Zedd, Oliver And Alex Metric At The Fillmore Miami
Zedd’s Moment Of Clarity Tour made it’s Miami stop on Friday at The Fillmore. Having sold out weeks in advance, scalpers roamed the streets hawking tickets at four times the original price ($100 compared to $25). Clearly, things would be “turnt up.”
We arrived at the venue at 9:30 p.m. As we were walked in, I overheard various attendees asking others if they knew when Zedd was going on, and some even said they aren’t going in until he started. Aghast that people were contemplating missing out on two awesome names opening up the night (Alex Metric and Oliver), I told them to get their ass inside immediately.
Alex Metric opened the night with an energizing performance. Even though he and Oliver were supporting acts on the tour, there were no restrictions for “opening” the night smoothly. Both gave it there all and delivered there own headline-style performance.
Throwing down plenty of his own jams including “Prophecies,” “Want Ya,” and his classic “Rave Weapon,” the nearly at-capacity crowd was in a flurry of fist pumps and bodily gyrations. He raised the energy with Jacques Lu Cont’s “In The Night” and Dog Blood’s “Next Order.” My favorite was Baskerville’s remix of Moby and The Loops Of Fury’s “Para,” a remix he has been playing out since I saw him at WMC.
Related Reading: An Interview With Alex Metric
After a brief rearrangement, Oliver (consisting of U-Tern and Oligee) took the decks. Oliver started slow with what I believe to be Dillon Francis’ remix of their tune “Night Is On My Mind” (Dillon finished an early version the day before the show) It was a wonky, fun way to get the crowd going again after intermission.
The two didn’t hold back for long. They played the insanely fresh new tune Tchami’s “Shot Caller” (check out our interview with Tchami) and the party anthem Plastic Funk & Tujamo’s “WHO.” Knowing the duo for their smooth, fun jams, I was quite surprised at how hard they went in. They blended their sets between high-energy party tunes like TJR’s “Ode To Oi” and Bart B More’s remix of Peaches “Burst!”, with smoother jams including their original “Control” and “MYB.”
The crowd was raging and the sweat seemed to pour like rain from the all-ages crowd, but soon it was the end of the duo’s hour-long set.
Related Reading: Oliver Talks DJing, Loving Old Records And More
After one more intermission, Zedd took to the stage on a massive LED stage setup. A matching one stood behind him.
Honestly, in all the shows, concerts and festivals that I have ever been to, I have never seen such great work from lighting/visual technicians. Everything was so well choreographed, not to mention, the visuals themselves were amazing. Seriously, mad props to those people, their work is what causes the majority of crowds to react so intensly (when complimented with the music). They seriously don’t get enough credit and usually do more work then the artists people pay to see.
I’ve seen Zedd a few times before, and I had a rough idea of what to expect, but my expectations were immediately undermined.
Camera phones and screaming filled the venue as he started his set with an intro version of “Spectrum.” Visuals were pounding the fans as hard as the music was, and it seemed like there would always be several people screaming in joy at any given time from the moment.
He dropped many vocal tracks to which the crowd sang along loudly, notably the instantly-recognizable “In My Mind.” But no sing-along moment topped “Clarity” as he gradually filtered out the sound to let the crowd sing on their own (the crowd singing seemed to overpower the loudness of the sound system regardless). After the first chorus the song proceeded to the first breakdown, and Zedd slammed it into the drop of Wolfgang Gartner’s “Nuke,” which garnered many a fist-pump.
From there he went harder, playing Dada Life’s remix of Major Lazer’s “Bubble Butt,” Clockwork’s “BBBS,” and Tom Starr’s “African Drop” remix. Probably the biggest surprise of the night was some trap. Starting with “Mercy,” Zedd gave the bass a run for it’s money by following it up with “N*ggas In Paris” and the extremely unique “Bird Machine.” Though the trap segment was brief, it was enough to give the crowd a break from the constant four-to-the-floor that they have been barraged with for the past hour.
Once he ended his set, he thanked the crowd and left, but everyone was immediately chanting for an encore. Zedd gladly complied. Lasers far above Zedd lit up and started rotating around him, forming a sort of cone as he played his (then unreleased) new single “Stay The Night feat. Hayley Williams of Paramore.” And you could tell the crowd (mainly the girls) new that song was coming as they erupted int he loudest ‘OMG’ cheers of the night. He played his remix of Empire Of the Sun’s “Alive” to close out his set, then thanked the Miami crowd again for coming out, which was responded by a massive applause.
It looks like Zedd fans, and their ears, got their satisfying share of clarity Friday night.