Movement Detroit: Day 2 HighlightsMOVEMENT DETROIT

Movement Detroit: Day 2 Highlights

Movement Detroit: Day 2 Highlights

Day 2 brought even more sun to accompany the Detroit-based pounding bassfest. Hart Plaza was noticeably more crowded as soon as the gates opened to anxious festival attendees. Each stage enjoyed a sizable crowd even without the cover of shade under the unfiltered sun. Class acts from Day 2 included Max Cooper, Jimmy Edgar, Maceo Plex, and more. Read on to see our highlights.

Photo credit: Joshua Hanford

Max Cooper - Beatport Stage

Opening at 1:30 PM, Max Cooper began his set under the heavy sun of the afternoon. While the early crowd milled around under the cover of comforting shade, they were slowly drawn to the Beatport stage to the young Irishman’s deliciously eclectic set. From the deep grooves of his edit of Dan Cat’s “Winterslow” to the surprise appearance by the ’90’s all-time great “Papua New Guinea,” the crowd slowly awoke from the slumber of the previous night.
Despite a little hiccup in the set when the laptop died leaving the momentarily disgruntled crowd confused in quick vocal displeasure, he promptly closed with a flurry, highlighted by John Tejada’s “The End of it All.”

Photo credit: Paul Kelley

Adriatique - Beatport Stage

As soon as Max Cooper closed out his set, Adriatique kicked off with their very own “Midnight Walking,” albeit with only one of the Adrians on the decks. Although the duo have only been around for less than four years, their offerings on Culprit and Solomun’s Diynamic labels are worthy of producers twice their age as exhibited by their set. Adrian took attendees through a musical journey stacked with ominous four-to-the floor. The crowd fell into a trance to SB’s re-arrange of Anthony Georges Patrice’s “Parallel Romance,” followed up by an hour of building sound landscapes.

Photo credit: Paul Kelley

Jimmy Edgar - Red Bull Stage

Rocking a flat bill cap and gold chain in his beloved hometown, Jimmy Edgar took the Red Bull main stage in full force after the markedly different style of the previous act, Amp Fiddler. Crafting melodies and hard techno anthems out of heavy bass lines and haymaker kick drums, Jimmy Edgar had a mosh pit in the amphitheater by 5 pm. He covered a few of his own productions and remixes (“Mercurio” and his edit of Boys Noize’s “What You Want”), but it was the surprises he hid in his sleeves that were the true highlights. The looping and molding of the infamous bassline from Ginuwine’s “My Pony” sent the crowd into a collective over-the-top miming of horse-riding. Lastly, his edit of Aden’s “Whip” with arpeggiated melodies floating over the snares, high hats, and claps make for one explosive combination.

Photo credit: Trevor Dernai

Bicep - Moog Stage

Unlike the other stages, the Moog stage is located on the top of a grassy slope, where shade and the softer earth provide a relief from the concrete playground. Here, Bicep found a home safe to experiment, easing a combination of house, techno, and the occasional nu-disco into the mix. The soothing melodies of their set floated over to the boats parked along the Detroit River near the stage, their drunk sailors dancing over the blue-green water. They picked out soulful records for their performance, much to the delight of the Detroit faithful. Maurice McGee’s ‘”Do I Do” and Gene Farris and Cajmere’s “The Riveria” wafted among the swaying trees with rustling leaves.
When they played Miaoux Miaoux’s “Hey Sound!,” the melodic harmonies seared their performance as one of highlights on this Memorial Day Weekend.


Dixon - Beatport Stage

Ever since Dixon’s stunner of an Essential Mix, I have wanted to catch a live set by the elusive German DJ. His appearances in the States has been relatively rare compared to his contemporaries, and the rave reviews after his set at Coachella only fueled my anticipation. And wow, what a set.
His keen ability to read the crowd and play to them is stunning. The patient builds he crafts his set around leaves the crowd breathless while the unexpected track selection keeps the party buzzing. Kinks’ ‘Povreda’ was a song you do not hear in sets everyday, a testament to Dixon’s music library and his confidence in his selections. Towards the end, as he capped his set with ‘Staves’ remix of ‘Synesthesia,’ we were converted to life long fans.

Photo credit: Paul Kelley

Maceo Plex - Beatport Stage

Maceo Plex has been a live act we’ve been meaning to catch for some time. The set could have gone two ways. It could completely disappoint due to unintentionally high expectations, or it could completely verify his status as a techno genius. Needless to say, he met every lofty expectation last night. Although listed as Maceo Plex, the first hour was reminiscent of Eric Estornel’s dark techno moniker, Maetrik, befitting for Detroit. As his performance continued, Maceo Plex began weaving in deep house he’s so well known for including “Conjure Drama” and “Conjure Balearia” from his latest EP titled Conjure One. As soon as he closed out with an orchestral composition, the insatiable crowd fell out of his spell only to want more.

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