Alive 2007 is the second live album by the French electronic music duo Daft Punk, released on 19 November 2007 by Virgin Records.

It features Daft Punk's performance at the Palais Omnisports de Paris-Bercy arena in Paris on 14 June 2007 during their Alive tour.

[10] The album includes elements of the Busta Rhymes song "Touch It", the original version of which was produced by Swizz Beatz featuring a sample of "Technologic".

Also included is a large hardback 52-page photo book, an Alive 2007 concert pass replica, a Daft Punk printed slipmat, and a download code for the digital versions of the songs.

[citation needed] They played at the RockNess Festival by the banks of Loch Ness, Scotland, on 10 June 2007 as the headline act in the 10,000 capacity Clash tent.

[31] A Triple J interview with Pedro Winter (Busy P) revealed that Daft Punk's Sydney appearance on 22 December would be their final show for 2007 and the last to feature the pyramid light scheme.

[9] Bangalter explained that the 2006 sets were initially designed for performances within larger festivals, but later refined to accommodate Daft Punk shows, saying "The goal was to try and bring a complete global experience to the audience.

They also used Minimoog Voyager RME[3] units, which, with the mixers, allowed them to "mix, shuffle, trigger loops, filter, distort samples, EQ in and out, transpose or destroy and deconstruct synth lines".

[39][40] The Guardian journalist Gabriel Szatan likened it to the Beatles' 1964 performance on The Ed Sullivan Show, which brought British rock and roll to the American mainstream.

[52] Pitchfork regarded it as "the Ultimate Daft Punk Mixtape", finding that songs from Human After All had been "constantly improved and born anew" for the live set.

[49] The sentiment was also shared by AllMusic, stating that "It has the feel of a greatest-hits-live concert, but energized by Daft Punk's talents at weaving songs in and out of each other.

[42] A review by The Star noted that the release and Daft Punk's concurrent tours restored the duo's reputation following the mixed reception for Human After All.

[50] The Boston Phoenix also felt that the album package would have benefited from more video content, expressing that a key factor of the live show was its implementation of visual elements.

[44] In his first positive review for a Daft Punk album, Robert Christgau wrote that a full video representation was avoided because "too much scale, flesh and bodily effluvia would be lost".