Austin – Selling out a show at Emo’s East is already an impressive accomplishment, but doing so on a Wednesday night is almost unheard of. Nevertheless, a lone DJ by the name Flume was able to do so. Otherwise known as Harley Edward Streten, this talented 22-year-old became an Australian superstar after signing to Future Classic records two years prior, and during his slew of international tour dates, I was lucky enough to catch his stop in Austin.
With a line stretching around the building, the full gravity of Flume’s fan-base became increasingly apparent. And based on the security guard stern warning against running as the doors were open, there was no doubt that the show was going to be a jam-packed dance party. And despite the fact that that I entered the venue dry and composed, I have to admit that I left as a sweaty hot mess.
Flume’s set was an irresistible continuum of dance/hip-hop madness. Though appearing on stage as a king atop a blinding throne of lights, further scrutiny revealed a fresh-faced and gleeful young man tinkering behind a glowing MacBook. With that said, it wasn’t surprising that the crowd consisted mostly of college students or high-schoolers. Ordinarily I would agree that a demographic of this sort would be a little irritating, but the Flume fans proved to be a pleasantly energetic bunch. Instigating what felt like a particularly musty dance party, the crowd became as much a part of the enjoyment as the music.
After observing the audience for a few songs, it became clear that it wasn’t just the activity that drew the crowd together. If someone just wanted to dance, they could go to any club where a loop of indiscriminately chosen dance music would allow them this freedom at a much cheaper cost. These people were fans, choosing and paying for this specific concert. It was the desire to both experience the music that we’d grown to appreciate, and groove without fear of judgment, that brought all of us there.
Though the crowd remained exuberant and cheery, there is a darkness and grittiness about Flume that intensifies what is already a very gripping style of music. What was already a cult-like assembly turned into mayhem with the start of the sleek electro-pop song “Insane”. While the screen behind the slender DJ lit up in neon colors, Flume became a shadowy and anonymous figure while the crowd became hypnotized by the song’s glassy, yet lustrous texture.
It is strange, though, to look back and to not instantly remember the visual presence of the artist. This is how it is for most concerts, but not for Flume. Instead of placing the focus on himself, he seemed primarily concerned with the crowd’s experience with the music. This attitude sheds some light on what the true appeal of live music is: the community. The ability to lose yourself in a sea of collective adoration. Taking his physical presence out of the equation, Flume set himself up in an inconspicuous position that allowed the audience the chance to enjoy the music without the strain of a competitive focus on a frontman. However, it is clear that in spite of his unassuming demeanor on stage, this young musician has thus far proven to be an impressive and innovative performer.
Go HERE for more on Flume
Ruth Griffin
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