Photo of feeble little horse by Pariss Brown
The tone for the night was set upon arrival at Off Broadway. Cars lined the streets and people already sat at the patio tables outside.
As I set up, a person dressed perfectly for the show stepped in and asked to buy a ticket, only to be disappointed when told the venue was sold out.
I made my way to the front, where eager fans had arrived when doors opened to secure a front stage spot. As we waited, the lights did not turn on. In fact, they got darker, and that is how they remained. The opener Touching Ice performed their entire opening set in nightclub-esque splendor, complete with two programmed strobe lights the band designed to bring their set vision to life. I heard mixed reviews among the crowd, ranging from “I’ve never been to a rave but now I want to go” to “We’re not in a Berlin night club at 2 a.m. and it’s still light outside.”
Touching Ice is an electro-industrial pop band and despite how some people may feel about their strobe-light-only show, when I caught up with them after their set, I was reminded at how hard most musicians on tour are working and how many things they have learned how to do themselves because they simply love creating an authentic experience through art. Their music had a touch of ethereal pop, the lead singer’s voice floated, sometimes complimenting, sometimes contrasting the heavy EDM beats underneath it. Overall: sensitivity to flashing lights should be noted for this show, but it is a band who is chasing authenticity and joy in a time where the music industry needs it. You can check out their latest release 100 of the Best EDM Songs and other albums wherever you listen to music.
I love Off-Broadway because they pull niche big names. The bands that aren’t mainstream well-known but have a cult following with the people that do know them. Mixed with the intimate venue, you get a combo of being starstruck and relaxed among friends watching the musicians check their own instruments and setups before the set starts. The lead singer and bassist, Lydia Slocum, came out with a circa-2000’s stuffed golden labradoodle purse tucked under her arm, which she gingerly placed onstage before setting up various trinkets. One of these was a plastic pink horse turned mic charm with bright blue eyes that peered at you with deranged delight that I found fitting. Slocum was joined by the rest of the band, including Sebastian Kinsler, another one of the core members and producers on their latest album bitknot. I could see why Touching Ice was opening for FLH—the bands were both guided by dreamy pop, lively lyrics, and snappy electronics.
As FLH worked through some of their best discography, including “Dior” and “Rewind” from bitknot and “Freak” from Girl With Fish, the differences in the production of the albums in the setlist kept it feeling new and exciting. The great thing about FLH is they create what they feel in the moment, so both albums resemble each other while still standing as their own sound. They are both firmly rooted in synth pop and electronic, but are influenced differently with folk, grunge, EDM, and rock undertones. As the show progressed, the crowd seemed unaffected by the heat as a sea of heads slammed back and forth with the music. The night ended with an encore. Lydia adjusted her bass as she asked the crowd to shout song names until they guessed the correct final tune—when she confirmed someone had guessed correctly, cheers erupted. STL was treated to yet another incredible indie band by one our favorite indie venues. It was hot, it was loud, and damn, it was fun. | Pariss Brown
