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Nils Frahm's live show

German musician, composer and record producer Nils Frahm was in town just last year for the Melbourne International Arts Festival, where he performed his album All Melody to enamoured crowds. He’s back for two more shows, bringing his genre-bending approach to musical composition to Hamer Hall.

Whether lulling his audiences into dream-like states with ambient sounds, or taking them into more energetic electronic territory, Frahm leaves a long-lasting impression. He's known for improvisation and an intimate stage persona, and his live performance is full of unexpected twists and turns anchored by true musical mastery.

In these two shows, he will perform the final instalment of his three-part Encores EP series.

More information here .

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Leonardo da vinci at the lume.

Live Review: Nils Frahm stuns with a grand, contemplative return to the Sydney Opera House (16.06.22)

• June 21, 2022
• Live Reviews
• Sydney Opera House
• Vivid Sydney

Nils Frahm is just some guy on a stage fiddling with knobs, tinkering with futuristic glass harmonicas, and clanging away at keys with a penchant for building waves of contemplative sounds. So you can soundtrack whatever stressful thoughts you may have brought with you on a Thursday night.

Across the better part of a decade, the 39-year-old German composer and record producer has been one of the constants at Sydney Opera House, eternally welcomed into our city’s most prized echo chamber simply because the man is a consistent hitter when it comes to sold-out crowds and excellent performances. He is a showman, even if he doesn’t act like it.

Whether you pay attention to what’s happening in front of you or you’re off in your own world, Frahm has an uncanny ability to complement whatever mood you’re in with whatever sounds he chooses to produce at that time.

Falling in line with contemporary maestros that favour ambience and eclecticism, such as Max Richter and Ólafur Arnalds, Frahm comes from that school of post-modern composers perfectly content with leaving tension unresolved, teasing you into a state of elevated euphoria before letting you drift off, cordless, into the night sky.

This isn’t Jamie XX or Squarepusher. Frahm’s large, long and high-minded pieces seem like their building towards something until they dissipate in an instant, fading amongst a steampunk-ish set-up of Daft Punk proportions. There are two stations set-up on stage for the second of three concerts Frahm is to perform as part of Vivid Live. The affable musician jokes with the crowd between shuffles, switching between the side with that laser-like glass harmonica and one where he looks much more comfortable, surrounded by electronics and moog synths. Between both, he is just one guy creating these immensely satisfying ambient soundscapes that build towards nothing in particular, maintaining a whispy and barely-there tempo with a lot of space to fill.

It’s frustrating at times. But in a good way. When the low-end does kick in, a few scattered souls start wriggling around in their seats while others wait for something more robust to hold onto to. Most of us are swaying out of rhythm, I suppose no one’s quite sure of how to surf these waves of sound Frahm keeps throwing at us. He gets up occasionally to wipe the sweat of his face with a towel. The intensity in creating these dense, sombre pieces is not to be taken lightly, even if it doesn’t seem like the plainly dressed musician is not physically doing much on stage.

He sure sounds like he is though.

These are busy, winding projects that are as long as anything he has made to date. The entire set, including encore, comprises just five songs and yet it feels like we get a lot from Frahm and his boundless creativity. The pieces are mostly taken from his new album, Music For Animals , which is due out later this year. All of them land well, ranging from delicate and soul-stirring to electric jolts of noise purpose-built to shake the stress out of you.

Frahm hasn’t played a show in over two years. This is also my first concert in just as long. “The second is always going to be better than the first,” he jokes. And yet I wonder how much more he could improve on this, or how bad the night before must have been. Fans of Frahm’s formless modern classical music will walk away more than satisfied with his new material, of that there is little doubt. However, it’s also a pain to see our evening with Frahm take so long and yet feel like it’s over before it even began.

FOUR STARS (OUT OF FIVE)

Feature photo by Prudence Upton .

