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Kalicade Keeps THON 2019’s Blood Pumping Early Saturday Morning

Electronic duo Kalicade came onto the THON stage in the wee small hours of the morning on Saturday. Consisting of drummer John Davis and DJ John Sander, the pair focused on making extreme electronic remixes of popular songs.

They started out with their own version of “Uptown Funk,” a common theme among many of the cover bands so far. They followed up with “Pompeii” by Bastille and “September” by Earth, Wind, and Fire. All three were done with some techno flair that let the band put their own fresh spin on things.

“Penn State! You’re killing it right now! But it’s about to get crazy,” Sander said.

And go crazy they did, but only for a short while. A small drum solo from Davis was a good mixup, but left the crowd wanting more.

More remixes followed, with “Radioactive” by Imagine Dragons and “Cinema” by Benny Benassi both getting their own remixed treatments. A couple samples from various Skrillix songs could be heard as well, letting every former middle school dubstep fan relive some glory days.

Coming up though was the highlight of the performance, teased beforehand by the band.

“We’ve been waiting to play this song! And I want every voice in this stadium!” said Sander.

Then came a true crowd pleaser, Kalicade’s own remix of “Kernkraft 400” — the first Zombie Nation of THON. Unlike the short drum solo, this one really got the crowd amped up, with everyone yelling “We Are Penn State!” in unison.

After a quick jump to Beaver Stadium, the duo continued with their remixes.

Two more remixes were done, “High Hopes” by Panic! At The Disco and “Roar” by Katy Perry before the duo finished with another throwback, “Fireflies” by Owl City.

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About the Author

Matt Paolizzi

Matt is a junior majoring in Secondary Education and minoring in Philosophy. He's a Philly sports fan, which causes him existential dread on the daily coupled with a deep distaste for the current state of Star Wars. Send him death threats at [email protected] and follow @m_paolizzi on Twitter for a near constant supply of second-hand embarrassment.


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