A weekend State Theatre show headlined by GRiZ featured a trio of acts that blend live instrumentation with booming beats, stitching together some of the most blissful and audience-friendly elements of electronic dance music, funk, hip hop and jam bands.

This is not a new approach – artists have been marrying these genres and mixing instruments with programmed dance beats since the 1970s. But these contemporary performers are savvy about how to present their music and throw a party. Scarcely a minute went by without one of the musicians hitting a new climactic moment, as if the whole show was leaning forward and flying up, up and away.

GRiZ at the State Theatre Saturday. Robert Ker photo

Concert review

WHAT: GRiZ

WHERE: State Theatre, Portland

DATE REVIEWED: Oct. 24

 

The result was one of the most fun concerts to blow through Portland this year. It was part rave, part rock show and part Halloween party as many audience members used the concert as an excuse to get dressed up. Costumes included Thing 1 and Thing 2 from “The Cat in the Hat,” a Power Ranger and Superman. They were a festive lot, dancing from the first beat to the last. Comparatively speaking, most other shows in town seem sedate.

This may be because the audience skewed younger. Electronic dance music of this nature is truly by young people and for young people; Grant Kwiecinski, who performs as GRiZ, is just 24 years old. A classically trained musician, he makes tightly composed dance tracks and frequently plays the saxophone to the same effect as a dubstep “bass drop.” The effect is OK on a record, but with loudspeakers, bright lights and a giddy audience, it’s fantastic in performance. The effect on a crowd is a bit like that of the J.B.s, James Brown’s backing funk band, and the sound itself is a whole lot like the thick breakbeat and baritone sax of The 45 King’s 1987 instrumental-rap classic “The 900 Number.”

GRiZ was joined frequently by guitarist Muzzy Bearr, who also opened the show with a short set of jazz-influenced pieces, during which he played guitar over samples. Between the two sets, Big Wild accompanied his sampled and composed beats with live drumming and keyboards, in a performance that was nearly as strong as GRiZ’s, if not as showy. He roped in familiar samples, such as OutKast’s “Rosa Parks,” and he got the whole room jumping for his highly infectious single “Aftergold.”

The house seemed full but not overcrowded, so there was space on the floor for people to actually dance with one another rather than nod their heads in the general direction of the stage.

Beer was allowed only inside the designated bar areas at this all-ages show. It’s a pity that venues can’t use this setup for more events, to keep the people who go to a concert for the music at a distance from those there to get really drunk (a persistent problem in Portland’s music scene). That may be financially impossible, but it’s another reason why this genre brings in the best shows in the city.

Robert Ker is a freelance music writer in Portland, where he and his wife own the vintage store Find. Contact him at:

bobzker@gmail.com

Twitter: bobbker