Deltron 30/30 – March 26th – Trees – Dallas, TX
Having just seen the first live performance of Gorillaz’ Clint Eastwood, 13 years after its release at SXSW as at the Damon Albarn show at the Fader Fort one of the surprise guests was the recently reformed Deltron 30/30 who were at the festival promoting their sophomore effort Event 2 (which also comes 13 years after their debut), I didn’t even bother to try to see them in Austin as I knew it would be too much of a shitshow getting in and this would be more relaxed, intimate and enjoyable.
I called my buddy Tony to join me, as of all of my close friends, he’s the only one that shares my affinity for Hip-Hop and we try to get together when we can.
Deltron member Kid Koala also served as the opening act doing what I would call an actual DJ set –
I hate anyone that calls what they do or prefer “real” – it literally makes me cringe “I’m a REAL DJ” or “I’m into REAL Hip-Hop” but what passes for a DJ these days is highly suspect. I’m not a fan of the word turntablist either but that would be a much more accurate term for what Koala does, he makes the turntables actual instruments and creates something unforgettable.
The last time I saw one of his solo shows was in Denton a few years ago in one of the weirdest nights of my life that was punctuated with him actually performing in a koala costume.
Things started weird here too once the other members of Deltron took the stage; a sample of John McEnroe tennis commentary looping on the score 30-30 provided the band’s introduction, the group backed by a live bass player, guitarist and drummer. Starting the show with a trip back to the future, old tracks Things You Can Do and the timeless Positive Contact all did their job in getting a nostalgic crowd suitably amped up.
Leaping 13 years to the present, the unmistakable voice of Joseph Gordon Levitt heralded the arrival of the new material, his spooky narration forming the opening to Stardate. Dan the Automator, seemingly the core creative force behind the Deltron 3030 projects, his wizardry in the studio was NOT matched by his stagecraft. Reduced to hunching over his gear triggering samples, his forays into the role of hype man never really convinced, whether he was conducting his band, teaching the crowd its participation role with the hook of Nobody Can or introducing Kid Koala as “the best thing from Canada since poutine.”
Critical acclaim, it turns out, is no substitute for genuine charisma.
Front man Del the Funky Homosapien was deliberately shunning the spotlight, letting Dan take the mic during breaks and aloofly keeping his sunglasses on for the entirety of the night; his tongue twisting lyrics taking their toll on a deliberately choppy flow.
But perhaps that was the entire point. Because in an era when so many mainstream hip hop artists have become virtually indistinguishable from each other, a group without swagger dropping rhymes about science fiction once a decade definitely stands out from the bunch.
The eventual conclusion of Clint Eastwood despite the absence of Damon Albarn, finishing in an avant garde barrage of noise from the decks and effects.
Eligh & The Grouch – The Cambridge Room at House of Blues – Dallas, TX
Hated to leave the previous gig and hang with old friends but duty called and it’s not everyday I get to DJ as the opening act for a Hip-Group I really like, Eligh & The Grouch from the amazing collective of Living Legends.
After my brief set, their DJ took over and warmed the crowd even further.
Shortly after Eligh & The Grouch took the stage performing a majority from their new LP, this year’s 333, which is Part 1 of a planned triple album.
I’ve dug these guys for a long time – Granted its been over three years since I’ve seen them perform, but the crowd was so off course that for a second I wondered if I was in the wrong room. The performance wasn’t bad, just the opposite and the new material was more than decent, but it felt like I was watching Macklemore & Drake based on who was there instead of two veterans from one of the most respected collectives to do it. I mentioned above about all of that “real Hip-Hop” talk and I don’t participate in that – that’s not what was off-putting to me here. It’s weird how indie Hip-Hop appeals largely to a white crowd, but this was like a rich, white crowd and I kinda felt like I was on an episode of some teen drama that centers around mean, rich, white girls and this was that one episode where they all go to a show and it features a current, popular band. A weird end, to a long weird day.
Photos –
Roy Turner
Christopher Todd
Karlo Ramos
Beta Klein
