This past Saturday (9/22) the legendary
Chemical Brothers blessed Williamsburg with a live performance (their 2nd in NYC this weekend). The venue was at the other worldly
McCarren Park Pool, a onetime Depression era feel-good vacation spot, and currently a hipster mega-Mecca in the heart of Brooklyn. The Chemical Brothers haven’t given the US a proper tour in nearly 5 years, and what better way to end off a summer of fantastic electronic performances (Daft Punk, Justice, Hollertronix, Simian Mobile Disco et. al) than with the godfathers of electronic live shows. The duo, long known for their innovative and engaging live performances, utilized visuals by noted director
FLATNOSEGEORGE (aka Adam Smith) who formerly created the visuals for their “Push The Button” live tour. Opening for the group was the Liverpool based electro-pop outfit
Ladytron, as well as
The Rub DJs Ayres, Cosmo Baker and Eleven (who played house DJs for the night.)
The early show (5:30 doors) began with the funky break stylings of Ayres, who was merely warming up the growing crowd for the excellent performance of Ladytron. The bands style of melancholic vocals and haunting electro-noise was perfect in the shadow of the melting Brooklyn sunset. The band ended their packed set with the always great “Destroy Everything You Touch”, which left the crowd with a good indicator of the energy level for the Chemical Brothers’ set. Between sets again the Rub performed, this time a more crowd pleasing and energetic B-More workout, with exclusives and educated mixing that show why they are in the upper echelons of indie/hip-hop/”alternative” DJs these days.
The Chemical Brothers approached the stage with a true uproar from the waiting crowd, excited to see their stage set-up of future-retro electronic devices and of course 4 turntables. The duo opened with “Galvanize” as pop-art reminiscent of Todd McFarlane’s early comic work flashed across the huge outdoor screen in synchronization with the music and added to the already high energy of the show. The visuals would change the mood of the show throughout the night, as scenes of dancing silhouettes, marching gun-aficionados, prowling animals and truly creepy clowns dotted the screen. The set was mixed flawlessly, making it hard to ascertain where one song ended and one began, but this was clearly the point. In a dance world where the 12” is king, they have been able to successfully craft a 90 minute set as dense, complex and emotionally connected as the best modern symphonies.
By the end of the show the crowd was sapped of its abundant energy (mostly due to the large dancing circles created by the necessary ravers within the crowd.) Sensing this, the Brother’s ended with the truly slow burn of “The Sunshine Underground” as a cascade of snowflakes poured down throughout the screen. As the bass poured out of the pool into the surrounding neighborhood it was clear that electronic music has grown up, and in the hyper-media world of now two turntables is no longer enough to woo an audience. The Chemical Brothers are clearly poised to continue their reign atop the dance world as the shape and scope of performance changes and progresses beyond the discotheque.
cially if you're into lofi Dr. Sample beats and genre fucking.
