indochine central tour intro

Magic Vinyl vs Digital

What is the best edition of an album, vinyl, cassette, digital (CD, SACD, Streaming), in stereo, 5.1, Dolby Atmos or Sony 360 RA? Who has never asked this question?

Indochine – Central Tour Review (CD, DVD, Bluray, Apple Music, Tidal in stereo, Dolby Atmos and 360RA), can the same concert atmosphere be found at home as in IMAX?

After performing in the biggest stadiums and showing it in IMAX cinemas to best reproduce the concert atmosphere ( more information here ), it’s now time to test the concert at home and see if we can recreate the same atmosphere as in the IMAX theater. To do this test, we will be comparing different versions that have been released (CD, DVD, Blu-ray, and streaming), and in addition to comparing the technical aspect, we will primarily be looking for the version that best reproduces the concert atmosphere at home. It is worth noting the pleasant surprise upon the release of the Blu-ray, which was initially announced as DTS-HD MA 5.1, it was finally released in Dolby Digital TrueHD Atmos, and this has a major impact on the rendering of the Blu-ray.

If you want to go directly to the conclusion, click here , I recommend listening to the sample from the CD and the sample from the Apple Music Atmos Binaural version, the difference is really striking.

Before starting the test, here is a summary of the group Indochine:

Indochine is a French rock band formed in 1981. Since their formation, they have released 14 studio albums, becoming one of the most popular and influential bands on the French music scene. Their musical style is a blend of rock, new wave and pop, with influences of electronic music and punk. Their first album, “L’Aventurier”, was released in 1982 and immediately achieved great success with songs such as “L’Aventurier” and “Canary Bay”. Their second album, “Un Été Français”, was released in 1983 and also saw commercial success with songs like “Un été français” and “J’ai demandé à la lune”. Over the years, Indochine has continued to release albums which have all seen great commercial and critical success, such as “7000 Danses” (1987), “Le Birthday Album” (1989) and “Paradize” (2002). Their latest album to date, “13”, was released in 2018 and received positive reviews. In addition to their successful music career, Indochine is also known for their commitment to social and humanitarian causes. They have taken a stance against school bullying and have organized benefit concerts for charitable organizations such as UNICEF.

For this review, you will find 9 versions tested: CD, stereo DVD, 5.1 DVD, stereo Blu-ray, Atmos Blu-ray, Apple Music Lossless, Apple Music Atmos, Tidal 360RA, and Qobuz Hi-Res.

Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.

The album is composed of 26 tracks:

• Nos célébrations
• Miss Paramount
• Punishment Park
• Tes yeux noirs
• 7000 danses
• La chevauchée des champs de blé
• Little Dolls
• Alice & June
• Un été français
• Trois nuits par semaine
• Central Club
• Interlude 40
• J’ai demandé à la lune (avec la Musique de la Garde Républicaine)
• La vie est belle (avec la Musique de la Garde Républicaine)
• College Boy
• L’aventurier
• Karma Girls
• Central Final

* only on DVD and Blu-ray

First we will analyze each edition in detail (technical and qualitative analysis), then we will compare the successive editions with their dynamics and assign a final score, and you will be able to listen some samples.

The streaming versions may evolve over time, those presented here correspond to the version tested at the date of publication, or update of the review.

Review of the editions:

Part 1: Presentation of the editions

Part 2 : Waveform and dynamique comparaison

Parts 3 : Spectrum comparisons

Part 4 : Spectrogram comparaisons >

Part 5 : Spatialization

Part 6 : Summary, scoring and Sample

Part 1: presentation of the editions

Ed 1: cd – 2023, presentation.

Available in individual CD edition or included with the Special Edition containing the book (ref : 19658781822), the concert of over 2 hours and 30 minutes is divided into 3 CDs in 16-bit 44.1 kHz format from the digital master.

Ed 2: DVD Stereo – 2023

Available in individual DVD edition or included with the Special Edition containing the book (ref : 19658781822), the concert in video of more than 2h45 is cut on 2 DVD with stereo (PCM 16 bits 48 kHz) and 5.1 (Dolby Digital at 448 kbits/s in 48 kHz) audio tracks. The Ed2 corresponds to the PCM stereo track.

