How is it produced in a musical world Disrupted by successive crises, two of the most ambitious and acclaimed French tours of the moment? Gathered around Corida, a production company and concert organizer, the live performance artisans behind Justice and Air shared the inner workings of these touring XXL, the secrets of their stage production and logistics. Through their concerts, the two groups embody two radically different ways of imagining live performance, but with the same ambition: to invent stage experiences that reinvent themselves with each album. Between radical innovations, financial gambles, meticulous engineering, and absolute fidelity to an artistic vision, French Touch has achieved massive international success by rejecting standardization.

International before France

Since their beginnings, both groups established themselves abroad before conquering France. We've been working with Justice since 2007 and, from the very beginning, the group has been very strong internationally. “We Are Your Friends,” recalls Christel Martinet, executive producer at Corida in charge of Justice’s tour. exploded all over the planet The same applies to Air: They weren't particularly successful in France, but rather abroad first… over 90% of their sales, both albums and live recordings, are outside of France. " explains Sofiene Bijaoui, Corida's alter ego for Air's tour. The numbers are staggering: Justice played 108 dates in 18 countries, Air 125 dates in 36 countries, from the United States to Asia via Oceania.

Two visions of live

The tours are conceived as visual experiences as much as musical ones, but in two opposing directions. For Justice: expressive excess. The group has always wanted to distinguish itself in terms of live performance; they prefer to put their money into the artistic side. “,” insists Christel Martinet. The result: a massive, organic, ultra-bright show, with a visual style that has constantly a hair ahead "about others." We sweated, we trembled… but we followed them, and we succeeded. " she said. Conversely, Air claims a refined simplicity." Justice is a gym… and we're a yoga studio "Sofiene Bijaoui humorously sums it up. Their " box The immaculate set design, inspired by a studio, almost completely conceals the technical aspects. It recreates the intimacy of a studio: no direct lighting, few visible elements, a highly graphic environment. This minimalism is both a constraint and a choice: the duo plays live on a multitude of original instruments. It's like being in a studio, with all the keyboards available, but backstage " explains Bijaoui. The entire backline was set up outside the stage, as if a whole studio were playing behind the set. The two groups share one major characteristic: they do not have a frontman They don't sing, they don't cross the stage, they don't physically occupy the space. This necessitates very carefully designed stage sets. We need to create magic and dynamism.Bijaoui explains, for two rather static groups "Hence the need, at Justice, to invent new lighting devices, and, at Air, to create an enveloping atmosphere.

Gaspard Augé and Xavier de Rosnay of Justice perform at the Outdoor Theater during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 19, 2024 in Indio, California. (Photo by Arturo Holmes/Getty Images for Coachella)

Jean-Benoît Dunckel, Louis Delorme and Nicolas Godin of Air perform onstage during Wilderness Festival at Cornbury Park on August 01, 2025 in Charlbury, Oxfordshire. (Photo by Katja Ogrin/Redferns)

Logistics engineering: a science of precision

To play everywhere, you have to think globally. Justice, who are programmed in the biggest festivals in the world, have adopted a unique strategy: Two kits had to be created: one set in the United States, and another in Europe. " explains Emmanuel Mouton, technical director for both tours. The objective: to reduce the number of transatlantic round trips and avoid costs colossal "Reduce the environmental impact." For Air, this meant optimizing a single kit designed primarily for travel by boat, even if it meant adjusting some distant dates. Because the stakes are enormous: Logistics is more expensive than production itself. " notes Olivier Darbois, CEO of Corida, recalling that planning for an additional truck can cost 300 to 500 euros "on an international tour. Every set element must therefore be designed with centimeter precision."

Technological innovations and the creative economy

Technological choices are carefully considered from the outset to limit costs without compromising the artistic experience. For Justice, the teams developed a custom projector, limited to 54 units. A unique object: a motorized light-video-mirror head, created exclusively for them " explains Mouton. Their set was also designed like a giant Lego set: We transformed an art object into a transport cart to reduce its size by half " he explains. Another bold choice: using old 20-year-old LED screens." We didn't need high definition, just color… and it allows us to reduce costs and get better deals in the long run. " he explains. For Air, the minimalist structure conceals a complex system: white aluminum ceiling, video modules, transparent panels." But in terms of decoration, there are two of them putting that together. " said Mouton, proof of meticulous optimization.

Funding: a shared challenge with the artists

Christel Martinet insists: All decisions are made with the artists, because they are co-producers of the tours. The same logic applies to Air: Artistic and financial choices are made jointly. “,” confirms Darbois. If we had to summarize the Corida spirit: We prioritize quality over quantity. We never copy one artist's show for another. "He points out. This quest for uniqueness makes the projects expensive, but powerful." When you press the button, those are very fragile moments psychologically. “,” confides the president of Corida, aware that a bad decision can cause budgets to explode. Exporting also rhymes with taxation. American taxation is 30% if you don't file a specific claim. “,” warns Emmanuel Mouton. Added to this is double taxation: income taxed in the United States, and again in France Viability then requires a rare expertise: When you export an artist, you are subject to as many taxes as there are countries visited. "Added to this, in the post-Covid United States, are the explosion of rental costs and very expensive staff... Teams are therefore developing long-term networks to obtain better conditions." We've been working with the same people for a long time They stress.

And finally, global recognition

Both tours received exceptional Anglo-Saxon press coverage. This is extremely rare for non-Anglo-Saxon artists. “This coverage served as leverage,” according to Olivier Darbois. “It boosted credibility at festivals, accelerated sales, and broadened the audience. Ultimately, the tours of Justice and Air reflect two visions of live performance, but share the same philosophy: pushing technical and artistic boundaries while mastering an extremely complex international system. This rare ambition is a sign that French Touch still knows how to think big, and perhaps more than ever, and always prioritize artistry.”

Justice on Tour

• Gaspar Augé and Xavier de Rosnay
• 108 dates in 18 months
• 25 people on the road
• 20 tons of material
• 6 round trips to the USA, 2 to South America, 2 to Asia
• Major festivals: Coachella, Portola, Glastonbury, Primavera, Life is Beautiful
• Total revenue: €25-30 million
• Two stage sets: 1 in Europe, 1 in the USA
• 12 tons suspended from the ceiling, assembled in less than 2 hours

Air on tour

• Nicolas Godin and Jean-Benoît Dunckel
• 125 dates in 36 countries
• "Box" style set design: 11 meters wide
• One single kit designed for maritime transport
• €15-16 million in revenue
• Performances in iconic venues: Hollywood Bowl, Los Angeles Philharmonic