Bassnectar and Pretty Lights' Basslights 2.0 in Miami: The Future Is Analog

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We chose the latter (weed and relaxation), but we were in the minority.

We knew it was going to be a helluva party when we got a text from our buddy at 9 p.m. about how he'd "just took some liquid [acid] from a stranger, here we goooooo!"

Unfortunately, we missed SuperVision's set. Doors to the event opened at 7 p.m., and we're sure all the high schoolers got there bright and early. (Underage kids have the worst case of FOMO.) We, however, are older and much more hung over in general, so we miss openers. Sorry, bros.

We did catch the last half of PantyRaid, and they brought the trap as expected.

Roaming through the crowd and listening to the duo's anthemic booms, we happened upon our fave raver, Lady Casa. She was hugging PLUR friends and done up in so much glitter that you'd think Tinker Bell had used her for a twerk wall.

And from the seats to the lawn, the place was packed. Rage totems swung above the pookie heads. But mostly, it was just a bunch of baby-faced frat boys sharing Vicks and trading notes about what colleges they went to.

We still think it's strange waiting around between sets for DJs. But in the case of Basslights, it made a bit more sense. When it comes to acts like Bassnectar and Pretty Lights, in the words of James Murphy of LCD Soundsystem, "you've got to set them up."

Bassnectar bangs out in the middle of seemingly endless LED screens -- one behind, two on either side, and one covering the front of his booth -- mostly working in tandem to create whole landscapes or trippy patterns. The visuals purposefully match the music, escorting the listener through a true sonic journey.

See also: Bassnectar on Sex at Shows: "I Can't Condemn or Condone It, as Long as It's Consensual"

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Kat Bein is a freelance writer and has been described as this publication’s "senior millennial correspondent." She has an impressive, if unhealthy, knowledge of all things pop culture.