Tyler Lavoie ’16 / Emertainment Monthly Staff Writer
At some point during Excision, I get a text from a friend. He’s standing at the back of the floor, waiting for me to finish my session in the photo pit. He says, “The bass is blurring my vision.”
At that moment, I’m changing lenses on top of the subwoofers at the front of the stage. For weeks, Excision has been posting about the 150,000 watts of PK speakers that I’m now using as a camera station. I respond: “I’m literally touching it.”
By the time I pick up my camera, members of the front row are already grabbing at my shirt. Wasted, screaming above the bass, they gesture for photos. One of them kisses me on the cheek.
Five minutes later, I’m onstage.
This was the tone of Thursday night’s Protohype/Minnesota/Excision show at the House of Blues. The hysteria started as soon as I walked in. A guy my age ran up to me, asked if I was press, and took my number. He had backstage time with Protohype, but his photographer dropped last minute – and he wanted to know if I’d come with.
After Protohype’s set, we met the producer in a back room. There was a great interview and several rounds of photos. Shots were taken. By the time we walked out, beaming, Minnesota was halfway through a totally cosmic performance.
Later, I would push through the stage door and walk behind Excision’s enormous stage decoration. The engineers entrusted with managing the set’s hydraulic components were used to my presence; I took a few photos and went on my way.
Energy was as high as ever back on the floor. Festies moshed to animatronic beats, and the mood rose through new singles and classics – from “X Rated” to “Robo Kitty”.
While dubstep might have lost its place in pop culture, House of Blues rocked out like Excision was seancing the sounds of the future. When I rejoined my friends, I was still shocked with disbelief (not to mention 150,000 watts of bass). Altogether, it was an unforgettable night.