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Yann Tiersen - Kerber Complete Tour: Solo Piano + Electronics

Yann Tiersen will perform at the Nobel hall.

After a 9-year gap, he returns to Estonia to offer to the concertgoers a special two-in-one program. The first part of the concert will be occupied by a piano performance of the Tiersen's best-known pieces, while during the second part he will give an electronic music performance, which named “Kerber Complete Tour: Solo Piano + Electronics”.    

Yann Tiersen – Kerber Tour

French composer and multi-instrumentalist Yann Tiersen creates fragile, evocative compositions filled with achingly beautiful melodies. Although he is perhaps best known for his music being used for the award-winning soundtrack for the film Amélie, that only scratches the surface of his rich musical output. His new album, Kerber (August, 2021), is his most overtly electronic to date, finding the piano set in a beautifully textured, highly immersive and thoughtfully constructed electronic world. Moon Diagrams will open.

Please note: The Live A/N Tour features an electronics-heavy set, and use of flashing/strobe lights. Patrons with light sensitivity use extra caution.

Yann Tiersen – Kerber Tour Tickets

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10 July 2022 9:00 pm 10 July 2022 12:00 am

Yann Tiersen – Kerber Tour 2022

The French musician Yann Tiersen , best known for composing the soundtrack of the film Amélie , will perform on Sunday, July 10, 2022, starting with 9:00 pm, at Teatro degli Arcimboldi, in Milan .

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Due to the coronavirus pandemic, the concert, initially planned for February 7, 2022, was postponed to July 10, 2022. Tickets already purchased remain valid for the new date.

Yann Tiersen was born on June 23, 1970, in Brest, France. He started learning piano at the age of 4, took up violin at the age of 6 and received classical training at musical academies in Rennes, Nantes and Boulogne. Then, at the age of 13, he broke his violin into pieces, bought a guitar and formed a rock band.

His music is known for the use of a wide variety of instruments in minimalist compositions, which often contain influences from European classical music and French folk music.

To date, Tiersen released 11 studio albums: La Valse des monstres in 1995, Rue des cascades in 1996, Le Phare in 1998, L’Absente in 2001, Les Retrouvailles in 2005, Dust Lane in 2010, Skyline in 2011, ∞ (aka Infinity ) in 2014, EUSA in 2016, All and Portrait in 2019, and Kerber on August 27, 2021.

Yann Tiersen also released 3 film soundtracks – Amélie in 2001, Good Bye Lenin! in 2003, and Tabarly in 2008, and 3 live albums – Black Session: Yann Tiersen in 1999, C’était ici in 2002, and On Tour in 2006.

Teatro degli Arcimboldi is a theater and opera house located in Viale dell’Innovazione, 20, in an area known as Bicocca , in Milan. The 2,375-seat auditorium was built over a 27-month period, in anticipation of the closure and renovation of the La Scala theater in 2001.

The theater is located about 200 meters away from the Milano Greco Pirelli railway station. The closest bus stop is Teatro Arcimboldi , on the bus Line 87, about 40 meters away. You can also reach the theater by tram, with the tram Line 7, getting off at Arcimboldi Ateneo Nuovo station, located about 120 meters away.

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Yann Tiersen: “I became more about seeing what’s around me, living stuff and organic stuff” – Interview

The Breton on his new album Kerber and its accompanying film, his island home of Ushant, and rekindling his love of electronic music

Yann Tiersen (Photo: Richard Dumas)

Yann Tiersen is online, live from the Western end of the English Channel. He is talking to us from his studio on the island of Ushant, lying just off the Brittany coast. With merely a couple of hundred inhabitants, the French territory now has a substantial piece of music in its honour in the form of Tiersen’s new album Kerber , named after a chapel on the island. There is an accompanying film, too, where viewers are taken on a visual and social journey across the island. On it he brings his instrumental capabilities with keyboard, electronics and violin to the fore, with the help of director Kit Monteith.

We find him in chipper mood. “I’m really good today, very busy in the studio,” he confirms. “I’m rehearsing a bit for a gig we have coming up in Berlin in September, in the Superbooth.” Talk immediately turns to the film and the music behind it, both substantial pieces of work. There is a strong impression of Kerber having been conceived as a single, extensive whole rather than a collection of seven tracks. “Yes and no,” Tiersen answers cryptically. “I did different tracks but it seemed at the beginning I was focused on the piano. Then I was keener to focus on the electronics as I was a bit bored after a while. Then I switched to see the piano tracks as a sound bank, and something to use, to work from to explore electronics and granular synthesis, more than doing songs. All the songs were like a huge bank of sampling material and a bank of sounds, so in that way it was more a normal composition, a magma of piano stuff to use to do something else.”

