Grog's atmosphere was perfect for the type of electronic music you'd expect to hear from these two: small, dark, and seedy. Com Truise played first and offered a more audio-visual experience with multiple vertical screens flashing graphics behind him, while he continued a steady rhythm of heavy melodic synths and beats.
The neon-lit graphics morphing on the screens behind
Clark's setup was more minimal, but was also missing a key component on this tour. Other shows have included dancers — there's even a trailer for his tour, giving you a taste of Clark's current show — but I assume Grog Shop's size was not able to accommodate the theatrics.
His hands are always all over the control board when he performs. Describing what he does on stage to The Skinny: "I'm literally I’m doing every single thing. Everything that happens on stage is being played and created live."
Just like his albums, Clark's set started to shift, always keeping you guessing as to what is coming next. He's not afraid to cut the beat off and play with ambient textures instead. At one point he crouched behind his table to check his phone because a fire alarm went off. I thought it was all part of his sonic landscape, oblivious to what happened elsewhere. The show kept on going though and Clark never spoke a word to the audience.
The crowd seemed transfixed on him the whole time with anyone hardly talking and everyone packed together trying to get as close as possible. Clark's music is danceable through his lush textures, and during the climax of his show he played one of his more popular tracks in recent years, "Winter Linn." With its wonky synths and pulsing rhythm, backed by frantic flashing lights, it made for an exciting climax.
Clark slowed things down for his final track and Death Peak closer "Un U.K." providing melodic pitched vocal samples over a soft beat and arpeggiated synths. Just as his set started Clark's music slowly transitions back into that film score-