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Hailing from the rugged island of Sardinia, Chris Loi‘s musical journey commenced at the age of 20, igniting a path that would lead him to international acclaim. From the pulsating local club scene to prestigious international stages, Chris Loi has c aptured audiences with his infectious love for electronic music. His DJ sets have graced numerous festivals, where he’s shared stages with acclaimed artists such as Cristian Marchi, Prezioso, Eiffel 65, Rudeejay, and Gabry Ponte.
‘Peaking’ is more than just a debut single for Chris Loi; it encapsulates his journey, passion, and unwavering dedication to his craft. With anticipation building around this release, Chris Loi eagerly anticipates sharing his music and continuing his evolution as an artist.
In his own words: “With great excitement I present my brand – new track ‘PEAKING’, that will be my discographic debut . A song filled with an extremely engaging sound that resembles EDM atmospheres from the last decade . ‘PEAKING’ is ready to take over every festival and dancefloor. ”
Stay tuned as Chris Loi prepares to unleash ‘Peaking’ onto the global stage, forever solidifying his place in EDM history.
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There is still very little information about ‘NEO’ for the moment and the only statement released by the duo of DJs, producers and electronic artists is that “NEO will be a unique experience of connection, almost spiritual”.
It will certainly be an extraordinary evolution of their AV:SHOW, which has seen sold-out shows on every continent and will have its final episode at Tomorrowland on 19 July.
Mathame has for years been counted among the early pioneers of the neo-tech sound and its more technological evolution, constantly searching for an original intersection between music, cinema, artificial intelligence and new media.
The residency will take place on Fridays June 7, 14, 21, 28 / July 05 / September 13, 20, 27 at Amnesia Ibiza’s legendary Terrace from 23:00 to 6:00 AM.
Mathame recently released a hit single in collaboration with John Summit and have been touring the past months for a sold out tour in the United States and Europe. During the last summer, the italian-brother duo released its debut LP, ‘MEMO’. A sonic journey that took Mathame to world’s outside our universe and deep within themselves, it explores new frontiers of sound within the duo’s sonic palette.
TICKETS AVAILABLE NOW :
https://store.ticketing.cm.com/Horizon-Amnesia-28thJune2024/step/a74aab48-3a9b-4c53-945f-c557334df18a
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Says Joseph “It is with immense pride that we announce Metamorfosi is back in Ibiza this summer! Marking it our third consecutive year of residency at Amnesia Ibiza. This journey is one we have nurtured and shared with the crowd, growing year by year, together: we started with 3 showcases in 2022, expanding to 5 shows in 2023, and now presenting a remarkable 8 dates for 2024. Eager to unveil what lies ahead. Ibiza 2024…We are ready!”
Metamorfosi is renowned for bringing a widescreen musical experience to Amnesia. Each party sees the ever evolving and influential Italian go deep into many different aspects of his sound, from his early house roots to his contemporary take on techno and everything in between. He personally oversees every aspect of each event from the light to the sound to the production to ensure that they offer a musical adventure like no other.
After a busy winter in which Metamorfosi has hosted sold out road-block events in special places across Europe, this year’s summer residency grows from five to eight events. Each week, Capriati will be joined by an irresistible mix of guest DJs who will play across a broad spectrum of house, techno, and plenty in between. From new school tastemakers to pioneering legends, all bases will be covered at Metamorfosi this summer.
These events were some of the highlights of the summer last year so get your flights booked and prepare for another super summer of sound with Joseph Capriati‘s Metamorfosi.
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Hi Conner, first of all, how are you today?
I’m great thank you!
You’ve just released your latest single Q The Love, could you tell us about the inspiration for this track?
The legendary Courtyard Party returns at Fibre Leeds this Bank Holiday Sunday, so I had this in mind whilst making Q The Love. I wanted to make a really nice euphoric feeling track for my set – once I finished it and showed the rest of the Fibre team they said it would be a perfect release for the label, which is amazing because it was only intended for my Courtyard Party set!
What was the writing process?
Once I had the vocal sample everything else just fell into place so naturally! Music-heads will have noticed the vocal sample is inspired by Brownstones ‘If You Love Me’. I wrote the bassline around the piano chord progression, and it all just jelled so nicely with the vocals! The track has Fibre written all over it, and it has gone down a treat on Fibre’s dance floor.
How did you get involved with Fibre?
I first got involved with Fibre over 4 years ago helping them with their social media. I would capture Instagram stories for them around the bar on a weekend before I got the job running their social media & website full-time under the Brand Manager role. I had already been DJing for years before this so when the opportunity arose to fill in for cover sets I put my name forward. The Directors loved my sound and I soon became a resident DJ for Fibre.
Could you tell us more about your role with Fibre Records?
Once I became Brand Manager for Fibre it was clear to me that the next step for Fibre was a record label. It was an idea that the Directors had played with before but they never felt the timing was right. I presented them with a plan on how I see the label running and how to make it successful – They were just as confident as me that now was the time, and they were happy for me to take the lead on it!
Which artists would you say are your biggest influences?
I grew up listening to a lot of Bassline/Speed Garage and Leeds legends like Danny Bond & Paul Sirrell were a big part of that, they influenced me a lot growing up and they still do today. Nowadays, I’d say Franky Rizardo is one of my biggest influences, I’m a huge fan of his sound. Fibre resident Habbo Foxx has also influenced my sound over the past year too after lots of studio sessions together.
Do you have any exciting releases coming up?
I’m sat on so many unreleased tracks, I’m really picky about what I put out which is definitely holding me back – I’m going to focus on not worrying about which tracks to release and just get my music out for everyone to hear. The feedback I get on all my unreleased tracks is really positive.
Where will you be playing next?
My next set is the Fibre Courtyard Party – on Sunday 31st March.
What are your goals for 2024?
To release more music & continue helping Fibre Records reach its potential!
Stream this single below.
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Metamorfosi is renowned for bringing a widescreen musical experience to Amnesia. Each party sees the ever-evolving and influential Italian go deep into many different aspects of his sound. You can expect to hear his early house roots as well as his contemporary take on techno. Joseph Capriati personally oversees every aspect of each event. This includes the light effects as well as the sound and the production.
This winter Joseph Capriati and Metamorfosi didn’t stay still waiting for summer. Metamorfosi has hosted sold-out road-block events in special places across Europe. This year’s summer residency has grown from five to eight events.
Metamorfosi was one of the highlight events of last summer. Get your flights booked and prepare for another super summer of sound with Joseph Capriati’s Metamorfosi.
Other events at Amnesia Ibiza include Claptone bringing his The Masquerade party and Pyramid special for the opening night.
