The arrival of the EDM duo known as Louis the Child was a long time coming for the Greek Theatre. With the show being postponed since October of 2020, fans crowded into the amphitheatre buzzing with anticipation — and high expectations built up over almost a year.
That anticipation continued to swell as three openers graced the stage. Enigmatic electronic pop pair ilo ilo started the night off strong with tracks that showed promise, followed by slenderbodies who slowed things down as the sun set. Industry legend K. Flay, who has teamed up with Louis the Child in past projects, demonstrated her multi-instrument talent and simply commanded the stage. Even fans who were unfamiliar with K. Flay’s material seemed enthralled with the performance.
Freddy Kennett and Robby Hauldren, the Chicago-native members of Louis the Child, stepped out in a bold fashion, donned in white ensembles and splattered with Pollackesque neon paint. No intros were necessary, as they ran up to their awaiting decks and began to play an unreleased track.
Instantaneous energy unbounded from the beginning of the set to the very last encore. Kennett and Hauldren were filled with surprises — even their most popular songs, such as the remix of Ty Dolla $ign’s “Blasé,” sparked childlike curiosity in the crowd through new instrumentation that kept everyone guessing.
For many attendees, Friday night marked one of the first live concerts in-person, and Louis the Child did not disappoint. The crowd and Kennett and Hauldren had a call-and-response type of relationship throughout the night, as the duo provided one upbeat track after the other to the crowd’s immense satisfaction. Bodies were overflowing the pit, and hundreds of hands reached upward toward the crisp night sky in response to the tracks, and in reprieve to the growing heat.
The duo’s set stayed very consistent with fast-tempo tracks, but came to a zenith with songs like “Every Color,” in which ambient backing paired with inventive synth additions to generate an impressive beat drop. Other songs, such as “Weekend” and “hate u cuz i don’t,” lined the night’s set and produced such visceral excitement from the crowd. Most of the vocal artists featured on Kennett and Hauldren’s projects weren’t live, so it was a treat to see K. Flay come out and perform a song, bringing similar vibrancy to her return to the stage.
Kennett and Hauldren’s set remained largely uninterrupted by small-talk as the two prioritized maintaining the crowd’s animation. Hauldren, however, did heartwarmingly proclaim his love for UC Berkeley, especially since his mother attended the university. For the duo, the show was a powerful end to their two-month Euphoria Tour, which wrapped up the following night in Sacramento.
The night neared an end with Kennett and Hauldren calling for a photo with the crowd, with an endearing and genuine expression of their gratitude to the fans for coming out in full force, and for the ability to play live shows again. The sentiment was shared by the crowd, who remained in high spirits even after hours of being on their feet.
After a brief stint off-stage, Kennett and Hauldren bounced back to the stage and finished strong with “Better Not” — which everyone in the crowd knew word-for-word. The energy that Kennett and Hauldren brought to the Greek lingered in the air long after the two headed for the wings and the masses began to funnel out of the ampitheatre.
Louis the Child left the Greek Theatre in a strobe-dazed, sweat-kissed state that can only be described as euphoric. The pair brought exactly the right amount of full-fledged boldness the crowd sought for, and delivered an unforgettable night.