Justice shot by Eryn McCarthy

The last weekend in July, I got the chance to attend the third edition of the WayHome Music and Arts Festival (read my recap here). Having caught acts like Justice, Flume, Mura Masa, Frank Ocean, and Falcons, I saw CDJs, synths of all shapes and sizes, drums (real and electronic) and even some guitars (bass and otherwise) all put to use. This led me to consider the importance and/or value of the term “live” and how it’s used in electronic music.Of course there’s a vast difference between a DJ set (pre-recorded, pre-planned, or entirely off-the-cuff) and a live set. But just what live means differs between acts. Colin and CK have already addressed 8 artists/groups here, who all use a variety of tools, or instruments if you will, to create their own live set. But is one kind of set up better than another? And if it isn’t, then why do we care? And then wouldn’t a DJ set be just as good? Do we go to a show to see someone’s musical prowess or to be entertained with good music?

Flume shot by Eryn McCarthy

I know, I’m asking a lot of questions and not giving many answers (uh oh, my philosophy background is rearing its ugly head), but this is a topic I’ve wondered about for a long time, and will likely continue to question for the foreseeable future. But at least by going through the act of writing it down and sharing it with you we can become more enlightened on the subject.At one point during Flume’s set (as he stood surrounded by synths, drums and other gear), I wondered whether he had pre-produced these VIP (variation in production, not very important person) versions we were hearing or whether he was actually improvising and performing them on the spot. Eventually I was able to follow his hand movements and realize that he was indeed manipulating his material himself. But then I wondered do I really care? Because regardless of its real time nature, it sounded damn good. So shouldn’t I just sit back and enjoy? Why do I feel the need to scrutinize? Sure, it seems disingenuous to fake DJ, lip sync or even have ghost produced tracks to your name, but if the track is good and makes you feel something, does that matter?

Mura Masa shot by Eryn McCarthy

Part of the allure of a live performance is the organic element: anything could happen, be it a solo, an improvised fill or even a happy accident. This is without a doubt more engaging with the audience, as it becomes a unique and personal experience, but can’t the same thing be said about a live DJ set? In fact, I’ve been known to argue for more DJ sets than live sets. Live sets can be more restricting, in that you can likely only play your own material, save for a few practiced covers. They are less flexible, in that you can’t just pick up a tune you heard that morning and add it to your repertoire. You almost know what you’re gonna get with a live set, whereas with a DJ set there’s more room for surprises. The mixing allows for mashups, more rapid-fire selection and crowd work. But I guess the question then lies with what you’d rather hear/see. Maybe in the perfect world we’d start at a venue more conducive to a live set, then move over to a club for the DJ set after-party.Although neither were explicitly promoted as playing as live sets, that’s exactly what Flume and Mura Masa did. While their set ups and delivery were different, their acts were similar in that they played their own tracks, remixes and covers for a ravenous audience, well aware of what they were going to hear. Now neither interacted with the crowd much (as they were busy performing), but Mura Masa had Bonzai as a direct connection to the crowd. She hyped up and reached out, destroying the divide, much like a DJ who leaves the decks to crowd surf or orchestrate an elaborate dance. Both live and DJ sets can be a spectacle, but is that what you want? This is really the question that this post begs: is live really a selling point?

In the end, what I like most about a live performance is the act and very essence of play. If they are actually having fun while performing there’s no doubt that energy oozes over the crowd, and isn’t that what it’s all about? Sharing in a communal experience of joy, centered around music.

Agree/disagree? Think my writing sucks? Let us know in the comments, on Facebook, Twitter or come at me personally below.

All photos by Eryn McCarthy.

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Lido

Lido is one of today’s most creative and innovative artists. So it’s only fitting that his live set matches his musical output. Lido takes the one man band concept to new levels with his groundbreaking live show. His set-up includes a computer with Ableton, a midi controller, keyboards, a mic, a vocoder, and a myriad of different drums. Each instrument serves as a vessel to expel his immense talent. Watching him switch from singing slow ballads while playing the keys, to pounding out drums solos is nothing short of spellbinding (see ‘Dye video below for a taste). At his Toronto show I witnessed him play the piano with a drum stick in his mouth, allowing for quick access as he frantically switched between instruments. It’s this dedication to performance that makes Lido’s live set not only one of the best in electronic music, but one of the best in all of music.

