Before the event, whispers spread that Magma "Les Voix" would have a support act in Bordeaux, and when the lights dimmed, crimson smoke billowed as an ethereal voice intoned: "La musique préservée..." Responding to the sonic signal, they took magnificently to the stage. Lydia Domancich on Klawïëhr in the shadows behind Zebëhn's grand piano. Wokëhl Zekzïon: Julie, "Zab", Stella and Bénédicte. Alex on sax, Pierre-Michel on DX7 etc, Philippe on contrabass, and the drummers were Marc and Jean-Claude. Yes, Offering were on form again, tonight they presented another superb (yet slightly restrained) rendition of 'Les Cygnes et les Corbeaux'. From delicate beginnings the song spread its wings and rose into a celestial chorus. The majority of this variant was "composed"; in other words, much less improvised, perhaps the definitive version took shape during the Bataclan concerts? There is still a passage preceding the final percussive climax where one can imagine the worlds bird population tumbling from the skies before Stella's alluring lullaby.
After a short break, the tape of "Ä tü..." rolling, the stage curtains peeled back revealing Magma "Les Voix" against a cobalt background, enthroned in golden light. Addie Deat was in the ranks but not Lydia. Keyboard players Zebëhn, Jean Francois Deat and Pierre-Michel Sivadier accompanied the choral announcement of 'Ëmëhntëht-Rê' while the gold transmuted into emerald. The illuminations have been improved dramatically since the last time I saw Vander and Co. in a proper theatre, but it would be good to see the return of some slide projections as used in 1988. Jean-Christophe Garnet and Alex Ferrand then joined the back row, as did Jean Francois. After the lightness of 'I Must Return', they stepped boldly forward discovering more of the dark mysteries of 'Zëss'. Dardelle and Sivadier began this quest with supreme menace, exuding a sinister throbbing. Christian made his dedication and then Stella led her choir in the homage. During the "Sanctus Sanctus, Jesus Jesus" section, all the house lights came on, nice touch! The next piece startled me; it was 'Ronde de Nuit'. Then following a new transition from Sivadier 'Theusz Hamtaahk', with Goubert on the piano, was executed with precision. 'Wurdah Ïtah' allowed Christian to gesticulate to the audience in his famous manner as he sang. 'Mekanïk Kommandöh' (the Kobaïan egg-whisker drums again, at one point Zebëhn dropped the baguette in his right hand mid-solo instantly twirling it between two fingers and back into his grasp). And in conclusion 'Ehn Deïss' was quite awesome. The whole ensemble were phenomenal, giving a well-rehearsed performance and talking less risks tonight, the result remains magical.