last night was day 3 of the movement festival in detroit (day 2 for me). it was, without a doubt, way more awesome than the previous day. the plan was to see tiga at 630, then a yet to be determined 8PM act, followed by benny benassi at 930. in true fashion, the group started talking at 6pm about we had to leave right now to make it downtown by 630. at 745, we finally found ourselves at the stage where tiga was performing. the 5 minutes we were there were pretty great and made us all wish we hadnt dragged ass for so long so we could have gotten there earlier. luckily in that 5 minutes we also ran into the other crew that we were trying to meet up with, and they informed us they were heading across hart plaza to see busy p, and lucky for us, we followed.

i had never heard of busy p, but from what i was told, he was the former manager of daft punk who started his own record label. eventually his label became so popular that he dropped daft punk as a client. how cool must it be to tell people that you dropped daft punk as a client? daft punk! his set could only be described as exactly the kind of electronic music i love. kickin beats, obscure songs ive never heard of all genres, and the occasional “song that everyone knows” that really gets the crowd going, just for good measure. a recommendation that definitely paid off. we also coincidentally ran into tribecalledjon, my partner in crime here on dailybeatz (i swear hes going to start posting soon) and all was well. it was my second time seeing benny benassi, i had actually seen him at the same festival the year before, but for some reason this time was much crazier and more enjoyable. i dont know most of his stuff, but i guess he played most of his big hits, but it was all new to me and i loved it. we also may have snuck our friends parents into the show, which was equally hilarious and extremely weird.

as i mentioned yesterday, all this electronic music has me really interested in trying it out for myself. thats why i chose todays track, as its part of beirut’s (zach condon’s?) first dabble in the world of music made without instruments (in their case, sans a full brass section, and under the name “realpeople”). i dont know what the consensus is on this new sound and if it will be further explored, but i for one approve. while the “holland” half of the latest album doesnt have that eastern european old world feel that so many have grown to know and love, its certainly a valiant effort at a complete departure from what has worked so well in the past. while the horns may have disappeared, the deep and haunting voice of condon still does what it do. kinda makes you want to spend the evening with a disease-ridden french lady of the night, dont it?

beirut – my night with the prostitute from marseille

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