Four Tet, Fred Again.. & Skrillex was a perfect way to end Coachella
Or, my evolving thoughts on the lanky EDM boys of the year.
Hello from a dark and stormy Denver,
I wasn’t planning on writing so soon after my last post (an interview with lo-fi artist Midwife about her new collaborative album), but hearing the rain fall for the past three days has really motivated me to open a document and explore some music-related feelings.
There is something in particular I want to write about, but first, let me share some new releases I’m enjoying:
Germ in a Population of Buildings by upsammy (IDM, electronic)
Maps by billy woods & Kenny Segal (sick beats, unrivaled bars)
Voice Notes by Yazmin Lacey (forward-thinking soul)
& the Charm by Avalon Emerson (breezy, euphoric pop)
“No More Lies” by Thundercat & Tame Impala (alt song of the summer vibes):
Now to the business at hand.
One of the first posts I wrote for this revamped version of Loops was on the budding friendship between Four Tet, Fred Again.. and Skrillex (from now on lovingly referred to as FFS), three artists representing different realms of electronic music. Back then I thought Fred Again.. was an obtrusive figure in a clever formula between Four Tet and Skrillex. Looking back, I think I underestimated just how much the trio wanted to be obtrusive. With three major players, they were able to draw giant crowds to Times Square and Madison Square Garden in a moment’s notice.
I should’ve known they were going to try the same at Coachella after Frank Ocean’s departure opened up a headlining spot:
They’ve had enough practice together by now to know what people will react to — mainly, cuts from Skrillex’s new album, Quest for Fire; trance throwbacks from Fred Again..; and Four Tet’s drop of an absurd, squelching beat called “Country Riddim.” If you don’t know what I’m talking about, here’s a little compilation.
An atmosphere of goodwill and kindness emerges the moment they walk onto the Coachella main stage, a sample of an excited Four Tet reverberating over the speakers. He acts like a proud dad during most of the set, peeking over the decks at what Skrillex and Fred Again.. are preparing to play.
Despite there being too many cooks in the kitchen, the hour-and-a-half set flows with a solid narrative and several peaks and valleys. Fred Again..’s more traditional dance picks balance Four Tet’s audio equivalent of dad jokes and Skrillex’s thudding drums. His collaborations with the xx’s Romy (“Strong”) and Swedish House Mafia and Future (“Turn On the Lights Again..”) are some of the strongest points in the set. I’m not sure exactly how this happened, but out of the three, his sensibilities seemed to relate the strongest with the crowd.
My favorite part of the set happens about an hour in, during an extend stop-and-start of Skrillex’s collaboration with Missy Elliott and Mr. Oizo, “RATATA”. The signature, buzzing synth line by Mr. Oizo fits so well with Skrillex’s syncopated drums and Missy Elliott’s verse that each time Four Tet starts the track over, the crowd builds in anticipation. Skrillex hops on the stage, does a little speech about showing they’re the biggest party in the world, and pumps his hands once they finally drop the track for good. It’s a masterclass in turning a crowd into a swarm.
Still, there are some dated choices and occasional slip-ups throughout the set. Though his “Love Story” remix transcends the moment, Four Tet is way too invested in playing “Call Me Maybe” and “Party in the USA,” novelty songs that don’t translate as well as he thinks they might. Other times, Skrillex and Fred Again.. are so restless and fleeting that they flub transitions into new tracks.
My list of gripes is small compared to the joyous moments that spark this performance. FFS made the most of what would have otherwise been a sour ending to this legendary festival.
It feels wrong not to appreciate the posi vibes that permeate throughout the show. Too often, white, self-serious DJs have other interests in mind, following selfish, unwritten rules that fizzle the energy out of a crowd and run counter to what a dance party is supposed to feel like. More shows should be like FFS-chella: ecstatic, wide-ranging and ridiculous. I hope major DJs pick up on this and strive to make parties that are more inclusive and communal.
I don’t think this is the last I’ll be writing about the FFS Experience. Tell me what you think about the trio!
Skrrt,
Miguel