Greg Dona
04/03/07, 08:08 PM
Overall Score: 9.1
Preparing to see Uffie alongside DJ Feadz at the famed Club Fabric in London, England absolutely dumbfounded my concert-going partner and I. We spun the Hot Chick EP and various remix tracks consistently in the preceding months, and we acquired an amalgamation of Feadz’s releases to better familiarize ourselves with his individual style. Of course we both new Kissy Sell Out and Switch as well, so why the angst?
Growing up in Dallas meant the distinct lack of any sort of significant electro or DJ scene. Going from no prior legitimate club experience to a world-renowned institution of insanity without intermediate hotspots proved a daunting task. To make matters worse, we knew just as little about the general code of conduct for electro influenced hip-hop shows.
Before we knew it, spring break came around and we simultaneously rolled up into the venue. Kissy Sell Out wasted no time introducing us to the most ridiculous show of our lives and worked the crowd into a snowballing frenzy from the instant he took the tables until relinquishing them. His exquisite song choices hyped the crowd both for his upcoming debut album and the following artists.
DJ Feadz took off where Kissy Sell Out left off by further energizing the growing masses. Digging deep from a bag of his past tracks and those of other artists as well, Feadz beautifully exercised his undeniable ability to control a rowdy crowd. Audience members fed off of his energetic bobbing and swaying. His actions and the mob’s reactions illustrated the often-underrated importance of interaction between the performer and his or her fans.
Feadz relaxed his spins for a moment, and a lesser-known emcee took the stage to his beats. Almost immediately following this series, the stranger announced the arrival of Uffie. The American-turned-Parisian took the stage with a confident, casual smirk, whipping the witnessing clubbers into an uncontrollable frenzy. Song selection once again served Feadz right, as he and Anna-Catherine Hartley broke into an opening Spank Rock rap. Uffie wrapped her trademark staggered yet charming flow around the tight beat, peaking the attention of the already engaged audience. Working over fans with favorites such as “Ready to Uff” and “Pop the Glock,” Uffie easily stole the show. Her sexual swagger paired with Feadz’s exact backing led to an absolutely captivating performance.
Sinden and Switch each struck up remarkable sets as well. Much like preceding acts, the pair of artists each managed to keep the rhythm of the show remarkably consistent and engaging. Despite all of the movement surrounding both Uffie’s hits and new material alike, the show reached its energetic maximum upon hearing Klever’s “Kryptobounce,” a jam inspiring an unimaginable amount of movement.
Upon departure, my friend and I no longer worried about interacting inappropriately and annoying the masses of more club and electro experienced concertgoers. It seems that after such a phenomenal performance by equally well-respected artists, such trivial details seem to fade from one’s consciousness.
Preparing to see Uffie alongside DJ Feadz at the famed Club Fabric in London, England absolutely dumbfounded my concert-going partner and I. We spun the Hot Chick EP and various remix tracks consistently in the preceding months, and we acquired an amalgamation of Feadz’s releases to better familiarize ourselves with his individual style. Of course we both new Kissy Sell Out and Switch as well, so why the angst?
Growing up in Dallas meant the distinct lack of any sort of significant electro or DJ scene. Going from no prior legitimate club experience to a world-renowned institution of insanity without intermediate hotspots proved a daunting task. To make matters worse, we knew just as little about the general code of conduct for electro influenced hip-hop shows.
Before we knew it, spring break came around and we simultaneously rolled up into the venue. Kissy Sell Out wasted no time introducing us to the most ridiculous show of our lives and worked the crowd into a snowballing frenzy from the instant he took the tables until relinquishing them. His exquisite song choices hyped the crowd both for his upcoming debut album and the following artists.
DJ Feadz took off where Kissy Sell Out left off by further energizing the growing masses. Digging deep from a bag of his past tracks and those of other artists as well, Feadz beautifully exercised his undeniable ability to control a rowdy crowd. Audience members fed off of his energetic bobbing and swaying. His actions and the mob’s reactions illustrated the often-underrated importance of interaction between the performer and his or her fans.
Feadz relaxed his spins for a moment, and a lesser-known emcee took the stage to his beats. Almost immediately following this series, the stranger announced the arrival of Uffie. The American-turned-Parisian took the stage with a confident, casual smirk, whipping the witnessing clubbers into an uncontrollable frenzy. Song selection once again served Feadz right, as he and Anna-Catherine Hartley broke into an opening Spank Rock rap. Uffie wrapped her trademark staggered yet charming flow around the tight beat, peaking the attention of the already engaged audience. Working over fans with favorites such as “Ready to Uff” and “Pop the Glock,” Uffie easily stole the show. Her sexual swagger paired with Feadz’s exact backing led to an absolutely captivating performance.
Sinden and Switch each struck up remarkable sets as well. Much like preceding acts, the pair of artists each managed to keep the rhythm of the show remarkably consistent and engaging. Despite all of the movement surrounding both Uffie’s hits and new material alike, the show reached its energetic maximum upon hearing Klever’s “Kryptobounce,” a jam inspiring an unimaginable amount of movement.
Upon departure, my friend and I no longer worried about interacting inappropriately and annoying the masses of more club and electro experienced concertgoers. It seems that after such a phenomenal performance by equally well-respected artists, such trivial details seem to fade from one’s consciousness.