While Billy is away however, Ja is apparently hard at work with his own new venture, ICONN. Similar to the Fyre app, ICONN aims to connect people with high profile talent like Cardi B and Snoop Dogg for private event bookings. When recently questioned in an airport, the rapper recently told TMZ,
“In the midst of chaos is opportunity. I’m working on a lot of new things.” [Fyre] is most iconic festival that never was. I have plans to create the iconic music festival, but you didn’t hear it from me.”
“Iconic” is an interesting choice of words here. Sounds like some second rate marketing campaign for Ja’s ICONN platform is already in the works.
After taking a relative breather in 2018, Skrillex is back in full force this year. In fact, by the end of the summer events circuit, Skrillex will have performed a number of solo shows, a handful of festival-headlining Dog Blood reunions, and now, he’s slated for a special appearance with his former band, From First To Last, at this year’s BUKU Music + Arts Project. From First To Last last performed together two years ago at Emo Nite LA, a performance that at the time ended a decade-long hiatus for the band.
In the time since Skrillex last rejoined his screamo outfit, the band has released two singles with him on vocals— “Make War” and “Surrender.” Now Travis Richter, Matt Good, and Derek Bloom will be joined by their former lead vocalist Sonny Moore once again for a special after party performance at Republic New Orleans. The OWSLA boss will be pulling double duty, also headlining the festival with Boys Noize as Dog Blood. BUKU’s lineup dropped back in December, topped by A$AP Rocky, Excision, RL Grime, and Lana Del Rey.
Groove Cruise Miami, hot off the heels of a successful 15th anniversary sailing, already has some big announcements underway for their 2020 sailing. The floating festival has revealed the dates, and set its sights on a new destination, for next year’s voyage. Groove Cruise Miami will head to Costa Maya, Mexico for four days of high seas hedonism aboard Celebrity Cruises, and best of all—tickets are already on sale for the January 9 – 13, 2020 sailing (pro tip: use promo code DANCINGASTRO for $50 off per person).
Festival goers will arrive in Costa Maya in style— aboard a state-of-the-art vessel equipped with casinos, basketball courts, spas, and a pool on the main deck. The ship is even powered by smokeless turbine engines. With the promise of a premium getaway both on and off the ship, Groove Cruise continues to enhance the festival experience as its 16th anniversary approaches.
Groove Cruise has a lengthy track record of programming dance music’s most elite DJs and producers for lavish beach-side adventures, and next year’s event is primed to be Groove Cruise’s finest outing yet. Along with a well curated crop of talent, the cruise’s intimate setting offers themed parties, artist-led activities, and performances unlike most other festival sets out there. What’s more, off the ship, attendees will have the opportunity to blend experiences, exploring Costa Maya’s ancient Mayan ruins and local attractions before returning to the party.
Tickets are now available for Groove Cruise Miami 2020 — purchase tickets here and be sure to use promo code DANCINGASTRO for $50 off per person.
Get Lucky festival is ringing in the 2019 spring season under thick blankets of bass.
Running just one weekend shy of St. Patty’s Day, the March 8-9 V2 Presents festival has secured REZZ and Borgore as headliners. Its undercard echoes an equal brand of seductive strangeness, including Liquid Stranger, Malaa, Bro Safari, and 1788-L. Indeed, Get Lucky seems to have all its bass bases covered this year.
Returning to Salt Lake City at The Great Saltair resort, Get Lucky will host multiple, attentively curated stages, including a main stage, aka Celtic Palace, and the outdoor Tent of Gold, reserved exclusively for the festival’s hardstyle acts, inlcuding Starx, Lady Faith, and more.
This year’s talent reflects the continued success Get Lucky organizers have had with the annual event since its humble beginnings in 2006. Tickets are on sale now here.
If you’ve ever wondered what happens to the massive amount of trash left behind at festivals, you’re not alone. Beth Cosmos, a festival-goer herself who worked on the festival scene while completing her fashion design degree at the University of South Wales, thought the same after seeing the things people leave behind after the party’s over. She learned that more than 200,000 tents are left behind in the UK each year and saw a perfect opportunity, focusing dissertation on the relationship between fashion consumption and sustainability.
From there, her line of kids raincoats, named Billygoats and Raincoats, began. “I thought, ‘These are waterproof and are going to waste,’” Cosmos told Wales Online. “So I brought a few back home with me and bits of tents were cut up all over the kitchen table. I still have it, the first few trials.”
With the start of her new company, she’s hoping to expand beyond just kid’s raincoats in the near future, but for now, will keep taking a party’s waste and transforming it into trendy, sustainable clothing.
Since Swedish House Mafia‘s long-awaited comeback officially materialized, attention has turned largely to a cryptic roll out of tour dates on their website, with a number of major cities already in the trio’s cross hairs for 2019. Though, back in August of 2018, with the group’s triumphant reunion at Ultra still fresh in everyone’s minds, Steve Angello stated publicly that Swedish House Mafia would play Tomorrowland 2019 “by any means necessary” to Dutch newspaper De Telegraaf. Since the Size Records boss’ declaration, there hasn’t been much evidence to confirm the Mafia will appear in Belgium this year until now.
Fans have begun noticing that this year Martin Garrix‘s annual headlining role at the festival has been slightly reduced. Garrix is heading up his label’s STMPD RCRDS stage, only playing a single set during weekend one. After closing out Tomorrowland three years running, fans are beginning to speculate that closing duties will be passed from Garrix to Swedish House Mafia this year.