Chris Singh

Chris Singh is an Editor-At-Large at the AU review, loves writing about travel and hospitality, and is partial to a perfectly textured octopus. You can reach him on Instagram: @chrisdsingh.

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About Nils Frahm

Nils Frahm is a German pianist and composer who has been active in the music industry since the early 2000s. He has released 8 studio albums since 2008, and won various awards including Electronic Music Album of the Year at the 2010 German Music Awards. He has toured across Europe and North America and collaborated with a variety of musicians. His sound has been described as a combination of classical, experimental and electronic. Frahm has also gained notoriety for his live improvised performances as well as his film work with his song “Sunday” being featured in Sofia Coppola’s movie The Bling Ring. He also contributes to music festivals and has founded Durton Studio in Berlin which produces records for music lovers.

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Classic, Vintage and Exotic Electronic Instruments and Recording Equipment

Nils Frahm Live Rig Tour

In which Tony meets Nils Frahm and his Junos and RE-501s, and Nils meets a Soundgas Binson, and The Magic Typewriter...

UPDATE: since this was published we also met Nils in Manchester. Scroll to the bottom for a couple of new videos from that trip. We then followed that up by taking him up on his invitation to visit him at Funkhaus in Berlin - read all bout our Berlin Trilogy now .

Barely a day goes by when I don’t consider how lucky we are to live and work in the hills of Derbyshire; beautiful countryside, peaceful villages, miles away from the noise and pollution of urban life. But being a hundred-plus miles from London does have its disadvantages: we miss most of the one-off gigs and special events that tend to only happen in the metropolis. Not so this month: a week ago last Friday I got to hang out with Mike D, Adrock and Mixmaster Mike at the brilliant and funny Beastie Boys Book event, courtesy of our good friend and customer, Phillipe Zdar of Cassius/La Funk Mob (who produced their album ‘Hot Sauce Committee Part Two’ and had just been recording Hot Chip at his Motorbass Studio in Paris). And last Wednesday we were back in London at the Eventim Apollo to meet Nils Frahm before his second London show. So much for the quiet life…

Having kids, spending less time in the city (and on the dancefloor) has led to a growing appreciation of less frenetic music than a decade or two ago, and a label we love here at Soundgas is Robert Raths’ Erased Tapes . We all love the label’s RE-501 and Juno 60-meister himself, Nils Frahm , and his music is on regular rotation on our office and home listening. So his purchase of a finely-restored Roland SH-5 from Soundgas was met with great excitement, even more so when he got in touch to say he wanted to talk Binsons and suggested we meet before his show at the Apollo last week ‘for a chat and personal gear tour.’

As Soundgas has grown from one-man-in-a-studio to a team of twelve across two buildings, I've ended up spending more time in the office at a computer, rather than getting out making personal deliveries and meeting our customers, so I jumped at the chance offered by Nils’ warm invitation. Jo and I duly set out with a boot full of gear early last Wednesday, bound for the Hammersmith Apollo (as it used to be known).

On arrival we were warmly welcomed by Nils and his team and soon found ourselves treading the hallowed stage for a close look at Nils’ incredible live set up. Nils bought his first Roland Juno 60 aged 14 (for 100DM - about £50) and they are much-loved for their distinctive arpeggiator and sound (though ‘not the Chorus II setting’!) and I knew there’d be one on the stage, but wasn’t prepared to see three - ‘the best-sounding out of the nine I've owned’. One of them has a distinctive custom finish in white; this courtesy of the Royal Albert Hall where a mishap resulted in one of his 60s requiring replacement with this one.

I was of course aware of Nils’ preference for the Roland RE-501, but was amazed to count no less than five of the venerable Chorus Echoes (he owns eleven!) carefully-positioned around the stage. He explained that he relies heavily on his tech, Sebastian, to ensure his 501s continue running smoothly.

