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Bastille and Joywave collaborate on-stage and bring joyful energy to the Greek Theatre in Los Angeles

As someone who has seen Bastille ten times previous, their October 12th show at the Greek Theatre in Los Angeles was nothing short of extraordinary.

The show opened with Joywave, playing in matching track suits and glittering shoes and starting off with recent single “Like A Kennedy” before launching into the far more upbeat and driving “Somebody New”, carrying the rest of their set into a fun, semi-chaotic energy both onstage and in the crowd.

Bastille’s production heavily utilized visuals both on-screen and onstage, with a massive screen behind the stage displaying ethereal images and animations to fit every song and corresponding light design that made for an incredibly immersive experience. A highlight of this display was definitely the addition of the “Doom Days” couch onstage on a massive turntable of sorts which Dan Smith sang from for multiple songs; this in itself was an impressive feat, considering just the sight of it made me dizzy from my place in the crowd. The band was joined by Daniel Armbruster of Joywave for their performance of Bad Decisions, and later by New York-based artist The Dawn Of May (signed to Smith’s label, Best Laid Plans) for “World Gone Mad”.

Both duets added an additional layer of beauty to already great songs and made me wish that the recorded tracks also benefited from these additions. Most surprisingly, though, was the inclusion of “Weight of Living Pt. I” in Bastille’s set, a track that has never before been played live since its release on the band’s 2013 debut album “Bad Blood”; it was amazing. I don’t know if any other word would be the correct descriptor. So amazing, in fact, that a friend standing next to me began crying at the first notes of the intro.

As always, the show closed out with the legendary “Pompeii”, during which the band was once again joined by Joywave and Ben Bailey (Joywave, keyboard) laid on the still-spinning turntable for the duration of the song. Afterwards, as the crowd began exiting the theatre, “Footloose” played over the speakers, yet was frustratingly cut out, as with every show, immediately before the first chorus along with the stage lights. Ultimately, both Joywave and Bastille’s performances engaged the crowd throughout the show with their maintained energy and were far far more satisfying than that sadistic cut off of “Footloose” by Paul Cooper, sound engineer extraordinaire.

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Joywave

Joywave

Joywave

Joywave

Joywave

Meghan Quadracci
Meghan Quadracci is a portrait and music documentary photographer in Milwaukee, Wisconsin. See her work at megquadracci.com.

Bastille and Joywave collaborate on-stage and bring joyful energy to the Greek Theatre in Los Angeles

As someone who has seen Bastille ten times previous, their October 12th show at the Greek Theatre in Los Angeles was nothing short of extraordinary.

The show opened with Joywave, playing in matching track suits and glittering shoes and starting off with recent single “Like A Kennedy” before launching into the far more upbeat and driving “Somebody New”, carrying the rest of their set into a fun, semi-chaotic energy both onstage and in the crowd.

Bastille’s production heavily utilized visuals both on-screen and onstage, with a massive screen behind the stage displaying ethereal images and animations to fit every song and corresponding light design that made for an incredibly immersive experience. A highlight of this display was definitely the addition of the “Doom Days” couch onstage on a massive turntable of sorts which Dan Smith sang from for multiple songs; this in itself was an impressive feat, considering just the sight of it made me dizzy from my place in the crowd. The band was joined by Daniel Armbruster of Joywave for their performance of Bad Decisions, and later by New York-based artist The Dawn Of May (signed to Smith’s label, Best Laid Plans) for “World Gone Mad”.

Both duets added an additional layer of beauty to already great songs and made me wish that the recorded tracks also benefited from these additions. Most surprisingly, though, was the inclusion of “Weight of Living Pt. I” in Bastille’s set, a track that has never before been played live since its release on the band’s 2013 debut album “Bad Blood”; it was amazing. I don’t know if any other word would be the correct descriptor. So amazing, in fact, that a friend standing next to me began crying at the first notes of the intro.

As always, the show closed out with the legendary “Pompeii”, during which the band was once again joined by Joywave and Ben Bailey (Joywave, keyboard) laid on the still-spinning turntable for the duration of the song. Afterwards, as the crowd began exiting the theatre, “Footloose” played over the speakers, yet was frustratingly cut out, as with every show, immediately before the first chorus along with the stage lights. Ultimately, both Joywave and Bastille’s performances engaged the crowd throughout the show with their maintained energy and were far far more satisfying than that sadistic cut off of “Footloose” by Paul Cooper, sound engineer extraordinaire.

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Bastille

Joywave

Joywave

Joywave

Joywave

Joywave

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