popwreckoning

San Francisco’s Fresh and Onlys has a surfer rock mixed with indie and a dash of obscure kind of sound. Genre-wise it falls under the psych-pop/noise-pop feel. There is no other way to describe their sound other than strange; their third album is aptly named Play It Strange and debuts on October 12 on the In The Red label.

Never having heard or heard of this band prior to this album, it’s hard to judge the album based on the band’s track record. Judging the album for what it is, it is alright. It has sparks of individuality that are sometimes noticed through the sprawling, whirling guitar tones, additional support for choruses from outside sources, clean hooks, and the mellow notes and tones as the album comes to a close. Otherwise the music feels bland and abstract. The single from the album, “Waterfall,” is preceded by the opening track “Summer of Love,” which for an opener, is kind of dull, but it fades out, just like the summer did into autumn, and they pick up the pace with “Waterfall.” The two songs have a one- two punch feel, but the leading is more of a grazing jab comparatively to “Waterfall’s” pounding beats and unique hook.

The two opening tracks and the two closing tracks are the strongest and most noteworthy songs on the album. “Until the End of Time” coasts along in the wake of “Waterfall” and holds to the feel of the obscure surfer rock. Creating another small wave to note is“Tropical Island Suite,” an almost 8 minute jam on the first half of the album that gets muddled during the course of the song, but was a good attempt at making a song that is longer than the standard length of 3 and a half minutes.

However, Fresh & Onlys talent lies in making songs that waste no time in forcing songs to be longer or additional lyrics or redundancies in their music. “Be My Hooker,” is not as outstanding a song as enticing its unconventional name makes it. But “Fascinated” leads one to become fascinated going into the song and once finished, the fascination keeps and draws you back. The closer songs, “Red Light Green Light” and “I’m a Thief,” are strong closers in that “Red Light Green Light” has the unique aspects of women chanting in the background during the choruses and the wailing reverb. Followed by “I’m a Thief,” that is the band’s slow, melodic, comforting dance number that leaves you with a content feeling.

The album, as a whole, is one that you can pick up and listen to, fall in love with a couple songs and then disregard the rest of the album; or you can think that it is solid gold and cherish it until their next album tops it; and/or regard it as the pinnacle of their talent. It has a gleam to it that appeals to the mainstream market, but that gleam also leaves it open to being unmemorable because it really breaks no boundaries. Love it, hate it, do what you want with it, but it’s worth a listen.

Written by Alex Useman

Heading to Chop Suey for Klaxons on Tuesday, I didn’t know what to expect. I’d never been to the venue or seen the band play live before.

With how run-down this place looked, what the audience got in terms of experience far surpassed the it. At the last leg of their tour, Klaxons came to Seattle to a small but enthusiastic crowd.

Synth pop duo Baby Monster started out with show with their upbeat songs accompanied by an understated light show. The crowd enjoyed their short set, some maybe a little bit too much. Some guy behind me actually lit up a blunt during Baby Monster’s performance, and the place wasn’t crowded at all at that point. So security approached him and kicked him out, because he wasn’t being inconspicuous at all.

Nice job, dude. You didn’t even get to see Klaxons, which was most likely the whole reason you come to Chop Suey.

Klaxons came out with their charming British swagger, and jumped right into the frantic “Flashover,” one of my favorites off their new album Surfing the Void. And undoubtedly throughout the night the energy did not decrease one bit. As I stood up front with a couple friends trying to get some good shots, it was like the crowd of young people got switched on to hyperspeed. Jumping and thrashing around much more suited to a giant muddy crowd at Glastonbury rather than a small club on Capitol Hill. However it was a nice change of pace compared to the otherwise chill Seattle scene.

But that’s why I love British bands.

Lead singer Jamie Reynolds was surprisingly chipper at the show, when normally he’s rather stoic on stage with James Righton and Simon Taylor-Davis providing the almost drunken enthusiasm on stage. But Reynolds repeatedly thanked Seattle for being “fucking amazing.” Honestly, doesn’t it sound less vulgar if someone swears in an accent?

Two of my favorites tracks of the night included “Echoes” off Surfing the Void and “Magick” off Myths of the Near Future, both of which also sent the crowd into a frenzy. “Magick” featured this long, drawn-out pause.

