“They’re trying to capture overarching moments in time rather than create single moments.” The former BBC DJ first heard the band touring Australia with The Chemical Brothers, but really sank into them with his current role as Apple Music’s Creative Director, where their global appeal became even more apparent. “The music is experiential for them, and therefore it should ideally be enjoyed in an experiential environment for us,” offers Zane Lowe when asked about Rüfüs’ live appeal. The ship has certainly sailed harbour, destination unknown. Selling out the twenty-thousand-seat LA Historic Park. A free Santa Monica Pier show that broke capacity. Theatre performances at The Fonda and Wiltern. Their first club night at the seminal Echoplex (“You really had the world to gain,” remembers Lindqvist wistfully, “and nothing to lose”). LA is also home to many of their most watershed concerts along their path from Sydney to wherever they are now. We’re touring venues across the city today not just because of Rüfüs Du Sol’s exceptionalism in live performance, but also because Los Angeles has become their second home. I remember my mouth just got so dry at the first song, I’m like, ’ Oh, there’s no chance to drink the water, Fuck, keep it together, dude!’ “ Whereas here it’s like engulfing, like the back wall, the crowd in front of you it’s just so immersive. We’ve experienced twenty to thirty-thousand people in a festival that’s all on the ground essentially, and you’re above them. “You’re like on the ground and the crowd’s above you, and it’s just like a wall of people. “I felt really nervous walking out on this stage, and I get it at Red Rocks too, because you’re at the bottom of the stage essentially,” remembers Lindqvist, wisps of blond hair blowing in his face, crisp white Axel Arigato Clean 90 sneakers matching his couture white jumper. He seems a bit more in his head than the others. He talks the least, often letting the others cover a subject, but is deliberate when he speaks. Meanwhile, vocalist Tyrone Lindqvist vibrates with a sense of perpetual self-analysis. With an unbuttoned dark, flowered silk shirt, gold chain and motorcycle cop moustache, Hunt reminds me of what Mac from Always Sunny In Philadelphia would be like if he was actually as cool as he thinks he is. Perpetual smile, perfectly trimmed beard and coif. A dead ringer for Bradley Cooper’s younger brother, Jon George radiates the same effortless charm. Not quite rockstars mind you - there’s a bit too much self-awareness, like they’ve beaten back the ogre of arrogance that comes with that label. The gents carry themselves with the calm confidence of professional athletes. The guys squint behind designer sunglasses, smiling, lost accessing halcyon memory banks while scanning the stands. Below us, workers mow the vividly green field - a slight whiff of cut grass meeting the glorious Southern California sun in the air. We’re currently walking the halls of the Banc of California Stadium reliving the epic evening, amongst the towering structures of the concrete cathedral. “But when the confetti hit I got to experience it a little more.” “I was just so focused on getting my pattern on the SPD-SX that all I could think about was Don’t fuck this up the first time you play it! ” adds bandmate Jon George. It’s such a good feeling playing a song for the first time live, to finally see it.” “In those moments I’m aware that I can react more freely, and I was just laughing because the confetti was so overwhelming: This is fucking insane! Just revelling in it. “Especially because we put the focus and spotlight on Curtis, we were kind of shrouded in darkness, silhouetted with rain on the screen behind us,” continues the amicable drummer.
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