Ed 3: DVD 5.1 – 2023

Available in individual DVD edition or included with the Special Edition containing the book (ref), the concert in video of more than 2h45 is cut on 2 DVD with stereo (PCM 16 bits 48 kHz) and 5.1 (Dolby Digital at 448 kbits/s in 48 kHz) audio tracks. The Ed3 corresponds to the Dolby Digital 5.1 track.

Ed 4: Bluray stereo – 2023

The blu-ray version (ref: 19658773669) contains the concert on a single disc with two sound tracks, the 24-bit 48 kHz PCM track and the Dolby Digital TrueHD Atmos track. It is the stereo track that is tested in the Ed4.

Ed 5: Bluray Dolby Atmos – 2023

The blu-ray version contains the concert on a single disc with two sound tracks, the 24-bit 48 kHz PCM track and the Dolby Digital TrueHD Atmos track. As said before, it was a surprise when I first listened to the disc, indeed, I was expecting to have a DTS-HD 5.1 track, but the room was filled with Atmos sound! A booklet is present in the Blu-ray.

Ed 6: Apple Music Lossless – 2023

This is the Apple Music lossless stereo version presented in 24 bits 44.1 kHz.

Ed 7: Apple Music Dolby Atmos – 2023

This is the Apple Music lossless Dolby Surround encoded in Dolby Digital Plus at 768 kbits/s.

Ed 8: Tidal 360 RA – 2023

This is the Tidal version presented in SONY 360 Relality Audio format.

Ed 9: Qobuz Hi-Res – 2023

This is the Qobuz stereo version presented in Hi-Res 24 bits 44.1 kHz.

Part 2 : Waveform and dynamic comparaisons

The waveform represents the track of the song “L’aventurier” which is well representative of the whole album.

The graphs below represent the waveforms of the stereo versions (CD, DVD, Bluray, Apple Music and Qobuz). For all these graphs we can see that the level is maximized with the flat areas (yellow zone) showing the effect of the level limiter. It is a characteristic graph of the Brickwall limiter user as confirmed by the DR measurement.

The waveform of the 5.1 DVD below is more dynamic than the stereo versions. It can be seen that the center channel is used very little. The LFE channel which is the channel dedicated to the bass brings a reinforcement of the bass with a significant level to bring sensations in the extreme bass.

The waveform of the ATMOS bluray below represents here the 8 channels of Dolby Digital TrueHD 7.1 without decoding of the ATMOS information. This version is more dynamic than the stereo versions. The LFE channel which is the channel dedicated to the bass brings a reinforcement of the bass with a significant level to bring physical sensations in the extreme bass. All the surround channels are strongly exploited to bring a more immersive rendering of the concert.

To best compare with the stereo versions, the graphic below represents the binaural version of the Dolby Atmos track from Apple Music. You can see that the track is dynamic without the sound levels capping like the stereo tracks. This dynamic will make all the difference when listening.

The graph below represents the version Tidal 360Ra Binaural, we find a limitation of the dynamic but less marked than the stereo versions.

The waveform comparison below represents the CD and Apple Music Dolby Atmos Binaural samples. Both samples are adjusted to the same level of -12.7 LUFS to allow a better visual comparison. The difference in dynamics between the two samples is very important, it is easily visible and also audible as shown by the listening of the samples.

Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).

For our 9 editions reviewed have obtained the following Dynamic Range (DR) :

We find for all the editions a very high dynamic with a DR15 or DR14. We notice that the vinyl has the same dynamics as the digital stereo versions which confirms the beautiful work of cutting of the vinyl.

As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.

Part 3 : spectrum comparisons

The Spectrum allows to check the tonal balance of the music (balance between treble, medium and bass sounds) and to detect process that may have been carried out during the recording, the mixing, mastering or manufacturing phases. It is also possible to detect frequency interference issues.

The spectra of the CD and Qobuz Hi-Res are perfectly superimposed showing the use of an identical reference master with a sampling frequency of 44.1 kHz.

The spectra of the DVD stereo and Blu-ray stereo are perfectly superimposed showing the use of an identical reference master with a sampling frequency of 48 kHz.

The spectrum of the Dolby Digital 5.1 track on the DVD has a maximum frequency of 20 kHz (yellow arrow) due to the Dolby Digital encoding. The center channel (white arrow) has a lower level than the other channels. The green arrow shows the filtering of the bass channel to 120 Hz.