The post Joseph Capriati brings Metamorfosi this summer at Amnesia Ibiza appeared first on The Groove Cartel.
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Proactive Protection for Patrons
This initiative empowers patrons to actively ensure their drinks are safe, addressing potential dangers in social settings designed for enjoyment but marred by risks. Devin Blankenship from the Department of Alcoholic Beverage Control highlights that this law allows patrons to immediately test their drinks if they suspect tampering. Bars and clubs will need to keep testing kits on hand, making it easy for guests to check their drink’s safety. This measure requires establishments, particularly those with Type 48 licensing, to display signs clearly indicating the availability of testing kits, which may be provided for a small fee or for free.
Community Endorsement and Impact
Local businesses and community members have warmly received the new law. Madison Smith of 201 Main in downtown Salinas sees the law as providing an extra layer of security for guests. The increase in reported drink-spiking incidents makes this law particularly relevant and necessary. Isaac Rodriguez from Alvarado On Main commends the law for deterring potential offenders and praises California’s proactive role in tackling this issue.
Lastly, with around 2,400 licensees across California gearing up for this change, July 1 marks the beginning of a safer era in nightlife. This law not only changes how establishments ensure their patrons’ security but also serves as a model for other states. Furthermore, this potentially transforms nightlife safety standards not just in California, but nationwide.
Read more about the new law on the California Department of Alcoholic Beverage Control website, here.
The post California To Mandate Drug Testing Devices In Nightlife Venues appeared first on EDMTunes.
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“NEO will be a unique experience of connection, almost spiritual“
NEO
This is the only information we’ve received regarding this new show so far. Known for being one of the first duos to rise in the current industry while playing and producing melodic and progressive-influenced tracks, Mathame is one of the most distinctive artists on this side of the industry. The duo, which has spent the last months touring Europe, sets its sights on one of the most iconic venues in the world. Amnesia is, without a doubt, one of the most iconic clubs in the entire world. Getting a residence there, if done properly, puts you on par with some of the biggest names in the industry.
Mathame’s NEO residence will take place during 8 weekends. The residency will start on Friday, June 7, and it will end on September 27. Their performances will take place in the iconic room known as “The Terrace”. Tickets are now available here. We can’t wait to see what Mathame has prepared for this one. Amnesia is a perfect venue for a show that focuses not only on the music but on a multi sensorial experience as well.
Mathame is ready to bring NEO to Amnesia. One of the most iconic clubs on the white island. A surreal show that will capture all of your senses and take you on an unforgettable journey.
The post Mathame Announces NEO: Their New Friday Residence At Amnesia Ibiza appeared first on EDMTunes.
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Solomun is undoubtedly one of the industry’s favorite performers. His work ethic and clear love for the music, paired with a long career, make him a seasoned veteran who dominates the art of DJing and reading crowds. More recently, he’s ventured into the studio to release a solid series of tracks. These have further boosted the value and demand of his performances. Now, he teams up with a partner of many years to bring a party that’ll be hard to forget for anyone lucky enough to attend.
Framework and Solomun are longtime partners. They’ve worked together in countless events, and now look to deliver an ambitious event. A 56-acre power plant is a location straight out of a fantasy story. To be able to properly hold an event here, you need the absolute best of the best. Nonetheless, we’re confident both Solomun and Framework will live up to the task.
As the industry continues to grow, the demand for original events, held in exotic venues, seems to increase more and more. Promoters, brands, and artists fight to find that extra element that allows them to stand out from the rest. And we at EDMTunes are, certainly, very excited to see what the next big and iconic location for raves will be.
Pre-register for Solomun X Framework
Pre-registration for the event is available now – sign up now for pre-sale access on Wednesday, March 27 at 10 am PST. General on-sale for Framework presents Solomun on Wednesday, March 27 at 3 pm PST.
The post Framework And Solomun Team Up For A Show At An Abandoned Power Plant In Southern California appeared first on EDMTunes.
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This was by far the biggest edition with it being held at The Great Hall in Brooklyn. The venue is perfect for every genre of dance music. The Great Hall is not your average warehouse. It is equipped with lights not just covering the roof but the beams themselves. There is ample space to get your feet moving. With bars extending almost the length of the venue ensuring you are never waiting in line.
Sub Focus, Dimension, Culture Shock, & 1991
I will admit I am a late bloomer when it comes to listening to DnB. However, in the last couple of years, I have fallen in love with the energy and beauty of the genre. It encompasses the ability to make you jump up and rage but also has beautiful vocals over a heavy bassline. It also can get funky, deep, and ethereal.
These 4 artists are some of the best in the game and they put on an awesome show. The crowd was absolutely loving it the whole night.
Culture Shock kicked off the Quartet and got the people ready to move. He played some of his bangers including his new track ‘Get To Me,’ his remix of ‘Panic Room,’ and the electric tune ‘Bunker.’
Dimension was next on the deck and surprisingly kicked it off with my favorite DnB track ‘DJ Turn It Up.’ I would have expected him to wait for the middle or end of his set but no, this man went for it right away. His remix of Armin van Buuren’s ‘Lose This Feeling’ was loved by all but not as much as ‘Where Do We Go’ with Poppy Baskcomb. And I can’t forget his remix of Dom Dolla’s ‘Rhyme Dust.’
Of course, he and Sub Focus have quite a few collaborations together. ‘Ready to Fly’ and ‘Desire’ were crowd favorites and had all the feelings. Dimension had my favorite set of the night with banger after banger.
Sub Focus was the main show of the night and the people packed in for him. There are not many bigger names in the genre than him and for good reason. He has more hits than you can imagine from the collabs with Dimension to ‘Solar System’ and ‘Off The Ground.’
His remix of ‘So Much In Love’ is a personal favorite of his as well as ‘Fine Day.’ Sub Focus has an incredible range within his set feeding off of the crowd. This is the 2nd time seeing him live and I can’t wait for the next one.
1991 closed off the night in style with his remix of ‘Perfect (Exceeder) and ‘Tell Me Why.’ He was an awesome cherry on top of an incredible night.
This is the group’s 3rd time they are taking it to North America. This is by far the biggest iteration with them going to San Jose, Chicago, New York, Washington D.C, Toronto, and Los Angeles. These artists also attended Ultra Miami for an electric weekend.
You can find tickets here for the remaining shows!
The post [Event Review] Sub Focus, Dimension, Culture Shock, & 1991 Bring WORSHIP To New York appeared first on EDMTunes.