Tiersen’s relationship with electronics has been rekindled after a long time apart. “I started making music in the late 1980s and early 1990s that was only using electronics, and some sampling stuff. It happened because when I was 12 or 13 I swore to God that I would never, ever play piano or violin again, because I was really fed up with those instruments. What actually happened was that I rediscovered acoustic instruments, and now it’s the other way around. I’m just going back to my first loves.”

Tiersen plays the violin in the Kerber film, in a particularly intense bout of tremolo writing. “I used to play this track all the time at my gigs, and for the film I played it in a fort.” His electronic memory is returning fast. “I’ve started looping as well, and I think I will use it a bit more, because I will explore different set-ups. The one in the movie is the big set-up, and I’m working on a smaller set-up without piano and all of that, just electronics. I’m working on that for Berlin as well as for the tour. I’m excited to do lots of different venues, small ones as well.”

The overriding sense is that Tiersen has been building up to this album for a while, as a detailed portrait of where he lives. “Yeah. I always tell this story from about five years ago, about being chased by a mountain lion on a bicycle trail in California. We were on a track, on a really long and tough ride for 12 hours. After six hours, right in the middle, we realised that a mountain lion was following us, and we were really scared. We spent six more hours thinking, ‘OK, we are going to be eaten!’ That switched my way of seeing the world, and since then I’ve been less anthropocentric. I became more about seeing what’s around me, living stuff and organic stuff. I translated this to my music and started a really simple thing. Instead of song titles I started using names of places as titles, and I did this as a piece of music and a place on Earth. I focused on the place where I live, on Ushant. The new album is no exception to this – it is a free album, more or less. It was made in lockdown as well, in a really small area. I was thinking that next, instead of places on Ushant I will choose houses and villages, the places where people live. That’s the case on this album.”

Tiersen forms a strong connection between the listener and the island – indeed, it is almost possible to feel the weather and the sea spray through the music. “Yeah, that was how it was for me, especially as I haven’t done a tour for two years now, almost. I did a gig in July, and I think I went to the mainland three or four times in a year and a half, so I guess it’s going to be present in the music for sure.”

In spite of this, lockdown was not as difficult without live music as you might expect. “No, not really – all I did was just one gig apart from the videos that we filmed. There’s an electronic music festival in France, and it actually happens to be in Brest which is really convenient, not far from here. It was really exciting – I love festivals. Everything was there – the weather was really bad, and people were dancing in the rain. It was great.”

Similar to Britain, then? “Oh yes, you know we have weather like Cornwall here in Ushant.” Will he take a piece of the island with him as he travels on tour next year? “Of course, but I’m also so excited to be playing again in different cities. I think I will focus on the present day and try to find a good place to party.”

In spite of the electronics, some of the most moving parts on Kerber occur when the music is at its quietest, drawing the listener in. “I have been focusing more on the really long and ambient tracks. I always did that, starting slow – but I like the contrast of the really quiet stuff and the more beat-orientated music. It’s more present on the live version because the album is more focused on the piano.”

The video is dramatically shot, with striking footage of Tiersen in the island’s chapel. He appears completely oblivious to the close-up camera. “They were moving around, of course. At the beginning we were supposed to shoot the violin in the church, but that wasn’t a good idea so we switched. On stage we do another version and for this I was just improvising. I wasn’t aware of the camera too much as every take was different.”

Did music keep him going in lockdown? “It’s weird, because at the beginning of lockdown I wasn’t listening to any music, and I wasn’t making any music either. I was just focusing on gardening, because the news was so oppressive, and I was thinking, subconsciously, about so many people stuck in small apartments. I was keen to spend my time outdoors in the garden. I did that for one or two months, and then slowly I started to work again at home and on the album. I wasn’t listening to much music, but then I switched to the electronic part of the album, and started to go back into the studio. I was very strict at the start of lockdown, and didn’t go to the studio, until they took the restrictions away.”

