‘Like poetry in motion’: I went to the Clair Obscur: A Painted Symphony concert, and it mirrored the game’s beauty to perfection | Daily Reports Online
Clair Obscur: Expedition 33 was our pick for game of the year in 2025 here at TechRadar Gaming, and for good reason. It riffed on the Japanese role-playing game (JRPG) genre with confidence and creativity, delivering exquisite gameplay, a gorgeous visual style, and one of the most compelling narratives I’ve ever seen in a video game.
But something else made Clair Obscur: Expedition 33 feel like a truly legendary gaming experience: its masterful soundtrack. Composer Lorien Testard — an unknown character before his work on Expedition 33 — crafted a score that beautifully captured each moment the game has to offer, from its crushing lows through to its euphoric highs. And recently, I was able to see that score come to life.
That’s right, I attended Clair Obscur: Expedition 33 – A Painted Symphony in London, England, and it perfectly encapsulated everything that made the game so special.
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Like poetry in motion
I played through Expedition 33 in August 2025, and I instantly knew it was going to be my favorite game of the year…and one of my favorites ever made.
And Clair Obscur’s soundtrack was one of the main things that captivated me during my playthrough. The brilliant blend of grandiose operatic and orchestral pieces infused with heavy rock makes for a mesmerizing, distinctive listening experience.
But listening in concert took the game’s score to new heights.
Of course, Lorien Testard himself made an appearance, as did the soundtrack’s lead vocalist, Alice Duport-Percier. They were joined by the CURIEUX orchestra — the artists tasked with bringing Expedition 33’s bittersweet canvas to life. And I have to say, each performer blew me away on the night, with a highly talented set of string, brass, and percussion instrumentalists, alongside a spectacular pianist and wonderful choir.
As I entered Hammersmith’s Eventim Apollo Venue, it was almost as if I was surfing a wave of red berets — a nod to the costume worn by Mime enemies, as well as the game’s French DNA. This was playfully acknowledged by the orchestra, which subsequently sprang into playing In Lumiere’s Name (the soundtrack to your battle against the pesky Mimes).
We were treated to more upbeat bangers too, including Monoco — the jazzy theme of an avid foot-collecting gestral who accompanies you on your journey to defeat The Paintress. The sax-led Golgra — a true favorite of mine — also cropped up, with the intertwining guitars and head-bopping percussion instantly transporting me back to an epic battle against the Gestral Village chieftain (or ‘Chef’ in French).
What I perhaps appreciated the most, however, was the translation of Expedition 33’s most emotive and heart-wrenching tracks into the real world. Duport-Percier’s phenomenal control and range in songs such as Alicia brought the tragic yet majestic main menu theme into our realm, and I could hear a few audience members getting emotional.
It would be remiss of me not to mention the rendition of Une vie à t’aimer, which saw Duport-Percier pair up with Miki Martz. This track captures the theme central to Expedition 33: grief, how we react to it, how we process it in unique ways, and how we ultimately opt to deal with it. The dramatic back and forth between male and female vocals, the climactic instrumentation, and the inspired lyricism all came together in a stellar, moving recreation that will stick with me forever.
For those who come after
I’m only scratching the surface here — A Painted Symphony was about two hours long, and still only captured a fraction of Expedition 33’s extensive soundtrack. But the selection of tunes was exquisite, and perfectly illustrated the game’s exhilarating sense of adventure, balanced against tragic and morbid undertones.
In between a number of standing ovations, we were treated to some incredible guest appearances (that I won’t spoil) and some excellent crowd-work, as well as a shower of petals — mirroring the fate of those who gommage each year in-game. It really was a spectacular show, and one that lived up to the quality of its source material.
Watching Testard and co perform was a joy — it was almost like poetry in motion. And it really hammered home how special Expedition 33 is to me. In a world where we see endless sequels, remakes, and rehashes, it’s such a joy to see — and indeed hear — something so original, overflowing with new ideas and creative juices. So, if you’re yet to play our 2025 game of the year, I strongly suggest giving it a go.
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