“This is the longest we’ve gone ever,” Reynolds said to the audience, after what seemed like at least 2 minutes of silence. But just when we thought we’d be sitting around waiting for five minutes while the guys went to go take a pee or chug a beer, Reynolds pounded against his bass the infectious bass line to finish out the song. At one point we also started singing happy birthday because Reynolds mentioned that it was one of their roadies’ birthday. I think his name was Duncan.

The band played a perfect balance of new and old songs, all of which pleased the crowd, seeing that it was a Tuesday in Seattle at not the best venue in town. You can always tell when a group of people came out to see a band specifically than if they just went to a show because they were bored. That happens a lot on weekends in Seattle. But not tonight – it was definitely a small but insanely loving audience.

Up until then, several people had jumped up on stage to dance with the band. Heck, no one stopped them. The first time this one girl jumped up on stage (and this stage is really small, mind you), started dancing around like a crazy person and did a stage dive, Reynolds couldn’t help but smile so joyously.

But perhaps the best part was at the encore when Reynolds, Righton and Taylor-Davis invited as many people as could fit up on stage for a dance party during “Atlantis to Interzone.”

Setlist (these are the songs they played, but not necessarily in this order)

1. Flashover
2. As Above, So Below 
3. The Same Space
4. Gravity’s Rainbow
5. Venusia
6. Golden Skans
7. Twin Flames 
8. Two Receivers
9. Magick
10. Valley of the Calm Trees
11. Echoes
12. Future Memories 
13. It’s Not Over Yet
14. Surfing the Void 
15. Atlantis To Interzone

Before Manchester electrorock and dance outfit Delphic were a household name in Britain, they were notorious for staging well-received and well-attended illegal raves in their hometown, made possible by a portable generator owned by their touring drummer Dan Hadley. Friday night at DC9′s Liberation Dance Party proved that despite more mainstream success at home, playing more traditional venues, the band can still put on a rave that wows clubgoers. Their DC appearance on the 8th of October was the only headlining gig during their entire stay on our side of the pond this autumn, mostly providing support to Australian band the Temper Trap.

“Clarion Call” is the first track on the band’s debut album, Acolyte, and it’s truly a monster in disguise. It is the perfect song to being a set, as it starts out modestly enough with a very chill vibe but then it quickly builds into a massive wave of sound that is Delphic‘s forte. The trio have said in numerous interviews that having watched other bands perform and lose momentum between songs by dedicating songs to a girlfriend or telling a story. The DC9 set indicated Delphic still believe this, barely allowing themselves a breath between one song and the next. The result ? The energy level was way up on their side of things as well as on the audience’s side. The manic reaction that night had to have been the best of all Liberation Dance Party shows I’ve seen so far: girls were dancing like they just didn’t care, and guys were pumping their fists in the air to encourage the band on. It was quite a sight.

Upon conclusion, “Doubt,” with its lively vowel beginning and engaging chorus, morphed into the ultimate rave-up of “Red Lights,” a personal favorite of one of my close friends. To be honest, who wouldn’t fall for a song that has lyrics like “I put my heart into your hands” and “I’d risk a second broken heart for you“? Critics often complain that electronic dance music has no soul. Obviously, these people have never heard Delphic before. Singer/bassist James Cook, upon seeing the effect “Red Lights” had on the Washington crowd, gingerly asked with a smile, “DC9, how are you doing? Are you ready to dance? Because now is the time to dance.” With those fateful words, he and the band unleashed an insane sequence of synth programming that further pumped up the crowd. Wow.

By this time, Delphic had everyone – and I mean everyone – at DC9 jumping, dancing, or a combination of the two, just really going for it. I couldn’t have been more pleased for these three guys who wanted to make a record on their own terms, writing and recording music that really meant something to them. Having a crowd reaction like this, especially on this side of the Atlantic where they are not known in the mainstream yet, must be incredible validation, and it is completely deserved.

It’s hard for me to pinpoint one highlight of the evening because you could just tell by the way Cook smiled and guitarist Matt Cocksedge, keyboardist Rick Boardman, and Hadley attacked their respective instruments that Delphic brought it. “Acolyte,” the title track of their debut album, is their 9-minute, mostly instrumental opus with snatches of heavenly vocals from Cook and Boardman. It is an incredible rush of euphoria live and the perfect way to end a set if there ever was one – percussion, synths, and guitars meld together for an atmospherically complex yet astonishing piece.

