VOID Water Fest made its debut this April at RCA Central Park, and from the moment I arrived, it didn’t feel like a first edition. The event was built around a single stage with a clean layout and a lineup that actually made sense. It didn’t try to do too much. It didn’t feel overdone. Everything about the setup focused on what mattered. Music. Crowd. Timing.
The stage design had a futuristic look without being too flashy. LED screens gave each artist space to showcase their own visuals. Water jets fired during key drops and pyro followed some of the biggest moments in each set. It wasn’t constant. It was timed well. You didn’t get the sense that they were trying to impress with every second. They used what they had properly. The sound held across the venue and everyone seemed to really enjoy this new festival following the major Songkran events. It was like an extension of Songkran, wetter and yet calmer at the same time.
Third Party Played the Track That Stuck
I’ve seen Third Party in Bangkok before, but this set felt different. I was filming from the stage and had a full view of the crowd the entire time. When they played Believe, the moment hit hard. The water jets launched as soon as the drop came in. The lights shifted and I could see the front rows reacting without hesitation. No phones in the air. Just people singing word for word. It was one of those tracks that didn’t just play well. It felt like the right one for that exact point in the set. I knew while filming it that I was capturing something that worked. I didn’t need to be in the middle of the crowd to feel it.
DubVision B2B Matisse & Sadko Was One of the Most Personal Sets I’ve Ever Filmed
This was the set I had been waiting for and I’m so happy that I got to experience it at Void Water Fest. I’ve followed both acts for years and seeing them finally go b2b in Bangkok felt surreal. I was on stage filming the entire thing, and from the very first few minutes, it already felt like something special. They played a run of progressive house classics that brought everything back. I wasn’t trying to predict the next track or think about the crowd. I just stood there, camera in hand, fully in the moment. At one point, I actually teared up. I jokingly told Dubvision and Matisse & Sadko before their set that I would cry and well, I did because it felt too real to be true. The sound, the setting, and the fact that I was right there for it hit all at once. It wasn’t about one song. It was about finally being there for something I had waited years to see. I didn’t want the set to end.
Progressive House Still Has Its PlaceThat set reminded me why I still care about progressive house. It’s not gone. It’s not something we talk about like it belongs in the past. It’s here. It’s just taken time to find the right space again. VOID Water Fest gave it that. I put together a short video from the weekend and posted it to Instagram. Just clips from that set. No edits. No added sound. The response was instant. This sound still means something to a lot of people. And after seeing it live like that, it means even more to me now.
Dannic B2B Dyro Hit Exactly How I Hoped It Would
This was one of the sets I was genuinely looking forward to filming. I’ve followed both of them for years, and seeing them go back-to-back at VOID Water Fest felt like the kind of pairing that didn’t need to be overthought. They got on, started strong, and didn’t slow things down. The transitions were quick and steady. Every track had a purpose. I stayed on stage for the full set and kept filming without even thinking about moving. The crowd didn’t drift or look around between drops. Dannic and Dyro stayed right where they were and responded to every shift in pace. Nothing about the set felt forced or too planned. It was two artists doing what they’ve always done well, and it came through clearly in every moment they played.
R3HAB Gave VOID Water Fest Exactly What It Needed
I’ve been watching R3HAB live since 2012, and his set at VOID Water Fest was a reminder of how consistent he’s been over the years. He didn’t try to force anything or go too heavy on crowd interaction. The transitions were smooth, the pacing was tight, and the crowd stayed focused the entire way through. What made it more meaningful was that I had interviewed him at Unseen Festival last year, and seeing him again here felt full circle, especially knowing VOID Water Fest was put together by the same team. The best part was how he remembered me. That moment stuck with me. It wasn’t planned or expected, but it added something personal to an already strong set. When you’ve been following someone for over a decade and get a moment like that, it stays.
Support Acts Helped Carry VOID Water Fest From Start to Finish
Josh Le Tissier and Kevu both played later in the day, around the early night stretch, and brought exactly what was needed to keep things running strong between the headliners. Josh kept his set steady and never rushed it. He paced it in a way that gave people time to reset while still staying with him. Kevu leaned into harder drops and kept the tempo high without going overboard. They didn’t treat their sets like filler. Both made the most of their slots and helped hold the shape of the evening.
Earlier in the day, it was the VOID Club regulars and local talent that gave the festival its base. Sets from ARS, DEVARA, DJ LER, BEE CHAN, KIKIE, MATHEW BEE, and MC DAN all reflected the sound that’s been built inside VOID over time. None of them tried to do too much. Each one brought a clear sound and didn’t shift just because it was a bigger stage. The balance between international and local names didn’t feel forced. It felt natural and earned. VOID Water Fest didn’t just fill the schedule. They filled it with people who already understand how this scene moves.
VOID Water Fest didn’t try to do too much. It stayed focused with one stage, a lineup that made sense, and a flow that kept people grounded in the music. From the local names to the progressive house moments to the way the crowd stayed present throughout, it felt like something that had real thought behind it. Nothing felt rushed or added for show. If this was the first edition, it already set the tone for what could be built from here.
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