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Story Behind ‘Warrior’
Marsh shares the story behind his latest release ‘Warrior’. The song is a tribute to his best friend, Jimmy, who fought with leukemia in 2022 and 2023. Marsh wanted to showcase the qualities of confidence, fearlessness, and power that Jimmy embodied during his battle. The main theme of the song is to pay homage to Jimmy’s strength and courage. The track takes listeners on a sublime journey, telling a tale of strength that one would have heard on the dance floor during any of Marsh’s sets this past year. The song starts with a dark instrumental and an intense buildup in the first 50 seconds before transitioning into a melodic techno sound. This track is one of Tom’s best pieces of work so far. The instrumental of this heartwarming track conveys the compelling story and takes me back to Marsh’s all night long set at Coda in Toronto last December.
In honor of Jimmy coming out a winner from his battle, Marsh not only released ‘Warrior’ but also wanted to give back. Tom orchestrated an exclusive, intimate kick-off event for ‘Warrior’ at The Ton of Brix in London, with the entirety of the proceeds earmarked for Leukaemia UK. The release is complemented by a live stream hosted at Kew Gardens, further cementing Marsh’s commitment to supporting this cause.
Marsh’s Live Stream from Kew Gardens Tom has had a busy and exciting start to 2024, he is introducing a new hybrid club show concept called ‘‘Aria”. This exciting new venture will include live vocals from long-term collaborators and friends Leo Wood and Jodie Knight. The first two shows will be this May in London at HERE at Outernet and Manchester at New Century Hall. Checkout his tour dates for this Spring here.
We hope you enjoy ‘Warrior’ as much as we did. Stay tuned to EDMTunes for all the exciting electronic music updates!
The post Marsh Unleashes Brand New Emotional Single ‘Warrior’ appeared first on EDMTunes.
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Enter Dimension, Sub Focus, Culture Shock and 1991 of WORSHIP, a supergroup of influential drum & bass artists redefining the genre for a new generation of fans. We caught up with the collective and their manager, Sebastian Weingartshofer, to discuss the genre's stateside boom—and its longevity within the electronic music scene.
"For a long time, a lot of drum & bass artists were drawing huge audiences around the globe, then traveling to the U.S. and playing to half-empty clubs," Dimension tells us. "Artists were left demotivated. I had the same experience. After a bad show in New York, I remember phoning Seb and we agreed things had to change."
"I remember the moment of driving back to the airport in New York City with Rob [Dimension] and saying, 'It shouldn't be like this,'" adds Culture Shock. "We then really made a conscious effort to put our heads together and present the music the way we thought it should be. We've had to invest a huge amount but it really feels like it's working and the momentum is building."
Amid drum & bass' volcanic rise in the U.S., the group developed a master plan. They saw major potential in North America, Dimension says, to "create something fresh" by joining forces.
"Our goal was to help bring the genre back into vogue by encouraging a fresh, young, inclusive community of fans into the genre through investing heavily in production and creative, while working with top venues and promoters," he explains. "It’s been unbelievably humbling seeing a new community of fans grow, with crowds and venues increasing in size. We like to think we've played a key role in this growth."
1991, Culture Shock, Dimension and Sub Focus of WORSHIP.Sam Neill
When it comes to each of WORSHIP's members, it's clear they believe drum & bass culture is a priceless part of the electronic music zeitgeist, and its spirit simply can't be captured anywhere else. They've always lived and breathed the genre, and they're now positioning themselves as lynchpins of today's movement.
"I got into drum & bass pretty much at its inception, as it morphed from jungle," Sub Focus recalls. "It means so much to me to now be a part of its story. I love how it’s like a secret subculture that we are all a part of."
"My love for drum & bass started around 15 years ago," 1991 adds. "What largely drew me to it was how much of a rogue genre it is. It’s not always been the coolest genre, but it’s certainly the most fun. For the most part, it’s an inclusive scene where anyone is welcome. I think that’s why I’ve always stuck by it. It feels like a family."
Taking the necessary risks
Ever since drum & bass first piqued their interest, Culture Shock, Dimension, Sub Focus and 1991 have spent years climbing to its upper echelon at breakneck tempos of over 174 BPM. Getting to the top, however, was only the beginning of their widespread influence.
While their dedication to the culture is an important factor, many risks needed to be taken in the States for drum & bass to have real staying power.
"Big homegrown acts are a big part of what leads the scene to thrive in different areas," says Sub Focus. "There's Pendulum and Luude from Australia, Netsky from Belgium, Camo & Krooked in Austria and many more examples across the globe. Homegrown drum & bass acts from the U.S. flourishing will help the scene no end here."
As artists like REAPER, Kumarion, AIRGLO, Justin Hawkes and so many more lead the charge in the U.S., the growth of drum & bass has continued to skyrocket. WORSHIP are doing their part too as their current tour continues on as one of the electronic music scene's most in-demand.
Sam Neill
They're immensely grateful for the stateside promoters who took a chance on them in the beginning.
"We’ve been building this project for four years now," Dimension explains. "I remember for the first tour we literally had to create a presentation explaining who we are, what country we were from, and list everything we were doing differently in order to make the tour tickets sell. We had to put ourselves out there with the very real possibility that the whole WORSHIP tour could be a complete failure."
"Deep down, all of us really believed in the idea, but in hindsight, it was the promoters and agents that took on the most risk," he continues. "The North America drum & bass scene was in such bad shape that we arguably had nothing to lose, but the promoters and agents deserve a massive amount of gratitude for backing us and believing in our concept."
Keeping the drum & bass revolution alive
Ultimately, WORSHIP did become a key player in drum & bass' growth in the region—but their work isn't done yet. Trends, especially in electronic music, can be hot and cold.
However, something as addictive as drum & bass has major staying power for a multitude of reasons.
"The energy of the genre is addictive and unparalleled, whilst constantly pushing boundaries and setting the standard," says Weingartshofer, WORSHIP's manager. "Generally the demographic of the genre remains young, which helps refresh engagement in consumption and event attendances over many generations."
Culture Shock agrees, calling the energy of drum & bass crowds "unmatched."
"As an artist, it's a really fun genre because you can incorporate any style you like," he says. "I feel like other genres within electronic music can be more restrictive and don't allow for as much expression."
WORSHIP North America 2024 Tour (0:17) The unbridled energy of drum & bass isn't its only cornerstone—its origins are just as pivotal. The underground is crucial to any genre of music, considering its artists challenge boundaries when things above become stale.
"Drum & bass is completely on its own in terms of style and speed—there really isn’t any other genre like it," says Sub Focus. "It’s got a rich history and a fertile underground scene, which has given it huge staying power. Whilst it has had moments of commercial success, it has always had a large group of people pushing its limits and boundaries away from the glare of the spotlight."
