DayGlow Goes Hard in tha Muthafucking Paint @ The Great Saltair 10.07

Posted October 12, 2011 in

Dayglow Miami
Walking into The Great Saltair for Dayglow was a surreal experience. Huge balloons that reminded me of coral and inflatable lit amoebas surrounded the stage, with a giant 3D clock serving as the back drop that was counting down the minutes to the first blast of paint. The blue, green and orange neon paint that night would come from the side of the stage by way of cryo-jets, squirt guns and good old buckets. Colyn Stencil, DayGlow’s Production Director, and his crew had drowned The Great Saltiar in intense blue lighting"it made me feel like I was in the movie Avatar. The audience was completely dressed in white and the whole main level was completely covered in plastic, it all looked like a murder scene out of Dexter with a hint of Touched by an Angel. It was incredibly trippy and I dug it.

Dayglow, founded by Committee Entertainment just five years ago on a Florida college campus, has grown from a college party into an enormous production held in venues all over the world, in places like Warsaw , Poland, and the Shrine Auditorium in LA later this year. This was their second time in Salt Lake City and they had prepared an even bigger show than the last. Lead by Event Directors Eric Fuller and Dereck Thomas, the neon paint based event is their way of adding the visual arts to your normal EDM event. It was more than just a simple paint fight. That became even more evident after meeting DayGlow’s genius and incredibly humble Art Director, Sean Fountain, backstage. You might recognize him as the Wicked Witch from Insomniac’s documentary Electric Daisy Carnival Experience, or as the dude in the Hamster Ball in Dayglow’s popular Youtube video, but when it comes to Sean Fountain, there is so much more.

Only 30 years old and the owner of Wild Child World, Fountain has an incredibly impressive resume. Working with some of the biggest EDM events in the world like Ultra Festival, Coachella and Electric Daisy Carnival, has made Fountain one of the most sought out Art Directors in the world. Continuously on stage along side the DJs that night, Fountain hypnotized the audience in seven of his twelve elaborate character costumes. My favorite costume was a cross between a beetle and alien, it looked like it belonged in a Star Wars videogame. Fountain performed on stage with fellow Art Director Kyle Head, the owner of Illuminations, who performed on stilts the whole night.

The paint wouldn’t begin till about 10:30, but the party was on its way with humble V2 owner Brandon Fullmer under his DJ alias Loki. Loki took to the stage and wowed me"I’ve only known him to be responsible for putting on the biggest EDM events in Salt Lake City, so finding out he was a DJ was a welcomed surprise that night. His set warmed up the crowd perfectly for Dayglow’s resident DJ, Solano. The first paint blast was during David Solano’s set, it was so bewitching! It was as if Jackson Pollock had possessed the crowd, their dancing bodies splattering the paint everywhere as it rained from the sky. It was epic!

A Florida native, Solano kept the paint party going by dropping bangers like Sander Van doorn’s “Slap My Bitch Up” and “Bottle Pop,” an original track off Starkillers, which is currently number 10 on’s electronic house charts. Solano played to the crowd and made them his bitch. Backstage when I congratulated him on an amazing set, he told me he needed to thank the V2 go-go girls, because without their high energy he would not have been able to perform as well, “When the dancers suck, I suck and drink more,” he said. This was definitely not the case Friday. The V2 go-gos killed it that night!

Up next was the one and only Diplo. By this time, the crowd was absolutely covered in paint and loving it. It was like a Monet come to life, watching the paint-covered audience dance from the balcony of The Great Saltair, where I had taken refuge away from the paint. I was starting to become increasingly curious and eager to experience the powerful blast of paint myself, but had not come in an outfit to do so. Fortunately for me, Tyson Raw, head of DayGlow’s special effects hooked me up with something resembling a hazmat suit to help me bravely face the next blast of paint. The suspense created from watching the countdown on stage till the next blast of paint was beyond belief. It was a truly a magical moment when the clock reached zero and the paint blasted all over us one last time. Diplo’s set with the addition of DayGlow’s production made for a fucking memorable night. When he dropped “Que, Que,” a moombahton track he did with Dillon Francis and Maluca, I think he incited a two-minute orgy on the dance floor. The orgy came to a halt when he played the same Skrillex remix of Benny Bennassi’s “Cinema” Solano had played in his set earlier in the night. I heard this fumble, ironically sitting next to Solano, who mentioned to me only a few minutes earlier that during his set he had dropped a house version of the track, but saw the crowd’s yearning for the Skrillex remix instead. So like any good DJ, he had played to the crowd. Fortunately, Diplo recovered from the fumble when he dropped the remix to Waka Flocka’s “Hard in tha Paint.”

DayGlow is a mystery to some in the EDM world because of their fascination with covering their audience in gallons of paint. Honestly, before that night, I didn’t really grasp it either, but I have to say I’m definitely down with the paint now after getting to experience it firsthand! If you like art and you like bass, Dayglow is definitely for you.
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