- If Ireland's somewhat stagnant techno scene needed a welcome throwback to the heady days of the mid-'90s, then Underworld—playing live in a warehouse no less—would surely fit the bill. The difference between now and then however, is that in 2010, the pleasure of attending costs an exorbitant 40 euro, while an early start also guaranteed an 11 PM closing time. Couple this with the fact that the band's appearance was sponsored by both a Dublin tabloid and a commercial radio station, it's perhaps apt that the trio took to the stage in Dublin's RDS—a multipurpose venue that's also hosted the likes of Elton John and Paul McCartney in recent times. As is the case with the latter pairing, nostalgic vibes—at an inflated cost—were very much the order of the day here too.
Unfortunately for DFA mainstay Shit Robot, he's yet to be granted the same fervent appreciation on home shores as he is abroad, with most revelers preferring to sip beer in the foyer in anticipation of the better-known acts. The fickle Irish crowd did emerge, however, for the appearance of another Irish act, The Japanese Popstars. The Northern trio drew an emphatic response, oiling the wheels nicely for the night's headliners by laying down track after track of typically heaving, bass-heavy, electro house. Love or loathe their sound, the Popstars acted as the perfect foil to Underworld's madcap show. It wasn't a tactical, edgy or subtle warm-up, but when Underworld are in town, subtlety counts for little.
Underworld's Karl Hyde epitomized this point, with his peerless energy and wild gesticulating immediately feeding off the by now baying crowd. A number of tracks such as "Downpipe" and "Scribble" (from the new LP Barking), were well-incorporated into what must now be a well-rehearsed set, though even the band themselves are doubtless aware that it's the classics which continue to define their career.
As such, the atmosphere was driven up a notch by said timeless anthems, which were soon belted out in droves with typical Underworld assurance. "King of Snake," "Two Months Off" and "Cowgirl/Rez" worked the punters into a frenzy, and neatly paved the way for the night's (somewhat predictable) standout moment, the ubiquitous "Born Slippy Nuxx." Belted out with trademark pizzazz, the crowd seemed to savour the moment with a poignancy that was perhaps indicative of what's fast becoming something of a lost generation. Captivated by the lead man's incessant energy and the band's impressive light show, a heavily inebriated mix of young revelers fisted the air with emphatic exuberance, almost as if dancing was the answer to the country's woes.
It would have been difficult—if not nearly impossible—for Underworld's latest Irish jaunt to measure up to their legendary performance at the Electric Picnic. Yes, the sound was a bit patchy around the edges, and, yes, the night came at an expensive cost. Yet in terms of pure, unadulterated, hedonistic enjoyment, there are few live dance acts that can provide as many magic moments as Underworld. Concluding with "Moaner," Hyde took the opportunity to thank the crowd, his fellow bandmates and entourage, before emphatically stating, "This is the best way to end our tour." He probably says something similar every time he takes to the mic, regardless of where the gig is taking place. Actually, I know he does. But on this occasion, I actually believed him.