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Three years later, he doubled down on that passion with his Virtual Self alias, a '90s-flavored foray into anime and dance-driven video games-and a fitting riposte to any suggestion that he's changed his tune. On "Sad Machine," one of the album's all-the-feels highlights, he paired his own vocals with Vocaloid software, nodding to his fascination with Japanese pop culture and elegantly closing the distance between humans and machines. He cowrote Zedd's 2012 "Clarity," heralding a new vulnerability in EDM, and moved sharply away from what he called the "DJ-friendly limits" of the form with 2014's Worlds, his debut album, slowing the tempo and sinking into billowing synth-pop reveries that had more in common with M83 than Swedish House Mafia. In 2011, he signed his Spitfire EP to Skrillex's OWSLA label, a natural fit for Robinson's hyperkinetic “complextro" sound, and he introduced an even more emotional dimension with 2012's melodic "Language." But his instincts took him away from the familiar terrain of the festival main stage. The Chapel Hill, North Carolina, resident released his first singles, including "Say My Name," in 2010, when he was just 18 years old-some six years after the precocious young producer had first begun frequenting the tech forums that helped him hone his chops for jagged, high-energy EDM. As for the shuttles, again, it got better on Day 2, but for the Saturday crowd, it was another instance of chaotic crowd mismanagement.The first five years of Porter Robinson's career had more twists and turns than many of his DJ peers experience in decades behind the decks. One person claimed they were charged $150 for a trip that was normally around $40. The problem with rideshare was that there was little-to-no cell service, and the mass amounts of people utilizing the apps, caused extreme surcharges. That left the options as: rideshare, or their shuttles to the nearest BART station. There was no on-site parking, which they did warn people about ahead of time. But for those that could only go one day, it was disappointing.Īnother issue was getting out of the festival. This was better managed on Sunday with a more concrete line system. There were multiple complaints that people waited over four hours, only for the items they wanted to be sold out. Porter Robinson with Jai Wolf Nurture Live North America Tour. Austin City Limits Live at The Moody Theater - Austin, TX. On Saturday, people stood in line for hours upon hours trying to get merch. Porter Robinson with Jai Wolf Nurture Live North America Tour. Really the only negatives for the festival were in terms of managing the masses of people. And it was one that no one will soon forget. It was a moment that we all hoped for, but never truly expected. Something they haven’t done since the conclusion of the Shelter Tour. And together, they broke the hearts of every single person there. Coming out one last time, he wasn’t alone. But luckily, he came back to play an encore of ‘Language’. A subreddit dedicated to Porter Robinson and his multiple projects. As the computer struggles to speak its words, we too struggle to let go of the show. The set “ended” with ‘Goodbye to a World’ which, of course, is the fitting end. He told us that, seeing everyone out there at the festival, he could tell 2014 Porter that he definitely achieved those goals. To have an escape, a method to transport people to another world. Thrown back into 2014, he remembered why he wanted to make this album in the first place. He was hit by a wave of intense nostalgia.
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All of the songs, and visuals both finished and unfinished. He spoke candidly about how, in making this definitive version of Worlds Live, he had to go back through everything over the years. On both nights, he stopped before the end to address the crowd.