Four months ago, when I bought my ticket for the Skrillex Cell I started nurturing my expectations. How many bones will I break? Will I cry out of sheer ecstasy? How many overdosed 15 year olds will pass out? As soon as tickets sold out I knew Miami was not playing around. The day of, I headed out extremely early, and when I got there three hours before doors even opened I found out that I wasn’t the only one who had thought ahead. At the front of the line a group of girls had been there since 4 am, so back a couple hundred people I took my place in line, which laced around the corner and down 17th St. After elbowing a few headstrong line-cutters we were finally moving. And my favorite part of shows nowadays, is when I get to be felt up by a 40 year old woman. After being thoroughly traumatized, I’m in and ready for this laden line up.
The theater isn’t even halfway filled, probably because of the extensive touchy-feely search routine and mammoth line outside, but Nadastrom takes place behind their booth. Onstage they personified two different roles of a producer. While Dave Nada was involving the crowd, holding the mic out and weaving behind his counterpart to an area of the stage with more room for his dancing, Matt Nordstrom was immobile behind the platform. It felt like they both embodied both aspects of their sound. While Dave was active and exciting, he moved to the lighter, piercing bass while Matt leaned and nodded along with the deeper wobble of the bass. A perfectly entertaining couple.
Two Fresh came on next, and we should all thank them. They were the perfect illustration as to why an electronic act NEEDS lasers, lights, smoke, anything to keep the rest of our body as entertained as our ears. Two Fresh didn’t do that. They did showcase a drummer on stage left, but besides his repetitive drum beat and pleasing aesthetics, we were easily distracted. I’m sure they can really capture smaller venues, but The Fillmore may’ve been too much to chew.
12th Planet on the other hand, is one man that can single-handedly incite almost 3,000 people to jump. He was rocking an Overthrow shirt and puffing on his cigarette, blowing the smoke through his nose like a bull right before he would put his head down and hands to work on his tracks. I hope we were having even close to the amount of fun he was having, because it was evident in his smiles, and fancy footwork that he was feeling it. Not only did he exemplify his proficiency in riveting us with raw bass, he intertwined some ‘Sergeant Smash’ with ‘All I Do Is Win’ and when he stepped up to the table everybody’s hands went up…and they stayed there. His set was hitting so hard his CDs were bouncing on the table. And as is the same with practically every DJ set we’re standing there as he prepared to give us the Bass Cannon. You think it’d get old. You think you’d stand there devotedly and propose to yourself, ‘no, there’s no way I’ll dance to this song. I’ve heard it at least 8 times today’ and then in the background you hear “LET THE BASS CANNON KICK IT” and any self control you were trying to muster up is gone, so is you’re decency because right now you’re dancing so instinctively it would make aborigines stop and stare. And just like that he was off to his other show of the night. But we were staying here, I was so close to what I had waited for for so long
After an interlude of some Bob Marley the curtain is drawn back to reveal, The Mothership. An enormous structure encasing Skrillex, its a hollow white multi-faced structure onto which images are projected. Images ranging from dancing dogs, to video games, to a real life skeleton robot that copies ever inflection of Skrillex’s movements. Skrillex eases us in with his remix of Avicii’s Levels. Maximizing his childish charm he takes his hands off the mixers only push up his glasses. I was close enough to see him emanating every twist and turn of the sound, and as it came out of the speakers he mouthed it, whether it be lyrics from Tinie Tempah, or the flaring bass from his ‘Hey Sexy Lady’ remix. He gave us ‘Scary Monsters and Nice Sprites’ interwoven with his remix of La Roux’s ‘In For The Kill’. On his Mothership stage he projected videos of old men blowing us kisses to his ‘Rude Boy Bass’, which led us to his new song with Wolfgang Gartner entitled ‘The Devils Den’. It definately highlights a new sound from Skrillex, and we’re not complaining. Now he lights up a cigarette and asked us, “Are you ready” maybe…”for the Ruffneck bass”. NO, wait, I wasn’t ready, i don’t think anyone was. I was way too close to other Skrillex fans for that song. somebody’s shoe hit my shoulder, the man next to me just shrugged the girl on his shoulders off onto the ground. I personally had one hand on the barricade and the other on the security guard’s shoulder to brace myself as I danced like I had never danced before. Everyone was moving like you wouldn’t believe. And it just escalated. ‘My Name Is Skrillex’ only lessened peoples inhibitions, and ‘Kill Everybody’ may’ve severed limbs. Then, he did a nice segment highlighting songs we all knew too well, ‘Undah Yuh Skirt’ melded into Biggie’s ‘Hyponotize’. Fatman Scoop’s ‘Be Faithful’ asking me, “If you got a 50 dollar bill put your hands up…you got a 10 dollar bill put your hand up” unfortunately drinks are so damn expensive there, I couldn’t even put my hand up. Knowing he was drawing near to the close he threw us ‘Reptile’ that swayed into his remix of ‘Cinema’, during which he held up his lighter with one hand while controlling everything else with his other. With everything dimming all around us he consolingly played ‘All I Ask Of You’ along with Nero’s ‘Promises’. He dismounted from his castle of a booth and joined with Nadastrom, Two Fresh, and 12th Planet with a bow and a final crowd surf to say goodbye to his tour, his fans and one of the biggest chapters of his life.