After the song was over, Delphic departed from the stage amid a crush of well wishers and cheering fans. Compere Bill Spieler, who has to be given much credit for booking the Manchester band for the night, appeared onstage to say with a shocked look on his face, “O.M.G. How did Liberation Dance Party get Delphic? I want more Delphic. Do you?” He paused and received the applause he was waiting for. “They’re telling me no.” Audible audience disappointment. But Spieler remained hopeful. “Maybe they’ll come out and dance with you.” My thoughts? I just want Delphic to make another appearance at DC9, and soon.

Set List
Clarion Call
Doubt
Red Lights
This Momentary
Halcyon
Counterpoint
Acolyte

Tour Dates
Oct 11 – St. Andrews / Detroit*
Oct 12 – Metro / Chicago*
Oct 13 – Turner Hall / Milwaukee*
Oct 14 – First Avenue / Minneapolis*
Oct 16 – Capital Festival / Mexico City
Oct 21 – Popscene / San Francisco&
Oct 22 – Fox / Pomona, CA*
Oct 23 – Club Nokia / Los Angeles*
* supporting the Temper Trap
& with the Hundred in the Hands

Delphic: website | myspace | American Release Details of Delphic EP | Delphic’s Debut Album Streaming on Their MySpace | @ Trocadero, Philadelphia | Interview with: Matt Cocksedge of Delphic, Part 1, Part 2 | @ House of Blues, Boston

Christopher Crisci tends to wear many many hats. One of the hats happens to the Saddle Creek Records band Old Canes.

The group, comprised of members of great Midwest bands like Appleseed Cast, Minus Story and Casket Lottery, will set out on the road supporting their most recent release, Feral Harmonic.

As a Kansas native and a journalist lucky enough to catch these bands at my convenience in their home state I cannot stress enough how much you should catch this band on one of the following tour dates:

10/15 Omaha, NE – The Waiting Room
10/16 Chicago, IL – Mayne Stage
10/17 Indianapolis, IN – The Volliath
10/18 Newport, KY – Southgate House
10/20 Pittsburgh, PA – Brillobox
10/21 New York, NY – Saddle Creek Showcase CMJ – The Delancy
10/22 Philadelphia, PA – The Fire
10/23 New Brunswick, NJ – The Court Tavern
10/24 Washington D.C. – The Red Palace
10/25 Charlotte, NC – The World Famous Milestone
10/26 Wilmington, NC – The Soapbox Laundrolounge
10/27 Orlando, FL – Backbooth
10/28 Athens, GA – The Caledonia Lounge
10/29 Atlanta, GA – The Drunken Unicorn

Scottish rock band Frightened Rabbit start their U.S. tour today in Seattle at the Showbox at the Market with openers Plants and Animal and Bad Veins.

This will be the band’s second U.S. tour promoting their newest album A Winter of Mixed Drinks, which they’ve taken some time to do gigs over in the U.K. between tours.

Tour dates:

10/7 – The Showbox at the Market – Seattle, WA

10/8 – The Vogue Theater – Vancouver, BC

10/9 – Wonder Ballroom – Portland, OR

10/10 – The Fillmore – San Francisco, CA

10/11 – Lower Sprawl Plaza – Berkeley, CA

10/13 – Mayan Theatre – Los Angeles, CA

10/14 – House of Blues – San Diego, CA

10/15 – House of Blues – Anaheim, CA

10/16 – Beauty Bar – Las Vegas, NV

10/17 – The Clubhouse – Phoenix, AZ

10/19 – The Loft – Dallas, TX

10/20 – Stubb’s Bar-B-Q – Austin, TX

10/21 – Walter’s On Washington – Houston, TX

10/22 – Tipitina’s Uptown – New Orleans, LA

10/23 – Common Grounds – Gainesville, FL

10/24 – The Social – Orlando, FL

10/26 – 40 Watt Club – Athens, GA

10/28 – Starlight Ballroom – Philadelphia, PA

10/29 – Paradise Rock Club – Boston, MA

10/30 – Terminal 5 – New York, NY

11/1 – 9:30 Club – Washington DC

11/2 – Diesel – Pittsburgh, PA

11/3 – Magic Stick – Detroit, MI

11/4 – House of Blues – Chicago, IL

After they’re finished with the North American tour, Frightened Rabbit will head right into a tour of Germany and the UK.