The piano tuner, Carsten, was nearly done tuning the Yamaha grand piano (fitted with a Helpinstill piano pickup as well as being mic’d up) and Nils asked if we’d like a demo? I couldn’t say yes quickly enough. Within moments, I was being given a run-through of how everything links together and we were getting a personal performance. Definitely one of the best ‘I love my job’ moments I've had.

Below the white Juno 60 was a mystery keyboard that Nils explained was a midi controller used to trigger the samples of a wind organ that his team had built for live use but was unsuited to life on the road - ‘and the samples sound pretty much as good’. This has been carefully programmed with a recreation of his beloved Juno arpeggiator, and the Junos have also been modified so he can quickly switch between internal and external control of the arpeggiator to great effect. Below these is his ‘Mellowtron’ M400 which has various modifications to the motor, not only to improve tuning stability whatever the temperature, but also to select between one octave up or one/two down (which sounds stunning), as well as having an onboard LFO for modulation.

Nils’ live sound is, as with his recordings, all about attention to detail - I suggested ‘perfection’, but he answered ‘perfection from imperfect things?!’ I am so often sonically disappointed seeing live shows - so many artists go to great lengths to create stunning-sounding records, only to opt for the convenience of software or digital emulations rather than the real thing and the results are almost invariably a sonic ‘meh’. With Nils, every single detail is a joy to hear and the whole is very much greater than the sum of its parts. I’d expected it to sound good, but was completely blown away by just how powerful the massed ranks of acoustic and analogue gear sounded in full and glorious flight. To witness, at close quarters, Nils dancing and diving about his equipment - clearly a master of his instruments - was mesmerising: his hands and fingers a blur of movement as he twisted and tweaked settings and played accompanying riffs on the Fender Rhodes.

I was struck by how superb the reverb sounded and asked what he was using; he pointed to a rack underneath the Rhodes - an EMT 245 with a Dynacord VRS-23 above it! No wonder it sounds so staggeringly good! In my position as champion for the Good Old Stuff, my bias is undeniable, but ears don’t lie and this was a reverb sound to die for. I understand more than most why many artists don’t risk using esoteric vintage equipment live, but when they do the results can be outstanding. We saw Arctic Monkeys recently - their set up was almost exclusively vintage gear that most would only countenance for studio use (including Alex’s trio of amps supplied by us, and three RE-201s that we ended up servicing before they headed out to the US). And they sounded great.

It soon became apparent that Nils and I we were kindred spirits with a shared love of and appreciation for the sounds and feel of real instruments and effects that predate the modern era of gear built to a price point by machines. The combined sound of a stage full of individual pieces with soul and personality is unforgettable, and all too rare today. I'd been curious as to the source of Nils’ drum sounds and spied the bank of twin Vermona DRM1s alongside his mixing desk. The warm 808-esque kick, triggered by foot switch, came from a diminutive (in stature rather than sound) MFB analogue drum machine. Next to the foot switch are his Moog Taurus pedals. Above this, and between the two Juno 60s, is a Roland SH-2 synced to the other synths, receiving plenty of tweaking attention to great effect.

All too soon, the whirlwind display was over, and we set to showing Nils a couple of Soundgas Binsons which he demoed using one of the onstage Juno 60s. Unfortunately, the only super-slow varispeed Echorec 2 that we had available hadn’t yet reached a satisfactory conclusion: it had undergone a good deal of work, but it transpired that nothing short of a total rebuild was going to yield the performance we expected. So Nils had another varispeed Echorec 2 to try out and immediately commented that it sounded way better than his own. A quick listen to our studio Super Slow Baby Binson was enough to demo the principle and we resolved to find the right Echorec 2 in future.

View this post on Instagram Great to meet @nils_frahm and his crew at the @eventimapollo this afternoon; fascinating to see his set up. Here he gets acquainted with a Soundgas Binson Echorec 2... #nilsfrahm A post shared by Soundgas Limited (@soundgasltd) on Dec 5, 2018 at 9:33am PST

Then it was time for the ‘Magic Typewriter’, our Dynacord Echocord Studio , modified by Dr Huw with Super Slow Varispeed. I explained to Nils and Sebastian that we are still working on further mods, on a second machine, that incorporates being able to lift the erase and record heads from the disc, thereby allowing both Sound On Sound effects as well as looping. We also hope to be able to reverse the motor for backwards looping effects. This was something of a revelation - nobody had seen an Echocord Studio before and it’s fair to say that this machine was of great interest.

