ASU students flocked to downtown Phoenix Jan. 19 to see one of the world's most renowned DJs, Steve Aoki.
His strong following can be explained by his distinct sound that represents the past, present and future of electro-house music.
Aoki, 34, is also known for his record label, Dim Mak Records. Founded in 1996, the label has released electronic music from other bands such as MSTRKRFT and The Bloody Beetroots.
Aoki's most recent album “Wonderland” features a vast array of popular artists, such as Travis Barker and Rivers Cuomo of Weezer.
“‘Wonderland’ is, to me, all of the different influences and sounds I've experienced in my four years of making music,” he said in an interview. “It’s like one big, huge canvas for me.”
Much to the delight of his strong fan base, Aoki gave an interactive show. However, he did little to showcase his mixing talents.
The gathering at the first electronic show at Comerica Theatre seemed diminutive in comparison to the size of the venue.
In addition to the oversized space, a $10 fee was enforced to gain admission to the floor level. This caveat initially angered the hundreds of fans who were blindsided with an added fee at the door.
Representing the innovation and constant progression of established house artists, Aoki has surged his way to global superstardom and maintained it throughout the rise of digital music.
“I guess the one thing that all labels are responding to is the excess of music,” Aoki said. “The question that we came up with is, ‘Should we give out music for free?’”
The influence of commercialism in music was apparent at the show, with large advertisements flanking each side of the stage.
The gimmick showed the trend of artists placing more emphasis on marketing to reap profit for their music making.
While both Aoki and his opening act Datsik engaged fans and encouraged interaction with the crowd, neither artist seemed to be doing much on the turntables.
Aoki won over the audience by crowdsurfing, but overall, the show lacked a certain level of authenticity.
The DJ never appeared to be too busy playing music and tracks sounded identical whether or not Aoki was onstage.
While the majority of his set was spent playing songs off of “Wonderland,” Aoki also played a few older hits to help close the show, such as “Warp” and his remix of Kid Cudi’s “Pursuit of Happiness.”
The combination of the venue’s spaciousness and the obnoxious advertisements detracted from the intimacy usually offered by a live show. Unfortunately for avid music fans, the performances did not save the evening.
Aoki’s distinctive looks make him unmistakable, yet his performance rendered him rather forgettable.
Reach the reporter at mbobman@asu.edu
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