Momentum grew on the new record. “I started to work more and more on the electronics, and I started to listen to a bit more music after the album was finished. Strangely I became obsessed with dance music, because I felt the need to party again. It made me focus on DJing, listening to a lot of electronic music and thinking about mixing stuff together. I’m more into that at the moment. I just discovered a woman from Holland called Upsammy , who I think is really good – she records on Dekmantel. I’m listening to that a lot, and also Laurel Halo .”

Kerber confirms once again that Tiersen has a strong grasp of bigger structures, implying his output would sit very well with people who like classical music. “That’s weird,” he says, “because I don’t see it that way at all. It’s not the path I had – I was more into German electronic music than minimalism. I was more into a down to earth approach, not too cerebral. I would listen to Low-era David Bowie , Philip Glass and Steve Reich – I really like the older works and the concept and everything. Then I was listening to stuff like the Penguin Café Orchestra , and at the same time enjoying Slint . ”

“I started to do more slow travel, riding on bikes and stuff like that. That changed me so I guess it changed the music as well” – Yann Tiersen

They informed his own music. “I was just trying to do stuff with chords and nice melodies, in that kind of perspective and not mocking but using a second degree or derivation of it. I think nice melodies and simple melodies can be really bitter and dark actually, and it is a way for me to get away from them and the art stuff that I had when I was younger. I was more into that, and not into classical or film music at all. I’m really uncomfortable with music with soundtracks, too – apart from those by directors such as Kubrick. Composing music for images I think is weird, because for me music is something of a trip, you know – a trance or a dance, something like that. I think if the director is working with images and music that is a good way around, but the opposite is a bit weird. I always see my music in that context, the path that I’ve been through.”

The mountain lion encounter may have had a big effect on the Kerber album, but does he think it will dictate how he writes in the future, too? “Yeah. It changed something in my music, and it changed something in me, the way I was seeing the world, and the way I was living here as well. After that I built the studio, and I settled a bit more. I started to do more slow travel, riding on bikes and stuff like that. That changed me so I guess it changed the music as well. But as I said before, I don’t want to take music too seriously. For me it’s just like having fun, and being in a trance – it’s something to do with magic in a religious or ceremonial sense.”

He is keenly anticipating heading out to give live performances. “Yeah, especially the next tour. Unfortunately we did lots of like really beautiful venues with the solo piano album like Berlin Philharmonie and the Sydney Opera House, but to be honest it’s a bit boring. I don’t like a seated audience; I think it’s a nonsense listening to music while seated. I can’t wait to play the Roundhouse in London. I feel more comfortable there and it’s totally different. I love that. Even for ambient or droney stuff it still makes sense to stand to music I think, then you can move or even leave if you want to. If you’re bored with the gig because you don’t like it, it’s easier – you just go to the bar!”

He remembers his last visit to the UK – a release party for an album he doesn’t mention in December. ”That was my last city experience, in London – a while ago. Berlin will be the next one. In the gap I’ve just been on Ushant and went to the dentist in Brest.” What a contrast, between Berlin and Ushant. “Yeah, and especially funny because when we toured a lot I was a bit violent. On Ushant we get this amazing chance that we don’t have any noise, apart from the wind, and we have no cars. There are cars but we don’t hear them. There is nothing like elsewhere in the world, where there is always the engines to hear. I go from Ushant where there is silence, then in Brest there are cars everywhere. It’s sometimes really tough to get the difference, but nice as well – because I look forward to things like the Superbooth in Berlin.”

He waxes lyrical about the German capital. “It is one of my favourite cities, but everybody loves Berlin. I guess I like the green areas in the city, and I also like that there are lots of things happening, that you can pass in front of a bar and you don’t realise that it’s crazy inside. I love that. Brest is a bit like that, it’s really small in comparison but it has that kind of vibe and I love it.”

Our time is up – and as we bid farewell, Tiersen turns back to his equipment to continue work for the live show. Soon, a little corner of the English Channel will be let loose on the rest of Europe, and this particular instrumentalist cannot wait.

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Yann Tiersen  

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Yann Tiersen is a technically and stylistically diverse musician from the northwest territory of France known as Brittany. Though most of his early exposure to music was heavily based in classical, he developed a deep interest in forms of the avant-garde and punk rock.

Tiersen was born in 1970 in Brest, France and began playing music at an extremely young age. At age four he began piano training and just two years later he picked up the violin. Tiersen progressed quickly with his music and eventually moved to various music academies in Rennes, Nantes, and Boulogne where he received classical training.

