Glass Animals – Cane Suga

The last four seats in The Greek were to the far left of the stage, fifty yards up past the pit. After a quick-spot, we climbed the amphitheater stairs, shuffled past a couple dressed in all-black, and staked our claim. Below, a seething crowd suddenly came to life, incensed by the feral, weaving drumbeat of Glass Animals’ opener, Life Itself.


We quickly established good community relations with our neighbors, offering what little supplies we had – a green tea bottle with clear tequila, two limes and a pinch of the devil’s lettuce. In return we received cigarettes and more space, a rare commodity that night.

All of us were eager for a familiar groove that would validate our ticket expense, a reenactment of countless private interactions. But that night the unexpected ruled, most notably, Cane Suga, an outburst of boot-stomping trap that liquefied body parts and set in motion a series of amphitheater antics.


Published by


What will be left?

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s