Wednesday night was awesome. I found out around 5 p.m. that I had won tickets to see Baths! I hadn’t really been acquainted with Baths, but the group of friends I was with praised his stuff. He did not disappoint. Thanks to Shows I Go To for saving me $30 on tickets! Enjoy.
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Splish-splash I was takin’ an overused pun.
Baths wasn’t alone, Time Wharp and Groundislava were two amazing openers, and by the time Baths took the stage, everyone was already pumped. The place was packed, I wouldn’t be surprised if it sold-out, and the sound system at The Social was hitting hard. At one point during Baths set, Will Wiensfield, sole singer and composer of all of Baths’ music, said that the bass was so intense that his equipment was jumping around beneath him. The Social has always been my favorite venue in Orlando. It’s the perfect size, and the stage is set up in a way where everyone can see, even if it’s sold-out.
But, back to Baths. Like I said, I was going in expecting nothing, and I was astounded by the show. Wiensfield has charisma on stage that exceeds most of today’s rock outfits, and his precise skill at creating magnificent soundscapes rivals that of traditional artists. Baths is precisely what I have grown to love about electronic artists. He paints a portrait with sound, adding minute and exact details creating layers that build into a whole piece. I think it’s safe to say that Baths is better live than on record, and that’s the highest of complements. Songs like “Lovely Bloodflow” had added intensity, it’s easy to tell that Baths put in the extra effort to make these song sound different in a live setting. Between songs he was extra friendly to the crowd, giving shout outs, telling stories, asking the audience, “how many of you know that I’m gay?” His closer, “No Eyes,” was by far my favorite of the night. During the chorus he went so far as to scream, “But is only a matter of, come and fuck me!” After that, he thanked everyone and left. Great night.