Scott Hanson, known as Tycho, is nothing short of an experimental genius pushing the boundaries of ambient and electronic music through hypnotic screen lights and rhythmic musical zoning, programming the emotional landscape of the crowd into various types of cheers in reaction to the otherworldly musical entity before them.

This iteration of Tycho’s tour was built on Hanson’s latest project in the band’s industrial palace more commonly known as the Tycho discography. “Infinite Health” is a hardware odyssey—each song has a dynamic dimension of synthesizers, heavy bass, and percussion that ties the package together in spitfire.

Similar to other albums in the palace, “Infinite Health” does not stray from Tycho’s sound and fits perfectly into a setlist so seamless it takes a truly plugged-in listener to pick out the new cuts. The setlist summed up Hanson’s decade-long career while putting “Infinite Health” on the podium. 

“Infinite Health”’s goal lies in its title. Hanson “wanted to make a record that reminded him why he started making music in the first place. It’s an intimate, emotionally fulfilling journey,” Hanson said on NPR. The album achieves this by being a modern testament to Hanson’s producing ability, emphasized by the album’s dynamic tracklist that touches on various genres while grounding itself in eclectic roots.

The concert’s opening track, “Phantom,” is an upbeat mechanical wonder reminiscent of a translucent ghost who floats around and haunts people. However, instead of just shouting “boo!,” the song creates an eerie feel, through a delicate yet commanding guitar riff that repeats through the tune. 

Other songs connected the correct wires to emulate audio files of “oooos” and “awwws” from the crowd. The show was more memorable if you cut out trying to recognize rifts from the vast discography and just tried to bathe yourself in the incomprehensible levels of stimulation cast upon you, zoning out and just consuming the sound like an ape beholding 2001’s monolith in its otherworldly glory.   

Each member of Tycho is able to switch between instruments so easily that watching them onstage feels overstimulating, reminiscent of scrolling through TikTok with a two-screen monitor in front of you playing YouTube videos, all the while a cable news program unfolds in a background television. Each member clearly has mastered their instruments of choice to a point where live sets don’t even feel live—there are no mistakes. It’s like Tycho’s crowd has effectively placed headphones on their ears, moving in a trance due to Hanson’s best 14-song set.   

This concert’s perfectly programmed instrumentation made the audience feel disconnected at times; that’s the one downside of playing these robotic melodies straight.

If your ears are brimming with sound, maybe your eyeballs have enough terabytes of storage left to process content. Direct them towards the stage to process the light show crashing over the crowd, like a wave of images being unleashed from a zip file. Hanson’s band jammed out under a disco ball reflecting white light onto hipsters gazing up from the crowd. The Royale’s nightclub side gig lets Tycho wield the full vision of the performance by plastering their tour imagery on every conceivable screen that happens to litter the room.   

Despite technical advancement, the future is not for everyone, and that’s clear through crowd members seemingly stuck between two vastly different ideas. One half thinks Tycho is the next big thing in live music that the world needs to experience and update itself to keep up with the IOS version they’re experiencing. The other half sits there looking lost—gazing at Hassen, hoping he will wirelessly connect them into “Tycho” and provide them the infinite health they dream of.