3 of 5 peace of minds
It is an inevitable truth of the electronic music landscape: even the most revered veteran DJs are prone to experimentation. Sometimes, those shifts lead to a transcendental breakthrough, and other times, they simply miss the mark. Our recent evening at Mia Mao to see Richie Hawtin fell firmly into the latter category.
Richie Hawtin remains one of the most polarizing figures in electronic music, a veteran who helped define the minimalist aesthetic decades ago through his Plastikman alias and his influential Plus 8 and M_nus imprints. His career has been built on a foundation of constant technological evolution, from his early adoption of Final Scratch to his current sophisticated live setups that blur the lines between DJing and live production.
His influence on the global techno scene is undeniable, having played a central role in bridging the gap between the underground sounds of Detroit and European clubs and raves. However, that legacy is why his performances are scrutinized so intensely. Hawtin occupies a space where the listener expects a precision in sonic architecture, a seamless, high-fidelity experience that pushes the boundaries of rhythm and texture.
When he is at his best, he achieves a level of surgical precision that few can replicate. He constructs sets that feel like a continuous, breathing organism, shifting gears with a subtlety that keeps the audience locked into a meditative trance. This is precisely what we have experienced in Ampere in Antwerp https://peaceofmind.link/10-years-of-ampere-with-richie-hawtin-april-2025-antwerp/, at FVTVR https://peaceofmind.link/fvtvr-subtractive-art-richie-hawtins-minimalism-validates-original-techno-still-sounds-new-october-2025/, and during that unforgettable cocoon Ibiza at 528 event https://peaceofmind.link/the-vip-hell-vs-the-underground-finding-house-techno-soul-in-ibiza-2025/, where the sound design was impeccably layered, turning the dance floor into a site of pure, hypnotic immersion.
At Mia Mao, however, the execution felt disjointed. We were particularly disappointed to have missed the opening set by Lea Occhi, whose sharp selection and ability to craft a mental, groovy atmosphere would have undoubtedly set a different tone for the night. We think the lighting in the venue is way too bright, stripping away the sense of dark, hypnotic seclusion that we usually find so essential to a proper techno experience.
Hawtin’s set offered a brief departure from the typical, singular-minded rigidity we often associate with his recent output; there were moments where the inclusion of vocals hinted at something more expansive. Yet, it felt like an outlier rather than an evolution.
It is easy to empathize with the plight of the global touring artist. It must be exhausting to play the same sonic blueprint night after night, but experimentation is a double-edged sword. When the magic does not quite materialize, the result feels less like an artistic pivot and more like a disconnect. We often look to artists like Laurent Garnier or Marcel Dettmann as the gold standard for how to handle this pressure. Both have managed to maintain incredible longevity by navigating the fine line between their signature sounds and bold, unexpected experimentation. Whether it is Garnier effortlessly traversing genres or Dettmann evolving his industrial roots into deeper, more psychedelic territories, they prove that you can keep a long-running career fresh without losing the essential thread that makes you who you are, but even the veterans we find have off nights. When an artist of Hawtin’s stature steps away from their core sound, we are naturally looking for that same level of intentionality. Without that cohesion, it can feel as though the artist is simply searching for a spark rather than igniting one.
Ultimately, we must remember that everyone has a weaker night. Even the titans of the industry are human, and a single set does not define a career.
Beyond the booth, the atmosphere served as a stark reminder of the challenges facing our nightlife spaces. While we have been incredibly spoiled in 2026 with a string of spectacular, high-quality events, this Saturday night felt distinctly lukewarm. The crowd lacked the focused intensity we have come to expect, appearing more like a generic drunken weekend party regardless of who the DJ is with some old heads there for Richie, assembly than a community united by the music.
The venue’s policy, which strictly prohibits phones and cameras, is one we have long championed as essential for maintaining a proper dance floor sanctuary. Yet, the reality on the ground was disappointing. We witnessed individuals capturing photos of a transgender attendee without consent, a glaring violation of the very boundaries the club purports to protect. Even when we spotted another patron, who appeared to be mentally disabled, filming the set, it served as a prompt for reflection. We should certainly guard against being overly judgmental, but as we have written before, Music Criticism Matters More Than Ever in the Age of Algorithms. Striking the balance between optimism and critical rigor is often difficult, but it is necessary.
Ultimately, these off-nights are part of the journey. In a year where we have been treated to so many brilliant, immersive performances, a lackluster set, and the frustrations that come with a distracted crowd, serves as a necessary contrast. Sometimes, you need a night that doesn’t quite hit the mark to confirm that the truly spectacular events are, in fact, exactly that.