View this post on Instagram Nils meets The Magic Typewriter... A post shared by Soundgas Limited (@soundgasltd) on Dec 12, 2018 at 3:37am PST

All too soon it was time for the soundcheck and for us to leave the crew to continue preparations for the gig. That night we witnessed a staggering live performance, full of drama (thanks to the Vermonas which wiped their Midi CC memory and had to be restored in the middle of an impromptu piano piece), wit and energy, and we reconvened for a lively after show celebration until it was time for everyone to get back on the tour bus. An unforgettable night, with many new friends made and plans to meet again in February when the tour hits Manchester: perhaps with the SH-5 installed as part of the live show…

Our thanks to Nils, the crew and also to Robert Raths and all at Erased Tapes for their warmth and hospitality.

Tony Miln is the co-founder (& Head Gear Head) of Soundgas. See/hear him in action on Instagram .

UPDATE! UPDATE! UPDATE!

On the 17th of February this year we met up with Nils again, this time before the show at Manchester's Albert Hall. We took more Binsons and other gear for him to try, he totally fell for our '73 Minimoog , and we got some pretty special footage of part of the soundcheck. We'll add some more photos and video when we do a part 2 to this blog, but that needs to wait until we've been and seen his studio in Funkhaus Berlin (soon...). For now here are a couple of the videos from the Manchester trip:

View this post on Instagram Big piano. Tiny piano. Junos, 501s, a Mellotron & an EMT 244... Last one from Sunday's Manchester mission. At some point we'll do a blog about some of what we found as we got to poke around in this monster set up, as well as what we discussed with Nils and his engineer including his studio, Moog vs Roland, and modifying Roland Junos and tape echoes. Huge thanks go out to him and his tight-knit tour family for making us feel so welcome. . #nilsfrahm #vfgear #synthstagram #vintagesynth #juno60 #soundgas #supersonicgear A post shared by Soundgas Limited (@soundgasltd) on Feb 20, 2019 at 4:16am PST

View this post on Instagram '73 Minimoog. Game over. . . #moog #minimoog #vintagesynth #synthstagram A post shared by Soundgas Limited (@soundgasltd) on Feb 17, 2019 at 11:57am PST

AND FINALLY... we are now auctioning some of Nils' equipment - see all the gear for sale here.

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When it comes to defining the space between classical and electronic music, hardly any other name is mentioned as often as that of the Berlin-based pianist, composer and producer. His unconventional approach to an age-old instrument, played contemplatively and intimately, and his sonic alchemy of ambient textures and atmospheric electronica, has won him many fans around the world. Numerous tours and concerts all over the globe have strengthened his reputation as both an exceptional instrumentalist and a fascinating live musician. His albums have garnered international acclaim from critics and audiences alike, and his live shows are regularly sold out.

In September 2022, Nils shared his critically acclaimed, expansive new album Music For Animals: Containing ten tracks and clocking in at over three hours long, it's an ambitious and compelling set different to anything Nils has released to date. Returning to the live stage for the first time since 2019, he appeared at the Sydney Opera House in June for the world premiere performance of his current global tour named Music For.

Since then, he is back touring all over the world, presenting brand-new music moving between the worlds of experimental, ambient and electronica - and this is how he is going to officially launch the first INOTA Festival, guiding the Sun down the horizon behind the power plant.

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Ólafur Arnalds  

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Ólafur Arnalds (born November 3, 1986) is an award-winning experimental and electronic multi-instrumentalist, composer and producer from Mosfellsbær, in Iceland.

