As brutal as the music was, there was love and appreciation between Moudaber and Liebing. Whenever there was a breath of fresh air, the two countervailed the relaxation with faster and faster techno as blood-red lights poured onto the captivated attendees. She and her German counterpart fidgeted with effects until the tension snapped into unabashed bass. I have done many back-to-backs with Chris, and I have to say, we have to check who's playing the record because sometimes we just get lost - it's so seamless and flawless." Moudaber did not embellish. "What else than techno?" Moudaber told New Times at the festival about what to expect. The Queen of Techno started the festivities with light, groove-inducing music with powerful bass - a soupçon of what everyone could expect when she returned later that evening alongside Chris Liebing. Lebanese/British producer Nicole Moudaber marked nearly a decade of her label Mood Records by christening the namesake stage at Ultra right when doors opened at 4 p.m. During "Violence," her AI became sentient, with the visuals displaying a conversation where she pleads with it, "Am I not enough of a Grimes?" Mary Gibson The AI-generated visuals rotated between multiple versions of herself in hundreds of different scenarios and a message aptly saying, "This is a transmission from the future." With neon-yellow hair and a red full-body suit, she dropped tracks like i_o's "Low," which had a bit of Britney Spear's "Toxic" mixed in as fire exploded during every bass-dropped beat. On the Live Stage, Grimes danced lightly and rhythmically while encircled by mesh fabric as she spun.
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