Hitting the road (again)
With a great deal of both experience and passion, the WORSHIP collective are flying the flag of drum & bass in the States. It's their third collaborative North American tour, which culminates in their biggest show to date on March 30th at Los Angeles' famed Hollywood Palladium.
A few months later in May, the entire crew will return for one of the most anticipated performances at EDC Las Vegas, one of the world's biggest electronic dance music festivals.
"Being part of this tour has been one of the most satisfying projects I have had the pleasure of been involved in," Dimension gushes. "It's been so rewarding seeing the community explode. I'm predominantly a solo artist, so achieving something together with your friends has made it extra special. Personally, I would love for fans to walk away from our shows feeling that a drum & bass party can be a crazy amount of fun for anyone. Everyone is accepted."
"The more people who enjoy what we do, the more fulfilling and inspiring it is for us as artists," 1991 adds. "I’ve left the two previous WORSHIP tours feeling inspired to come back bigger and better, so that’s all I can really hope for again this time around."
View the original article to see embedded media.
While WORSHIP's crusade to embed drum & bass into the American electronic music terrain has been a long and tortuous uphill battle, 2023 was a breakthrough year for the genre. And we've only seen it take off further in the early months of 2024—a trend Weingartshofer believes is here to stay.
"We’re now seeing both fans and DJs who are more open-minded to the genre, as well as other genres in dance music in the post-dubstep/EDM boom," he explains. "Headliners like Tiësto, John Summit, David Guetta and Dom Dolla are playing drum & bass in their sets and getting great reactions."
Weingartshofer also credits grassroots artists and brands in North America for propelling the scene forward with unabashed passion.
"Brands like Brownies & Lemonade are creating culture on the ground with their DNBNL series, exposing impressionable dance music fans to the genre," he continues. "Record labels like Deadbeats and Monstercat are getting behind the music and supporting artists from around the world. A decade ago this infrastructure didn’t exist. It’s great to see more confidence towards drum & bass in all areas."
You can purchase tickets to WORSHIP's North American tour and find out more about the collective here.
Follow WORSHIP:
Website: worshipartists.uk
Facebook: facebook.com/worshipartists
X: x.com/worship_artists
Instagram: instagram.com/worshipartists
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Says Joseph “It is with immense pride that we announce Metamorfosi is back in Ibiza this summer! Marking it our third consecutive year of residency at Amnesia Ibiza. This journey is one we have nurtured and shared with the crowd, growing year by year, together: we started with 3 showcases in 2022, expanding to 5 shows in 2023, and now presenting a remarkable 8 dates for 2024. Eager to unveil what lies ahead. Ibiza 2024…We are ready!”Metamorfosi is renowned for bringing a widescreen musical experience to Amnesia. Each party sees the ever evolving and influential Italian go deep into many different aspects of his sound, from his early house roots to his contemporary take on techno and everything in between. He personally oversees every aspect of each event from the light to the sound to the production to ensure that they offer a musical adventure like no other.After a busy winter in which Metamorfosi has hosted sold out road-block events in special places across Europe, this year’s summer residency grows from five to eight events. Each week, Capriati will be joined by an irresistible mix of guest DJs who will play across a broad spectrum of house, techno, and plenty in between. From new school tastemakers to pioneering legends, all bases will be covered at Metamorfosi this summer.These events were some of the highlights of the summer last year so get your flights booked and prepare for another super summer of sound with Joseph Capriati’s Metamorfosi. The post Joseph Capriati’s Metamorfosi Returns to Amnesia Ibiza With Biggest Season Yet appeared first on EDMTunes.
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‘Aerodynamic’, known for its distinctive guitar riff and futuristic synth sounds, broke the mold of traditional electronic music at the time. The track seamlessly transitions from a melodic, almost ethereal introduction into an electrifying guitar solo, reflecting Daft Punk‘s flair for combining different musical genres and styles. This blend of electronic beats with rock elements exemplified their innovative approach to music production and their influence on the broader electronic music genre.
Daft Punk, consisting of Thomas Bangalter and Guy-Manuel de Homem-Christo, had already achieved critical acclaim with their debut album ‘Homework’ in 1997. However, ‘Discovery’, and particularly ‘Aerodynamic’, marked a new direction for the duo, incorporating more refined production techniques and diverse musical influences. This track, along with the rest of the album, played a significant role in shaping the future sound of electronic music and influencing a new generation of producers and DJs.
Today, ‘Aerodynamic’ remains a seminal track in the world of electronic music, a testament to Daft Punk‘s enduring legacy and their contributions to the evolution of the genre. The track’s lasting popularity underscores the duo’s visionary approach to music-making and their impact on the electronic music landscape.
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The Scottish DJ/producer took to social media to respond after a festivalgoer called his Ultra headlining set “underwhelming” in a comment. Harris did not mince words in his clapback.
“You expect me to play none of my songs? 3 songs since 2014 hmm how deep is your love – billion streams, this is what u came for – billion streams, my way – billion streams, slide – billion streams, feels – billion streams, one kiss – billion streams,” Harris fired back, listing off many of his biggest commercial hits over the last decade.
He continued, “and the other 5 half a bil and before 2014 another 20 and not cheesy shit proper fucking songs with real artists and you’d rather I play Fein trap edits today.. spent months making new versions of everything for this and you wonder why I never play edm festivals..“
Harris closed by saying “at least people I saw irl had a great time and I can be happy with that but fuck at this point whatever I do is gonna piss you off.“
The multi-platinum artist’s rebuttal highlights the divide between the mainstream pop/dance hits he has become known for and the sound preferred by more hardcore electronic dance music fans.
As one of the biggest acts to headline Ultra’s flagship event, Harris seemingly prioritized his widely popular radio-friendly bangers over underground house and techno tracks.
While huge crowds sang along to smashes like “How Deep Is Your Love” and “This Is What You Came For,” some festival diehards felt Harris’ setlist catered too much to casual pop fans.
The social media exchange shows Harris has little interest in deviating from his proven formula of massive crossover hits when making festival appearances. His dozens of songs with billions of streams speak for themselves.
Whether keeping it more mainstream or not, Harris contends the live crowd seemed to enjoy his Ultra closing set, even if he can’t please everyone decrying his tendencies towards pop-friendly dance music.
The dustup seems to be just another day in the life of a top DJ/producer who has achieved unprecedented mainstream success alongside intense scrutiny from more underground-leaning dance fans.
Calvin Harris defends playing his biggest hits at festivals after fan criticism on Instagram The post Calvin Harris Fires Back at Critic of His Ultra Music Festival Set appeared first on The Groove Cartel.
