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Floating Points review – an unclassifiable triumph
On the first of a three-night London residency, British dance producer Sam Shepherd conjures up a transcendent set that’s equal parts body-jacking rave and harp-laced, retina-melting art show
On the first of a three-night London residency, Shepherd delivers great swathes of his most recent, dancefloor-moving album, last year’s Cascade, with the aid of the set’s harpist, Miriam Adefris, and a live visual artist whose works provide a swirling counterpoint for Floating Points’ organic, evolving electronic sounds. The audience revs joyously into motion in the shadow of what looks like a blood cappuccino This rave of sorts – to be clear, it’s a 9pm live gig on a Wednesday in central London, not a DJ set in the wee hours in a warehouse in the back of beyond – starts beatifically. If the themes sound faintly familiar, that is because (I find out later) Adefris is playing heavily rescored elements from Floating Points’ previous works – Birth, from 2019’s Crush album – and a segment of Shepherd’s more recent score for the San Francisco Ballet ’s production of Mere Mortals.
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