While studying abroad Tiersen was captivated by the music and subculture of the punk movement. When he was 13 he departed from classical music and formed a rock band. Tiersen was exposed to many innovative experimental punk musicians during his stay in Rennes. The city was the host of the music festival Recontres Trans Musicales and at this event he saw acts ranging from Nick Cave and the Bad Seeds, Television, Suicide, and Nirvana.

A few years after the dissolution of Tiersen’s band he ventured into a solo career. Armed with a drum machine, a mixing board, synthesizer, and an 8 track tape recorder he started to create minimalist electronic music. Tiersen further developed his sound and went on to compose music for short films and plays, using the electric guitar, violin, and accordion for the bulk of the instrumentation. Some of the recordings he had written for these plays and short films ended up on his debut album “La Valse des monstres”, which was released in 1995 and limited to only 1,000 copies.

Though Tiersen’s sound did not display the raw punk sonics of his influences like the Stooges, he nevertheless adopted many of punk’s ethos, primarily its dadaist perspective of abandoning any restricting conventions and starting anew. This is exactly what Tiersen did. Using what he called “musical anarchy” as a guide, he relied on instinct and incorporated whatever instrument he thought sounded interesting whether it was something as elaborate as a harpsichord or cheeky as a toy piano. In April, 1996 he released his 2nd studio album “Rue des cascades”. Though Tiersen’s first two album’s were criminally overlooked by critics and the general public, they have since gone on to earn great respect. Tracks from both of these albums were included in high profile films, and this publicity helped immensely in opening the public eyes to the talent of Tiersen.

“Rue des cascades” title track whose vocals were handled by Claire Pichet was included in the Palme d’Or nominated film “The Dreamlife of Angels”. Tracks from this album as well as Tiersen’s other first four albums were included on the overwhelmingly popular soundtrack “Amélie”. The album was a critical and commercial hit winning the World Soundtrack Award for Best Original Score of the Year and the Cesar Award for Best Music Written for a Film. It also topped the French Albums chart and placed at No. 2 on the US Billboard Top World Music Albums.

Though Tiersen’s recognition leapt exponentially after the release of the “Amélie” soundtrack, his first taste of fame was with the release of his 3rd album “Le Phare”. The album’s standout single “Monochrome” featured pop sensation Dominique A and it’s incessant radio play shot the album into the French mainstream.

Tiersen’s next feature length album “L’Absente” also featured Dominique A as well as contributions from Hannon and Lisa Germano. This album was also a huge success in France and in support of this album he went on an extensive tour which lasted from 2001 to 2002. The material from his 2002 live album “C'Était Ic” is built from this tour.

Tiersen released his score for the film “Good Bye Lenin!’ before putting out his next official studio album, 2005’s “Les Retrouvailles”. This release featured some of Tiersen’s past collaborators like Dominique A, but also featured legendary French Pop stars like Jane Birkin.

Tiersen scored the soundtrack for the film Tabarly and subsequently released a string of studio albums including 2010’s “Dust Lane”, 2011’s “Syline, and 2014’s “∞ (Infinity)”, the latter which was issued on the label Mute.

Live reviews

There is little doubt in the fact that Yann Tiersen is extremely talented. I have been more than 15 years following his work, and I saw him live for the first time more than 10 years ago.

However, several things struck my attention during his latest concert in Barcelona at the Palau de la Musica. First of all, do you remember his peculiar piano style? The style that has been strangely likened to Satie? (I would put it closer to Ludovico Einaudi...) Ok, so I hope you like his piano style, because his latest album seem to be the same playing style over and over. During his performance in Barcelona I never got the feeling that I was facing 10 different piano pieces. Instead, they just sounded like 10 different parts of the same piece.

If we talk exclusively about the piano, Yann Tiersen revealed himself as a one trick pony, no matter how good the trick is.

Then, the second part of the concert (when he already had presented his new pieces) was a mix of some previous work. His stubbornness to don´t play any old piece that could link him with the whole chanson/Amelie thing, caused that his repertoire ended up being a bit lackluster. Tabarly. Does anyone really care about Tabarly? Then he also played "La dispute", which was the only nod to whichever material could associate him with Amelie (an idea that he seems to hate).