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Both TCE Presents and Broadwick will work on a series of projects that aim to enhance live event experiences into colorful creative spaces that will transform the New York nightlife into one that is much more vibrant and unforgettable than ever before. After reading this post, definitely check out TCE Presents’ Instagram page and also the same goes for Broadwick’s page as well. Checking out their socials will allow everyone to keep up with more information regarding this exciting event partnership.
TCE Presents And Broadwick, The Two Independent Event Promoters Who Will Bring Their Own Unique Visions To Enhance New York Nightlife
TCE Events has built a fantastic reputation as one of New York’s leading names in independent music event promotion. This promoter has hosted a diverse and vast array of events throughout and outside of New York City that the underground House and Techno powerhouse, Teksupport, has led over the years. TCE Events produces over 150 events per year and with this new, exciting partnership, people will be excited to see more wonderful events that will light up the New York night sky even brighter.
Broadwick has continued its path to the top of the UK live event promotions industry since 2010 and it is still growing stronger each year. With the grand number of event spaces and projects that Broadwick has produced, this spectacular event promoter has taken over more than 30 venues and entertainment spaces and sold more than 1 million tickets. The promoter has also worked alongside prominent names in the UK entertainment industry such as Printworks London, DRUMSHEDS, and Depot Mayfield. For anyone who loves going to live events in New York City, stay tuned for more details about the upcoming projects that TCE Presents and Broadwick will have in store for the rest of 2024 and beyond.
The post TCE Presents And Broadwick Announce A New Venture appeared first on EDMTunes.
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Against a jaw-dropping desert background, the multiple Grammy winner performs a breathtaking, specially-crafted set full of new mashups and edits while, all around him, The Monolith’s staggering light show does justice to its historical setting.
The artistic direction was supervised by David Guetta, Jean-Guillaume Charvet and Romain Pissenem for Highscream, and with special thanks to the Royal Commission for Al Ula, the producers What A DJ and the executive producers MDLBEAST for FILM ALULA.
Those who attended Ultra may have witnessed The Monolith for the first time in the US as Guetta brought the production to Ultra Miami last Saturday.
Guetta has won numerous awards, including multiple DJ Mag Top 100 DJ polls. He’s sold millions of albums and singles worldwide and continues to be a major force in Dance music. His influence extends beyond the genre, though, with his crossover hits blending Electronic sounds with Pop sensibilities.
The post David Guetta Presents ‘The Monolith’, A New Spectacular Performance appeared first on EDMTunes.
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FAT BOY
FAST BOY continue on a promising path to the top of their game in a skyrocketing and exciting music career. They have amassed over 850 million streams across all platforms. Besides, they collect over 10 million monthly listeners on Spotify alone. The career of the brothers includes thrilling collaborations with artists such as Tiësto, Öwnboss, Goodboys, Nico Santos, Topic, and Ofenbach. Their hit ‘Bad Memories‘, produced with Meduza, James Carter, and Elley Duhé, has already surpassed one billion streams. Moreover, it received multiple platinum recognitions, including remixes by top artists such as David Guetta and Felix Jaehn. As the cherry on top of their achievements, the duo has also gained over one billion streams combined as songwriters.
Injecting his contagious and unique music style into this track is R3HAB. The artist has earned his place in the industry with a remarkable career. Maintaining a steady presence in Spotify’s Top 400 most-streamed artists, the DJ and producer also ranked 14th in the DJ Mag Top 100 DJs chart 2023, and his music has garnered over 11 billion streams across platforms. From his breakthrough remixes for Rihanna, Drake, Taylor Swift, Calvin Harris, Sia, Jason Derulo, Ed Sheeran, Tyga, Ellie Goulding, The Chainsmokers, P!nk, to name only a few, to collaborations with the likes of Ava Max, Luis Fonsi, Sean Paul, Afrojack, Armin van Buuren, Lukas Graham, Icona Pop, the impressive career of R3HAB also includes more than 80 recognitions between diamond, platinum and gold certificates, and global hits like ‘All Around The World (La La La)‘ and ‘Lullaby‘.
Even better news, we have an exclusive interview with R3HAB coming up this week, we were able to discuss this sick track and his next endeavors. Can you feel the energy? Here is ‘Electricity’…
The post R3HAB x FAST BOY Spark The Dancefloor With ‘Electricity’ appeared first on EDMTunes.
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Chai stated that the hosting of international music festivals helps promote tourism and boost the economy. As part of the government’s policy to drive economics, the goal is to make Thailand a global festival hub.
Summer Sonic Bangkok 2024 will take place this August 24th-25th at Impact Muang Thong Thani in Nonthaburi province. Chai noted that this marks the first ASEAN leg of the successful festival and the second time it will be held outside Japan. The government and festival organizers plan to hold an official press conference next Wednesday, March 27th, to discuss Summer Sonic Bangkok 2024.
As for Tomorrowland, the first event is planned for 2026, and could be held for 10 consecutive years, according to Chai. There are also plans in the works to host other internationally renowned festivals in Thailand. According to Chai, Prime Minister Srettha Thavisin has been in discussion with organizers such as the Formula One Group, Formula E, and Art Basel.
Tomorrowland
Belgium’s sold-out 2024 edition of Tomorrowland is set to take place from July 19-21 and July 26-28, in Boom, Antwerp, Belgium. Uniting 400,000 People of Tomorrow from over 200 countries, the festival will celebrate 20 years this summer with an extra special lineup, 16 mesmerizing stages, and the new ‘LIFE’ theme. With over 400 artists on the lineup, guests can look forward to ACRAZE, Adam Beyer, Afrojack, Alesso, Amelie Lens, Anyma, Armin van Buuren, Boris Brejcha, David Guetta, Hardwell, Lost Frequencies, REZZMAU5, Sara Landry, Sebastian Ingrosso, Swedish House Mafia, Tale Of Us, Tiësto, Timmy Trumpet, and many more.
Stay tuned for more info on Thailand’s Tomorrowland.
[H/T]: Nation Thailand
The post Tomorrowland Is Coming To Thailand In 2026 appeared first on EDMTunes.
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That all changed, however, over the weekend, when an unprecedented deluge of rain battered the festival on its first day. But while the elements transformed Bayfront Park into a quagmire, they were no match for the team behind Ultra and the tens of thousands of ravers for whom they tirelessly worked.
Under the storied festival's lights, a different storm raged. Rain-slicked hair whiplashed through the air. Mud squelched under glittering boots. Ponchos became capes. And music proved the ultimate shelter.
Fans raving in the rain at the 2024 Ultra Music Festival in Miami.Kelly Knisel/EDM.com
Devising a festival that gleamed with nostalgia and novelty alike, organizers in 2024 reinforced Ultra as a radiant touchstone for electronic dance music lovers worldwide. Together with the rain, they cultivated a fertile ground for the genre's growth by delivering a plethora of musical rarities, like Calvin Harris' first Ultra set in over a decade.