The spectrum of the stereo versions of Blu-ray and Qobuz are similar but with differences in sound levels at the bottom of the spectrum (green zone) and also differences in level from 4 kHZ increasing above 12 kHz to have a level with 5 dB more for Blu-ray.

The spectrum of the Dolby Digital TrueHD 7.1 track (without Atmos decoding) on the Blu-ray has a maximum frequency of 24 kHz (yellow arrow) due to the sampling rate and the fact that Dolby Digital TrueHD is a lossless format that does not alter the signal. The center channel (white arrow) has a lower level than the other channels. The green arrow shows the filtering of the bass channel at 120 Hz.

The spectra of Apple Music Lossless and Qobuz Hi-Res are perfectly superimposed showing the use of an identical reference master with a sampling frequency of 44.1 kHz.

The spectra of the Apple Music Lossless and Apple Music Atmos binaural versions are similar but with differences (yellow zone) due to the difference of mixing (Atmos vs Stereo) and the use of binaural for headphone listening.

The spectra of the Apple Music Atmos binaural and tidal binaural versions are similar but with differences that can reach 10 dB. This is due to the difference in mixing (Atmos vs 360 RA) and to the use of binaural for headphone listening which is different between Dolby Atmos and Sony 360RA. We notice that the maximum frequency of the Tidal 360RA version is limited to 18 kHz (yellow arrow) contrary to Dolby Atmos. This is due to the MPEG-H encoding algorithm.

Part 4 : Spectrogram comparaisons

Spectrogram.

Spectrogram is another representation of frequency versus time of a track. For each channel (right and left), horizontal axis represents time, and the vertical axis represents frequency. The amplitude is represented by the intensity (brightness) of the color of each point in the image.

The spectrograms below represent the stereo versions of CD, DVD, Bluray, Apple Music and Qobuz. The yellow arrow shows the limitation to 22 kHz (for CD, Apple Music and Qobuz) and 24 kHz (for DVD and Bluray). This is due to the sampling rate of 44.1 kHz for CD, Apple Music and Qobuz, and 48 kHz for DVD and Bluray. There is no signal above these frequencies of 22 kHz or 24 kHz (white arrow).

The spectrograms below represent the multichannel versions of DVD and Bluray. The yellow arrow shows the 24 kHz limitation for the bluray, which is due to the 48 kHz sampling rate, and the 20 kHz limitation for the DVD, which is due to the Dolby Digital encoding that reduces the high frequencies. There is no signal above these frequencies of 24 kHz or 20 kHz (white arrow). The LFE bass channel is cut off around 120 Hz as shown by the green arrows.

The Apple Music Dolby Atmos Binaural spectrogram has a limited maximum frequency around 20 kHz (yellow arrow) due to the Dolby Digital Plus encoding at 768 kbps. This despite the use of a 48 kHz sampling rate. There is no signal above 20 kHz (white arrow).

The spectrogram of the Tidal 360RA Binaural version has a maximum frequency limited to around 18 kHz due to the MPEG-H encoding (yellow arrow). This is despite the use of a 48 kHz sampling rate.There is no signal above 18 kHz (white arrow).

Spatialization allows you to define the sound distribution of the music on all the channels. The spatialization indicator and the description of the graph are described here .

Having a sound in multichannel or Atmos is important for reproducing the atmosphere of a music concert in order to immerse the listener in the concert experience. Multichannel sound, such as 5.1 or 7.1, provides a surround sound experience, allowing the listener to hear the music and sounds coming from different directions, creating a sense of being in the concert. Atmos, on the other hand, takes this one step further by adding a vertical dimension to the sound, making it feel as if the sounds are coming from above and all around the listener, providing an even more immersive experience. This makes it possible to reproduce the atmosphere of the concert and the feeling of being in the same room as the other spectators.

The 5.1 track of the DVD brings a good spatialization on 5 speakers, we find the atmosphere of the concert, even if it is less immersive than with more channels.

Spatialization : ●●●●o (4.1)

The Bluray’s 7.1 Dolby Digital TrueHD track is more immersive than the DVD’s 5.1 version. This lossless format allows for more detail and more physical bass.

