death grips tour review

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Goodbye to My Wallet and Car Keys | Death Grips Concert Review

I had been waiting for this moment for more than four years. Enter my favorite band of all time, Death Grips. Enter a raw patchwork of excited screams from the crowd. Enter crimson stage lights drowning every head in the venue. 

Welcome to red-alert intensity. Welcome to “ System Blower ,” with its unmistakable, urgent opening. Goodbye to my wallet and car keys. 

How about that? On the very first song of the set, I had lost almost all my valuables. Perhaps it was foolish to have these items on me, but these particular shorts I was wearing had served me well many times before. But why should I have assumed this would be like any time before? Regardless of whether I was an idiot or not, my wallet and car keys were gone. I couldn’t give less of a shit.

That’s not to say these items are dispensable — they’re the exact opposite, obviously. But Death Grips forced me to secede all care; the crowd — a great web of pissed off, fast-firing pistons — forced me to fight for survival. I had no choice but to have one of the greatest times of my life. 

So, on that night, you could find me whirling between bodies, stripping myself of worldly thought, sweating off all consideration of a tomorrow or a next week or a next month. There was no past, no future. There was no defining feature to me except how hard I could possibly go in this moment, how far I could possibly distance myself from the features and concepts of a tangible life. 

This was a show that would not, and could not, stop. Even transition songs boasted mosh pits. There were people fainting into each other’s arms all over; there were people rushing to the floor’s calmer edges with a sort of horror on their face; there were legions of us tumbling, crashing and quickly picking each other up at every MC Ride scream, at every explosion of a synth or collapse of a guitar strum. 

Trying to take a good picture of the band was an impossibility for me. I managed to take one semi-decent video during “ Black Paint ,” but in terms of photographs, here is the best I could do:

These aren’t even photographs of the band, so the best I could do wasn’t very good at all. Depicted here seem to be the souls of the damned, and then their transition into crescents of fire. But hey, I’m sure there are quite a few people in this world who would look at this concert, and the people at it, and call us damned souls. Megaphone in hand, they could say that we are hellbound. If that’s where we’re all going in the end, at least there was this night. A night where I felt like I had shed every layer of my skin, where we were all just clear, non-distinct bodies trying to ram into each other, trying to sink as deeply as we could into the music.

As my friend and I drove home that night and recounted the bruises, the sprains, the people we scooped from the sweat-ridden, beer can-infested ground, we couldn’t help but realize how our thoughts and emotions had been perfectly stifled in the chaos. I suppose one could call that “losing yourself in the music,” but for both of us, that had happened many times before.

When we saw Taylor Swift together at Ford Field, we were completely lost in each and every one of her deeply relatable eras, but at Death Grips, we felt that we had entered somewhere beyond human experience. We were not lost in gorgeous woods or snake-filled bars or midnights where we felt a truly human yearning; we were lost in a place where there are no names, no faces, no hands to clasp so as to say, “We are flesh and bone; we are filled with complex thoughts and feelings; we are creatures of beauty.” 

How the hell was I supposed to be grounded as a human when “ Steroids ” kicked in and I was screaming “My whole life, my whole fucking life” over and over again, essentially littering the ground with my vocal chords? How the hell was I supposed to know the limits of my body as I leapt as high as possible to the screaming of “Destroyer!” in “ Lock Your Doors ?” How the hell could I be anything but a loose gas particle bouncing in ever-increasing fury?

It’s so odd for us to have felt so inhuman in the midst of such a deeply human band. Yes, even with MC Ride’s declaration that “I am the beast I worship” in “ Beware ,” Death Grips hits at the human experience like few have done before. At times, their discography seems to represent a disgust with the self, the struggle to love it, the burden of finding some kind of wonder in its relation to the absurd. For as beastly as their live show may have made me feel, I know that humans are all-powerful in the context of Death Grips’ art. It is those of our flesh that hold the rope, in the end. And it is those same people who choose not to use it. 

Within all the horrors and crags of the human experience, what excitement lies within! I look back on 3 a.m. nights in a shutdown 2020 world, those nights where I’d be flailing all over my room to “ Three Bedrooms in a Good Neighborhood ,” “ Inanimate Sensation ,” “ Punk Weight ,” “ Turned Off .” I look back on empty, cavernous days where, through waves of angered, hopeless thought, there were beasts on the horizon blasting “ BB Poison ” in a Mad Max wasteland.

I daydreamt all the time. I still daydream all the time. And I think of those beasts on the horizon sending red dust to the sky with sneers on their faces, their hearts 101% full. And now I realize that those beasts have always been human. They have been those who give their all under flashing red lights. They have been those who throw themselves into sweat-stained, stinking whirlwinds. They have been those who scream every word to the agonizing, shimmering labyrinth of a song that is “ Up My Sleeves .” 

I have few excuses to ignore the beauty simmering just over the horizon, now. I’ve waited four years to see the sun shine so bright. Maybe it’s silly for something to mean so much to me; maybe not. But while slouched in sterile office chairs; while driving through cities where every street looks the same; where every block has the same restaurants; where each car window sheds the same loneliness; while boiling in a general, shared malaise; I need something to mean so much to me. That thing may not even be Death Grips: It may be some intangible thing they unlock. Some strange hope. 