Arnalds' earliest musical excursions were as the drummer for a number of hardcore metal bands including Fighting Shit and Celestine. After occupying a support slot the German metal band Heaven Shall Burn, Arnalds gave the band a progressive-rock demo featuring digital piano and string accompaniments. A few months later Heaven Shall Burn contacted the composer and asked if he was willing to write the intro and outro for their new album. He was, and the album “Antigone” arrived in 2004 to positive reviews and Arnalds subsequently received a phone call from a The Erased Tapes label asking him if he’d like to make a whole album.

The resulting album entitled “Eulogy For Evolution and Variations of Static” was released in 2007 to good reviews and was followed by the EP “Variations of Static” in 2008. Due to his success Arnalds was invited to tour with fellow-Icelandic musicians Sigur Rós and released a string of EPs in 2009 with the names “Found Songs”, “Dyad 1090” and the experimental techno release “65/Milo”.

2010 brought a new full-length from the multi-instrumentalist entitled “…And They Have Escaped The Weight of Darkness” to which he received critical praise. Due to the often sparse and thoughtful nature of Arnalds’ music it is a good match for TV and film and in 2011 the composer became more high-profile after providing the soundtrack to Sam Levinson’s “Another Happy Day”.

Arnalds has subsequently released the collaborative EP with Nils Frahm “Stare” in 2012 and his third full-length album “For Now I Am Winter” in February 2013. The same year Arnald’s composed the score to the UK ITV series “Broadchurch”, which he won a 2014 BAFTA TV Craft Award for Best Original Music.

Live reviews

There we were, seated in a full, sold-out, BARTS concert hall in Barcelona (around 1000 persons), at an early hour (19.30!), thanks to the cleverness of Cooncert guys, who are making possible to bring to our city artists “by request”. And, as starter, we are playing the game that Ólafur Arnalds uses to break the ice (I guess an Icelandic person has many tricks for that). He asks the audience to sing a C-tuned vowel that is then processed and used as a background drone in his typical opening number: “Þú ert sólin”. Indeed, the trick works its magic and, all of a sudden, we connect with the artist moods and enter into a dreamy, blurry, blissful state. I nevertheless experience, for a short while, some flashbulb memories of Wim Mertens’ first concerts in Barcelona, almost 30 years ago. The “deja-vu” sensation is justified: in front of us, we have a young, blond-hair, well-tempered pianist (no pun intended!), weaving a fabric of minimalist music that transports to emotional landscapes, proving by experience that “there are many ways to feel sad, not just about love” as Arnalds said elsewhere. The concert started to flow with the help of a string quartet, computer support to play loops and process live sound and video, and some occasional touch of trombone. Arnald’s sparse piano playing style makes possible, at times, a turn-taking game between the keyboard and the tablet. This way, subtle reverberation soon proves to be one of the touchstones in Arnalds’ sound: as “silences” have a capital role in many of his tracks, what happens between the notes is never left untouched as true silence. Shades, shimmering and grain are nuances to be appreciated when the instruments seem to be leaving room to the room resonances. Additional intriguing “deja-vu” experiences are triggered by several tracks. The majestic “Only the Winds”, for example, has Sigur-Rossian development and melodic content; though timbrically it belongs to a different planet (piano and strings play here the role of guitars and a voice). In fact this composition sounds like a wink to his compatriots or, more specifically, as a quotation of Popplagið (8th track from Sigur Ros’ “()”). This blending of genres and artists appears again in one of the tracks (was it “Brostjor”?) to be found in “Dyad 1909”. The track comes from a choreography soundtrack inspired by Shackleton’s expedition to Antarctica and it mingles power and frailty, fire and snow. Can you conjure up in your mind a fusion between bits of industrial noisy percussion and delicate strings and piano? I can’t believe that the beats and rhythm are making me think of Esplendor Geometrico!!! The Antarctic inspiration is also present in “3326”, a virtuosistic violin piece that, because it is basically a “solo”, breaks the flowing atmosphere of the concert but helps to make the transition to its second part, mostly devoted to “For Now I Am Winter”, the most recent release by Arnalds. If you were told that Arnór Dan, a falsetto singer that then became the focus of the night, is the regular front man of an Icelandic metal band (Agent Fresco), you could probably not believe that, as he delivered the repertoire with intense but gentle velvet tones. His voice never sounded strained or harsh, and blended well with the sometimes somber and sometimes desolate tones of the songs. Some projections contributed to the winterish atmosphere, playing with the shadow of the singer and some “snowyfication” of those images. We all knew that the concert could not be long. Arnalds warned us from the beginning that he had to catch a plane at 23h to return on time to his recording discipline. And the clock was ticking and the bells were tolling for the farewell moment. Out of sight, from the right side of the scenario, the progressively fading violin notes of “Lag fyrir ömmu” called for all our attention. They enclosed a message to enhance our sonic awareness, give room to silence, and keep our noisy appliances off more often. By the end of the piece, the notes were barely audible and we had to wait until Arnalds made a gesture indicating that the end had already been reached long ago. We could have been there for eons, if only to eternally keep that fleeting illusion of Heaven.