And their eyes are still on the sky after they announced the dates and released tickets for their 25th anniversary festival, which is scheduled for March 28-30, 2025.
But it'll be a long 12 months before that historic weekend. In the meantime, read on to discover what you missed at this year's remarkable Ultra Music Festival.
SLANDER's head-banging set amidst torrential downpour
In a true "you had to be there" moment, SLANDER transformed a rainy nightmare into festival folklore on Friday night as lasers sliced through torrential downpour. The duo's punishing dubstep matched the energy of the rain's relentless onslaught during their performance, the last on the Mainstage before Ultra shut down for the night.
The streets of Miami turned into a pool party
Although it was clear and sunny for Ultra's remaining two days, Miami on Friday reportedly received 2.34 inches of rain, a daily record for the city. White shoes turned into mud bricks as Ultra's free-spirited ravers frolicked through the flooding, partying and bellyflopping in the streets.
View the original article to see embedded media.
Ultra icon Hardwell's set was cancelled, but the city of Miami came through
"I'm crying right now," Hardwell said in a post on X after his set was cancelled due to the weather. "3 months of work by the team and myself. Wow."
It was at this point when the festival's organizers faced their biggest stress test, finding themselves in a pressure cooker as they scrambled to deliver a prevailing Ultra icon. They ultimately pulled off the unthinkable after the city of Miami made the unheard-of decision to lift its sound ordinance, leading to an extra hour of Ultra—and a breathtaking Hardwell set.
Calvin Harris' first Ultra performance in over a decade
In a festival flush with surreal moments, Calvin Harris' Mainstage finale on Sunday felt like its undeniable highlight. Harris returned for the first time in 11 years and put on a masterclass in crowd-control, turning us into puddles at times with classics like "Feel So Close" and galvanizing techno-fueled purges at others, like during his spectacular coda.
View the original article to see embedded media.
Martin Garrix played a slew of unreleased songs
One of the biggest crowds of the weekend came on Saturday night, when Martin Garrix delivered a typically electrifying set replete with unreleased music. After another instant-classic Ultra outing, Garrix, who is considered by many as the world's quintessential DJ, seems to be building a Hardwellian legacy at Bayfront Park.
Armin van Buuren brought Jon Bon Jovi onstage to perform a new song
One of the weekend's most unexpected moments unfolded when Armin van Buuren brought out rock legend Jon Bon Jovi. Together they debuted an unreleased collaboration, the former's hair-raising remix of the latter's timeless 1992 track "Keep The Faith."
View the original article to see embedded media.
420 drones lit up the night sky above the Mainstage
The technological terra firma beneath Ultra's feet remained at the bleeding edge this year. The festival's organizers developed a magnificent drone show on Sunday night, when 420 choreographed copters danced in the night sky and morphed into a celestial ballet as the beats boomed below.
View the original article to see embedded media.
RL Grime and Knock2 brought out ISOxo to unveil a huge collaboration
Prior to Ultra's start, an indisputable focal point of its lineup was the rare b2b set between RL Grime, one of the electronic music scene's most revered producers, and Knock2, a flag-bearer of its future. They ultimately delivered arguably the weekend's top performance, at one point bringing out another rising superstar, ISOxo, to debut a monster collaboration.
Peggy Gou made her debut at Ultra's iconic RESISTANCE Megastructure
Noticeably absent from Ultra's beloved RESISTANCE Megastructure this year was Carl Cox, whose annual performances on the stage are considered one of Ultra's biggest draws. Peggy Gou stepped in as a de facto replacement on Saturday night, closing out RESISTANCE with a cathartic performance.
View the original article to see embedded media.
Chase & Status' show-stopping drum & bass set on the Worldwide Stage
Chase & Status' victory lap continued at Ultra's jaw-dropping Worldwide Stage, where the legendary drum & bass duo, who were named on EDM.com's list of the best music producers of 2023, threw down one of the weekend's best sets.
View the original article to see embedded media.
ILLENIUM joined Excision for a surprise appearance on the Ultra Mainstage
Excision's larger-than-life performance on the Mainstage felt like a watershed moment for dubstep music. The energy bubbled over when he invited ILLENIUM onstage to perform their soaring collaboration, "Feel Something."
A special Tiësto sunset performance in the rain
Billed as a special "sunset slot," Tiësto's Friday DJ set offered neon-drenched visuals and nostalgia as the Dutch dance music icon laid down spins of "Adagio For Strings" and Corona's "The Rhythm of the Night," among other classics.
View the original article to see embedded media.
Follow Ultra Music Festival:
X: x.com/ultra
Instagram: instagram.com/ultra
TikTok: tiktok.com/@ultra
Facebook: facebook.com/Ultra
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Here’s the breakdown: Ultra is contractually bound to wrap things up by midnight. Residents reported late-night noise on both Friday and Saturday. Festival organizers acknowledge going past curfew, but blame it first of all on the massive crowds exiting safely. But most importantly they also pointed to the crazy Miami weather causing a seven-hour delay on Saturday due to a messy cleanup from heavy rain and storms.
Let’s be real, late-night thumping isn’t exactly ideal for catching some good night’s sleep. Residents deserve a peaceful night’s rest, especially after putting up with a music marathon all day.
Unusual Weather & Safety Conditions
Ultra admits fault for exceeding the time limit, but considering the massive delays and exceptional conditions Ultra had to deal with this year, the delay seems more than reasonable. First of all, safety was a major factor in some of the delays, and we all agree on one thing, safety first. Moreover, with challenging post-COVID finances and to keep the longevity of the festival and its reputation, organizers had no choice but to run late, all while getting a green light from the authorities.
Finding A Common Beat
There’s always room for improvement. Perhaps clearer communication between organizers and residents could prevent future frustrations. Maybe even exploring sound-dampening solutions around the venue.
At the end of the day, Ultra is a huge economic boon to Miami, bringing in millions of dollars and tourism. Striking a balance between keeping residents happy and the festival thriving is key.
The post Miami Resident Group Furious That Ultra Ran Later On Days One And Two appeared first on EDMTunes.
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Mathame, Lyke – Discovery Channel
This track came out of nowhere but managed to find itself played pretty much every day of the week. Kicking things off with Mathame‘s set at Afterlife on Wednesday this melodic techno rework of The Bad Touch by the Bloodhoung Gang was everywhere. This one continued to get plays at John Summit’s Experts Only party, during Adam Beyer‘s sets at Drumcode Miami and the Resistance Megastructure, and then again at Mathame’s Ultra set.
