Though this was “Eric Prydz in Concert 4.0,” I have only seen him three times. That makes number four all the more exciting, because it’s unprecedented. It has a precedent in the previous three occasions, but it hadn’t happened a fourth time yet. If I’d already gone four times, this trip would be a little redundant. Who wants to do something a fourth time twice? In this case, a lot of people. Eric is performing three times in a row at Terminal 5.foreignermOne of the hooks is a concerted, if not just a concert effort to make each of these shows different. In turn, anyone who goes on Friday, Saturday, and Sunday can experience EPIC 4.0 three times for the first time, if not for the first time three times. Each night features different visuals and setlists. To be clear, this was itself my third Prydzentation. I was just saying it would be interesting to see him again insofar as that has been true to date.

I updated (re: completed) this article as of Sunday (now Monday), so I have some undue, if not overdue perspective. It’s important to keep due dates and get to them early. That way, you can go back and inform yourself of things you didn’t know rather than having to figure them out the first time. Hindsight is 20/20 if you have good vision. In that I was only going on Friday, it was also important to not go on Saturday or Sunday in order for them to have happened.quote-there-s-no-such-thing-as-writing-about-the-future-the-future-hasn-t-happened-yet-joe-haldeman-39-29-84They needed to take place for me to even speculate how they went. I’m not good at remote viewing unless I do it on some kind of feed. Waiting has the added weight of experience. Experience of people who actually saw the thing I would otherwise write about. Given the second and third nights, I refer to them as such. These people are often more qualified than I am because they were there.

Some of these people are more qualified when I am there. Not just by contrast, but also when I’m in situ and they’re not. You get too close to something and can’t see it for what it is: what it is. Insight is 20/20 if you have a good vision. If you ever want to know anything about Eric Prydz, go to his subreddit. In identifying a song, the redditors may do so even better than EP himself. You’ll typically find someone who knows what you’re talking about, if not just what they are.

I can even see what they’re saying about Friday, which is significant because this isn’t going to write itself. And people say not to procrastinate. Imagine how much worse this article would be if I had nothing to write. The key is to procrastinate, but not procrastinate procrastinating. Good things come to those who wait, better things come to those who don’t, and the best things come to those who do both! Or neither, I suppose.

The best place to start is often somewhere that already exists. You begin with what has already been said about your topic. The problem is when you haven’t said anything yet. This is why people say the hardest part is getting started. It’s unnerving to see nothing turn into something. Like, “Waait a minute, that wasn’t there!” You don’t have to start at the beginning, but you must begin with a start. The easiest way to do this is to write literally anything.

You could type “anything” or “literally anything,” but I meant it metaphorically. I start with something in the past: “Friday, Saturday, Sunday.” It’s easiest to use an item from the past because it has the advantage of having happened, which is a moral victory of sorts. Now I have something on the page that is, that is, half the battle. I just need to find words that describe those days; more specifically, the iteration of those days I’m talking about.

First is the worst, second is the best, third is the one with…treasure or hair? You could have a bunch of treasure that is just hair or a treasure hidden in hairy chests. The important thing is having continuity in three things. Then you develop a thesis based on the words you find yourself saying. In this case, it’s whether a nursery rhyme is true about a three-day concert to which I only went once, or, for one night.

Like the Trinity, Eric has three monikers under which he releases music: Eric Prydz, Pryda, and Cirez D. D is mostly electro and tech house, though the difference between E.P. and Pryda is, affectionately, a coin flip. All three appeared at EPIC 4.0, but did they show up? By definition. I went to EPIC 3.0 in 2014 and it was my favorite live experience, by which I almost mean life. It’s necessary to define “live,” then.not-sure-ifeppOne of the things that’s unique about each EPIC is it’s unique. Eric improvises and the visual coordinators adapt to his play. In theory, he has no idea what’s coming next. In practice, he makes the decision so he must know at some point. I read he uses the middle decks for mixing and the outer ones for indicating what’s on deck. This way, the lighting crew has a sense of its next move. I’m not sure if that is true, but I also don’t know.

What makes Eric Prydz in concert EPIC, other than its name, is the mixture of old and new. By mixture, I mean the selection as well as the way it is blended. Transitions are seamless to the point where you might think you’re listening to a single and not just a single, but a single two-hour song. In that case, of course, there wouldn’t be any transition at all. You’d rob yourself of enjoying a distinctive, if not the distinguishing feature of his music.

In some ways, I’m more impressed by what’s between the music than the music itself. Or, analogously, what’s between the ears rather than the ears. Temporal lobes, not earlobes. In 2014, I was blown away by 3.0. The visuals were mesmerizing and the giant hologram looked real, which is the point. Intermittent lasers enunciated. Everything was audible, but not too audible. Tracks articulated soundly. You knew what you hearing, not just that you were.

This is especially important for unidentified or unreleased music because you need to be able to recognize that you don’t. EPIC 4.0 had promise, if none in particular. I expected technology and a more intimate venue. I expected EPIC 3.0 2.0. In fact, 4.0 was more a multiple of 2.0 than 3. EPIC 3.0 was an exception, if not just exceptional. 3 was designed with a bigger space in mind and its music was designated as such.

