Im not into numerology or anything, but it seems that the number 3 and I have gotten ourselves into some sort of wonderfully cosmic relationship. I mean, the last time I saw Skrillex was when he played in a 3-set lineup with Porter Robinson and Nero, which was previously the best show I had ever attended. The show in London was my 3rd time seeing Skrillex, again as a part of a 3-set lineup, and the day of the concert 3 Ninjas kickback (my all time favourite movie) just happened to be on TV. Oh ya and the date of the concert….July 3rd. #irestmycase
It is in this spirit that I #greenfueled my way into characterizing Porter Robinson, Skrillex & Zedd as each of the 3 Ninjas whilst watching the movie that Sunday afternoon. But it wasn’t until I saw them throw down that night that my correlations were totally confirmed, as each of them perfectly emulated the movie character archetypes I had bestowed on them (at least in my mind anyways). If your not familiar with the movie not to fret, ill make sure to compare as descriptively as I can, but for your sake study up.
Zedd = Rocky
Fitting Zedd as the prototypical “Rocky” of the group was the easiest task, as his humility and well polished skills were made evident to me in person, when I was in the booth with him during his set last March. He is a classically trained musician, extremely well spoken and mannered, and most importantly an absolute menace in the studio.
The last time I had seen him the man just did not get the crowd that he deserved, but thankfully last weeks endeavors were in London, where the word ‘disappointment’ does not exist. Right off the bat Zedd whipped into his brand new remix of SHM’s ‘Save The World’ which the crowd gleefully sang along to. Amidst the brief silence before the final drop, I was able to whip a brand new Worst Guy t-shirt directly at Zedd, as I knew he needed an update from the original concept shirt that he solely possesses. He nabbed it quickly and raised it simba-styles to the crowd, and what ensued was one of the most powerfully fulfilling drops I’ve ever experienced.
I left the set a little early to refuel and get some air on the patio. When I got up there, I found out where the other half of the crowd was and why they chose to stay upstairs. It seems that some brilliant fuck at the venue discovered that putting speakers behind the bar upstairs, which is ever-blasting the maddness ensuing below, is a profitable idea. Congrats bro, you deserve a raise and a sincere thank you from both my eardrums and my calf muscles. That breather gave me plenty of energy to keep raging through the last quarter of Zedd’s mind-bottling set and by the time Anton had finished laying his fury I was well equipped for what Mr. Robinson was about to offer me.
- Save The World Tonight + Worst Guy Tee toss
- Born This Way Remix
- The Reward Is Cheese + Scary Monsters Remix + Stage Dive
- Wolfgang Anthology (Madeon)
- Pon De Floor + Brap!
Porter = Colt
The middle child of the 3 Ninja family is Colt; the most wily and unrestrained of the three. To my delight, Porter promptly fulfilled his role by flying out of backstage and over-exuberantly ripping off the jacket he was wearing. Now beater-clad and fired up, Porter began his set as the crowd dug deep and drew out their second wind. From what I wittnessed it seems as if the Molly-infused sweat in the air managed to penetrate his bloodstream, as Porter filled his set with his heavy-as-fuck style of electro house that fit perfectly with a crowd who came for a hefty filling of bass. He kept us entertained with his Rusko-style dancing, and big tunes like his massive remixes of Deadmau5 & Kaskade’s ‘I Remember’ and Lady Gaga’s ‘Edge of Glory’.
Obviously the build in every track is the best time for DJs to tweak their sounds and delay the drops until everyone in the crowd is on the verge of blue balls. I’ve been to a shitload of shows where the DJ will tease me and taunt me before the drop, but I can safely say Mr. Robinson, in his young virtuosic age, has perfected this technique like a veteran. The combination of his on-stage presence, and the hold his builds had on me, was absolutely surreal and on par with some of the best in the business nowadays. On top of that, his set was stacked with the same artists that are currently pillaging my daily commutes to work; namely Feed Me and Madeon.
Before completing his wildly energetic set, Porter gave the London Music Hall a treat in the form of his unreleased track ‘Spitfire,’ which is going to be released on Skrillex’s new label – OWSLA. From my recollection, the song was a lot grimier than most of Porter’s other hits; including elements of Dubstep and Drumstep, while keeping that signature Porter Robinson glitchy feel. To nobody’s surprise the track literally sparked a fire on the dancefloor and had the crowd bouncing furiously, as if they felt more Dubstep coming shortly.
