - Trinity College 07-05 Gdynia, Poland - Open’er Festival 07-09 Cascais, Portugal - Cool Jazz Festival 07-16 Luxembourg, Luxembourg - Neïmenster 07-18 Gent, Belgium - Gent Jazz Festival 07-19 Gent, Belgium - Gent Jazz Festival 07-21 Berlin, Germany - Spandau Citadel 07-23 Vienna, Austria - Metastadt Open Air 09-25 Vancouver, British Columbia - Queen Elizabeth Theatre 09-27 Seattle, WA - Benaroya Hall 09-29 Los Angeles, CA - The Orpheum Theatre 09-30 Los Angeles, CA - The Orpheum Theatre 10-02 San Francisco, CA - The Masonic 10-04 Denver, CO - Bellco Theatre 10-06 Minneapolis, MN - State Theatre 10-08 Chicago, IL - Auditorium Theatre 10-10 Detroit, MI - Fox Theatre 10-12 Toronto, Ontario - Massey Hall 10-13 Montreal, Quebec - Place Bell 10-15 Boston, MA - MGM Music Hall at Fenway 10-17 Philadelphia, PA - The Met 10-18 Washington, D.C. - The Anthem 10-21 New York, NY - Beacon Theatre 10-24 Atlanta, GA - Tabernacle 10-26 Miami Beach, FL - The Fillmore Miami Beach 10-29 Dallas, TX - Music Hall at Fair Park 10-30 Austin, TX - Moody Amphitheatre

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