Saturday Night: Rusko At Warehouse Live

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After a DJ from the Gritsy crew (whose name we never heard) warmed things up until a bit past 11 p.m., Doorly then played an hourlong set of his own, marrying some two-step to thick bass and then pouring in some jungle, '90s house, and some basic, club-friendly fare. While there weren't the sort of big bass drops or heavy wobble we tend to prefer in our dubstep, the crowd really didn't seem to care about our preferences, instead choosing to eat up everything that Doorly was serving with eager abandon.

When the DJ ended his set by sampling Lil' Wayne's "6 Foot 7" along with some chunks from Dr. Dre's The Chronic, the crowd roared its approval.

After the briefest of intermissions, Rusko hit the state at 12:30 a.m., flanked by "RUSKO" emblazoned in flashing, pulsing light bulbs, with each letter independently rising up from or down to the stage in time with the music. It was like something out of a DJ AM or Steve Aoki show, but just a dubstep version of such, as the music did possess those trappings - chill moments, thick bass, waggling tempos, and weird sound effects.

What was different was that the overall feel of the set was that of an outrageous, chaotic, frenzied party atmosphere. Rusko himself bounded and bounced around his DJ booth for his entire time on stage, frequently screaming into the microphone different aphorisms that basically all amounted to - "Let's party!"

Aftermath would be remiss and petulant to find fault in Rusko's presentation or his dedication to his craft - it might not be our style, but he's good at what he does. He received an exultant, exuberant response from the throngs of people throughout his 90-minute set, which maintained a terrific pace and flow.

It's obvious that Rusko isn't interested in making gloomy music for music nerds who sit around in their flats listening to their limited edition 12" singles in expensive headphones. It seems that he would rather be a crowd-pleasing DJ who just happens to have a background in dubstep, thus allowing him to put a different spin on the sort of music that clubgoers tend to enjoy.

Our proof: Anytime you can play a supposed dubstep set that receives raised hands, fist pumps, and screams for your inclusion of both Britney Spears' "Till The World Ends" and Tupac & Dr. Dre's "California Love," you're aiming for success on a pop-star level.

Personal Bias: I like gloomy, insular dubstep. I don't like noisy crowds filled with people waving around glowsticks.

The Crowd: Lots of teenagers, and lots of young college-aged folks. I swear I saw at least two or three kids wearing varsity sweaters from their private high school.

Overheard In the Crowd: "This is the most bizarre, fucked-up prom I've ever seen!"; "Who knew that high-school kids from the suburbs even knew about dubstep, much less were able to convince their parents to let them drive into town for a dance party on the night before Mother's Day?"

Random Notebook Dump: Rusko is the Greg Gillis/Girl Talk of the dubstep set.

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Adam P. Newton
Contact: Adam P. Newton