As for my lost wallet and car keys, I found them after the show. The wallet was rather beaten up and two non-essential keys were missing, but the essentials were there. Miraculous, really. And very fortunate — those items tend to mean quite a bit in the physical world. Thank you to those who held them up. I appreciate you endlessly. 

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Death Grips at The Tabernacle: Concert Review

As soon as I approached the Tabernacle in Atlanta, GA, I was immediately met with all manner of eccentric characters anxiously awaiting to see Death Grips. The Sacramento-based experimental hip-hop group has gained a cult following who is well known for being outlandish and “in your face”, much like the band itself. They were founded by vocalist MC Ride (Stefan Burnett), drummer Zach Hill, and keyboardist Andy Morin. Morin parted with the band earlier this year, and thus many synth portions of the band’s catalog were replaced with guitar accompaniment from Nick Reinhart.

Their current tour came as a surprise to many, given that it has been over five years since their last album. In addition to this, very little information on the band’s status was given to fans beyond cryptic social media posting. Throughout their musical career spanning over a decade, Death Grips has kept themselves at a distance from their listeners, opting to not play much into fanfare.

The band’s mysterious nature was reflected in the show itself. The venue was set up similarly to a theater; its grandiosity and elegance was juxtaposed by harsh red stage lights and, of course, the aggression of the fans. Once the show began, I was along for a ride with no breaks. Death Grips did not have an opener, nor did they have any interest in an encore. In fact, they didn’t plan to even take breaks between songs. The opening track “System Blower” began, and from that moment onward, the trio would not cease to perform for even a moment until the show ended.

The mosh pit formed immediately; if you were standing in general admission, you were going to be a part of it. This pit was not for the faint of heart, featuring a non-stop barrage of fans shoving, throwing, surfing, and falling; despite this chaos, the fans maintained a level of respect shown through helping those who fell or wanted to exit the pit. Along the way there were some brief moments of “rest” when most fans would switch to more jumping and cheering along with iconic hooks, such as during “I’ve Seen Footage” and “Takyon”.

In the face of such a long-spanning and high energy career, the band sounded as good as ever. Ride’s ability to maintain his ferocity without pause and Hill’s never-ending precision were both marveling to see given their age. The lack of Morin’s keyboard work was disappointing, but Nick Reinhart was a welcome addition to the mix that appealed to my rock sensibilities.

Reinhart has collaborated with the group in the past, and his aggressive and tone-heavy playing added a new dimension to many classic tracks. A standout moment for him was during the instrumental track “Runway J”, which featured the guitarist playing rock style riffs in tandem with Hill, then leading into the closing song “Hacker” with a guitar rendition as opposed to synths.

After following Death Grips' music for a while, it was a joy to see them perform live and their performance exceeded my expectations. A friend I brought knew very little of their work and left as a fan. Although their sound may not be for everyone, the energy they bring to their live performances can likely satiate the desire for immersive and heavy shows in those that want it. I, like many others, am left with the desire to see them again and hear new music released soon.

Concert Review: Chris Renzema at John Emerald Distillery

Rapture waltz by johnny manchild and the poor bastards: album review, concert review: jd mcpherson at standard deluxe.

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Review: Death Grips return to Minneapolis on their long-awaited comeback tour

Returning to Minneapolis for the first time in six years, the trailblazing industrial hip-hop trio Death Grips headlined a concert at the Fillmore and delivered a set that felt like a highlight reel of their inventive 2010s output.

The crowd of hipsters, goths and sweaty shirtless dudes was packed like sardines on the floor of the Fillmore as they awaited the sole act of the night, Death Grips. The ensuing performance proved to be a satisfactory release of energy for both the musicians on stage and the nearly 2,000 fans inside.

Amid speculation the band had broken up, fans were surprised last year when the lineup for the Las Vegas musical festival Sick New World included the group. This was the first Death Grips news since the pandemic hit, and the band subsequently announced a full North American tour.

Taking the stage in total darkness, Death Grips went from zero to 100 by opening the setlist with “System Blower” and “I’ve Seen Footage,” two noisy highlights from their decade-defining classic album “The Money Store.” As the distorted melodies of “I’ve Seen Footage,” one of Death Grips’ best-known tracks, rang out, the mosh pit was set ablaze with energy.

Impressively, vocalist and rapper MC Ride, a man in his mid-40s, still exudes the stunning level of primal ferocity he displayed across the group’s six studio albums, commanding the room effortlessly despite being decades older than much of the crowd.

For just over an hour, there was a flurry of bodies coalescing in the mosh pit for almost every song, with circle pits forming for some of the most high-powered tracks such as “Get Got,” another fan favorite from “The Money Store.”

By and large, the industrial trio stayed faithful to the studio renditions of the songs during their Minneapolis live performance. However, the band changed it up with their rendition of “Bubbles Buried in this Jungle,” one of the strongest songs off their 2016 album “Bottomless Pit.” On the studio recording, the track is driven by an electronic bassline and industrial-electro-trap production. But, when performing it live, the band took it into a more noise-rock direction defined by distorted guitar and Zach Hill’s loud, cymbal-heavy drum performance.

