Disclosure My Intention Is War!

I love Disclosure about as much as I love Detroit, and the Lawrence brother's brought it proper -- there were garage tunes, there were house tunes... plenty of music worth of 2-stepping, shoulder bouncing and booty shaking to.

For as young as they are (18 and 21 respectively) and for such a new career, Disclosure stayed true to their roots, or at least the original ideology behind why they started making music. But they're also chart toppers now, with mainstream hits like "White Noise" and "Latch." And this is weird, and then it's not; because aren't they a garage duo? But wait, there's a full on pop vocal, is this pop? Does it matter? I mean, I loved those tracks, too. In fact, I'm obsessed with "Latch" and its endlessly sexy video, but then why did I feel so weird hearing it live?

In an interview with Magnetic Mag, Guy noted:

"Obviously we are massive fans of chart music, that's clear. But it is weird... there has definitely been some crossover of people who would never ever listen to house music or garage but are enjoying 'Latch.'"

Yeah, I'm with you.

Maybe I'm being too critical, I know that Disclosure can't bring out the full army at every show. When "White Noise" fell flat because AlunaGeorge wasn't there bringing it home, that wasn't Disclosure's fault. But without Sam Smith commanding the stage for "Latch" or Jessie Ware there repping the "Running" remix, I got confused as to what I was watching. What began as garage house and UK bass set suddenly became a pop show with no focal point.

Maybe I'm jaded, maybe I've got the wrong idea, maybe I'm getting too old for this, but the vibe definitely changed with Disclosure's more pop-driven tracks, and where I couldn't groove and boogie to garage or house, I stood there like a spoiled child angry that I couldn't dance, or maybe I just didn't want to.

Maybe I was just ornery that my hair was still damp and smelled of the red bull vodka some prick spilled on my head, or that the air lingered with the dense smell of that dude in front of me who couldn't keep the stimulants from his bowels. Possibly I would have had a completely stellar time if it wasn't for that drunk 20-something asshole who tried to unbutton my shirt and make out with me. But I knew, when the bouncer finally threw him out, that that wasn't Disclosure's fault, either. These things happen, as do conflicting touring schedules and limited musical means.

Still, looking over my shoulder at all the 18-year-olds falling in love for the first time over "Latch" and noticing that the only people in the crowd my age were fellow bloggers kind of made me feel both like those teens didn't belong, but that maybe I didn't either. Caught between a mad respect for what Disclosure has accomplished and the reality of who they're currently appealing to, I decided, at least for me, maybe it was best to idolize them from afar.

Howard and Guy were up there just doing what they know, and the majority of the crowd were crazy about it. Kudos were mentally given when Guy (or was it Howard?) belted out some killer, and I mean killer, vocals. (Who knew the boy could sing?! Was I supposed to know that?) I appreciated that they incorporated live instruments for all the people who hear electronic music and go, "but wait, so like, what is happening right now?"

Music is made, music is played, and listening is a pleasure be it house, garage, disco or pop. Even though I left a little confused as to what I had just seen or how I was supposed to feel, I also got the impression the Lawrence brothers may be in a similar state of transition. Comforted with the knowledge that all would be set right as soon as I got home and pressed play, I forgave the Detroit audience for being annoying, and I gave Disclosure the benefit of the doubt. They're still rad in my book,  and though I might avoid the next performance without a hazmat suit, I'm still eager to hear more from the brothers in the future.