Peter Cincotti

Welcome to L'Amphithéâtre 3000 for an evening with Peter Cincotti

At L'Amphithéâtre 3000, we are delighted to open our stage to a singular voice and a phenomenal piano presence: Peter Cincotti. From our vantage point in the hall, we have watched audiences of all generations fall under the spell of his blend of jazz, pop, and cinematic storytelling, and the artist’s current momentum makes this date especially exciting. His latest project, Killer on the Keys, has reignited conversation around his studio craft and his live finesse, bridging decades of piano-driven music with new arrangements and original flashes of songwriting. Listeners who discovered him through earlier chart success and those who have followed his evolution into a boundary-crossing bandleader will find this concert calibrated for the deep, resonant acoustics of L'Amphithéâtre 3000. Expect the warmth of the grand piano at center stage, the finesse of a tight rhythm section, and that unmistakable Cincotti timbre in songs that span his catalog—including recent staples such as Long Way From Home and the new material associated with Killer on the Keys—reimagined for a room that rewards every dynamic, from pin‑drop ballad to standing‑ovation swing.

What the room will sound like when the lights go down

Presenting this concert at L'Amphithéâtre 3000 allows us to shape a listening experience that mirrors Peter Cincotti’s versatility. Our team is preparing a configuration that spotlights the piano while keeping the vocal image intimate and clear, so you’ll hear the percussive snap of his right hand, the rolling left‑hand bass figures, and the airy halo of the cymbals as if you were seated at the lip of the stage. This design supports the set’s narrative arc: recent songs like Long Way From Home carry the personal storytelling that fans cherish, while selections tied to Killer on the Keys celebrate the lineage of the instrument with new grooves and surprise turns. We anticipate moments when the band recedes and Cincotti leans into rubato phrasing, followed by explosive, up‑tempo releases that show off his rhythmic command. Those contrasts are where our hall shines: the room’s scale accommodates the intimacy of a late‑night jazz club and the breadth of a modern pop production, making this date a rare chance to experience his current artistic chapter in a space built for nuance.

The energy on our stage is always shaped by the city that surrounds it, and Lyon’s appetite for musical discovery pairs perfectly with Peter Cincotti’s present‑tense artistry. We’re hearing from touring crews that this phase of the show values spontaneity, with space for fresh transitions, call‑and‑response with the audience, and a spotlight on the band’s interplay—elements that come alive in L'Amphithéâtre 3000. While longtime admirers will hope for favorites like Goodbye Philadelphia, this engagement places special emphasis on the material fueling his latest creative streak, with the piano front and center and arrangements that fold contemporary textures into classic songcraft. As hosts, we’ve tuned the room to let the quietest lyrics land and the brightest crescendos soar, so that a new piece associated with Killer on the Keys can sit alongside a heartfelt ballad without losing coherence. If you’ve followed Cincotti’s trajectory, you’ll recognize how his recent songs and reinventions deepen the conversation he has been having with audiences for years—only this time, you’ll hear it rendered with the clarity, warmth, and scale that our hall was designed to deliver.