Diana Krall

Diana Krall at L'Amphithéâtre 3000

From our vantage point at L'Amphithéâtre 3000, welcoming Diana Krall is an invitation to craft an evening where intimacy and scale meet in perfect balance. Our room was conceived for clarity and warmth: a 3,000-seat amphitheater where the softest vocal inflection, the brush of a snare, and the velvet resonance of a Steinway reach every listener with unclouded definition. Jazz thrives on nuance, and the contours of our hall—clean sightlines, carefully tuned acoustic treatments, and a stage designed for quietly dynamic ensembles—allow the music’s breath and space to unfold naturally. For a pianist and vocalist who prizes subtle conversation with her band, this design matters. We prepare our lighting to echo the understated elegance of the repertoire, and we calibrate sound to honor the organic blend of piano, bass, guitar, and drums. The result is a room that rewards close listening while still opening itself to a shared sense of occasion: the hush before a ballad, the ripple of recognition when a beloved standard begins, the collective intake of air at a final suspended note.

An artist in full stride

Diana Krall arrives in Lyon at a moment of continued artistic vitality, touring widely and revisiting the shapeshifting canon that has defined her career. Recent setlists have underlined her affinity for the American songbook and its tributaries, placing fresh emphasis on interpretations from her most recent studio statement, This Dream of You, with titles like Almost Like Being in Love, Autumn in New York, and How Deep Is the Ocean appearing alongside long-cherished concert staples. On our stage, these songs draw a luminous thread through eras and moods: the effortless lilt of L-O-V-E, the moonlit austerity of But Beautiful, the sly chiaroscuro of Temptation, the slow-bloom romance of The Look of Love. What distinguishes the current moment is not a pivot toward novelty for its own sake, but a deepening of approach—rubato that breathes a fraction longer, harmonic voicings that tilt a standard’s emotional horizon by a few unexpected degrees, rhythmic interplay that opens pockets of swing you feel as much as hear. As a venue, we anticipate and support that dynamic flexibility. Our stage plot is planned to keep the ensemble in close conversational geometry, our monitors tuned with minimal footprint, so that micro-gestures—a left-hand figure on piano, the round decay of an upright bass, a cymbal’s filigree—translate instantly across the ensemble and out into the room.

For audiences at L'Amphithéâtre 3000, the evening promises both polish and discovery. We often see how Krall’s performances turn familiar songs into freshly minted narratives: a ballad can arrive in near-whisper, then widen in color as the guitar shades the harmony and the rhythm section settles into a pulse that is gentle yet decisive. The architecture of our hall fosters this narrative curve; the balcony tiers keep listeners close to the soundstage, and our diffusion design ensures that even the most delicate vocal consonant carries without harshness. It is why a tune like This Dream of You can feel confessional one moment and cinematic the next, or how Almost Like Being in Love can gather lift and shimmer as the groove unfurls. We encourage guests to lean into the details—the tug between straight tone and vibrato in a sustained phrase, the way a chord inversion can subtly reframe a lyric’s meaning, the interplay of swing and stillness that defines Krall’s recent touring aesthetic. Access to the venue is straightforward, with ample amenities to keep the focus on the music; once inside, time has a way of slowing as the lights dim and the first notes settle over the room. In that shared quiet, the promise of the night becomes simple: a world-class artist, in a hall tuned to her strengths, making standards feel as alive and present as the first time you heard them.