Terminal 5 isn’t Madison Square Garden or vice versa, as anyone who has looked them up or looked up at them knows. In MSG, the visuals were meant to be viewed more dynamically, if not just more, insofar as there were more people and a greater field of view. It was impossible for T5 to replicate that. PrydaCo did something interesting to elevate, if not just alleviate the situation. They folded the video into a four-sided protrusion.

The visualization was closer to the audience and capable of nearly holographic display. This took emphasis off the hologram itself, which did not, therefore, need to be featured as heavily. That said, the hologram was less impressive than its immediate predecessor. Nevertheless, juxtaposing the walls with a hologram enabled complementary effects that were previously impossible. The thunderstorm during “Rotonda” was ele-mental. The rain was fire.

The screens were, in some ways, more immersive, yet they obscured Prydz. In turn, the show sometimes felt smaller rather than more intimate. That said, EPIC is a production-based show. The music is meant to enhance or facilitate the spectacle. Dressed in black with his customary Yankees hat, Prydz is not much to look at. It’s enough to know he’s there and you do unless it’s pitch black or you close your eyes. In that sense, “Blink and you’ll miss it” is true of everything.

For the most part, you will have decided whether the music is good before the show. This is good so you can just enjoy it. Consequently, then, it’s important that you can hear everything. This comes down to the speakers and your ability to hear them. I couldn’t always make out the nuances of his production and heavy bass evolved into vibration. I know all music is vibration, but when it got really loud you could hear it.

Again, this may come down to my own hearing, but that’s neither here nor there. This isn’t a hearing, after all, so I’m not going to call a witness to the stand. Where do we stand? EPIC 4.0 was an awesome experience and probably the best EDM concert around. I say probably because I haven’t gone to so many of the others and others may take exception to calling this EDM. Then again, some people don’t like calling EDM EDM.

Being on February 10, this was obviously in the middle of February; or, if not obviously, approaching it. The coat check had to be kept in check. By 10 o’clock, some dude announced that the coat check was done and to come back in an hour. In retrospect, I have no idea who this guy was. Not just because he was a stranger, but because I don’t know who works at Terminal 5. He could have just been a guy.

If that’s true, I applaud his ingenuity and ingenuity in general. I would never think to lie about the coats to get everyone away. If anything, saying that would just make me stand there and wait, almost as if the coat check was still open. That’s just me, though, and I immediately went downstairs. I can’t even speak to whether I would actually do it because I didn’t. If that seems confusing, it’s because I was with two people and we live in a Democracy.

There are two sides to every issue and, conversely, every nonissue. That or negative two sides, if not two negative sides. Eric was supposed to come on at 11, so it makes sense that they’d reopen the check when nobody’s there. Also, it didn’t make sense to come back up and risk losing our place. We were already risking it by not being downstairs. There was no point in another risk by not being upstairs. The floor was getting packed.

That’s a good thing because you don’t have to spend much time debating where you should stand, if there’s anywhere in the first place. There’s an art to finding space that entails, like art, creating it. We’ll talk about that another time. At the moment, there’s little time before the start and I still have to say it did. I had the pleasure of standing amidst a bunch of sophisticated fans. I had no need for Shazam because it wouldn’t work anyway.

These guys knew every song before they even played, if not just after. Instead of having to ask, “What’s this song?” someone else would ask, “What’s this song?” Who knows who knew the answer, but somebody did. Eric didn’t play many singles on Friday, which is not an understatement. The set was, however, understated. Saturday was a little more mainstream in some of his popular songs and Sunday echoed Friday with its extremity as a bookend.

The audience might have seemed a little subdued to someone who wasn’t in it. Then again, everyone was, so I guess they didn’t seem subdued. No one was simulating stimulation besides the technicians. That speaks to the event as much as people who peopled it and how they speak to each other. EPIC is more about observing than inconveniencing the people around you. I went to Axwell /\ Ingrosso at T5 and it was like a mosh without the pit.

People were either too pleased with their behavior or not at all pleased. It was one of those shows where you’ve got to work out for a month beforehand. The tradeoff is at EPIC you get a City of Light fustercluck, excuse my French, of smartphone auteurs. Nothing to do with Paris other than the amount of light and the Eiffel Towers created by people holding cameras overhead. I would rather see myself, though I suppose a camera can’t get drunk.

It might be interesting having so many ways to watch the performance, but it turns out you only need one line of sight to see. Ultimately, it’s just confusing to look back and forth between so perspectives. If you want to know what’s going on, just look at somebody’s eyes, if not the reflection therein. See for yourself, if not just yourself. Mirroring is a good way to connect if you don’t know how to feel. It’s especially easy if you see yourself for yourself.

How do you grade a singular event? Singular in the sense that you only went to it once out of multiple occasions. Do you grade it with respect to its ilk or unto itself? And even once you figure that out, there are so many and, therefore, only so many numbers out of 10. If only life came with a score, if not just a musical one. I’m just going to mirror like I said. “EPIC 4.0 in Terminal 5,” or, 4 + 5T = 9T : 4 = 4T : 1 = T, so  9.

Review: EPIC 4.0 in Terminal 5
9Overall Score
Setlist9.2
Visuals9.3
Audio8.4