The set hit its climax with the song “Black Paint,” a single from their, as of now, final studio album “Year of the Snitch.” It is a visceral industrial rock track that lends itself to hardcore pogo-dancing and left many concert attendees breathless.

The final song, “Hacker,” was the peak in energy from both the band and the crowd, as MC Ride jumped up and down on stage — and the fans on the floor following suit — to one of the group’s most iconic lyrics, “ I know the first three numbers , I’m in — I’m in your area, I’m in your area .”

Appearing as silhouettes for the entire show because of the deliberate choice to have as little front-facing stage light as possible, Death Grips were as mysterious and energetic as ever on their 2023 tour. While the prospect of new Death Grips material would be exciting after all these years, the typical Death Grips die-hard that attended the show was probably indifferent to this fact, as the band showing up to perform at all is a miracle in and of itself given their track record . 

Death Grips do not come to the Twin Cities often, so, for many, this felt like their only opportunity to see them in person. The band met expectations by putting on a visceral live show of experimental music, actualizing their signature primal energy in front of the Twin Cities crowd — you can not say the same for just about any other band fronted by a man in his 40s. Death Grips has still got it.

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Death Grips live at Primavera Sound: a closing blast of raw power

Even heavier than Eurovision

Words by Luke Cartledge Photos by Sam Walton

Death Grips are late because that silly Eurovision band Måneskin overrun and encourage a stage invasion at the end of their set a few hundred metres away. Which is just a funny sentence really. Anyway, after seeming like they might just get started regardless, causing an even funnier sound clash, MC Ride, Zach Hill and Andy Morin eventually stalk onstage silhouetted against a sheer red backdrop, and they waste no time. Peals of noise and juddering rhythm almost flatten an absolutely knackered 2am-on-night-three crowd, before everyone recalibrates and finds their last reserve of energy. So far, this has been Primavera 2023 ’s most joyous, pop-focused night, with Rosalía and Calvin Harris topping the bill and an inclusive atmosphere permeating the festival site; yet for a furious forty minutes or so at the Parc Del Forum’s central Ron Brugal stage, it’s kicking off.

The hits (physical, not commercial) come thick and fast. ‘Hustle Bones’ is a screwfaced statement of malign intent; the flailing synth line of ‘I’ve Seen Footage’ collapses over us like a rotten highrise mid-demolition; ‘Get Got’ stutters and grinds expertly, the blinding synth loops shearing off the grunting low end like sparks. There are no gaps, no between-song chat, little to suggest that Death Grips are here to do anything other than stomp a few heads and skulk off into the night. 

It’s a raw, unfiltered set, thrown out across the Catalan seafront in lumps and shrapnel. Hill’s drumming pushes and pulls on the tempo, his grooves sounding pissed off to be restrained by the precision of Morin’s programming. Throughout it all, Ride is relentless, a writhing, demonic presence dragging us along mercilessly. This is part of their first tour since 2019, and in the best way, it shows: they’ve got the same potency as ever and the machine is well-oiled, but there’s a feeling that it could career off-road at any minute.

Before long, Death Grips are firing through ‘Giving Bad People Good Ideas’, ‘Anne Bonny’ and a closing blast of ‘The Fever (Aye Aye)’ and then they’re gone, having played the most punishing set of the weekend. They might even have the edge on Måneskin.

Photography by Sergio Albert

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Concert Review: Death Grips and Ministry

Written by nehemia tekleab on november 16, 2017.

Death Grips

Death Grips’ producer/engineer/DJ, Andy Morin

Last Friday, at White Oak Music Hall, I had the opportunity to see Death Grips and Ministry perform. Prior to the show I had never really listened to Ministry. The few songs I heard had the same industrial/EBM feel that Death Grips is known for in their production. I assumed that there would be some overlap in the two fanbases. I was wrong. Upon arrival to the White Oak, there was a distinct age gap between Death Grips fans and Ministry fans. Very rarely did I find anyone who looked like they were born before 1995 in the front for Death Grips and vice versa for Ministry. If there was any overlap it was with the younger crowd that, like me, enjoyed a couple songs they had probably heard on the way to the venue.

Death Grips’ lead vocalist, Ride

As for the shows themselves, Death Grips did not disappoint. As expected the group walked onto the unlit stage, put down their equipment and after a short electronic preamble, opened with a “Lock Your Doors”, a track off their 2012 album No Love Deep Web . From the moment they started, chaos erupted. The crowd became a wave of bodies thrashing to the beat of Zach Hill’s inhumanly fast drumming. The air become became ten degrees hotter. The lasers on each of the band members’ hands became blurry, disorienting beams of green light. The band made no acknowledgement of the audience, each of them trapped in their own unique sonic fugue states. Andy Morin, the group’s producer/engineer/DJ, would jerk and whip his head rapidly as he manipulated the intense textures played through the speakers. Ride would shake and twist like a wet dog, all while barking into the microphone. This was probably one of his strongest live performances. He landed every scream, screech, and yell in every song with no backing track, all while remaining in constant motion. Each song launched right into the next with only a short dirty electronic interlude to give the audience time to breathe.

Death Grips’ drummer, Zach Hill

The set list felt concise in that it contained the best Death Grips song from each album, with the exception of their self-titled EP. I may have heard a bit of Interview but it could’ve been something else. What excited me the most was the inclusion of “Up My Sleeves”, “Say Hey Kid”, and “Have a Sad Cum” off the first disc from The Powers That B . When their set ended it felt like their performance had felt so brief but also so immense. I felt like I had been baptized in the sweat of the hundreds of other young people in attendance. I feel like I would be doing myself a disservice by missing them on their next tour.

Ministry, however, was a bit different. Their stage set up was more ornate with lead singer Al Jourgensen’s mic stand decorated with demon skulls and vines snaking around the shaft. On both wings of the stage were giant inflatable chickens with not-so-subtle toupees and X’d out swastikas on the belly. The projector screen behind them played warped images and footage meant to evoke dissatisfaction with the status quo. By the time Ministry took the stage, almost all the Death Grips fans cleared out.

Ministry’s lead vocalist, Al Jourgensen

The band opened with their song “Punch in the Face” which definitely set a strong groove for the rest of the show. Sonically, the band was on point. Each member got their chance to flex their technical muscles on stage. As a frontman, Jourgensen was more playful than his co-headliner. His very flamboyant onstage persona reminded me of Lil Uzi Vert weirdly enough. The crowd for Ministry was also better behaved, in the sense that it was more organized chaos.  Because of the more experienced, metal-oriented audience, there was a designated mosh pit in the center of the house. The Death Grips crowd, however, was made up of kids with minimal exposure to the metal scene, which made it a bit more chaotic. The air was easier to breathe in the Ministry pit than it was in the Death Grips pit, but you were more likely to get bruised up. It was also interesting to throw down with people old enough to be my parents.

Ministry’s guitarist, Sin Quirin ft. a Black Bloc member

One of the highlights of Ministry’s show was their performance of an unreleased song called “Antifa”. Personally, I take no issue with a band using their platform to speak on topics they care about, especially when they’re topics that I care about. Message aside, I didn’t really enjoy that song as much as I should’ve. The chanting of “we are not your snowflakes” and “resist” felt too on the nose and very cliched. In the current political climate, broad, unambiguous anti-Trump anthems feel forced. Yes, Trump is an awful human being worshiped by other awful human beings and it needs to be addressed. If the band wanted to rile me up about America’s descent into fascism, I wanna have something more to chew on. I wanna hear about how this man is ruining our country. The mere mention of the rhetoric of him and his constituents use, doesn’t really have an effect on anyone anymore. Plus, the Black Bloc members waving the anarcho-communist flag was a little over the top. The rest of the show was pretty strong. They came for an encore and played a cover of “Gates of Steel” by DEVO. Their DJ even did a short set while performing magic tricks.

Trump chicken

I had a good time with both acts, but I would’ve loved to have seen them separately. Maybe it’s just bias, but Death Grips kind of blew Ministry out of the water, with less crowd interaction and less stage design. Overall, seeing Death Grips and Ministry together was a positive experience.

Nehemia Tekleab

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Posted on May 5, 2023 by Michael

Vancouver BC , Canada was taken by storm on May 5, 2023, as the pioneering experimental hip-hop group Death Grips took the stage at the iconic Harbour Event Centre . From the moment the lights dimmed and the crowd erupted with anticipation, it was clear that this was going to be a concert experience unlike any other.

Death Grips, known for their intense and boundary-pushing sound, delivered an electrifying performance that left the audience breathless and craving for more. The energy in the venue was palpable as the trio, comprised of MC Ride, Zach Hill, and Andy Morin, launched into their set with raw power and aggression.

From the first distorted beats of “Giving Bad People Good Ideas” to the frenetic chaos of “Guillotine,” Death Grips commanded the stage with an unrivaled intensity. MC Ride’s commanding presence and visceral delivery had the crowd in a frenzy, with fans shouting every word and bouncing in unison. The combination of Zach Hill’s explosive drumming and Andy Morin’s expertly crafted electronic soundscapes created a sonic assault that penetrated the very core of the audience.

One of the highlights of the night was the performance of “Hacker.” The relentless energy of the track had the entire venue pulsating, and as the chorus hit, the crowd erupted into a euphoric state. It was a truly mesmerizing moment, with the band’s sheer power and the audience’s unwavering devotion merging into one unified force.

What made this concert truly exceptional was the sense of community that permeated the venue. Death Grips’ music has always attracted a unique and dedicated fan base, and that sense of camaraderie was on full display. Strangers became friends, united by a shared passion for the music and the unbridled energy of the performance.

The production value of the show was also noteworthy. The lighting design perfectly complemented the chaotic nature of Death Grips’ music, with strobes and lasers cutting through the smoke-filled air, enhancing the overall sensory experience. The visual elements added an extra layer of intensity to an already mind-bending performance.

As the night came to a close with the explosive “No Love,” Death Grips left their mark on Vancouver. Their unapologetic and boundary-pushing approach to music resonated deeply with the crowd, leaving an indelible impression that won’t soon be forgotten. It was a concert experience that transcended the boundaries of traditional performances, pushing the audience to their limits and beyond.

In conclusion, Death Grips’ live show at the Harbour Event Centre was an awe-inspiring, mind-altering experience. Their uncompromising sound, explosive energy, and dedicated fan base created an atmosphere that was unparalleled. Vancouver was fortunate to witness this musical phenomenon, and the memories of this unforgettable night will be etched in the hearts and minds of all those who were lucky enough to be there.

Review: Death Grips’ ‘Year of the Snitch’ Is a Cyber-Noise-Punk-Rap Disruption

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The sixth album from noise-punk-rap cyber-transgressives Death Grips is one of their least aggressive offerings to date, but still quite disruptive. Special guest DJ Swamp, the enfant terrible of the Nineties turntablism boom, is almost like a fourth member of the band, squiggling and squarking all over Year of the Snitch . A glitch in the system, Swamp furiously cuts up old Death Grips songs, making one of the most Internet-funhouse-mirror bands of all time reflect back on itself.

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MC Ride increasingly tempers his shouts with steely-eyed speak, creating a post-internet buzzword slam poetry that’s mostly impenetrable but still decidedly contemporary. Lines like “Necro Winnebago, worship on shroom in safe zones” (“Flies”), “Tell the princess eat shit and die – ownage” (“Ha Ha Ha”), a title like “Death Grips is Online” or even a guest spoken word into from Shrek director Andrew Adamson, spit our memes, buzzwords and Internet obsessions back to us like Black Flag gone Black Mirror .

Fans of Zach Hill’s early-2000s prog-splatter band Hella will enjoy the clearest and most acoustic sounding drums to appear on any Death Grips release to date. The most visceral tune may be the agoraphobia slam of “Black Paint,” but the most interesting development is album’s closer “Disappointed,” which sounds like the hocketing of Dirty Projectors interpreted by a hardcore band. 

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Band in the USA: Death Grips are ‘in concert’ across 2023

It’s cliché but true: The only thing to expect from a Death Grips live show is the unexpected. And come 2023, the experimental hip-hop trio from Sacramento will show us why once again as they take shit on the road for the first time since 2019 for two runs that combine festival appearances with headlined club shows. The first leg hits in May out west around Death Grips’ appearance at Las Vegas’ Sick New World Festival ; the second livens up September and October after Chicago’s Riot Fest and plays Boston’s House of Blues on September 20. Tickets to the club shows go on sale Friday (December 9) at 10 a.m. local time; get all the dates for Death Grips “in concert,” as the flyer boldly declares, below.

Death Grips 2023 Tour Dates: May 4: Portland, OR – Revolution Hall May 5: Vancouver, BC – Harbour Event & Convention Centre May 6: Seattle, WA – Showbox SoDo May 8: Salt Lake City, UT – The Union Event Center May 9: Denver, CO – Ogden Theatre May 11: Phoenix, AZ – The Van Buren May 12: San Diego, CA – The Observatory North Park May 13: Las Vegas, NV – Sick New World Festival May 16: San Francisco, CA – The Warfield May 17: Los Angeles, CA – Hollywood Palladium May 18: Santa Ana, CA – The Observatory Santa Ana September 13: Minneapolis, MN – The Fillmore September 16: Chicago, IL – Riot Fest September 17: Detroit, MI – The Fillmore Detroit September 18: Toronto, ON – Danforth Music Hall September 20: Boston – House of Blues September 21: New York, NY – Brooklyn Steel September 23: Philadelphia, PA – Union Transfer September 25: Nashville, TN – Brooklyn Bowl Nashville September 26: Atlanta, GA – Buckhead Theatre September 28: Orlando, FL – The Vanguard September 29: Fort Lauderdale, FL – Revolution Live at the Backyard September 30: St. Petersburg, FL – Jannus Live October 2: New Orleans, LA – The Fillmore New Orleans October 3: Houston, TX – Bayou Music Center October 5: Austin, TX – Emo’s October 6: Dallas, TX – Southside Ballroom

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Death Grips  

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Death Grips (formed in 2011) is an American experimental hip-hop group, also dubbed industrial and noise hip-hop. Know for their displays of spontaneous destruction and musical improvisation, the band hails from Sacramento, California, U.S.

Since the band’s formation in December 2010, Death Grips’ output has been prolific and quick to garner critical acclaim. Formed of rapper Stefan Burnett, also known by his stage name Ride, drummer Zach Hill, and producer Andy Morin, Death Grips recorded their debut song “Full Moon (Death Classic) on their first day together as a group. The song earned its release in March 2011 along with four other tracks that made up their debut EP “Full Moon”. A month later the mixtape “Exmilitary” appeared for free download and it slowly made its way across the blogosphere, generating an intense buzz for the band.

In February 2012 Death Grips singed with Epic Records at the request of marketing vice-president Angelica Cob-Baehler. The band’s label debut “The Money Store” was released in April 2012 to critical acclaim following reviews from Pitchfork Media, Drowned in Sound, and Allmusic. Aided by the singles “Blackjack”, “Get Got”, and “The Fever (Aye Aye)”, the album charted respectively on the Alternative, Heatseekers, Rap, and Rock album charts. Death Grips had intended to embark on a thirty-date international tour, however to the disappointment of their fans and label, the band headed back into the studio to work on their sophomore release.

The fruits of that recording period surfaced as “No Love Deep Web” in October 2012. Self-released on file-sharing services via links posted from their social media accounts, the band were subsequently dropped from Epic Records. Like its predecessor, the album earned strong reviews from critics and fans despite the graphic nature of the album cover, and even topped BitTorrent’s “List of Most Legally Downloaded Music” with 34,151,432 downloads. Following the release Death Grips embarked on their promised worldwide tour including shows in London, Paris, and Sydney. During this time the band also remixed two Björk tracks “Sacrifice” and “Thunderbolt” for her “Biophilia Remix Series”.

In July 2013 Death Grips launched their label Third Worlds in partnership with Harvest and Capitol Records, on which they released their fourth full-length album “Government Plates”. Led by the single “Birds”, the album was once again uploaded by the band to multiple fire-sharing sites, and earned a vinyl release for Record Store Day. The instrumental soundtrack album “Fashion Week” was released by the band in January 2015, and marked the first record since Death Grips’ disbandment in 2014. The double-disc full-length “The Powers That B” followed in March 2015, and saw the return of Ride’s vocals to the band’s mix. The record features vocal contributions from Björk and was led by the single “Inanimate Sensation”.

Live reviews

Holy shit. That was all we could say after the Death Grips concert. When I had gotten in line at Trees in Dallas, Texas and met up with some awesome 16-year olds from Oklahoma who had made the trek just to see hip hop's bleakest and most unique act, we thought we had an idea of what we'd be in for. But it still felt like a surprise when the curtains opened and MC Ride (born Stefan Burnett) came on stage with a purposeful visage. The kind of look that made you feel like he despised everyone in the room. But people started jumping, screaming and moshing, to the point where those who didn't want to fight and just wanted to enjoy the music had to collect a bit further away from the stage. I was one of those people, but I still had a great view of Ride, drummer Zach Hill and producer Flatlander. They played so many cuts from across their discography, underground hits like "get got" and "I've Seen Footage" to more obscure and obtuse tracks from Government Plates and The Powers That B, like "You Might Thinks He Loves You For Your Money" and one of my personal favorites, "Up My Sleeves". They played short versions of some tracks, and they didn't stop for a single second. There were no breaks. Every single track lead into another and MC Ride only stopped for water and to wipe the sweat off his face. Death Grips' performance of "Inanimate Sensation" was one of my favorite performances of the night. And Burnett's vocal delivery varied drastically from the record during some songs. At certain points he was straight-up cackle-talking like a demon. And in turn, I had voices coming out of me that I had never heard before, and they were all rapping along with him. The energy of the crowd was unyielding, but even it couldn't compare to the energy of Death Grips themselves. The fact that they could nearly an hour of songs without a break is a feat. Although it's to be expected from Zach Hill, who has broken his testicles twice during performances. After the concert was over, Death Grips left without a single word. And everyone immediately headed to the bar and the bathroom to get some goddamn water and wonder whether that had really just happened. Once I left Trees with my new friends, we went to the parking lot and gushed about the life-changing experience we had just had in there. There were people in the parking lot smoking cigarettes like they had just had sex. All in all, Death Grips at Trees was a sacrilegious experience. Some on Twitter called one of their shows "the Devil's rave", and that's even more true than I thought it was going to be. I urge you, if you're a fan of Death Grips, see one of their shows if they are coming to your area. It will be one of the most memorable experiences of your life.

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“I’ve got the powers that B, running through me!” A shirtless MC Ride was marking his territory on the large, spacious stage in front of a violently enthusiastic audience. Zach Hill, also shirtless, was doing his best Animal impression behind the drum kit. Andy Morin (aka Flatlander) was stoically standing behind his station, while his fingers were hard at work decimating thousands of eardrums with the deafening sounds of Fashion Week. “My favorite color is OH MY GOD BITCH!” Ride, seemingly not giving a shit that OH MY GOD BITCH isn’t a color, and that he was bellowing this nonsensical declaration over what was supposed to be an instrumental track, created microbursts within the crowd. Small pits would form and disperse as waves of bodies broke along the railing. The performance had just begun and Ride had already commanded control of the chaos.

Death Grips are a band (sorry, I mean a ‘conceptual art exhibition anchored by sound and vison’) that is notorious for showing a complete lack of professionalism when it comes to meeting obligations. The fact that they were on stage at the Ogden Theatre was a wonder in itself, but to see Ride, Hill and Flatlander performing in full 3D was the equivalent of witnessing villains climbing out of an old comic book and then proceeding to pillage your hometown. Death Grips are only three men, but they came equipped with the noise of legions. And although they don’t like to fuck with the physical world all that much, they were completely successful in dragging the depths of the Deep Web to the surface last night. I can’t claim to understand who or what Death Grips are. I just know I have a not-so-healthy relationship with their music. It just hurts so good. They were only a minute and a half into their hour and a half set and they were already dishing out enough pain and humiliation to make any masochist happy.

- See more at: http://ilistensoyoudonthaveto.com/2015/06/25/death-grips-ogden-theatre-06-24-15/#sthash.2XKo436I.dpuf

Absolutely nuts. Death Grips were fantastic, playing for an hour straight, moving from one song to the next without any pause. The atmosphere was electric and infectious from the first song to last. They came out with laser lights attached to their fingers and heads that created a fantastic unique light show as they played, making the lights very literally match the beats and energy of each song and each members movements. The crowd was amazingly wild and the pit was brutal in all the best ways. Everyone was extremely respectful and followed moshing etiquette to the letter despite the pit being the most insane thing I've ever seen at a concert. The concert was a once in a lifetime experience and something I will never forget. There is nothing quite like seeing Death Grips live while going absolutely nuts in the pit with a hundred other people losing themselves in the music as well, sweating, bumping, pushing, moshing, and flailing against each other, feeding on the energy and atmosphere of the music and their peers. The entire venue wasn't one giant mosh pit as there were 3 distinct sections, one specifically being dedicated to the pit so if you aren't the type of person looking for such a violent or insane experience, there will always still be a place at the concert for you to just watch, dance, sway to the music, take in the visuals and experience, and do your own thing. You may still be brushing up against people but that's always to be expected with any general admission concert and honestly I think that aspect helps create community and adds a lot to the experience. Overall, this is the greatest cocnert experience I have had and I will 100% be seeing them again if they ever come anywhere near my town again. No exceptions. 10/10

It’s all very well going along to see a band and not knowing what to expect, but one should at least feel pretty strong in your conviction that the band are going to show up. It hasn’t always been the case with Sacramento’s formidable experimental rap outfit Death Grips, but the times they have graced the stage (which is, to be fair to them, far more often than not), have been such visceral experiences that folks seems willing to turn a blind eye the odd no-show. Poor date keeping seems pretty fitting with their unashamedly confrontational manner of going about being in a “band” (in the loosest sense of the term) anyway, what with their live shows being some of the most unhinged displays of maniacal rapping from MC Ride and drumming from Hella’s inimitable Zach Hill one could ever sensibly wish for. Battered snare drums often end up splattered with Hill’s blood when not thrown across the stage in a destructive huff, and avoiding eye contact with MC Ride is advice you should take great care in noting down, but for unadulterated and not a little dangerous levels of perverse musical enjoyment, there’s really not much beating Death Grips.

Sacramento hip hop trio Death Grips have created a live show that is considered something of a ritual as opposed to a simple gig. They are known for their incredibly experimental attitude towards live conventions and every tours sees them attempt to reinvent themselves or work in something new when performing. Therefore the audience gathered tonight really does not have any idea as to what they are about to witness. For some this is incredibly exciting yet others feel slightly uneasy as the dim lights illuminate the stage and the three figures stand ominously casting large shadows.

The awkward silence is broken by huge, piercing drums as the half naked musicians appear to spring into life and throw themselves to opener 'Lost Boys'. They run through a setlist comprising exclusively of the first three albums at blistering speeds. Each member is completely transfixed in a frantic musical zone as they screech, rap and chant over the chaotic instrumentals. By the finale of 'Lock Your Doors' every musician is drenched in sweat and the applause received seems very much earned.

The show started off very intense as we all stood there for just under 2 hours with this rising synthetic tone similar to 'Inanimate Sensation'. Then Death Grips show up on stage Andy Morin waved to us, then the show started as soon as Zach, Andy and Stefan took ahold of their instruments and it was literally 2 hours non stop 25 tracks no breaks no talking to the crowd no intro just 25 cutthroat bangers from Death Grips I also felt the fans were very respectable and were good hearted people especially since I was nervous at first as I was at the show alone. But I soon got comfortable as everyone was there for the same reason and we were all there enjoying the music. They performed few tracks from all of their projects including the Death Grips EP. The show was insane and there was no outro some flashy lights that went to black and Stefan and Zach was gone when the lights came back up and Andy gave us a little wave and that was it no encore no interaction (Apart from the little waves and nods) just non stop bangers and abrasive music. Was lit.

The worst, and really annoying thing about this gig was the incompetence of the venue staff. Having just *one* person searching every gig-goer at a time meant that almost all of us were queueing for hours. When I got into the venue, for example, having stood in line for two hours, Death Grips had already started their set! That was extremely annoying, and the venue need to sort out a better arrangement. All of us had paid (quite a lot) to attend the *whole* gig, not just the bits that were left of it after we'd finished queuing.

When I did get in, though, the gig was pretty good. Death Grips ran through material from all their albums (or at least the four I know), and did so without a break! Highlights (for me, anyway) were 'I've seen Footage', 'Up my Sleeves', and 'Giving Bad People Good Ideas', the opener from the new album 'Bottomless Pit'. MC Ride was fantastically animated throughout, and I'd definitely go and see them again (but not at this venue!).

Noided, in terms of whether I'll ever have sensitive hearing ever again or if what I'm perceiving to hear is what I'm actually hearing.

They had no support act, which I'm not sure is a usual trope of their live shows. Prior to Stefan, Zach and Andy's arrival onstage, there was a bass-heavy drone that is very difficult to describe without actually experiencing it. That really built up the suspense and anticipation for their set, which was just non-stop one song after another performed with a very infectious energy that was spread into the crowd. The weird thing about them having no breaks or hesitations between tracks was that their set felt both very long and very short simultaneously; once it had finished I felt that I needed closure, without realising they had performed for an hour and thirty minutes haha. A great time nontheless, but wear earplugs (y)

There was a point at which I genuinely thought, "Oh shit, I've gone deaf." Parts of "Steroids" and "Giving Bad People Good Ideas" were so insanely loud it felt like I was underwater; the sound had taken on a physical quality I had never experienced (and I've seen these guys before). It was an hour of relentless brutality. There's nothing quite like a Death Grips show. My ears are still shot, but the first thing I did when I woke up this morning and started my commute was pop on "Steroids." Love this band so much, and their live shows reinforce that love. Stay noided!

This was the best show I have ever attended. The Fillmore was a cool venue. I was at the very front of the crowd and I wilded out for the entirety of the show. At one point, I lost my balance and threw my arm around a guy to catch myself, and before I could do anything he put his arm around me and we stayed like that for the rest of the song. I highly recommend everyone see Death Grips in order to have a life changing experience. I also recommend wearing high fidelity earplugs when you go! They reduce the sound to safe levels without changing the quality of the music.

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Death Grips Announce 2023 North American Tour

Death Grips have waken from their post-COVID slumber, announcing their first tour after nearly four years off the road.

The hyper aggressive and experimental rap-rock hybrid act were added to a number of festival bills for 2023, including Sick New World , Primavera Sound and Outbreak Festival, but it turns out those performances won’t be one-offs.

Death Grips will begin their 2023 North American tour on May 4 in Portland, Ore. and stick around the west until May 21. After a break, they’ll reemerge in the summer, hitting the rest of the U.S. and Canada until Oct. 7.

Check out the full list of dates below.

Death Grips 2023 North American Tour Dates

May 04 - Portland, Ore. @ Revolution Hall May 05 - Vancouver, British Columbia @ Harbour Event & Convention Center May 06 - Seattle, Wash. @ Showbox Sodo May 08 - Salt Lake City, Utah @ The Union Event Center May 09 - Denver, Colo. @ Ogden Theatre May 11 - Phoenix, Ariz. @ The Van Buren May 12 - San Diego, Calif. @ The Observatory North Park May 13 - Las Vegas, Nev. @ Sick New World Fest May 16 - San Francisco, Calif. @ The Warfield May 17 - Los Angeles, Calif. @ Hollywood Palladium May 18 - Santa Ana, Calif. @ The Observatory May 20 - San Francisco, Calif. @ The Warfield May 21 - Los Angeles, Calif. @ Hollywood Palladium Jul. 21 - Tucson, Ariz. @ Rialto Theatre Jul. 22 - Albuquerque, N.M. @ Revel Entertainment Center Jul. 25 - Kansas City, Mo. @ Arvest Bank Theatre At the Midland Jul. 26 - Chesterfield, Mo. @ The Factory Jul. 28 - Louisville, Ky. @ Old Forester's Paristown Hall Jul. 29 - Indianapolis, Ind. @ Egyptian Room at Old National Centre Jul. 30 - Grand Rapids, Mich. @ GLC Live at 20 Monroe Aug. 1 - Newport, Ky. @ MegaCorp Pavilion Aug. 2 - Cleveland, Ohio @ Agora Theater & Ballroom Aug. 4 - Sayreville, N.J. @ Starland Ballroom Aug. 5 - New Haven, Conn. @ College Street Music Hall Aug. 7 - Pittsburgh, Pa. @ Stage AE Aug. 8 - Washington, D.C. @ The Anthem Aug. 9 - New York, N.Y. @ Terminal 5 Aug. 11 - Raleigh, N.C. @ The Ritz Aug. 12 - Charlotte, N.C. @ The Fillmore Charlotte Aug. 13 - Asheville, N.C. @ Rabbit Rabbit Sept. 13 - Minneapolis, Minn. @ The Filmore Sept. 16 - Chicago, Ill. @ Riot Fest Sept. 17 - Detroit, Mich. @ The Filmore Detroit Sept. 18 - Toronto, Ontario @ Danforth Music Hall Sept. 20 - Boston, Mass. @ House Of Blues Sept. 21 - Brooklyn, N.Y. @ Brooklyn Steel Sept. 23 - Philadelphia, Pa. @ Union Transfer Sept. 25 - Nashville, Tenn. @ Brooklyn Bowl Nashville Sept. 26 - Atlanta, Ga. @ Buckhead Theatre Sept. 28 - Orlando, Fla. @ The Vanguard Sept. 29 - Fort Lauderdale, Fla. @ Revolution Live At The Backyard Sept. 30 - St. Petersburg, Fla. @ Janus Live Oct. 02 - New Orleans, La. @ The Filmore New Orleans Oct. 03 - Houston, Texas @ The Bayou Music Center Oct. 05 - Austin, Texas @ Emos Oct. 06 - Dallas, Texas @ South Side Ballroom Oct. 07 - Austin, Texas @ Emos

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