The show moved quickly. While I had to stand on my toes to figure out where each tier of M83’s music gave way to the next, the experience consumed me. New songs blended with old, but it was all distinctly Gonzalez. From his crisp touch on a cheap keyboard to his orchestrated distorted bassline, the mastermind held control.

“When I made this album, I wanted something more simple, more urban, more dark, more natural,” he says.

Three guys played beside and behind Gonzalez: one on the guitar, one on bass, and a drummer. They anticipated the music and kept up with the lead. They spoke French in between songs. I didn’t know their names and I didn’t care.

Somewhere between the encore and the final chord the crowd held their breath. The numbing and endlessly emotionalmusic slowed down as the ambient noise surged forward. From the back of the hall somebody shouted, “France sucks.” The crowd booed. Gonzalez looked up.

When I talked to Gonzalez about politics during the soundcheck, he was more confused than interested. He talked about movies and cities. He mentioned Iron Maiden and Judas Priest. He told me that his music was best received in the States.

“My culture is first of all American,” he says. “Politics? I’m not thinking of these things. I just play music.”

—Staff writer Adam C. Estes can be reached at estes@fas.harvard.edu.