Spatialization : ●●●●o (4)

With the Atmos decoding of the Dolby Digital TrueHD track of the Bluray in 7.1.4, we are totally immersed in the concert, the channels in height really brings a plus and are perfectly exploited. We find the atmosphere that we had in the IMAX theater.

Spatialization : ●●●●●●●●oo (8.4)

The Dolby Atmos version of Apple Music is very similar to the Blu-ray version, we find the beautiful atmosphere of the concert with an exploitation of all channels in 7.1.4. The bluray, with its Lossless format brings more precision and a little more energy in the low frequencies.

Spatialization : ●●●●●●●ooo (7.5)

The Tidal version in Sony 360 Reality Audio format brings a good spatialization in 7.1.4 but with a different distribution between the surround and high channels compared to the Dolby Atmos version. We find the atmosphere of the concert but less natural and immersive than in Dolby Atmos.

Spatialization : ●●●●●●●ooo (7.3)

Part 6 : Summary, scoring and Samples

The CD, like the other stereo versions, are compressed in dynamic to increase the sound level of the album. The use of a Brickwall limiter type is not transparent and can generate distortion as shown by the analysis in the article “ Loudness war, the limit of the 0dB in digital or Analog better than Digital? “. This distortion is clearly audible, just listen to the sample from the CD and compare it to the sample in Apple Dolby Atmos binaural. There is an immediate loss in dynamics, a lack of precision in the atmosphere of the audience and also less clarity in the singer’s voice. The CD is therefore directly affected by this loudness war with its DR6. Today, the DR6 seems to become a dynamic target (or an integrated loudness around -9 LUFS) that is often pushed by the majors. Listening to the CD version is a case in point of what not to do, it is an example of the consequences of the loudness war. It is appropriate to listen and adjust the efficiency of the limiter to obtain a correct result, we must stop targeting the DR6, it is time to return to a DR10 which would have been preferable for the quality of stereo restitution, especially since the sound quality is very good as shown by the Dolby Atmos versions.

• Dynamic: ●oooo (1)
• Bandwidth: ●●●●o (4)
• Restitution: ●●ooo (2)

Sample : ”L’aventurier” 16 bits 44.1 kHz:

As with the CD, the stereo version of the DVD is highly compressed in dynamics. It is preferable to listen to the Dolby Digital 5.1 version, even for stereo listening via a downmix.

Sample : ”L’aventurier” 16 bits 48 kHz:

The Dolby Digital 5.1 track is the best track of the DVD. It allows to recreate some of the concert atmosphere in 5.1. However, the Dolby Digital format which has a data compression system with loss, cannot compete with the Dolby Digital TrueHD track of the Blu-ray which does not result in data loss. So, there is less precision and less energy in the bass than the Dolby Digital TrueHD of the Blu-ray.

• Dynamic: ●●●oo (3.5)
• Spatialization: ●●●●o (4.1)
• Restitution: ●●●oo (3.5)

Sample : ”L’aventurier” 5.1 16 bits 48 kHz:

The sample is in 5.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and “Save Audio As…” and play it with an external player.

Despite the use of 24-bit 48 kHz PCM on the stereo track of the Blu-ray, this does not change the dynamic range compression that is applied to the stereo track. The same defects present on the CD in terms of lack of dynamics, lack of precision and loss of sharpness on voices are found. For the Blu-ray, do not hesitate and switch to the Dolby Digital TrueHD Atmos track.

Sample : ”L’aventurier” 24 bits 48 kHz:

The Dolby Digital TrueHD Atmos track was a surprise upon the release of the Blu-ray, which was announced in DTS-HD 5.1. We therefore have a track with lossless data compression with an average bit rate of around 6 MBits/s (13 times the bit rate of the Dolby Digital 5.1 of the DVD and 7 times the bit rate of Dolby Atmos streaming). If one is not equipped with Dolby Atmos, one can benefit from retrocompatibility in 7.1 of Dolby TrueHD. In terms of listening, we truly find the atmosphere of the concert, the audience is well present, it is really around us and we find all the ambient noises of the stadium thanks to the use of top channels. The voices are clear and precise, the bass is present and physical. Even if the chair vibrates a little less than in the IMAX theater, we find a similar atmosphere and a very nice concert energy. This Dolby Atmos track is the one that allows us to get the closest to the concert and IMAX cinema atmosphere. For those who are not in Dolby Atmos, the 7.1 track is also very dynamic and allows to create a beautiful atmosphere, even if the lack of top channels is felt.