For more information on the tour and where to buy tickets, go to http://www.myspace.com/frightenedrabbit.

Thump. Whap! Thump. Whap! (Ba-Da-Bum-Bum)

Thump. Whap! Thump. Whap! (Ba-Da-Bum-Bum)

Thump. Whap! Thump. Whap! (Ba-Da-Bum-Bum)

Thump. Whap! Thump. Whap! (Ba-Da-Bum-Bum)

Ha! Ha! Ha! Ha-ha! Ha! YEAH! [Cue Synth]

So begins Codename: Rondo, the fourth studio album from Ghostland Observatory. Wow. Wasting no time, the duo jumps right in with a heavily synthesized glitch-glam gem. Vocalist Aaron Kyle Behrens’ voice wavers with electronic garble, and the perfectly simple and catchy “ah-woo-hoo” hook is sure to be hummed by many a listener.

Ghostland has never been labeled anything resembling an organic/roots band, and that trend continues here with an even stronger dedication to digital experimentation and, well, weirdness, than anything in their catalog to date. Although the entirety of Codename: Rondo was not able to match the brilliance of the opening track (and occasionally completely misses the mark), this band has earned the right to be heard out fully (even if everything isn’t fully understood).

The most striking bit of strangeness on this album manifests itself as the fourth track, “Codename Rondo.” As author Bill Simmons once said about Sacha Baron Cohen’s performance in Talladega Nights, I could have a million years to think about it and still not be able to decide if it works for me. Make up your own mind on this one. I still haven’t made up mine.

The duo tries for a (mostly) instrumental track with “Time,” but much like the second act of Stanley Kubrick’s Full Metal Jacket, the absence of the strong main character (Drill Sergeant Hartman and the aforementioned Behren) leaves the audience listless (if not bored). The next track, “Mama,” is by far the weakest on the album. If Ghostland Observatory was an eighties hair metal band, this would be their “Every Rose Has Its Thorn,” and yes, that’s meant as an insult. Fuck Poison. There, I said it.

</bitching about the few things that I didn’t enjoy>

<glorifying this album>

</HTML  jokes>

There is SO much to love about this album. We’ve covered the wonderful first track. “Give Me the Beast” might be the strongest and most single-ready song on the album…or so I thought until I heard “Freeze.” On a scale of 1 to David Bowie, this lands somewhere between MGMT and 98.34. Notice to trendy dance clubs selling Tecate tall boys: check the EQ and queue up this track immediately. Doing his best Freddy Mercury, Behren anthemically croons, “The night is young, let’s have some fun, it’s time to hit the floor.” Trust me: it’s damn near impossible NOT to while this song is playing. The album ends with a schizophrenic track called “Kick Drum Speaker.” A melancholy piano riff plays behind a looped sample of the famous DECtalk DTC01 (of Radiohead and Stephen Hawking fame) repeating the title of the track. Although the vocal sample never changes, the instrumentation changes every 20-25 seconds for a solid five minutes – a great and representative way to end the album.

Conclusion? Where we’re going, we don’t need a conclusion. We just need these words from the third track: “The future’s like the weather, baby; there ain’t no guarantees.”

After getting beaten up in a highly unexpected mosh pit at a small club show on the outskirts of Boston the night before and making a hasty retreat from that mess, I was actually looking forward to seeing a show at the House of Blues the next night. I’d heard mixed reviews for the House of Blues and their many outposts scattered across the U.S. – huge places with overzealous security and little atmosphere was the consensus. So after a fun night at the Philly Trocadero 3 days earlier, I wasn’t expecting much from the WFNX-sponsored Temper Trap show Wednesday night.

Security at the House of Blues was professional and courteous. Maybe it was my photo pass but everyone I encountered at the venue was super nice. And I didn’t get patted down like I was in Philly, so I didn’t feel violated. Once inside on the ground level, I gasped as I looked around. The place is massive (twice as big as the Trocadero, with room for 2,400) but it’s beautiful and breathtaking. Helpful security inside advised, “watch your step, ladies,” as there are several steps to negotiate. Well lit, well stocked bars and clearly marked restrooms on this floor – definite pluses. While I was waiting for the show to start I got to talking to two kids from the local Berklee College of Music; it was really cool to talk to “the young people” and hear their appreciation for the Temper Trap’s music. I also advised them to invest in a good set of earplugs, which turned out to be an excellent suggestion given that this was the House of Blues and the size of the speakers hanging from the ceiling should have immediately told you that the gig that night was going to be loud.

