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by brian mertz (DJMertz) - Nov 01, 2002
Underworld - Live @ Riviera Underworld proved that they are the best live electronic dance act in the world by playing a subpar show riddled with mistakes. Most American music listeners have a difficult time picturing "performances" by many electronic producers and DJs. A common misconception is that many "techno" groups like Orbital, The LoFidelity Allstars and the Chemical Brothers simply use prerecorded CDs and jump around instead of actually performing on any sort of instruments. Underworld unintentionally proved that most Americans have a lot to learn about live dance music. In their first show in America in nearly 3 years, Underworld arrived in Chicago to support their new album "One Hundred Days Off" before an eager crowd. Since their last US tour, Underworld lost DJ/Producer Darren Emerson. In question for many fans was how remaining producer Rick Smith and lead singer Karl Hyde would perform without Emerson. And while both Smith and Hyde both personally didn't miss a beat, their equipment seemed to protest the absence of Emerson. Without Emerson, Smith was left to man 3 mixing boards (including a 64 channel Mackie), 2 Apple Powerbooks filled with samples, and a bunch of other electronic goodies with more knobs and buttons than a 747 Cockpit. While Smith laid down the beats, the always entertaining Hyde wowed the crowd with his vocal stylings and elfish antics. Hyde danced like a possessed man, jumped ontop of speakers, and got lost in his own vocal stylings. The charisma in this duo clearly lies with Hyde, and it is a good thing because at least seven times throughout the show Smith was left angrily scratching his head at the technology he was supposed to use. The main sampler that fed all the sounds that Smith manipulates live into songs failed Underworld repeatedly. If they were lucky, this would leave Hyde singing over one tiny cymbal or a snare beat. Sometimes it left Hyde singing completely acapella to a crowd of several thousand. But Hyde never missed a beat. He instead created lyrics on the spot, drew out old lyrics from other songs, or even picked up his guitar and filled the space with improvised riffs that to a first time listener would seemed planned. The only time the techincal glitches really bogged down the performance was during their anthem Born Slippy Nuxx. The frustration on Smith's face was enormous as the song started and stopped three times. But Hyde picked up wherever and whenver the beats came back in. After the technology started working again for a few measures, Hyde and Smith continued on as if nothing had happened. Most DJs and other live electronic acts would not know what to do in a similar situation. But most bands in general wouldn't know what to do. It'd be like every instrument in a rock band failing all at once, including the drums. Underworld, the seasoned vetrans that they are, didn't let the glitches faze them. When there weren't problems, Underworld were their usual awe-inspiring selves. Their first series of songs included a scorching version of Dark Train that bled seamlessly into Cowgirl, then into Rez and finallyinto their new single, Two Months Off. The lighting also served as a perfect accent to the pounding beats, especially during the magnificently executed club anthem King of Snake. Even at the worst moments of the glitches, the crowd was not only forgiving, but encouraging. And when Underworld finally closed their set with the song Moaner, Karl Hyde could only ramble on about his love for Chicago. If the second leg of Underworld's US Tour rolls back into Chicago, Smith will undoubtedly have his equipment triple checked before hitting the stage. And without glitches, Underworld will show for very different reasons why they are the best live dance act of all time. |