Enclosed in the cockpit of a giant neon mothership, exalted with a shower riffs and the type of deep bellowing synth-surges that have come to exemplify his sound on Friday. One of the in front of U.S. crowds, Skrillex’s show went on as planned despite the
His formula is simple: he gets people dancing. He outperformed his openers with a prodigal flair that left many of his fans wondering why it took a laborious 3-plus hours for him to finally hit the stage. In fact, by the time Skrillex’s “countdown-to-launch” actually registered on the big screen, most of the crowd was already blitzed in a self-induced coma of pharmaceutical rapture. But Sonny John Moore’s showmanship and energy snapped the audience back into raw unfettered form as he climbed atop his DJ-stand and fist-pumped his legion of rave children into a frothy contra fervor. “Try It Out,” “Make It Bun Dem” and a tribal “Lion King” remix were all masterful renditions that underscored the sharp kidney punch built into Skrillex’s artistry. Skrillex is, above all, a perfectionist and a chief audiophile. He also holds nothing back in his performance.
The sideshow was a mystical treat as well. Cameras on-board the mothership gave the crowd a behind-the-scenes glimpse into the soul of Moore’s computer odyssey. Behind him, the LED screen was also frenzied with quicks cuts of computer bluescreen and digital creatures in mid-groove. It was like hacking into Eric Snowden’s NSA feed. If the show felt a bit illicit and naughty — that is probably a good thing. After all, Skrillex loves being subversive.
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Kris K. Coe is a freelance writer, Denver-native and regular contributor to Reverb.
Michael McGrath is a Denver area photographer. His work is available at . Visit .