I’m not playing the mainstage this year! Only @stmpdrcrds stage weekend 1
The “Access” producer’s limited availability at Tomorrowland this year could simply be the result of scheduling conflicts, and Swedish House Mafia may still get a traditional announcement from the festival. However, something about Swedish House Mafia’s noticeable absence so far from Tomorrowland’s currently ongoing lineup roll out suggests there’s more to this than meets the eye.
Hot Creations had an instant classic on its hands in “Along Came Polly,” an infectious jam that would put Rebūke’s name on the map and eventually hold the top spot of Beatport’s Overall Chart for quite some time. It’s clear the aforementioned producer had found a magic formula of mixing past and present tech house elements into veritable hits that would be warmly received by mass audiences. He continues to strike this balance on Jump Ship, his next release on DIRTYBIRD that is already making its way around the festival circuit and proving to be somewhat of a break for him across the pond.
The title track captures attention right away with pulsating bass and tightly mixed tribal drums that eventually lead into absolute mayhem post-break. Hollow, seven-note bursts function as lasers that, when targeted at the dance floor, prompt uncontrollable dancing. Meanwhile, “The Pipe” takes on a more hypnotic profile, but equally chaotic nonetheless. It chugs forward like a sine wave, with micro peaks and valleys manifested once again through bassline and hollow synth bursts enticing listeners to move up-and-down alongside the music. This action has been evidenced in videos circulating around of the tune being rinsed at high profile festivals like Holy Ship!, where reception looks to be wide open.
Not too shabby of a release for a producer who only just broke into the house sphere a year ago.
Live Nation has recently announced that they will be attempting to fill the void left behind by the now-defunct Sasquatch Festival at one of the most beautiful natural venues in the country and arguably the world. Washington state’s Gorge Amphitheatre that seats 27,500 and overlooks the Columbia River has brought an immense amount of bliss over the past 17 years through the recently shuttered festival event and many were in a state of great dismay after festival founder Adam Zacks announced that Sasquatch would cease to operate after the 2018 edition. The festival’s website is now a just a homepage with a simple and humble message of “Thank You.”
As for Live Nation’s new venture, the events giant vaguely confirmed, “Details will follow in the weeks to come, but put it in your calendars: May 24-25-26, 2019 will see a new generation of contemporary artists carry on the tradition at this iconic Northwest institution.”
Live Nation has a staggering grasp on the festival market with a 26% hold on events with a capacity over 5,000 people. Despite independent music festival’s urging investigations into Live Nation’s dominance of the festival scene and music industry, it’s difficult to turn one’s nose up at their events. In the US alone, Live Nation puts on major high profile events such as Austin City Limits, Camp Bisco, Bonnaroo, EDC (Las Vegas and Orlando), Electric Forest, Forecastle, Governors Ball, Lollapalooza, and before it’s closure Sasquatch, among many others.
As for its new venture, Live Nation described the enigmatic new event as, “A tradition embraced by music fans for decades happily moves forward to welcome new audiences and artists to this magical venue where moments and memories will continue to be created and shared for years to come.” Though only a little information is out one can already assume Live Nation’s new event at the Gorge will hold up or perhaps even bolster Sasquatch’s legendary legacy, though despite whatever improvements may be underway, the view certainly couldn’t get any better.
New York City’s Panorama Festival can’t seem to catch a break. The AEG and Goldenvoice-backed festival was forced to evacuate its first festival day in 2018 due to inclement weather, which was received with widespread criticism and backlash from fans. Now, as ticket announcements and lineup releases would have been on the horizon for this year’s edition of Panorama, the festival’s organizers have announced that the event will be going on a “hiatus” as the team looks to find the festival a new home. The festival was held on Randall’s Island during its first three years, but NYC Parks denied a permit for the festival for its 2019 iteration. The organizers are now actively seeking a permanent home for Panorama in Flushing Meadows, New York.
AEG released an official announcement about the festival’s hiatus in 2019, stating, “While we have enjoyed our time on Randall’s Island and its great facilities, we feel that we have achieved all that we can at this site. We look forward to continued conversations with City Parks to explore making the Flushing Meadows site a reality. Until then, we thank the fans and artists who supported the event for the last three years of fantastic performances.” In past years, Kendrick Lamar, Tame Impala, Frank Ocean, and LCD Soundsystem have headlined Panorama Festival.
After months of frantic speculation, confirmation of an official Woodstock anniversary event has been confirmed by the legendary music festival’s co-founder, Michael Lang. Lang confirmed the news to Rolling Stone, noting a new location for Woodstock 50, as well as the dates for this year’s event.
Many were hoping Woodstock 50 would return to the event’s original home in Bethel, New York, which eventually would go on to host Mysteryland‘s U.S. offshoot for a number of years. Instead, Woodstock 50 will be hosted in Watkins Glen, New York across August 16, 17, and 18. Lang also confirmed more than 40 acts have already been booked, noting a well-rounded lineup of rock, hip-hop, pop, legacy acts and reunions from the original festival in 1969 is already locked in for the 50th anniversary. Organizers have been tight-lipped about talent for this year’s event, though the lineup and tickets are expected to land sometime in February.
In regards to Woodstock’s infamously disastrous ’99 venture, Lang was quick to address concerns, explaining, “Woodstock ’99 was just a musical experience with no social significance. It was just a big party. With this one, we’re going back to our roots and our original intent. And this time around, we’ll have control of everything.”
Woodstock 50 is also expected to be livestreamed online this summer. Stay tuned for details.