Electronic Dance Music is genre that has become more and more bereft of talent as the years have gone by, and newer, supposedly more “innovative” talents have emerged, bringing with them a series of new gimmicks, effects, but for some odd reason have neither stepped up the sampling of soulful cuts that accentuated earlier iterations of the music – more and more, it’s become simply a matter of who has the biggest, most resplendent-sounding drop. The simpler, less-is-more approach that was the hallmark of EDM, not even so much as a decade ago is lost in the process of commodification and few artists are willing to harken back to the simpler days at the expense of mainstream viability.
Fred Falke is one of the bolder figures to have emerged on the scene as of late – his music is clearly the result of a skilled hand – and not surprisingly, Falke is a seasoned bassist, and it is quite apparent that his knack for live instrumentation has informed his music. His debut LP, “Part IV”, released just this year, belies what is clearly a talented and experienced hand – and his ability to channel the sounds of late 1990’s French House sensations, such as Daft Punk and Cassius is impressive – comparable perhaps only to the breakout Electronic duo, Justice in terms of sheer magnitude and scope of creativity.
Falke came to Wynwood’s Bardot this past Thursday, and brought his convictions for energetic Dance music with him, dropping a frenetic, yet intimate two hour long set on a near capacity crowd just as diverse as the beats that populate Falke’s tracks – gruff bearded Hipsters to trendy, beautiful women, dressed to kill – everyone was adequately represented, and it certainly stood as a testament not only to the widespread appeal of Fred Falke’s music, but also to the massive strides that Midtown has made in uniting a community of disparate people together behind a banner year of beautiful music. Falke took to the carpet a little shy of 12:30 AM, straddled on every side by a swarm of bodies, eager to dance.
Once he set up, he continued relentlessly throughout the night, dropping well over two hours of deep House tracks that caused the venue to sway under the force of so many fans, eager to dance in stride to his beats – which needless to say, were not only evocative of another time and place in the history of the EDM scene – but of gorgeous landscapes – brimming with life, and fluttering with motion. It was atmospheric and transcendent music, to say the least. To give you a good perspective on just how resonant the music must have been – anyone in the crowd who came with a significant other, or at the very least someone significant to make out with, was doing just that by the time Falke’s set began to wind down at around 2:30 – it was quite the sight to behold, really.This must be why they call it “baby-making music.”
Fred dropped essentially every track off of “Part IV,” much to the delight of the crowd – who contrary to what I had initially thought would be the case – were actually singing many of the vocals from memory. They were very much aware of who the man was, and just how compelling the music may have been. Highlights included the bangers “Last Wave” and “Chicago” which Falke held off on until the latter extremities of the set, as well as “Aurora” and “808 PM At the Beach,” which were just some of the tracks that were laid down to hype the highly enthused and markedly chic glamor crowd that had come to see one of France’s unsung talents in EDM lay down some cuts on Miami.
The best part of it all was that Falke accompanied many of the tracks on his bass guitar, breaking a sweat many a time throughout the night, all while goading the crowd with his gyrating, sweat-soaked movements both on the bass and the decks. It’s a rare opportunity in Miami nightlife to get this close to the man in the booth, and it was a great night of music that did not linger for too long, or leave any harsh notes, as can often be the case in many EDM sets – no, this was just the right amount tuneage in the right amount of time.