Even if he hadn’t introduced it a number of instances, Flume’s ear-to-ear grin throughout his Sydney present made it clear he was delighted to be again performing in his hometown. Or possibly he was simply actually excited in regards to the shock he had deliberate for the encore.
Discounting his performances on the digital competition Pay attention Out in 2019, it’s been six years since producer Harley Streten’s final nationwide solo tour, which included two reveals at Sydney’s 21,000-capacity Qudos Financial institution Enviornment. However within the years since Flume’s platinum-selling, award-winning sophomore album Pores and skin and its subsequent tour – with lead single By no means Be Like You additionally topping Triple J’s 2016 Hottest 100 – the producer has quietly turned in opposition to stadium success.
Whereas nonetheless releasing a set of competition singalong glitch-pop and hip-hop collaborations, principally as standalone singles, each Flume’s 2019 mixtape Hello That is Flume and 2022 album Palaces push again with a few of his most experimental, anti-commercial radio manufacturing but. These chilly, spacious metallic works have extra in widespread with Arca or the late Sophie than the EDM and future-bass DJs extra generally related to Flume.
Earlier than Streten took to the stage, there was uncertainty within the air. The venue – Homebush’s 10,000-capacity Dome and the hooked up Exhibition Halls – took time to refill. The ravers little question questioned if they’d cracked their glowsticks too early throughout Toro y Moi and Channel Tres – two Californians whose respective psych-funk and laid-back home units are prime quality, however not essentially excessive BPM.
Any lethargy dissipated immediately when Streten arrived between two panels mid-stage, donning a bike swimsuit and twisting knobs to rev an engine into overdrive. Allaying fears that the Palaces tour wouldn’t ship outdated faithfuls, Flume kicked off with early profession hit Holdin On and a D&B remix of Drop the Sport, earlier than bringing again Toro for his or her collab The Distinction.
Regularly hopping between eras stored a way of momentum and unpredictability. Streten blended in deep cuts alongside fan-favourite remixes, together with his dubstep tackle Disclosure’s You and Me and a glitched-out model of Lorde’s Tennis Court docket. Frequent collaborator Kučka and Say Nothing singer Might-a repeatedly ran out for his or her tracks and to fill in for different feminine vocalists – the notable exception being Palaces monitor Sirens, which noticed US singer Caroline Polachek, who pulled out of a tour-wide help slot to concentrate on her second solo album, projected on to the again display.
Relative newcomer Might-a was significantly enthusiastic, leaping and twirling throughout the stage; the screens confirmed Flume regularly beaming too. The cameraperson’s willingness to zoom on to viewers members confirmed the gang was on his degree, if not past it.
And why wouldn’t they be? Throughout 90 minutes, Flume match in additional than 25 tracks – some truncated, although by no means awkwardly – from throughout his profession. It is a fastidiously thought-about best-of set, which Streten’s frequent dancing makes clear (his knob-pressing and button-tapping reserved for extra in-the-moment elaborations than reside mixing), as do the various visible and lighting cues.
Longtime collaborator Jonathan Zawada’s visuals might by no means be known as refined; on the again display, technicolour ibises spewed forth lava, eyes floated via neon landscapes, demons watched over the gang. However he and Flume each know when to overwhelm and when to pare again. Simply as usually as we zoom via nonsensical graphs about pharmaceutical firms promoting pretend Viagra, the stage might be all shadows, smoke and silhouettes after which generally nothing in any respect. Whereas Streten flirted with efficiency artwork in his 2019 reside reveals, breaking flower pots and enjoying with wheel grinds whereas his music performed with out his enter, this set is extra easy. A collection of white palace arches are pushed round behind Streten to make a brand new set for Zawada’s visuals, gesturing in the direction of Flume’s ever-shifting sonic palate.
When it got here to an encore, it was unclear what was left from Flume’s catalogue that might fill the spot. One thing outdated? One thing new? Seems, each: that morning, Flume and Toro had covered Australian dance duo Bag Raiders’s 2008 hit Shooting Stars for Triple J’s Like a Version series.
Simply as they did on the Triple J studios, Toro took vocals, Streten took saxophone – the primary time he’s ever performed the instrument throughout a present – and the late bodybuilder Zyzz’s brother Chestbrah took centre stage, muzzing out. The gang misplaced it in a approach they hadn’t even for his largest hit, screaming, swearing and sweating with a final sprint of vitality. Flume is aware of what we wish: what a flex.