Brasstracks

Brooklyn-based production duo Brasstracks have had a quite a year, going from SoundCloud and blog favourites to winning a Grammy for their work on Chance The Rapper’s Coloring Book (they produced the stand out hit ‘No Problem’). Their “future brass” sound combines elements of future bass, trap, hip hop and R&B with their backgrounds playing trumpet, keys and drums. It should come as no surprise that their sets incorporate all of these elements in one hell of a way. When was the last time you saw someone killing the trumpet over a trap record? Needless to say Brasstracks are doing something that is massive. Check out their Band Class videos for a taste of what to expect.

FKJ

It’s not uncommon to have an ensemble of musicians assist you in your production. Of course, there are those who would rather create most, if not the entire experience by themselves. Vincent Fenton, better known as French Kiwi Juice or FKJ, uses his multi-instrumentalist prowess to achieve the very sound he wants his audience to experience. At a recent live show, an initial wave of glee came upon the crowd as FKJ came on stage by himself, with all of his necessary instruments set up around him. As he transitioned seamlessly from the keyboard, to the bass, to a guitar stationed across from it, there was a bonding sense of euphoria as we sang along with him throughout the night; he even sampled the crowd’s collective voice and created a track right before us, to demonstrate his wicked improv skills.

Keys N Krates

Toronto’s electronic trap trio Keys N Krates bridge the gap between DJing and live instrumentation perfectly. Originally starting out as a hip-hop cover band, KnK have evolved greatly over the years, moving from a local attraction to international superstars. Their live experience combines Jr. Flo’s incredible turntablism with the moving keys of David Matisse and stellar drum work of Adam Tune. Whether they’re playing out their incredible original tunes or flipping massive tracks (see ‘BitterSweet Symphony’) they always amaze. Their chemistry and energy are undeniable and they continue to get better each year. I’ve personally seen them live at least 7 times and look forward to catching them another 7.

Haywyre

Martin Vogt, best known by his musical project Haywyre, started off his musical endeavours as early as 6 years old. Monstercat‘s musical maestro produces music at such depth, not only on a sonic level, but a philosophical one as well; one example is the theme of dichotomy/opposites in his albums Two Fold Parts 1 & 2. At the heart of Martin’s prodigious skills is his main tool of the trade, his trusty keyboard. His eclectic jazz/glitch/bass-fusion style of music is awe-inspiring to watch, especially since his live shows are broadcast with cameras. In doing so, the crowd watches exactly how Martin plays, for a deeper sense of connection between him and us. As he’s playing, he is mostly fixated on his performance, and thus doesn’t continually prompt the crowd to throw their hands up or clap along to the beat. Given how much energy he’s delivering on stage into each note, chord, or intricate solo, the crowd throws about and claps along anyways, without the need of any encouragement.

Autograf

The explosive Chicago trio consisting of Jake Carpenter, Louis Kha, and Mikul Wing not only have an extensive cumulative background in music – Autograf also specializes in visual arts, which they incorporate into their music however they can. Whether creating their own artwork for their songs/projects, or even providing their own visuals to their live shows, they always make sure to capture an intense futuristic feeling, to further exemplify their future house sound. One key element that really stands out in their music is the electronic vibraphone. It gives their songs the perfect cheery touch, and in their live performance, you can feel the melody ring throughout your entire body, on the right speakers.

Tennyson

Canadian brother and sister duo Tennyson are well known for their forward-thinking jazz inspired creations. Despite their young age, they’ve manged to clock millions of plays online, collaborate with Mr. Carmack and perform at a slew of massive festivals. Adding to their appeal is their live set – with Tess on the drums and Luke on the keys and an Ableton controller, they bring their unique sound to life. Their performances pack the fun and youthful energy of a high school talent show whereas the music being created suggests a level of talent that is well beyond their years.

ODESZA

The founders of Foreign Family Collective perform live in such an enthusiastic manner – bouncing and throwing down with each drop, usually accompanied with the majestic clash of a nearby cymbal. Whether the duo’s performing on the drums themselves, or alongside a drum ensemble as they’re producing with their launchpads, each beat adds to the glittery feel of magic found in each song. Their performances fit perfectly within festivals based around a mantra of love, given that you can’t help but smile and let your body get taken over by the warm feel-good vibes all around you.

That’s a wrap for for our list. Let us know your favourites, and if there is anyone that you feel we missed in the comments or on Facebook and Twitter.

Words by Colin and ck.

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[youtube https://www.youtube.com/watch?v=_0LNMviSTTg&w=560&h=315]

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