“Some of you may be curious about the title of the performance. It comes from the thought that perhaps the time and reality we sit in isn’t exactly what it is. Maybe the sounds we’re hearing are something that happened before far beyond our horizon,” explained Jeff Mills at the beginning of his highly anticipated sold-out performance at Hamer Hall. Playing with the 60-piece Melbourne Symphony Orchestra, the Detroit techno legend put on a show that easily transcended what’s been happening on our musical horizons, proving that electronic and classical music can fuse together as one cohesive entity.
One of the most hotly talked about performances of Melbourne Festival, you could feel the excitement and tension growing in the room before Mills walked out in a sharp black suit shortly after 8pm. The crowd erupted into thunderous applause and with the wave of conductor Thomas Roussel’s baton, the orchestra launched into the intro track from Mill’s previous performance with the Montpelier Philharmonic Orchestra. Onstage, the Wizard was positioned to the front left of the MSO, working impressively on his signature deck and drum machine combo. While the sound was incredibly lush, it never seemed like one overpowered the other. Mills’ hi-hats and throbbing bass weaved effortlessly in between swirling flutes and rock star-esque drum solos.
As the 90-minute performance progressed, so did the energy levels. One second you could be listening to a rich assortment of horns and the next Mills would come in with some urgent pulsing bass. The performance was always going to be unique, but the pair worked together flawlessly to create an entire cohesive experience. From the lights dancing across the stage to Mills’ insights into the outside world, it felt like we were all getting the chance to experience something incredibly special, no matter what the age. Unsurprisingly, the legend brought out both the young and old, scattered throughout the crowd in beanies and suits.
As far as the music went, the program featured a flurry of classical jazz-tinged pieces as well as songs from Mills’ impressive back-catalogue. Before firing into Gamma Player, he introduced it as one of his favourite tracks and explained that it references exceeding barriers to try new things. And try new things he certainly did – with a stunning rendition full of cinematic cymbal crashes and fitting horns. But the real zinger of the night came with the opening chime of the bells that signaled that it was time to chair-rave to The Bells. One of his most well-known tracks, the MSO couldn’t have complemented the maddening version any better. Mills closed out the night with Ashford & Simpson’s Bourgie Bourgie, proving that Motown magic is still alive and well. After multiple standing ovations, both Mills and Roussel came back out to deliver an encore version of The Bells that got people out of their seats and moving. Even the French horn section took the opportunity to shake it. Looking around Hamer Hall, it was clear that techno and classical music could collude for something that was truly magical and, as Mills would say, out of this world.
BY LAUREN GILL
Loved: What Mills had to say.
Hated: That it’s over.
Drank: Beer.
