Ultra 2013: Richie Hawtin Delivers Sensory Overload, No Bottle Anthems

Keep New Times Free
I Support
  • Local
  • Community
  • Journalism
  • logo

Support the independent voice of Miami and help keep the future of New Times free.

This year's main stage at Ultra Music Festival has seemed particularly heavy on so-called "confetti house," the lineup rife with marquee names from VIP-heavy megaclubs.

But the (relatively) more underground sounds of dance music -- or at least those not so concerned with encouraging bottle sales -- lived on at a few other tents. The Carl Cox and Friends stages at Ultra 2013, two this past Friday and one on Saturday, continue to serve as a refuge for deeper, techier sounds at the festival.

See also:

-Swedish House Mafia Kicks Off Ultra 2013, "F#$%s Miami in the Pussy"

-Ultra 2013: Snoop Dogg Goes Rasta to Gangsta to Raver, Debuts "No Guns Allowed"

-Kaskade and Tiesto Kick Off UMF's Weekend Two, Reach Epic Pop Peaks

-Avicii Does Country Music and Eric Prydz Proclaims "Love You" UMF!

-Ultra 2013: Slash Does Surprise Guitar Solo, "Pretty Awesome Gig"

-Ultra 2013: Deadmau5 Proves He's a Real Person, Rejects the Easy Headliner Gimmicks

As such, one of the rare treats came early Saturday evening with an appearance by techno god Richie Hawtin. Was a mass-appeal festival with shortened DJ slots the best place to hear him play? Not really -- the best Hawtin sets unfurl over the course of a club night and into the wee hours. Still, by Ultra terms, his allotted two hours seemed like a luxurious sprawl, with the full kind of narrative arc that rewards dancers who stick it out to the finish.

Hawtin's been mocked for helping create the trend for superminimal techno, but played at ear-crushing volumes, the sound yesterday was pleasantly full and dubby, locking into a robot groove from the start. Subtle variations in the tracks, carefully crescendoing song selection, and of course seamless mixing kept things moving without the flash gimmicks of many DJs on the main stage.

And yes, the kids still loved it -- thousands of revelers of a wide spread of ages packed the tent from the beginning, lost in careful concentration on the four-four. There wasn't a single easy vocal hook here, yet it was hard to turn away as Hawtin's set continued on its twists and turns until it reached a frenzied peak right after sundown.

Seemingly all of a sudden, things got very psychedelic. Bass pounded, the mid-range clanks and squeals ground along, and the hectagonal screens on the tent's ceiling lowered in an explosion of psychedelic vocals. It was totally possible to get a kind of euphoric high on the sensory overload, no bottle anthems required.

Follow Crossfade on Facebook and Twitter @Crossfade_SFL.

Keep Miami New Times Free... Since we started Miami New Times, it has been defined as the free, independent voice of Miami, and we would like to keep it that way. Offering our readers free access to incisive coverage of local news, food and culture. Producing stories on everything from political scandals to the hottest new bands, with gutsy reporting, stylish writing, and staffers who've won everything from the Society of Professional Journalists' Sigma Delta Chi feature-writing award to the Casey Medal for Meritorious Journalism. But with local journalism's existence under siege and advertising revenue setbacks having a larger impact, it is important now more than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" membership program, allowing us to keep covering Miami with no paywalls.

We use cookies to collect and analyze information on site performance and usage, and to enhance and customize content and advertisements. By clicking 'X' or continuing to use the site, you agree to allow cookies to be placed. To find out more, visit our cookies policy and our privacy policy.


Join the New Times community and help support independent local journalism in Miami.


Join the New Times community and help support independent local journalism in Miami.