By Tom Charles
Datsik, a popular EDM DJ, started the new semester off with a bang—or maybe a wub-wub-wub—at the Westcott Theater Tuesday, Jan 15.
Check out our photo gallery from the show.
We can probably all agree that the tile incident at The Westcott—as well as the subsequent concert cancellation (Datsik) and delay (Matt & Kim)—was a pretty shitty, stressful time. But of all the artists scheduled to perform in Syracuse this year, few could likely handle the setback as well as Datsik.
A quarter of a year after the original performance date, a sold-out crowd squeezed into The Westcott Theater Jan. 15 for a concert that set the semester off in a good direction. Standing inside a light show that could only be described as a vortex of epilepsy-aggravating madness, he was literally the center of attention. But even without the eccentric stage setting, his booming bass (likely the most ear-rattling sound system to rock The Westcott since Excision’s last visit) couldn’t possibly be ignored, and he knew it.
Throughout the set, Datsik consistently dropped tracks dependent on heavy bass, particularly highlighting his collaborations with, again, Excision (…I mean, it makes sense…) as well as solo hits such as “Firepower” and “Automatik.” And, of course, he quickly riled up the crowd with Nari And Milani’s “Atom,” as DJ Law mandates any set using the song must do so in the first ten minutes. He also seemed to be Flux Pavillion’s biggest fan, playing both “Bass Cannon” and Flux’s remix of DJ Fresh’s “Gold Dust.” I must admit, though, I held my breath for a minute when I heard Dada Life’s “Kick Out the Epic Motherfucker”—my eyes darted to the roof (I kid, I kid. Westcott 4 lyfe).
The rest of the set BASSically went as you’d expect: clothes came off, bitches got lower, and shit kept getting weirder. For the home stretch, Datsik dropped Skrillex’s Mortal Kombat-endorsed “Reptile” before sliding into “some new shit [he’s] been experimenting with,” meaning trap-EDM. It made for a perfect transition into Pretty Lights’ sampling of Etta James, the pre-”Levels” club hit “Finally Moving”—littered with added bass, of course—to close the night out.