Dillon Francis, Clockwork & Baauer @ Union Transfer

Published on November 11th, 2012

It wasn’t long ago when Dillon Francis was a brand new face, cranking out massive Moombahton tracks and quickly rising up throughout the ranks of the EDM world. However, if you walked into Union Transfer thinking that he was still an “up-and-comer”, then you were quickly proven wrong. If Francis’s expansive repertoire doesn’t seal the deal, then his intense live sets are more than enough to put him in the big leagues.

From the get go, the venue was packed and the sound was cranked, which is good because the openers did not go easy. Although Baauer and Clockwork were both listed as supporting acts, the two hit the stage together and proceeded to deliver an intense onslaught of hi-hats, two-steps and raging 808s from which I can only assume originate from the lowest rungs of hell. Clockwork, introduced tonight as his trap sith alter-ego “RL Grime“, is an LA based producer with productions ranging from fidget and electro to trap and bass music and took to the stage with a smile and a half-consumed bottle of Maker’s mark. Baauer is somewhat newer on the scene but no less infamous as his Mad Decent debut “Harlem Shake” earned him a lot of appropriate attention. The two dropped track after track of some of the most delicious trap available, not to mention some that wasn’t, making the venue’s soundsystem work to prove itself. Even after their beastly combined set, I could’ve certainly taken more, as could the crowd by the sounds of it.

RL Grime – Flood

Baauer – Harlem Shake

5 screamo songs and a lighting fixture check later, the man of the evening took to the stage, and after a brief reciting of the “Pledge of Alligence” (to Dillon Frances) as well as unveiling of his beautifully poetic banner, the “up-and-comer” took to the stage with a blistering medody of chords and synths backed by beats ranging from his signature moombahton to deep round club and dirty as shit dubstep. His set transitioned seamlessly between genres and always subtly found its way back to moombah, which said wonders for the man’s composition skills. Keeping one ear on his headphones and hand on a cdj, he kept the crowd in his pocket for nearly an hour and a half, but not before hitting every point on the musical spectrum. To that end, I don’t think I’ve ever heard any Mortal Kombat soundtrack played over venue speakers, so when he dropped Skrillex’s “Reptile Theme”, I was quite happy. At the thrilling conclusion to his set, he thanked the crowd and left the stage, but not before the “one more song” had already started. Moments later, Frances came back to the stage and asked the audience if he could instead play a few more tracks. As the cheers began, so did the encore, and Frances wrapped up the evening a fantastic fifteen minutes of more melodic brilliance.

Dillon Francis – Bootleg Fireworks (Burning Up)

Madeon – Finale (Dillon Francis Remix)

At one point in the evening, a girl looked at me, pointed to Dillon Francis, and said “He’s gonna blow up”. Looking at the crowd then back to her, I responded “I think he already has”.

 

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