It is really cool to see how bands get more at ease after the first night of a tour. The Hundred in the Hands, while being only two people on an expansive stage, sounded better on the House of Blues’s state of the art sound system than they did in Philly. Lead singer Eleanore Everdell was visibly more confident as well, smiling broadly as the audience not familiar with their music politely clapped between songs. Guitarist Jason Friedman looked like he was having a ball on stage, strumming on one of his two guitars.

Highlights were “Lovesick (Once Again)” and “Young Aren’t Young,” showing me yet again the understated beauty of Everdell’s voice. Unfortunately they didn’t play “Gold Blood,” one of my favorite tracks from their self-titled debut album released on Warp Records last month. By the end of the set, the Brooklyn duo had already won some new fans, as evidenced by the people who shouted in displeasure when Everdell announced their sixth and final song. Great to see people responding to them.

Once the Hundred in the Hands‘ equipment was removed from the stage, it was time for Delphic to set up their gear, which is a lot. Standard drum kit and guitars but a couple synths and electronic drum pad setups as well. This is a band that has played to thousands at Glastonbury so I didn’t think the bigger stage (compared to the Trocadero’s) would faze them. And I don’t think it did, really. Singer/bassist James Cook looked more poised and his voice sounded better than ever. Multi-instrumentalist Rick Boardman, guitarist Matt Cocksedge, and touring drummer Dan Hadley were completely on.

The problem was the audience. They never really got into the music and generally just looked bored for both support bands, all waiting (impatiently looking at their mobile phones, I might add) for the Temper Trap. There was no fist pumping or rampant dancing like Sunday night in Philly. (It should be noted that the venue was pretty empty at the start of the night and it wasn’t until shortly before the Temper Trap were due on that the floor filled out.) Too bad, their loss. There was one girl who talked to me after the show who said she was going to buy Acolyte in a music shop as soon as she could, so I was pretty happy about that.

It’s been over a year since I first heard “Counterpoint” on BBC Radio, and I’ve had Acolyte for a long time now, listening to it constantly, so I know all the words on the album. I like to sing in general and this spills over into shows too, so you can imagine this is potentially embarrassing at gigs. But when I did sing, Cook looked my way a couple times and smiled, as if acknowledging this dubious mastery. Haha. Also, I got my wish for “Submission,” my favorite song from Acolyte, and maybe it was the echoes in the huge venue, but the vocal key sounded a bit off. Maybe they are a little rusty after having a couple weeks off between gigs, but I imagine this will wear off after some more gigs stateside. (As of this writing I’ve already read some great comments about their set from the New York and Montreal shows that followed.) I’m looking forward to seeing them in DC in a few days.

Delphic Set List
Clarion Call
Doubt
Red Lights
This Momentary
Submission
Halcyon
Counterpoint

It is a real joy to watch the Temper Trap at this stage of their career. When the well-oiled Temper Trap machine gets fired up, hold on tight, because you’re in for a wild ride. “Fader” was the first Temper Trap song I learned on bass, so it holds special meaning to me, but wow, when it’s offered up to fans live, it’s like a explosion of energy. With its jangly guitar riffs and emotional lyrics, the Melbourne band’s power ballad “Love Lost” is going ensure their place in popular music history. I’m not one to get emotional at gigs, but I have to say that this song brought me to tears. It’s just perfect.

It was fun to witness the thrill of fans who had waited to see their current favorite band. I was surprised to learn that of everyone I talked to, I seemed to be the only one who’d seen them before. One woman came with her boyfriend and requested that he catch her if she fainted when Dougy Mandagi appeared. (She didn’t faint, I’m happy to report. But she was so animated after the gig, she was practically glowing with excitement, chattering away on how great they were.) The students I mentioned before were waiting for their favorite song, “Down River,” and with its fun chorus that got everyone singing along, they weren’t disappointed.

Part of me wishes that the Temper Trap would mix things up, because Wednesday night in Boston was the fourth time I’ve seen and heard that exact same set list this year. I can’t imagine it being too difficult to change song order, because it’s not like they have complicated synth setups like their two openers. But really, how can you complain when they put on such an amazing show, night after night? Cheers guys.

