Alison Wonderland delivered a riveting performance in Denver under her Whyte Fang alias with an enhanced audiovisual experience.
Throughout the past few years, Whyte Fang has risen to prominence, originally surfacing on social media in 2021. A revelation came when fans realized Whyte Fang is another alias for Alison Wonderland, and her debut album GENESIS, released April 13, showcases techno beats alongside resonant deep bass tones and features the talents of Elohim and Barney Bones. Whyte Fang also disclosed that the birth of her latest creation had been penned during her first pregnancy.
On a crisp Denver evening on October 12, the Wonderland Warehouse Project unveiled the fourth dazzling installation of Whyte Fang. The immersive audio-visual Whyte Fang experience was previously showcased at Coachella, with other appearances in New York City and Los Angeles. In the weeks leading up to the show, she teased new music via social media and promised unreleased tracks within her set. After all, the latest single, “24 Hours,” was released a week prior on October 6.
The gathering of eager fans converged upon ReelWorks, a dedicated warehouse venue nestled in Denver’s vibrant RiNo neighborhood. This spellbinding experience, crafted by the beloved artist Alison Wonderland, was a prelude to the grandeur of the Temple of Wonderland at Red Rocks, a two-night sold-out extravaganza.
The night unfolded with opening performances of IIVX and CloudNone, electrifying the stage ahead of Whyte Fang. As the show began, a three-sided box, which resembled a captivating cage, became the centerpiece of the evening. The box enveloped Whyte Fang throughout the performance, where simultaneously enhanced visuals adorned the box, initially projecting a dynamic fusion of black, green, and red hues into every corner of the trinity of screens, leaving no angle untouched. Whyte Fang became a living part of this vivid spectacle, with the cage offering an intimate and innovative way to witness her performance from every perspective.
Whyte Fang greeted the audience with lyrics to “Hello:).”
The words of the initial track of the Whyte Fang album washed over the crowd, creating an immediate connection. She declared herself, saying, “Hello, I am Whyte Fang, nice to meet you, I’m not sure how I exist, but I do. I am going to be taking you away from here for a while.” Amid the cage on the stage, the audience could glimpse the silhouette of Whyte Fang with her luminous green hair and striking red features. This enigmatic encounter left an indelible mark on the audience.
The visual journey continued with “Genesis,” a feast for the senses. Green and white numbers and letters emerged on the screens surrounding Whyte Fang, their appearance synchronized with the music’s deep bass and percussion heard throughout the room, accompanied by pulsating vocals of “Atlantis.” The display transformed into a circular eye formation, bathing the audience in red and green flashes, while Whyte Fang’s silhouette remained the focal point, radiating within the cage’s confines. The collective tunes segued into a drum and bass edit of “Holdin’ On” by Flume, and the crowd’s trance deepened.
Whyte Fang’s silhouette and visual representation were interchanging throughout the experience.
The visuals intensified as the crowd was transported to a realm where Whyte Fang, depicted with a long mane of white and red hair, pedaled a bike through tall grass. As the visuals multiplied, three ethereal incarnations of Whyte Fang moved toward the audience, mirroring the mesmerizing green hair of her physical self on stage, echoing in the captivating visuals on the screens. The thumping bass and the mesmerizing visuals pulsed through the exquisite sound system of ReelWorks.
The show reached a crescendo with “333,” an opportunity for Alison Wonderland to connect with the audience. She expressed affection, uttering, “Hello, I love you guys,” as perpendicular lines and green lasers entranced the crowd. Whyte Fang emerged, illuminated within the cage, as the heavy techno drop shook the very ground beneath ReelWorks. The full logo of Whyte Fang took center stage, foreshadowing the performance of “Deep End.” The audience was enveloped in the moment’s ecstasy, singing and clapping along.
Whyte Fang remained the shining centerpiece within her neon cage, adorned in a glowing green suit that rendered “Transport God” electrified the stage, where the visuals cast a captivating blue shadow that slowly traversed its lower section. This allowed the crowd to witness Whyte Fang’s mastery on the decks as the song played.
Whyte Fang simulates a disco at ReelWorks with “Stayin Alive” by The Bee Gees.
Whyte Fang As the night wore on, Whyte Fang delved into an enthralling mix of trap drops, as well as delighting the crowd with unreleased tracks. The tempo shifted dramatically as Whyte Fang transformed the show into a disco extravaganza to the infectious rhythm of “Stayin’ Alive” by The Bee Gees. The disco ball at ReelWorks illuminated the dance floor, igniting a collective euphoria that enveloped the audience.
The presence of “Alive” featuring Barney Bones heralded a magical arch of blue and white lights. The audience joined in as Whyte Fang extended a heartfelt invitation to “Come Alive,” echoing the lyrics. As the beat dropped, the visuals transformed into a rain cascade, further enhancing the immersive experience. “Alive” segued seamlessly into an exciting jungle edit of “Pump It” by the Black Eyed Peas, keeping the energy at its zenith.
The performance continued to unravel with the intoxicating drop and white lasers of Whyte Fang’s newest release, “24 Hours.” The lyrics appeared on screen, reminiscent of a 24-hour clock, while the techno beats surged. Eventually, her unreleased remix of “Losing Control” by Odd Mob and OMNOM was ushered in. A shoutout to the crowd was in order, with Whyte Fang explaining that she had not shared the remix with the original producers but wanted the crowd to reach out to them, as the electrifying track dropped on September 15 with Summit’s Experts Only label.
Arachnophobia had no place in Whyte Fang’s set, with stunning spider visuals.
“SCREAM,” featuring Erik The Architect, showcased Erik himself, gracing the visual experience with his rap verses. In the show’s final moments, intricate visuals unfurled, with intricate branches and haunting visuals adorning the screens. “One Million,” featuring Chidi Himself, captivated the crowd as the song underwent a series of impressive drops, including a trap-infused section that reflected Alison Wonderland’s signature style.
The night drew to a close as “Girl” on the screen with captivating snake and spider visuals. The show culminated with “Go,” the final track of the GENESIS album, casting an array of lights around the cage. The crowd burst into ecstatic cheers, and Whyte Fang took a moment to express her gratitude to her devoted fans.
Whyte Fang’s genesis coincided with an extraordinary chapter in Sholler’s life — her pregnancy.
This profound creative journey has been a recurring theme in her social media narrative, as she’s openly shared her experiences. It’s remarkable to think that during Alison Wonderland’s electrifying performance at Red Rocks last year, Sholler received the life-changing news of her pregnancy. A year later, she triumphantly returned to Denver, not only as a thriving artist but also as a new mother. With the birth of her child, Whyte Fang, and another Red Rocks headline, Alex Sholler embarked on a personal and artistic reinvention, bringing new life and artistry into the world.
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