For the typical Aussie 18-year-old, Schoolies and cutting up the fake ID come to mind as milestones. But for French electronic producer Mehdi Benjelloun, better known by his stage name Petit Biscuit, achievements in this coming-of-age year arrive in the form of global festivals, a debut album, and over 350 million streams on Spotify (and counting!).
Making his Down Under debut with the Listen Out circuit and two capital city sideshows, Benjelloun kicked off the October long weekend shenanigans at Sydney’s Max Watts. An opening set from Melbourne’s Luboku managed to get the crowd out of their end-of-the-work-week funk, injecting the feel-good vibes right back into the atmosphere. The talented producer swirled his soft, melancholic melodies around the laid-back crowd, and scattered serene moments of stillness highlighted the heavy layer of French accents in the room. The familiar “Without You” was a full-bodied finish to the set, moving fans that little bit closer to the front of stage in anticipation for the main event.
The hum of “Creation Comes Alive”, first track on Benjelloun’s debut LP ‘Presence’, vibrated the space as he calmly strolled on stage. A giant crescent moon appeared on the visuals behind him, symbolising the birth of what would no doubt be an out-of-body, other-worldly, expedition of sound.
After modestly walking out from behind his DJ booth to greet the screaming fans, he softly spoke: “It’s my first time here in Australia. It’s so amazing to be here — let me introduce you to a friend of mine.” Sydney local Panama appeared, swapping in for the song’s usual vocalist, Lido, to perform “Problems”. Bright palm tree graphics and hot pink strobes transported us from space, back down to earth in California, where Panama’s crooning, sensual voice flirted across the sound of Benjelloun’s emphatic synth work, transporting listeners to palm springs, pool clubs, and sickly-sweet cocktails (mini umbrellas included OFC).
As expected, the endlessly Spotify-streamed track “Sunset Lover” easily took over as the most memorable track of the night, with soothing vocal samples and a base guitar being introduced into the mix, showcasing Benjelloun’s skill as a true multi-instrumentalist. Several interludes of the artist clapping alongside the crowd evolved to him standing still, eyes closed with hands behind his back. It was clear that he was just so humbled and happy to be there, soaking in all the ambient goodness that he has fashioned for the world to fall in love with.
But after all the optimistic, catchy, lets-go-on-holiday feels had sent serotonin levels soaring thanks to “Waterfall”, “Memories”, and my personal fave, “Gravitation”, Benjelloun grimed up the vibe and took us to the dark side. Demonstrating the complexity of his sound, and clear inspiration from Flume, he dropped hard-hitting numbers “Jungle” and “The End”. The timing couldn’t have been more perfect; slotting in the tracks towards the end of the set meant that gyrating and head-banging could take over from the habitual sways for the final revelry.
It’s unbelievable that Petit Biscuit is being compared to the likes of Odesza and Bonobo, as the protégé is clearly just warming up. There’s no doubt that Sydney will be seeing him again soon, but I’m placing my bets that next time it won’t be at Max Watts, but rather at a sold-out Hordern Pavilion right next door.
Photos by Lars Roy.