Clipping put on a great show at First Ave affiliated venue Fine Line last Thursday night. The show was originally scheduled for the legendary Turf Club, but quickly sold out the 350 person venue. The 650-person Fine Line was packed. The crowd was psyched for Clipping and got the energy up for openers Freecell and Cooling Prongs as well. Freecell offered droning echoes with vocals reminiscent of Interpol, if Interpol was singing down a long, dark concrete corridor. I felt that the openers complemented the darker, weirder electronic elements of Clipping, while offering an aesthetic contrast.

Cooling Prongs was one of the most unique musical experiences I have ever seen. Vocalist and noisemaker Christopher Fleeger layers dark, drone-y rhythms with altered vocals and art-pop elements. A range of instruments were both played and sampled, including some variety of strings and keyboard percussion instruments. These combinations felt a little incomprehensible. The Gregorian chants with electro-industrial beats were occasionally interrupted by comedic interludes, including a bit about Limp Bizkit vocalist Fred Durst’s weekly Jazz Nights. I found this fun fact about Durst to be a random pairing with the song content, but I enjoyed the short Limp Bizkit-style riff he threw in. A detail not to be missed is the Western-style elements, including cowboy hat and glittered western shirt. Fleeger was joined by vocalist and pianist Counterfeit Madison. Madison states Nina Simone as a primary influence. The soulful vocals with heavy, droning tracks reminded me a little of Big Joanie. Madison added a beautiful balance to the vocals and style of the set. I wished she was involved for more of it. I was intrigued by the aesthetics and beats, but ultimately Cooling Prongs was maybe a little too experimental for me. Cooling Prongs finished strong with a song inspired by Fleeger’s past as a gay phone sex operator. Clips of these calls were included in the song, a higher-energy, poppier number. Cooling Prongs left the crowd in a great mood for Clipping.

Clipping producers William Hutson and Jonathan Snipes walked on stage first to wild applause. They began with a few minutes of buzzing bass, holding attendees in suspense until Daveed Diggs’ entrance. The crowd went crazy for first song Club Down. Diggs built the energy further with Wriggle a little later, giving the audience a chance to bust out some out-of-tune by doubtlessly joyous moves in the “pit.” Clipping hit a few listener favorites, including Say the Name and Shooter in addition to a few songs off recent album Dead Channel Sky. A standout off the album for me was Mirrorshades Pt. 2, featuring Cartel Madras. Counterfeit Madison joined the group on stage partway through with vocal support, and later performed a solo song that Diggs warned would leave you a changed person. The song was incredibly emotional and moving, and offered an alternative delivery of similar content to Clipping. After that, Diggs finished strong with an encore of J-Kwon’s Tipsy. 

This show had the subwoofers working hard and some beautiful background graphics. The openers offered an experimental sensory experience that left me a little bewildered but nonetheless impressed by the artistry of it all. I got to experience Clipping’s bone-shaking bass in tune with the beautiful light display and left feeling great. Clipping at the Fine Line was a great way to experience the new album and even introduced me to musical techniques I’d never encountered.

Show Review: Jo Nassif