P Diddy, Keyshia Cole – Last Night (ID Remix)
Given the news concerning P Diddy over the weekend, this one is doubly ironic. Millennials are now at the age where their childhood songs are being remixed for modern audiences. This classic “diddy” made its way into several sets at the Megastructure and at Factory Town. It got plays from Adam Beyer and a more chilled-out remix
KILL SCRIPT – On The Low
This one first made its way into the scene from Tale of Us during their Latin American tour. During Music Week it was everywhere, with notable plays from Camelphat, ARTBAT, Mathame, Tale of Us, and more.
Chris Avantgarde & Kevin De Vries – Killa
This latest banger from Chris Avantgarde and Kevin de Vries comes to us from John Summit’s Experts Only label, and it was a staple in many techno sets during the week.
Anyma & Chris Avantgarde – Eternity (Massano Remix)
With GENESYS II dropping on Friday, we were bound to see a few of those Anyma remixes pop off this week. Massano‘s intense remix of Eternity got play at both Afterlife and even from Adam Beyer himself.
Rebūke – Along Came Polly (Konstantin Sibold & CARMEE & ZAC Remix)
This track isn’t a new ID, but it still has major staying power. It found its way into many sets of the course of the week, just as it has for the past year or so. It got played by Joris Voorn and Kolsch, Vintage Culture, Anyma, and more.
Sweet Disposition (John Summit & Silver Panda Remix)
Of course this banger was gonna get more play during the week. Frontman, John Summit, had sets at LIV and Factory Town where this one was dropped. It also got played by Mahmut Orhan at The Cove, Armin van Buuren & Gryffin for SiriusXM and more.
PATT (Adam Beyer, Layton Giordani, Green Velvet)
Without a doubt, this was the track of the week for Resistance if not for the entire music week. This dance floor destroyer first made the rounds in January when John Summit, Layton Giordani, and Adam Beyer began teasing it out. Since then it has been killing the clubs every time it’s played, and Music Week was no different. It’ll be one of the biggest tracks of 2024, no doubt.
The post The Biggest Resistance Bangers of Miami Music Week appeared first on EDMTunes.
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ShockOne opens up a conversation about both the new age of drum & bass music and how artificial intelligence fits in all of this. “I’ve been obsessed with this idea for quite some time, particularly with the recent popularisation and widespread access to AI. I find it interesting that the more we learn about ourselves, the more blurred the lines become between intelligence and artificial intelligence, and how we define the two”.
Hi ShockOne, how are you doing? You recently released your debut album, toured New Zealand and Australia, and you’re also supporting Pendulum on their UK tour…
I’ve known the Pendulum guys for quite a while, basically my whole adult life. I toured with them in Australia last year, and that went really well. They did an arena tour down here in October last year. Most Pendulum fans are also ShockOne fans. So, it’s a pretty easy job for me, I don’t have that much warming up to do. People are usually pretty ready to go. I think because we’re all such old friends, the whole touring experience is fun and pretty frictionless. To be honest, most of my prep work the last couple of days has been sorting out how I’m going to film it all on stage. I’m getting some new camera setups, I’ll be recording all the sets. I just finished my New Zealand and Australian leg of the tour for my album, so I’m pretty on form at the moment on the decks. I’m pretty busy. There’s always something different going into big arenas, though. That’ll be fun.
What do you have planned for your UK shows?
The only difference from my New Zealand and Australian shows is I’ll be playing for 40 minutes instead of an hour and a half. I’ve got to try and figure out what not to play. That’s the hardest thing. I struggle with such a short set. It’s like really a matter of working out what not to play. To try and fit all the ShockOne hits in 40 minutes, as well as some new music and music from other people that I like.
It’s actually nice, I honestly don’t know what I’m not going to play. It is hard because even when I play for an hour and a half or an hour it is hard. There were a couple of shows on the NZ and AUS tour where I didn’t have to stop after an hour and a half. I think I ended up playing for a bit over two hours. I have a lot of stuff that I want to play, and if you add in all the new music that’s been sent to me from other people which I really love… I could play for a long time. It is trickier to decide what I’m not going to play.
With your newest album Organism Algorithm out, there’s even more stuff to play! Can you tell me the story behind this album?
I wouldn’t call it a concept album per se, but the term Organism Algorithm came from a book I read by a guy named Yuval Noah Harari. I don’t know if he coined that term or not, but the more
neuroscientists study our brains, the more they start to realise that so much of our behaviour comes down to the result of biochemical algorithms in our brains. It brings the idea of free will into question because we think we’re making these choices but actually when you get really down to it, it’s all algorithmic. I found that really interesting, and coupling this idea to the emergence of AI and how those two dovetail and marry. It brings me to the point of, “What’s the difference between organic intelligence and artificial intelligence?” If so much of us is already algorithmic, how can we differentiate ourselves from artificial intelligence that is algorithmic anyway? Not all of the songs of this album have this theme, but a lot of the songs are inspired by this idea. These ideas are inspired by certain concepts, it’s about building a world where the music exists in a framework. It was the same with my previous album which was probably a lot more conceptual, that one was almost like I was writing the soundtrack to a movie that I had in my head but didn’t have the skills or budget to make. This new one is kind of the same thing, for example, ‘Follow Me’ was the first song where this world started to grow, and that’s why it’s still on the album, even though it’s quite an old song. I wanted to put it on the album because that was where this idea arc kind of started.
Can you tell me about the other songs on the album?
There’s ‘Follow Me’, there’s ‘It’s All Over’, there’s ‘Hardwired’… ‘It’s All Over’ was a song I wrote during the pandemic when I was feeling very apocalyptic. Those three songs I just mentioned came out when I was stuck in Western Australia. I never really felt like they got their time in the sun. I never got to tour those songs when I was releasing them, even though they were all very successful songs for me, so it felt nice to put them on the album. I’m also touring a lot in the US these days, and I feel like there are actually a lot of people who might not have heard the older songs, I’m playing to a lot of new people there. This album is a good way for them to be exposed to it and hopefully discover it for the first time. I’m proud of this body of work, and I’m glad that I pulled it all together to be in one place. Every time I do an album, it really is like bookends on a period of production for me. Then I can put it away and be done with it. Afterwards, I can start fresh and move on to my next thing.
Talking about this bookend on a period of time, and moving on to the next thing… What do you have planned for that?
What I have in mind is putting away old sounds, certain drum sounds, certain synth things, certain templates… I’m really keen to put them away and go back to the ground floor of creativity again and start building from fresh. That’s what excites me. By this point, I’m quite bored of those sounds that I’ve been using for the last few years. Certain drum sounds that people come to associate me with, I felt like I just had to get that all out of my system, which I’ve done now. And now I’m really keen to just start making different things.