He also played a piece of La Valse des Monstres, which was interesting, but at the end of the day, I remain thinking that with the huge repertoire for solo playing that he has accumulated from his early career, to pretend to offer a "Yann Tiersen solo" evening and don´t offer the fans some of the pieces that helped him to acquire his current level of popularity, is a bad move.

I think that if he had included maybe Comptine d'un autre ete and maybe just one very single accordion piece, it would have been a much more engaging concert.

Just with his latest piano album, and tiptoeing through the rest of his solo stuff, trying so hard to avoid any "chanson" stuff, and offering a lackluster autopilot "Sur le fil", is not enough. He comes across as a self centered diva who believes people will follow him no matter what.

So guess what? That´s not true. I, for one, think that he is getting more boring and predictable, so I don´t think I will attend more concerts from him.

By the way, special mention to the bastards in the auditorium that spent the second half of the concert coughing loudly. I hope you choke on your coughing pills. Oh wait, you didn´t bring any. Maybe that´s why you didn´t stop coughing for 40 minutes.

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I first heard about Yann Tiersen when he produced the track The Best of Times for Sage Francis, my favorite hip-hop artist and musical act in general.

After looking his name up, however, I discovered that he was also responsible for the Amelie soundtrack, as it was mostly made up of songs from his studio albums. So when he came to perform at the Luckman Fine Arts Complex in Los Angeles, California, I decided that I absolutely had to experience this wonderful musician’s beautiful work in person.

The venue is this stylish, spacious place that seats 1,200, and it was the perfect place to witness such an incredible artist at work. He’s an unbelievably talented artist, playing a wide range of instruments from the guitar, the piano, the violin, the accordion, and everything else in between.

Every single one of his tracks is just stunningly beautiful, and he knows just when to strike a chord with your emotions and which buttons to push to make you feel what he wants you to feel. Yann Tiersen is in the middle of a US tour right now, so I’d encourage absolutely everybody to go ahead and check out his music and see him live.

Wow! What a concert! I think I have never seen an artist play so many musical instruments and half of them I had never even seen before. It was such an incredible experience to see Yann Tiersen and his group play. And he was very laid back and was even after the concert out at the yard with the whole crowd talking to his friends. There was not the classics of Amelie so if you re gonna go see him just for that, then dont. But the music was amazing and it was more experimental and rock that I could have imagined. I very much recommend this concert especially for all the Tiersen lovers.

It was a dream come true for me to see Yann Tiersen live and meet him backstage before the concert.

we had a quick chat ,I told him how his music brought me absolute pleasure and inspiration into my life ,as a pianist myself ,I interpreted almost Every piano work that he published out there for us.

the concert was phenomenal,no amount of words can describe how grateful I'm for such an awesome artist.

Merci Énormément Yann !

Love & Peace

Hi just went to a concert with no particular expectation but i got very disappointed by the extremely ripetitivity of his live music.

It was so boring that we all decided to leave before the end to save the evening.

I strongly suggest to listen to his last album before buying because that's what he is going to play and I can tell that can be boring beyond expectation.

The 2015 tour is by far the worst. Yann Tiersen has moved to a mixture of electronic and psychedelic music. If you suspect some classical Yann Tiersen songs, which show some real musical talent, you will be disappointed by this concert. I know no one who wasn't.

Yann Tiersen provided a wonderful performance. Him and his singers; other musicians had very nice stage presence. The music was also beautiful, narutally. I Hope to see him again. I highly recommend anyone to see him.

The show is amazing. Just the seat arrangement is not that perfect, for example, my view was completely blocked by the one sitting in front of me. Also the enforce of checking bags with laptop doesn't make sense.

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• July 19, 2015 Setlist

Yann Tiersen Setlist at Yotaspace, Moscow, Russia

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Yann Tiersen Gig Timeline

• Mar 07 2015 Compensa Concert Hall Vilnius, Lithuania Add time Add time
• Jul 18 2015 A2 Saint Petersburg, Russia Add time Add time
• Jul 19 2015 Yotaspace This Setlist Moscow, Russia Add time Add time
• Jul 22 2015 Castillo Sohail Fuengirola, Spain Add time Add time
• Jul 23 2015 MadGarden Festival 2015 Madrid, Spain Add time Add time

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Marquee memories: cold war kids.

• Cold War Kids
• May 13, 2024
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