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When the mere act of breathing can feel like an intrusion. The most delicate hoar frost softly fades in a morning's warming air. Autumn's leaves held in momentary stasis, you fall through the lake's thin ice and spiral into the darkness; accepting of your fate, wholly captivated by the sheer beauty of the light dancing through the water; a sublime beauty that surrounds. Weightless now, tumbling through time, eyes gently closing on this world, only to find yourself flying with the birds. -

This is the heartsong that inspires an Ólafur Arnalds concert. The music floats ghostly from the stage and I'm held in a spider's web of finespun brittle piano shards, painterly washes of a string quartet and the occasional rush of percussion, all suspended on a sublimely tender light show; an exquisite dream. -

Arnalds is also incredibly warm and engaging. He mostly allows the music to do the talking, but punctuates each song, and when he picks up the mic to speak, with his hands unconsciously clasped in reverence befitting the mood; his humility shines through. Whether it's improbable reference to his previous life in punk band Fighting Shit, the evolution of his music through his grandmother's love of Chopin, or how earlier that day he'd been able to take a hot bath on Hot Bath Street in Bath 'Which kept me amused for a good few hours.' -

The evening ends with Lag fyrir ömmu, simply translated as Song For Grandma; a song he wrote upon her passing. After the heart-felt introduction, he walks to the rear of the stage, and with his back to the audience, plays this achingly beautiful piece on an upright piano, it's face removed, the hammers visibly dancing in the softest of light. As the song reaches its close the playing becomes softer and softer, lighter and lighter, to almost being imperceptible of sound as the spotlight fades too. There is then twenty seconds of nothing; complete, breathless silence. Arnalds slowly moves and 1500 people break the shatterable silence. Extraordinary

Increíble, espectacular, maravilloso y me quedo corto en palabras para describir este compositor. Un concierto genial, donde lo pudimos disfrutar en el mismísimo Palau de la música de Barcelona.

La pasión que desprende y el talento virtuoso de los músicos que le acompañan, hace que disfrutara cada segundo del concierto.

Al final, como no podía ser de otra manera, una gran ovación por parte del público. Sólo nos regaló un bis que me supo a poco, pero estoy seguro que aunque hubieran sido más, también me hubiesen sabido a poco.

Espero repetir en una próxima ocasión.

We owe his grandmother and MySpace a huge dept. The first one exposed him to classical piano music; and after he posted his first song on MySpace, he was picked up by a record label.

If not for those two factors, we would not have had one of the best musical experiences in 2018!

Ólafur Arnalds creates songs - or sound scapes - that range from near silence broken by a single violin string to full arrangements of 3 piano's, a string quartet, drummer, and electronic loops.

The man has a beautiful musical mind.

