You can tell how sold out a “sold out” show is when you look at the will call line. For Flume’s Santa Ana show, a one-off before heading to New York, the gaggle of scantily-clad ladies begging the ticket master for that coveted piece of paper was intense. Each one went up with a different story, about how they had been ripped off, bought scammed tickets, were willing to wait around and see who did not come to claim their purchase, and each one was sent away sad. But for those that had made it work were inside the extremely hot and sweaty crowd, chanting “We Want Flume” as if he was an inhibitor of the outside super moon.
Maybe it’s his boyish Australian charm or the doe-eyed look, but the girls were screaming for him even when his silhouette showed up behind the stage. When he did appear, shortly after 10:10, his set revealed something solid, simple, and sleek: a near-diamond-shaped mirror that let the fans see themselves for what they truly were: ravenous. When the first beat hit, the crowd wasted no time getting into the groove of things, giving Flume the confidence to make any musical choice he wanted without the fear of losing his audience.
His set kicked in off in a confident gear, not looking to warm people up and instead got right into the mix of things. His second track was a What So Not remix of Major Lazer’s “Get Free,” keeping the sweet vocals and bridging them together with some heavy percussion, which he performed live on a digital beat pad. It only took about 20 minutes for “Holdin’ On” to start blaring through the speakers and the collective joy of the crowd reached peak levels. With his hand in two EDM cookie jars, he was able to play his own material and that of What So Not, a duo that he’s a part of, giving his show the multi-faceted approach needed to work for over an hour with only a single album to his name.
His collaboration with Chet Faker has produced a few killer tracks, like “Drop The Game,” which got plenty of crowd response when spun. He’s at a level this early on where he could just press “play” and stand there and look pretty. Usually you have to achieve that after years of production and material, but the productive young producer is already on the top of his game and spilling out hits left and right. He seems to be at the zenith of his “I don’t know what to do with all of this fame” and “I want to have a good time” mental state, which is a dangerous and formative fork for most musicians. Hopefully he’s surrounded himself with the right people and continues to produce quality music, because if this show is any indication of the guy’s potential, nothing will stop this guy from taking over.