The three-day party that it is Splash House returned for the second and final time this summer, running Aug. 11-13.
The Friday night pre-party, at the Palm Springs Air Museum, featured the best performances of the entire weekend, in my book—but I must admit I’m biased toward performers who use instruments.
Klatch, hailing from the West Coast dance scene, kicked things off on Friday with a traditional DJ set, igniting the early evening crowd. Edlerbrook took things in a different direction with smoldering vocals merging with ambient digitized electronic sampling. The track “Difficult to Love” is an agreeable tune about how we see early experiences optimistically, compared to the actual eventual reality of the experience: “I’m difficult to love at the best of times; oh, at the best of times, I’m high again (high, high, high); and maybe that was mistake (my mistake, my mistake, uhm); you said I waste time, and I never get why you’re in love with me.”
Elderbrook wowed fans with the song “How Many Times,” ending with the tune and saying, “Peace,” before walking off the stage. After his performance, a happy devotee grabbed me by the shoulder and proclaimed, “That’s Elderbrook. He is going to be big; write it down.”
I just want to say I completely fell in love with Sofi Tukker, a New York-based duo featuring Sophie Hawley-Weld and Tucker Halpern. The cheerful Halpern mentioned, “The last time we were out here was for Coachella.” Sofi Tukker’s music was very danceable, with electronic beats and strong guitar riffs from Hawley-Weld, and lots running around the stage. The song “Greed” took on POTUS directly with full electronic goodness: “Your ego, your crashing, your greed, keeping you up all night.”
Bob Moses ended the night with a fantastic song, “Like It or Not,” with some words of wisdom: “It’s gotta mean something; it’s gotta mean something to you; it’s gotta keep pushing; you gotta keep pushing through.”
The Saguaro, the Riviera, and the Renaissance accommodated crowds once again on Saturday and Sunday. I started Saturday off at the Saguaro, the most intimate of the three venues, where the balconies were covered up more than the attendees. As I walked in, a guy stopped me, seeing my camera gear, and had his friends clear a path in front of the DJ so he could do a summersault … just because. The atmosphere at the Saguaro is all about being there and having fun; most of the crowd was away from the DJ booth, instead enjoying the pool and/or looking for a future mate.
Over at the Riviera on Saturday, the pool was packed and overflowing; there always seem to be pools of water on the sides, caused by the crowded conditions. Manila Killa spun pure joy, enthralling listeners with indie-pop electronica.
On Saturday, Gigamesh, aka Matthew Thomas Masurka, performed on the Renaissance stage. His set was slated to be an hour long, but his time onstage was cut short due to his equipment heating up; the west-facing stage unfortunately lacked protection from the heat.
Splash House ran like a Swiss watch when it came to set times, but security was very strict, even checking wallets for contraband. It was hot as heck, which may have explained the more-subdued crowd on the between-venue shuttles, as compared to the June Splash House: I did not witness any dancing or singing this time around.
Hoping for another great time at the Air Museum, I headed back on Saturday night for former LCD Soundsystem frontman James Murphy’s DJ set, which was competent but lacked the punch of the performances the night before. Only the diehards could dance in the sweltering heat that night, and the VIP lounge was packed with seated guests observing instead of engaging in the music.
On Sunday at the Renaissance, Sango sampled some amazing tracks, including Young Thug’s rap verse which doubles as sage advice from a gunslinger: “Don’t try to take it; I got guns; I’m talkin’ guns, not pellets.” Sango kept the thumping loud, with plenty of hooks that excited the evening admirers.
Closing out Splash House at the Renaissance was Kaytranada. Unfortunately, the scorching set by Sango may have heated things up too much, because technical difficulties hampered the beginning of his show. He took the problems with a smile: “My shit is not set up yet. I am going to play whatever! … This is a god damn disaster,” he said as a large skipping sound flowed through the massive speakers. Later, the sampling of Suede’s “NxWorries” was the perfect way for him to express frustration for this minor glitch in his headlining gig: “If I call you a bitch, it’s ’cause you’re my bitch, and as long as no one else call you a bitch, then there won’t be no problems. Now, If I call you a trick, it’s ’cause you paid the rent.” We can only speculate whether this track was dropped to express frustration with the production staff. At the end, Kaytranada had everyone dancing, with smiles on the faces of the die-hard partygoers.
Splash House once again was a joyful event. Everyone chills out and gets along, no matter their background, ethnicity or sexual orientation. If we could infuse the inclusiveness of this event into the rest of the country, we would all be better for it.