As usual the concert of Ólafur Arnalds was perfect. Pure magic during one hour and a half. Send me back to Iceland and all over amazing places in the world. Let me with the sensation that at the very end it will be not that bad. I will return to see him probably again and again and again and...

The Barbican was a good choice in term of sound quality. Not perfect, but still good quality.

The show was amazing!

Ólafur Arnalds is a great composer and Pianist!

If you like getting into a trance you should go to a show of Ólafur Arnalds! I saw a cellist 4 violins a drummer and ofcourse ÓlafurArnalds playing on 3 piano’s with electronical stuff!

I went home totally relaxt and slept very good after It! Thank you! ☺️

It was really awesome!

´Till next time!

It was one of the greatest live music experiences ever. The whole band and Ólafur Arnalds himself are such a talented crew. He is such a gifted musician. I would very much recommend any concert to anyone enjoying icelandic, classical meets electronic music. Suave music pulses. I really hope I can enjoy his music some time soon. Unmissable date!

I found the opening artist a bit random and going from quite good to failing, and then Ólafur entered and he really engaged very well with the public, specially to sit down on the floor and fix the software at some point. I enjoyed the concert, it wasn't amazing but I was pretty decent and visually outstanding.

A beautiful, magical, inspiring evening. Good supporting act too.

Olafur plays with a talented quintet (mostly strings). Many pieces from his newest album Re:membered.

Olafur comes across as human, warm, modest - and funny!

Perhaps one of the most memorable concerts I've been to.

Memorable night! Well thought and presented stage, from the moment you enter the hall until the end of the concert.

Definitely worth going, it was obvious Olafur was passionate and immersed in his music, which made it a really honest and genuine experience.

Recommended!

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Find out more about Ólafur Arnalds tour dates & tickets 2024-2025

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Most played:

• London (20)
• Berlin (17)
• Los Angeles (LA) (11)
• Reykjavík (11)
• Utrecht (11)

Appears most with:

• Nils Frahm (31)
• Douglas Dare (25)
• A Winged Victory for the Su... (11)

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Music For Animals out now – Live Dates

Today, Nils shares his expansive new album Music For Animals . Containing ten tracks and clocking in at over three hours long, it’s an ambitious and compelling set different to anything he has released to date, but at the same time retains many of the qualities that have set his work apart over much of the last decade.⁠ It’s his first fresh studio material since 2018’s All Melody and 2019’s associated All Encores , and his first full-length album of brand-new music for LEITER.⁠ Music For Animals is available now as a 3CD and 4LP set and via all streaming platforms.

Following up on three sold-out premiere performances of his new live show at Sydney Opera House in June, Nils is also kicking off a first tour run through Europe these days and will return to North America early next year. Find all dates and tickets via the link below.

Listen to Music For Animals Visit the LEITER website to read more Find all upcoming live dates here

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• June 11, 2024 Setlist

Nils Frahm Setlist at Barbican Hall, London, England

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1 activity (last edit by tcw101 , 11 Jun 2024, 16:15 Etc/UTC )

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Nils Frahm Gig Timeline

• May 28 2024 Teatro Duse Bologna, Italy Start time: 9:20 PM 9:20 PM
• May 29 2024 Teatro Lyrick Santa Maria degli Angeli, Italy Add time Add time
• Jun 11 2024 Barbican Hall This Setlist London, England Add time Add time

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[url=https://www.setlist.fm/setlist/nils-frahm/2024/barbican-hall-london-england-b5645fe.html][img]https://www.setlist.fm/widgets/setlist-image-v1?id=b5645fe[/img][/url] [url=https://www.setlist.fm/edit?setlist=b5645fe&amp;step=song]Edit this setlist[/url] | [url=https://www.setlist.fm/setlists/nils-frahm-43d5cf07.html]More Nils Frahm setlists[/url]

Tour Update

Marquee memories: friedberg.

• Jun 13, 2024
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