TuneLab
Bob Moses
live at Griffith Observatory in Los Angeles, USA for Cercle
There's something about watching Bob Moses play live at Griffith Observatory that makes you feel like the universe is both expanding and contracting in time with the kick drum. This is not a set for headliners — it's a set for staring at the LA skyline and pretending you have your life together. The tempo barely budges from 119.7 BPM, hovering in 3B and 7A like a meditation on minor-key melancholy. The energy profile is telling: 0.69 low, 0.26 mid, 0.05 high — this is deep house that doesn't need to shout. Every transition is a slow-burn dissolve, with the duo's live instruments bleeding into the electronics like watercolours.
The technical approach here is about patience: they let the harmonies breathe, using long pads and sparse percussion to create space. When the Cassian remix of 'Listen To Me' kicks in, it's a lesson in how to make a 4/4 kick feel like a confession. Crate diggers will note the inclusion of Durante's 'Split Wick' — a gem that sits perfectly in the melodic techno sweet spot, all arpeggios and atmospheric swells. Lane 8's 'Fingerprint' is the kind of track that makes you check your phone to see if you've missed a message from your past self. And the originals — 'Far From The Tree', 'Love We Found' — show that Bob Moses are as much songwriters as they are producers, with vocal hooks that linger long after the track fades.
The opening, 'Enough to Believe (Iain Howie Remix)', sets the tone with its brooding pads. The peak? Probably 'Outlier', a seven-minute epic that builds to a cathartic release. Closing with 'The Blame' is a masterstroke — a track that feels like the end of a film you wish would keep playing. This is melodic deep house for the afterglow, and we wouldn't have it any other way.