It’s very exciting to have that fresh slate and really go back to the granular levels of production and building new snare drums and new kick drums, without any songs in mind. The last few years I’ve had so many half-finished songs and I just needed to get them done. I’ve been very much in song mode for the last year and now I’m not in song mode. I’m just making sounds and that’s really freeing to do, that’s how all those ideas start. Every song starts from a place of literally kind of throwing stuff at the wall, experimenting and trying, actively trying not to write a song for as long as I possibly can to let those ideas grow naturally. That’s probably the most exciting part of the creative process. I’m really excited to be back at that point now.
Absolutely, it’s almost like you have to let your inner child out again. Let it play with the music.
Big time, it makes me think of the fact that more and more, there isn’t space for that kid to play because of the way that artists have to exist within the music industry these days. We’re so pressured to have constant output because of streaming culture. What you find is that you fall into this trap of just putting stuff out all the time, no matter if it’s good or not. You’re not going like, “Well, hold on a second. Is it good? Do I like it? When was the last time I just spent hours, days, weeks at a time playing around?”
Everyone’s looking for the quickest way to get from here to there. “If I can make as many songs as possible and put out a new song on SoundCloud every single week, that’s the key to success.” It’s a way to success, but what are you saying? But are you proud, have you done anything new? Have you broken any new ground? Is anyone going to listen to this song in 10 years? It’s okay to mess around in the studio for months at a time. You might do something brilliant that you might not have done if you had to put a new song out this week.
Is that how you created Organism Algorithm and your other work?
Less so with this album than my first two, because I felt like I had those pressures and it was only midway through doing this album that I realised what I was doing. I had that realisation in myself that I’d kind of fallen into this trap of getting obsessed with just releasing stuff every month. Now that I’ve done this album, I’m really like, “Everyone can back off now.” I’m going to go and be creative in my own time. The world in 2012, when I made my first album, is very different from the world we’re in now, the music industry in particular. I took my whole life to create my first album. I really was going at my own pace, and there are certain songs on there that I spent literally years on. Some songs were two years in the making, tracks like ‘Light Cycles’ and ‘Chaos Theory’. For example, I had the intro for ‘Chaos Theory’ for a year and a half, and I think I wrote seven different songs that followed that intro. While from a business perspective, that’s terrible, from a creative perspective and an artistic perspective, what I ended up at was game-changing for me. I had the same thing with ‘Light Cycles’. I listened to that song recently and it’s still the only song of mine that I can listen to where it actually gives me goosebumps.
When I look at the climate that I and every other artist have to exist in today, and when I think about whether I could have done the same thing now… I don’t think I could. Everyone would say, “You can’t take two years on a song that’s ridiculous.” I don’t apologise for it at all, I think it’s a song that 10 years later, I still get people messaging me saying that song is the thing. In all these different facets of life, people have come to me and said, “That song is what I listen to when I need to feel something.” For example, a particle physicist messaged me and told me he listens to this song to get in his zone. That’s amazing. That to me is timeless. It’s totally worth it.
How else have you evolved from your earlier albums?
Universus came out in 2012, A Dark Machine in 2019, and then this one. I’ve had two kids, and that definitely changes the way I work. I can’t be as self-indulgent as I used to be because I might get on a vibe at 3 PM and then it’s time for daycare pick up or something, but I think I actually got more productive since I had kids. The other biggest impact has been the way the music industry and the climate in which we have to create art have changed. As much as I go on about streaming culture ruining art, the flip side of that is, that me whining about it isn’t going to change things.
On a more positive note, a funny thing, I was saying this to the master engineer the other day. I was listening to the vinyl pressing of Organism Algorithm and I was thinking how the vinyl pressing sounded better than my last album and then I realised it’s not the vinyl pressing it’s the mixdowns and the production that I’ve gotten better at. When I released my first two albums, I suffered from imposter syndrome. Right now, I’ve developed the skill set and developed my craft enough to be able to finish something, be done with it, and go on to the next one. I’m able to be a lot more linear in my output, which is nice.
There are a lot of collaborations on this album. How did you end up working with them?
My primary drive for working with people is really just getting on with them, it’s as simple as that. I like making music with people who I get on with. The Lee Mvtthews guys, we get on super well. Freaks & Geeks guys as well. Very rarely am I looking at a collaboration from a strategic point of view like, “I’ll get them on a song and it’s going to do well for streams.” With Pauline Herr, I was just a big fan of her music, and at the time she was dating another friend of mine who’s also a producer, that’s how we connected. I asked her to record a vocal for one of my tracks and within a couple of days she sent back this amazing vocal. That literally took the song up a couple of notches. It’s probably my favourite song on the album.
Have your kids listened to the album?
My daughter’s favourite song is ‘Heart On Fire’ on this album, she loves that one. She sings it all the time, it’s great. But it’s funny you mentioned that. I’ve started doing this thing ever since my daughter was born, she’s six now. When I had my daughter I had this realisation that by the time she’s all grown up, I’m not gonna know what was on my Spotify playlist. It might not even exist by then and then all this music that I was listening to, I won’t be able to share with her. With digital streaming culture, there’s no archive. I would go and buy albums that meant a lot to me on vinyl, almost purely as an archival thing. So, when she is old enough she can flick to a record collection. It’s good to have at least my last two albums on vinyl, my first album never got pressed which still gives me pain. I want to do a limited pressing of Universus so I can have all three on vinyl.
Thank you for the interview! Any final thoughts?
I hope people enjoy the album and if they’re coming to any of the arena shows on the Pendulum tour, I’ll see them there!
Follow ShockOne: Apple Music / Spotify / Website
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This development is in line with Thailand’s efforts to attract international visitors through various means, including easing tourist visa restrictions and hosting other prominent events. Besides Tomorrowland, Thailand will also host Japan‘s Summer Sonic music festival in Bangkok this August. This is in sync with the Thai Prime Minister Srettha Thavisin‘s vision to revive the country’s economy through tourism and international events.
The addition of Tomorrowland to Thailand’s event calendar is expected to significantly boost local businesses and the overall economy. The festival, known for its grandeur and world-class electronic dance music acts, has a history of successful editions in Belgium and other locations like Brazil and the United States.
While specific details about Tomorrowland Thailand 2026 are yet to be announced, the anticipation is already building among EDM fans and festival-goers worldwide. The Belgian edition of Tomorrowland, renowned for its stunning stage designs and diverse lineups, has consistently sold out, indicating the potential success of the festival’s Thai edition.
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