• Dynamic: ●●●●o (4)
• Spatialization: ●●●●●●●●oo (8.4)
• Restitution: ●●●●o (4)

Sample : ”L’aventurier” 7.1 24 bits 48 kHz:

The sample is in 7.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and “Save Audio As…” and play it with an external player.

Like all stereo streaming versions, the Apple Music Lossless version is also dynamically compressed and therefore remains similar to CD in sound quality.

Sample : ”L’aventurier” 24 bits 44.1 kHz:

The Apple Music Dolby Atmos version is one of the best versions. In 7.1.4 multichannel listening, we find all the atmosphere of the concert, with the presence of the audience and the clarity of the lyrics. Compared to the Bluray and its Dolby Digital TrueHD track, the rendering is similar, but the bluray brings a little more precision and more powerful basses, this is due to the difference in bitrate between the Bluray and streaming. The Binaural version is superb, better than the stereo versions when listening with headphones. Compare with the available samples.

• Spatialization: ●●●●●●●ooo (7.5)
• Restitution: ●●●●o (3.5)

Sample : ”L’aventurier” Binaural (for headphone listening):

The 360 RA version doesn’t have the ease and openness of the Dolby Atmos version, this version has a higher level and is a bit less dynamic. The spatial distribution is less homogeneous in the 3D space than the Dolby Atmos version, we find here a mixing with a different rendering.

• Dynamic: ooooo (0)
• Bandwidth: ●●●oo (3.5)
• Spatialization: ●●●●●●●ooo (7.3)
• Restitution: ●●●oo (3)

Like all stereo streaming versions, the Hi-Res version of Qobuz is also dynamically compressed and therefore remains similar to CD in terms of sound quality. The use of 24 bits does not change anything to the sound rendering and does not bring anything more than the CD in 16 bits.

To answer the question of being able to reproduce the atmosphere of a concert at home, we can say that the answer is yes, with a very good Atmos system and the concert bluray . We almost find the sound of the IMAX room . The change of the DTS sound format of the bluray by the Dolby Atmos is the very good surprise of this edition. We would have liked to have a version in Bluray UltraHD, it may come out later, but we must admit that the quality of the image of the bluray from the IMAX cameras is very beautiful. The Apple Music Dolby Atmos version is also very successful, even if it is one step below the bluray version. It is a very good version to listen to on headphones in binaural. The big disappointment comes from the different stereo versions that are compressed in dynamics with a very significant impact on the sound quality. It is better to focus on the multichannel versions, even by making a stereo downmix.

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Detail of the ratings :

• Significant dynamic compression, DR less than 7
• Compression of the present dynamics, DR between 7 and 9.
• Correct piece DR >=10
• No dynamic compression (DR >12), dynamic rendering
• No dynamic compression, high DR and very dynamic sound rendering
• Spectrum cut and less than 15 khz
• Spectrum cut at 15 khz
• Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
• Spectrum conforming to the original (but not HD)
• Spectrum conforming to the original with HD resolution (higher than 24kHz)
• Continuous audible noise
• Audible surface noise except on passages with a high level of noise
• Reduced surface noise, barely audible on low level crossings
• Low surface noise, very good quality
• Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
• Between 0 and 5 for 5.1 or 7.1 channels configuration
• Between 0 and 10 for Atmos configuration (7.1.4)
• For more information on spatialization, you can read the article describing this parameter here .
• Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
• Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
• Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
• High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
• Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.

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2023 : Concerts (2023)

2022 : Central Tour – Stadiums

2021 : Concerts (2021)

2020 : Concerts (2020)

2018-2019 : 13 Tour

2017 : Concerts (2017)

2016 : Festival Tour 2016

2015 : Concerts (2015)

2015 : Europe City Club Tour

2014 : Stade de France – Black City Concerts

2013-2014 : Black City Tour

2012 : Paradize +10

2010 : Stade de France – Putain de Stade

2009-2011 : Meteor Tour

2006 : Hanoi

2005-2007 : Alice & June Tour

2002-2004 : Paradize Tour

2000-2001 : Une Nuit Intime Avec Indochine

1999 - 2000 : Dancetaria Tour

1999 : Indo Tour 99

1998 : Live Tour

1996-1997 : Wax Tour

1994 : Une Nuit Dans Votre Ville

1992 : Le Birthday Tour

1988 : Tour 88

1985-1986 : Indochine Joue…

1985 : Scandinavian Tour + SOS Racisme concert

1984 : Péril Jaune Tour

1983 : Les Dix Jours de Pékin

1982 : 1982 Tour

1981 : Le Rose Bonbon

Nicola Sirkis, Olivier Gérard / oLi dE SaT , Boris Jardel, Marc Eliard , Ludwig Dahlberg.