- I Remember (Deadmau5)
- Say My Name + One More Time (Daft Punk)
- Cloudburn (Feed Me)
- Move For Me (Deadmau5 & Kaskade)
- Spitfire (Unreleased)
Skrillex = Tum Tum
The youngest brother is Tum-Tum, the loud, loveable and always hysterical character who seems to have bottomless stomach. And for the third time, my premonition was entirely fufilled – as Skrillex opened his set going on a rant about the new food-related twitter trend called #fooddjs. He then started off his set the same way he had the last 2 times I saw him (and I’m sure the same he has started every set on this tour): with a huge hello and a big thank you to the crowd for their support. It’s a sincere touch that is beautifully juxtaposed with his sinful and down right dirty sound, that immediately began to shoot through everyone’s ears and creep down their spine.
At first, the crowd was so riled up from finally having Dubstep’s prodigal son enter the building, that it was nearly impossible to stand in one place without getting pushed and shoved around – kinda like a ginger in the middle of a circle of bullies. If you had your hands in the air, they were being molested by other pumping fists, and if your hands were down, they were probably groping everything on everybody around you. But thankfully London Music Hall is not the Guvernment, and removing yourself from the pit to find some free oxygen is a fairly simple task.
After a lengthy bit of neck-breaking, Skrillex finally blasted in to some Drum N Bass; beginning with Pendulum’s Salt In The Wounds – a staple that I look forward to at every one of his shows. The speedy kick of the drums was like a shot of ephedrine into the crowd’s veins, and got everyone right back to the same energy level they had at the beginning of the night. Unfortunately I was still stuck in the deep derp of the pit and had no room to start steppin’, as almost everywhere I turned there was another sweaty body swapping sweat with me.
Shortly after, the bpm took a soothing dip down to about 109 and the sonic atmosphere of the room shifted from demonic to euphoric — Moombahton Time! This was the first time I had ever experienced Skrillex drop some of that bubble-popping-sex-noise, and it worked like a charm. As soon as he mentioned the word ‘Moombahton’, the crowd immediately turned into an ecstasy-fueled dry-hump competition. There was so much grinding going on that it kinda felt like my high school afterprom. I thoroughly enjoyed the Moombahton mini-set, however the grinding was getting extremely annoying (A reminder to all you MDMA-induced horny motherfuckers: The guy you are grinding all over may be getting off to your spastic dancemoves, but everyone around you won’t hesitate to throw a cuntpunch the next time you decide to ‘get low’ in the middle of a fucking pit).
The encore was his Cinema remix, and during the song he attempted at proliferating his second twitter-related trend of the evening, #planking. The first attempt was an utter failure, as the girl clearly had no idea how to plank, or how to wait for the drop. Thankfully Skrillex quelled the fail by turning off the track and inviting up a much more capable planker. This time it was only a semi-failure, as the dude had an awful planking technique and couldn’t keep still. I’ve never planked while crowd-surfing before, but I’m pretty sure its a hell of a lot easier than how ‘Jessie’ made it look. Regardless, Skrillex was loving every second of it and was laughing hysterically as the crowd tried to move the planker all the way to the back, then to the front again. At the end of the track, he climbed up onto his DJ table, mic-in-hand, and gave one of the most genuine crowd-appreciation speeches I have ever heard come from a musician. The heartfelt goodbye was answered by the crowd in a huge uproar of screams and cheers, that basically continued all the way outside of the venue and into the incredibly orgasmic feeling of outdoor air.
- #Grillex Intro + Unreleased Track 1
- Ruffneck Bass
- Unreleased Track 2 + Watch Out (Doctor P)
- Fabrication (Emalkay)
- Space Ship (Trolly Snatcha) + Dirty Picture Remix
- Bass Canon + Reasons (Doctor P) + First Of The Year
- First Of The Year + Unreleased Track 3
- In For The Kill + Still Gettin’ It
- True Gangsters
- Finale – #planking + Cinema
The incredible night I had last week showcased the continuing evolution of 3 producers who have shot to stardom faster than my dog can satisfy himself. Without taking anything away from the supreme talent of Sonny Moore, Anton Zaslavski & Porter Robinson, I think one of the major reasons for their imminent success comes from the ever-expanding world of social networking. With the increasing efficiency of direct connection to millions of fans worldwide, artists like these have been interacting with their fans and releasing music via platforms such as Facebook, Twitter, Soundcloud and others. This allows for the relationship that every fan has always wanted – to be able to communicate with your favourite artists and have them communicate back to you on the same plane. Skrillex has fully submerged himself in the social networking universe and devotes plenty of his time to interacting with his fans. It makes sense then for his name to be the 3rd most searched term on google, starting with ‘Sk’.