#Flume music cracked#

Just as often as we zoom through nonsensical graphs about pharmaceutical companies selling fake Viagra, the stage will be all shadows, smoke and silhouettes and then sometimes nothing at all. But he and Flume both know when to overwhelm and when to pare back. Longtime collaborator Jonathan Zawada’s visuals could never be called subtle on the back screen, technicolour ibises spewed forth lava, eyes floated through neon landscapes, demons watched over the crowd. This is a carefully considered best-of set, which Streten’s frequent dancing makes clear (his knob-pressing and button-tapping reserved for more in-the-moment embellishments than live mixing), as do the many visual and lighting cues. The cameraperson’s willingness to zoom on to audience members showed the crowd was on his level, if not beyond it.Īnd why wouldn’t they be? Across 90 minutes, Flume fit in more than 25 tracks – some truncated, though never awkwardly – from across his career. Relative newcomer May-a was particularly enthusiastic, jumping and twirling across the stage the screens showed Flume continually beaming too. Frequent collaborator Kučka and Say Nothing singer May-a repeatedly ran out for their tracks and to fill in for other female vocalists – the notable exception being Palaces track Sirens, which saw US singer Caroline Polachek, who pulled out of a tour-wide support slot to focus on her second solo album, projected on to the back screen. Streten mixed in deep cuts alongside fan-favourite remixes, including his dubstep take on Disclosure’s You and Me and a glitched-out version of Lorde’s Tennis Court. Allaying fears that the Palaces tour wouldn’t deliver old faithfuls, Flume kicked off with early career hit Holdin On and a D&B remix of Drop the Game, before bringing back Toro for their collab The Difference.Ĭontinually hopping between eras kept a sense of momentum and unpredictability. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morningĪny lethargy dissipated instantly when Streten arrived between two panels mid-stage, donning a motorcycle suit and twisting knobs to rev an engine into overdrive.

#Flume music cracked#

The ravers no doubt questioned if they had cracked their glowsticks too early during Toro y Moi and Channel Tres – two Californians whose respective psych-funk and laid-back house sets are high quality, but not necessarily high BPM. The venue – Homebush’s 10,000-capacity Dome and the attached Exhibition Halls – took time to fill up. These cold, spacious metallic works have more in common with Arca or the late Sophie than the EDM and future-bass DJs more commonly associated with Flume.īefore Streten took to the stage, there was uncertainty in the air. While still releasing a set of festival singalong glitch-pop and hip-hop collaborations, mostly as standalone singles, both Flume’s 2019 mixtape Hi This is Flume and 2022 album Palaces push back with some of his most experimental, anti-commercial radio production yet.