– Setlist – .

Nos Célébrations Station 13 Marilyn Miss Paramount Canary Bay Punishment Park Les Tzars Paradize Le Baiser Tes Yeux Noirs 7000 Danses La Chevauchée des Champs de Blé A l’Assaut 3SEX , ft. Christine and the Queens Alice & June Un Été Français 3 Nuits par Semaine

– Central Club – . Des Fleurs pour Salinger Kissing My Song Stef II Drugstar

Dizzidence Politik , ft. Dimitri & Lou Nos Célébrations (mix)

– Acoustic performance, ft. the French Republican Guard Orchestra – J’Ai Demandé à la Lune La Vie Est Belle Atomic Sky .

College Boy L’Aventurier Karma Girls

Photos – Videos

Bordeaux Matmut Atlantique

Opening MANSFIELD.TYA

– Setlist – .

Nos Célébrations Station 13 Marilyn Miss Paramount Canary Bay Punishment Park Les Tzars Paradize Le Baiser Tes Yeux Noirs 7000 Danses La Chevauchée des Champs de Blé Little Dolls 3SEX , ft. Christine and the Queens Alice & June Un Été Français 3 Nuits par Semaine

– Central Club – . Des Fleurs pour Salinger Kissing My Song Stef II Drugstar

Dizzidence Politik , ft. Dimitri Nos Célébrations (remix)

– Acoustic performances – J’Ai Demandé à la Lune Kao Bang La Vie Est Belle .

College Boy L’Aventurier Karma Girls

Marseille Orange Vélodrome

Opening Hannes Bieger

Nos Célébrations Station 13 Marilyn Miss Paramount Canary Bay Punishment Park Les Tzars Paradize Le Baiser Tes Yeux Noirs 7000 Danses La Chevauchée des Champs de Blé Song for a Dream 3SEX , ft. Christine and the Queens Alice & June Un Été Français 3 Nuits par Semaine

Dizzidence Politik , ft. Dimitri & Lou Nos Célébrations (remix)

. – Acoustic performances – J’Ai Demandé à la Lune Kao Bang La Vie Est Belle .

Lyon Groupama Stadium

Opening Clara 3000

Dizzidence Politik , ft. Dimitri and Lou Nos Célébrations (remix)

– Acoustic performances, ft. the Republican Guard Orchestra – J’Ai Demandé à la Lune La Vie est Belle Atomic Sky .

College Boy, ft. Philippe Jaroussky L’Aventurier Karma Girls

Lille Stade Pierre Mauroy

Opening Superbus

Nos Célébrations Station 13 Marilyn Miss Paramount Canary Bay Punishment Park Les Tzars Paradize Le Baiser Tes Yeux Noirs 7000 Danses La Chevauchée des Champs de Blé Popstitute 3SEX , ft. Christine and the Queens Alice & June Un Été Français 3 Nuits par Semaine

Opening Vitalic

– Acoustic performances – J’Ai Demandé à la Lune Kao Bang La Vie Est Belle Un Singe en Hiver .