The Temper Trap Set List
introduction
Rest
Fader
Fools
Down River
Love Lost
Soldier On
Sweet Disposition
Resurrection
Drumming Song
//
Rabbit Hole
Science of Fear

Tour Dates (dates with all three bands except those noted)
Oct 07 – Newport Music Hall / Columbus
Oct 08 – DC9 / Washington, DC^
Oct 09 – Austin City Limits / Austin*
Oct 09 – MOTR Club / Cincinnati%
Oct 11 – St. Andrews / Detroit
Oct 12 – Metro / Chicago
Oct 13 – Turner Hall / Milwaukee
Oct 14 – First Avenue / Minneapolis
Oct 18 – Crocodile / Seattle%
Oct 19 – Woods / Portland%
Oct 21 – Popscene / San Francisco&
Oct 22 – Fox / Pomona, CA
Oct 23 – Club Nokia / Los Angeles
^ Delphic only
* the Temper Trap only (festival appearance)
% the Hundred in the Hands only
& Delphic and the Hundred in the Hands only

The Temper Trap: website | myspace | @ 9:30 Club | @ Bonnaroo 2010, Day 1 | The Temper Trap Announce August-October North American Tour with Delphic and The Hundred in the Hands | @ Showbox at the Market | @ Trocadero, Philadelphia
Delphic: website | myspace | American Release Details of Delphic EP | Delphic’s Debut Album Streaming on Their MySpace | @ Trocadero, Philadelphia | Interview with: Matt Cocksedge of Delphic, Part 1, Part 2
The Hundred in the Hands: website | myspace | ‘Pigeons’ takes flight with Foals’ remix | @ Trocadero, Philadelphia

Yep. More tickets from Popwreckoning. This time we’re giving away 3 sets (6 total) of tickets to The October 12th, 2010 Ludo show at The Beaumont Club in Kansas City. The show is set to start at 7 o’clock p.m. (doors at 6:30) and is open to individuals of all ages. Also playing that night will be There For Tomorrow, The Graduate and The High Pilots.

Winning can be done in three steps. However, it is very important you complete ALL steps. They are as follows:

1. Use your twitter to post the following comment: @popwreckoning is giving me the chance to see @ludorock @thegraduate @thehighpilot & @THEREFORTMRW in Kansas City! Hell yes!

2. Follow Popwreckoning (@popwreckoning) on twitter.

3. Send us a direct message letting us know you’ve completed the above tasks.

Seriously, how simple is that?!

Now go! Get to work! Score free things. And be sure to check back with us for more free tickets in the future.

London pop singer/songwriter (and longtime girlfriend of the Cribs‘ Ryan Jarman) Kate Nash has announced an autumn tour of North America. The tour kicks off at the San Diego House of Blues on October 27 and ends at Montclair, New Jersey’s Wellmont Theater on November 20.

Nash’s latest album, My Best Friend is You, was released in April on Fiction Records.

Tour Dates
Oct 27 – House Of Blues / San Diego
Oct 28 – Glass House / Pomona
Oct 29 – Music Box / Los Angeles
Oct 30 – Warfield / San Francisco
Nov 01 – Wonder Ballroom / Portland
Nov 02 – Showbox / Seattle
Nov 03 – Commodore Ballroom / Vancouver
Nov 05 – In the Venue / Salt Lake City
Nov 06 – Ogden Theater / Denver
Nov 08 – University At Englart Auditorium / Iowa City
Nov 09 – Vic Theatre / Chicago
Nov 11 – Newport Music Hall / Columbus
Nov 12 – Majestic / Detroit
Nov 13 – Phoenix / Toronto
Nov 15 – 9:30 Club / Washington, DC
Nov 17 – TLA / Philadelphia
Nov 18 – Paradise / Boston
Nov 19 – Terminal 5 / New York City
Nov 20 – Wellmont Theater / Montclair, NJ

Kate Nash: website | myspace

Kansas City can be a challenging city to make dance, but Joel Thomas Zimmerman was up to the challenge. Who is this champion? He’s actually the ubiquitous DJ spotted in big mouse ears at this year’s VMAs, major festivals and other national events.

The performer, best known as Deadmau5, brought his throbbing jams to Kansas City’s Uptown. The venue was littered in hot, sweaty, dancing people wielding glow sticks during Deadmau5′s own impressive light show.

Photographer Scott Spychalski was at the show and captured these photos from the event: