The Journey to Our First Live Gig

When we were working out how to do this first-ever live gig, it was quite tricky. Maxie, our frontman and rapper, had done several tours as a hip-hop artist with a DJ behind him mixing and scratching while he rapped. He found that setup very limiting. There were also many PAs who used to go around clubs, featuring a singer with either a DJ or someone miming in the background with a keyboard playing what was then called adapt tape. Maxie felt this was also quite limited.

So we decided that live performance was the only way to go. But the challenge was how to make electronic music make sense in the live arena. In the studio, we could multi-track everything, with various layers to the music, which made it complicated.

Starting Big

We ended up, quite ridiculously, with a 10-piece live band to start with. Our lineup included:

• Two keyboard players (I was one of them)
• A host of singers
• Bass guitars
• Drums
• Percussion

It was almost impossible to fit us all on stage simultaneously, so we pared it down to an eight-piece live band. This setup allowed us to maintain much of the texture and dynamics found on our albums, which typically could only be achieved with a multi-track recording facility, but we could actually play those elements live.

Unique Mix of Elements

What made our approach unique was the mix of acoustic elements with recorded electronic parts. For us, the beats in dance music had to be really insistent and tight, which we embellished with live drums.

We discovered that by using a piece of equipment called an MPC, popular among hip-hop producers for making beats, we could use it as a sequencer. This allowed us to run a house kick drum or a 909 sample underneath our dance tracks while the live players would perform around them. The goal was to create a seamless mix of acoustic and electronic elements, making it difficult to distinguish what was what, resulting in a sonically exciting and otherworldly experience.

Restructuring Songs for Live Performance

When taking our songs into the live arena, we quickly learned that many elements from the records that hold up to repeated listening get lost in a live performance. This realization prompted us to strip things down to the bare essentials. Performing a show for an hour or an hour and a half is distinct from an album that you listen to repeatedly.

Thus, we crafted our songs with dynamic structures tailored for a live audience, allowing them to follow along easily. We aimed to ensure every element was played live while still mixing electronic and live elements to retain the metronomic, tight feeling characteristic of dance music.

We were keenly aware that many people had discovered our music in clubs; we didn't want to alienate them when they arrived for a live show, confused by the sudden presence of guitars and bass. Hence, while we made sure our performances referenced the album versions, they also possessed their own unique energy and dynamism.

The Importance of Groove and Riffs

We started with the stems of the beats, running them through the MPC, adding samples and sounds found on the album that could be played on pads by the drummer and percussionist. Much of Faithless's identity is groove-based, so it was crucial for the bass and drums to sit tightly together; we rehearsed them as a section before embellishing with other elements.

Another defining aspect of Faithless is our memorable riffs, those iconic bits you sing along to, such as from "Insomnia" or "Salvemere." When we brought in a guitarist, who added depth since there wasn't much guitar on the first record, they would often embellish the keyboard riffs I played live. Sometimes, those riffs would also be supported by the stems of the keyboard sounds underneath to keep my playing tight, as live musicians can tend to drift.

Maintaining Timing and Relationships on Stage

If programmed beats weren't available, we would have the click fed into our in-ears or monitors, ensuring the drummer played along to the click while the rest of the band kept time with them. This was particularly crucial on stage, as everyone has to listen carefully to avoid chaos.

Playing live requires everyone to know the arrangements of the songs, allowing us to function as one organism, which creates an exciting dynamic.

Building relationships on stage is vital; band members need to maintain eye contact, and the energy from the rhythm section can inspire the vocalists. Maxie loved standing close to the bass and in front of the drums to feel that energy, which influenced the meter of his rhymes and where the words fell.

Unique Live Remixes and Evolution of Performances

In Faithless, we took a unique approach; we didn't just recreate the versions of the songs from our albums. We crafted, if you will, a live remix for the stage. As we became a more established band, the arrangements subtly changed with every tour, partly from our natural progression and partly from fresh ideas brought in through remixes.

For instance, "Insomnia," which we've played for over 25 years, went through six different iterations. This was thrilling for us but sometimes left the audience a bit puzzled about when the "big moment" was coming.

The Experience of Faithless Live

One of the most enjoyable aspects of performing with a live band is the flexibility we have to play around with arrangements. While we always retained underlying structures, there was also room for freedom within those structures, creating something special and unique to our live shows.

We created an experience that went beyond simply playing music to an audience. It involved the audience in a dynamic musical journey, with a hypnotic element and real power.

Additionally, it's essential to consider the realities of performing at festivals, where we often played for crowds that didn't necessarily know us. This challenge pushed us to deliver the most powerful and exciting show possible, to convert new fans. Many people would approach us post-show, expressing how they never liked dance music but loved Faithless, confirming we were certainly doing something right.

Bridging Genres

Our unique musical and visual language appealed to fans who understood rock music, helping us secure gigs at main stages alongside massive bands like Limp Bizkit, Lenny Kravitz, and R.E.M. In contrast, electronic music artists were often relegated to dance tents, typically being a DJ or two guys with laptops.

Ultimately, our ability to blend the languages of rock and electronic music allowed us to transcend the traditional boundaries that often limited our genre. We opened doors that had long been shut, reaching an audience that appreciated both worlds, and we were proud to do so.