Concerts (2023)

11 concerts

Concerts (2021)

Concerts (2020)

60 concerts

Concerts (2017)

Festival Tour 2016

Concerts (2015)

Europe City Club Tour

Stade de France – Black City Concerts

Black City Tour

65 concerts

Paradize +10

Stade de France – Putain de Stade

Meteor Tour

66 concerts

Alice & June Tour

68 concerts

Paradize Tour

94 concerts

Une Nuit Intime Avec Indochine

31 concerts

Dancetaria Tour

45 concerts

Indo Tour 99

12 concerts

15 concerts

19 concerts

Une Nuit Dans Votre Ville

17 concerts

Le Birthday Tour

20 concerts

38 concerts

Indochine Joue…

55 concerts

Scandinavian Tour + SOS Racisme concert

Péril Jaune Tour

29 concerts

Les Dix Jours de Pékin

14 concerts

Le Rose Bonbon

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Indochine Central Tour

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PRG delivers Colossal Tower for the Indochine Central Tour in France

For their 40th anniversary, the French band Indochine certainly didn’t do things by halves. Originally scheduled to take place in June 2021, the 45m high tower with a diameter of 30m has been in the works for 2 years. With 6 concerts on the agenda, the Indochine Central Tour performed in Paris, Bordeaux, Lyon, Marseille and closed with two concerts in Lille for their fans from Belgium to be able to come and sing along. Imagined and sketched by the singer and leader of the band Nicola Sirkis himself, the design of the system presented a particular challenge. The entire rigging construction and sound system had to be invisible whilst still providing the best audio experience for the audience in the stadium. This meant that all the speakers needed to be placed inside the tower, behind the massive 360° LED wall, a groundbreaking concept in event technology. Based on Nicola’s design, PRG France & PRG Projects worked tirelessly to make his dream a technical reality. Built in conjunction with StageCo, the tower was composed of specially manufactured Titan-X LED and PRG’s latest innovation of the SoundBlast Solution definitely is one for the books! “Nicola wanted to offer an unforgettable experience to all the fans. Building a 360° tower in the middle of the stadium with the audio and lighting inside would allow everyone to see better and be immersed in the pure musical performance and the artistic presence,” says Stéphane Desch, Director of Production. He adds, “He sent me multiple sketches of what he had imagined about two years ago and we started from that. In fact, the end result is very close to his original concept.”  While part of the PRG team started drawing up technical plans and diagrams of the tower, PRG Projects started developing and manufacturing an LED product that would make this endeavor possible. In response to Nicola Sirkis' vision, the 360° tower would need to be fitted with a customized LED screen, specifically developed and manufactured for the Indochine Central Tour, providing a solution that integrated the entire sound system, lighting and all of the cabling within the tower behind the LED screen, to be as streamlined as imagined.  “When we saw Nicola's first drawings, we immediately saw that there were some challenges. Firstly, we had to find a solution to place the sound behind the video screen and there was no solution to that at the time. Secondly, it was the height of the screen. The height of the screen meant that we had to create a new, very light product that had all the features of the PRG SpaceframeTM, including wind bracing, built into it,” says Frederic Opsomer, General Manager of PRG Projects. “At the same time, we needed a product with a transparency of over 70% to allow the sound to penetrate from the back of the screen into the stadium. This meant that we needed to develop a new product.” INFiLED and PRG worked together closely to develop the TITAN-X. From the first drawing to a 1850m2 setup for the Indochine Central Tour, the collaboration and the combination of the PRGs know-how and INFILEDs agile developing capability has played a major role. R&D teams from Belgium, the UK and China worked tirelessly during more than 9 months on this project and created the ultimate, robust, mesh rental & touring solution with the foldable X-frame structure for a new level of stability. We’re delighted to have collaborated with such a long-term and strong partner like PRG on this impressive project!”, stipulates Michael Hao, CEO at INFILED. The next challenge was to install the complete sound system behind the LED wall. This would allow for the images on the tower, fitted with 360° LED, to be enjoyed to their fullest, without any audio stacks obstructing the video content. PRG Projects carried out numerous tests with several audio manufacturers and developed the SoundBlast Solution which uses the weight of the audio as a ballast behind the LED screen to support the weight and structure of the LED installation.   “The Titan-X and the PRG SoundBlast Solution will allow us to take a step forward in the development of large videos and video content design because being able to place the sound behind the video screen has been the dream of all designers!” adds Opsomer. Standing at 45m tall, the Indochine Tower was fitted with 2500 m2 of Titan-X, creating a video wall that was 30m in diameter and 24m high. This gigantic construction in its whole  takes about 3 days to assemble and weighs 260 tons. The LED setup weighs 65t and takes 16h to be installed. With its 26, 542, 080 pixels (9216 x 2880) the images on the Titan-X as well as on the central screen in ROE CB5 below, were processed by 7 disguise GX2 servers. PRG's Technical Director, Romuald Beaufour, who drew up the plans and initial diagrams of the tower comments: "The installation of our Titan-X in stadiums was sometimes complex because the tower protruded from certain stadiums (in height) which posed problems for the municipalities. In order to comply with the relevant legislations, the tower had to withstand a 72km/h wind speed for 3 seconds.” The lighting kit was made of 1360 lighting fixtures, including LED Striplights and Floods, MAC Viper Wash, Movinghead Impressions X4, LITECRAFT OutLED AT10.plus, ELATION Proteus Smarty Hybrid IP65, and last but not least, 8 PRG GroundControl Longthrow Followspots. Lighting Designer Jean Christophe Aubrée describes: “There were a lot of challenges in terms of lighting, which is mainly due to the 360° configuration of the tower. The idea was to be able to create some volume in all of this and to use the surfaces, the seats, and the structures of the stadium a little differently. We positioned lighting all directions, from both inside and outside of the tower. We also had to carefully consider the size and weight of our fixtures, since they all had to fit into the tower. Working with a 3D model allowed us to visualise the project more effectively, since sometimes you tend to lose the feeling of distance and dimensions a little.”   In total, 250 technicians were mobilised for the entire Indochine tour and more than 950 shift workers were hired. The PRG touring crew represented 9 different nationalities. “Whether it was PRG Belgium, PRG Projects or PRG France: everyone got involved in this beautiful project. Everyone did a great job. We brought people together from all over the world to grow this team for the tour. It was wonderful to see the synergies and sharing of know-how. But the success of this adventure is also a choice of companies with whom we collaborated. Everyone contributed to this. Whether it's StageCo for the structure or MPM for the sound, this all is a big part of the success of the adventure!” finalizes Laurent Boillot, Production Director, PRG France. During the concert on June 25, 2022 at the Groupama Stadium in Lyon, 22 digital cameras recorded the show, allowing Indochine to offer a retransmission of the concert from November 24th, 2022 in IMAX cinemas, the world's first live concert filmed in its entirety for IMAX.

More information about the TitanX and other PRG products can be found here.

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Adriana Karembeu et Marc Lavoine : le premier couple de l'été

Zara tindall au chevet de sa mère, la princesse anne, attaque de loups à thoiry : la joggeuse épinglée pour un autre incident dans le zoo, tout ce que vous devez savoir sur… le central tour d’indochine.

Le groupe de Nicola Sirkis démarre sa tournée anniversaire dans les plus grands stades français. Mode d’emploi.

Une tournée repoussée d’un an  Prévu en 2021, le Central Tour a, comme toutes les grosses tournées, été reporté d’un an. Sur les six concerts prévus, cinq affichent complet quasiment depuis la mise en vente des places à l’automne 2020. Seules 1 000 places sont encore disponible pour l’Orange Vélodrome de Marseille. À deux jours de la première parisienne, ce sont 400 000 personnes qui ont prévu de venir voir Indochine à Paris, Lyon, Marseille, Bordeaux et Lille.

Lire aussi:  Indochine : la quarantaine rugissante

Une setlist anniversaire Avec quarante ans de carrière à revisiter, le concert durera entre deux heures trente et deux heures quarante-cinq, et promet de faire la place belle à tous leurs tubes, des incontournables aux plus récents extraits de « 13 ». Comme promis, les participants du concert-test de 2021 à Paris sont conviés au filage du 20 mai au Stade de France. Mais tous laisseront leurs portables dans des étuis verrouillés pour qu’aucune image ne filtre avant la première officielle, le 21. Chaque soir ensuite, cent soignants en première ligne lors des confinements sont invités.

Une scène centrale et un écran ultra-géant Du jamais-vu en France : aucun groupe de rock ne s’est produit au centre des stades, au milieu de la pelouse. La scène ronde de 850 mètres carrés, accompagnée de quatre avancées dans la foule, est donc surmontée d’une tour-écran de 45 mètres de haut, pour une surface de 2 500 mètres carrés composée de 1 400 panneaux de LED et pesant, elle, 68 tonnes. Il faut 950 personnes par semaine pour assembler l’affaire et 250 techniciens travaillent sur chaque date.

Lire aussi:   Exclusif - Nicola Sirkis : "Mes souvenirs d'Indochine"

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