Marshmello ‘s true identity is officially a farce. While the future bass producer has all but been confirmed to be Chris Comstock, or Dotcom, the bucket head producer has been rather committed to the charge of trolling his own anonymity for some time now…remember Tiësto’s EDC Las Vegas stunt? The latest actor to join in Comstock’s antiquated antics is none other than comedic legend Will Ferrell. The moment, as captured on social media by Marshmello’s manager Moe Shalizi, shows an on-screen Ferrell remove the mask at some point during Marshmello’s show at San Francisco’s Bill Graham Civic Auditorium.
GQ named Marshmello one of 2017’s “Worst Dressed” men, but 2018 sees the puffed producer well on his way to a saccharine style comeback via the reveal of Marshin. The “Alone” hit maker’s new men’s clothing line, Marshin will be exclusively sold at Zumiez stores. The partnership is a complementary one given Marshin’s streetwear aesthetic.
The Marshin brand is now available at Zumiez retailers, consisting of six different options: a hoodie, long sleeve T-shirt, and four T-shirts, each with a unique design. The full line can be viewed here.
As streaming platforms like Spotify compile end of year playlists comprised of the year’s most popular dance tunes, so too does Reddit‘s electronically focused r/EDM subreddit. The subreddit has produced a list of 2017’s “Highest Rated” songs, albums and EPs, and throwback posts, using user submitted Reddit ‘up-votes’ to calculate the year’s crowd favorites.
The democratic approach sees Reddit visitors elect The Chainsmokers & Coldplay‘s “Something Just Like This” as the highest rated song of the year with 497 votes. The full list features a total of 30 tracks, with Skrillex‘s remix of “Humble” registering in second place with 443 votes, and Illenium‘s “The Sound of Walking Away” weighing in at third with 373 points. Kygo, Martin Garrix, Marshmello, and ODESZA likewise rank, speaking to a resurgence of preference for mainstream releases among voting Reddit users. Porter Robinson‘s opaque Virtual Self alias charts twice on the highest rated list for “Eon Break” [303 points] and “Ghost Voices” [245 points], reflecting a general fondness of the DJ’s new pet project. Virtual Self’s eponymous EP is duly noteworthy for its placement as fourth on the subreddit’s grouping of the highest rated albums and EPs.
Reddit voters exhibit a collective inclination towards ODESZA‘s A Moment Apart, the platform’s top voted album of a total of ten albums/EPs with 561 points. Avicii’sAvīci EP receives the second most votes at 528, while Illenium’s sophomore album attracts the third most, earning 441 for Awake. Kaskade‘s debut seasonal album, Kaskade Christmas also emerged as a highly celebrated release, securing the eighth spot on the list.
r/EDM’s Highest Rated Throwback Posts category is as selective, as the subreddit’s Highest Rated Albums/EPs section, made up of only ten tracks. A testament to the memorable quality of Porter Robinson’s original productions, “Language” sits at the top of the list, likely gaining newfound popularity in the wake of Robinson’s foundation of Virtual Self. Skrillex’s Scary Monsters & Nice Sprites EP claims the succeeding position, while Justice‘s “Cross” follows.
The publication of the subreddit’s statistics has elicited a variety of responses from r/EDM users, with some finding the results to be an “expected” but paltry reflection of the year’s most widely acclaimed electronic releases, whereas others alternatively identify the lists as those that are accurate in their identification of listeners’ dance preferences this year. While the findings are indicative only of the listening trends of those that voted, the charts denote just where voters’ fan favorites were concentrated, with the utmost transparency nonetheless.
The LA-based producer YULTRON proves he’s one to watch come 2018 in dropping an official remix of Marshmello’s hit single “Silence” feat. Khalid on vocals. YULTRON has shown listeners that when it comes to production style, he’s as diverse as they come, displaying a variety of sounds on official remixes for The Chainsmokers, KAYZO, Adventure Club and more.
Sometimes it’s dubstep or slowed-down future bass, butthis time he’s decided to put a happy hardcore-esque spin on Marshmello’s chart-topper. With some bouncy synths and off-beat kicks under Khalid’s verses, YULTRON brings the rework into a rapid assortment of pitch vocals and up-beat bass-line making for a euphoric drop.
Phoenix, Arizona is quickly becoming one of the nation’s hottest music festival destinations, drawing an increasing number of top-tier artists and events to the Valley of the Sun year after year. This year was perhaps Phoenix’s biggest yet, hosting events like the debut installment of Lost Lake Festival and Hundred Waters‘ annual FORM at Arcosanti, an artistic community about 30 minutes outside the city. But for ravers and hip-hop heads alike, one event’s talent roster may have stood head and shoulders above the rest, with Goldrush Festival also delivering its inaugural lineup, stacked with genre-hopping talent. Dillon Francis, Marshmello, Migos, Claude Vonstroke, REZZ, Lil Uzi Vert and a slew of the year’s most sought-after artists flocked to Arizona just as the state’s sweltering temperatures began to break, only to heat things back up again for two days of festival chaos wild west style. Here are Dancing Astronaut‘s top five takeaways from the inaugural Goldrush Festival.
Baauer and A-Trak’s highly anticipated b2b set
Lined up for only a handful of joint shows to close out 2017, Baauer and A-Trak finally joined forces for the back-to-back performance we all deserve, and boy did they deliver. With Baauer’s ever-variant track selections and A-Trak’s brilliant scratch routines, the pair put together a set that hit the crowd from every angle, complementing each other like they’ve been playing together for years. The chemistry was definitely there, it was like watching Carlos Santana and Slash trade solos for a full hour. The Fool’s Gold Records veteran and his LuckyMe counterpart delivered one of the best sets of the weekend and are hopefully planning to bless fans with additional back-to-backs in the very near future.
Once the representatives from Dirtybird Records touched down at Goldrush, the endless shuffling began, and the massive cloud of dust didn’t settle over the venue until well after the weekend’s final performance. Claude Vonstroke and his Dirtybird cohorts undoubtedly ruled the roost at Goldrush’s debut weekend. The band of (mostly) California-based house heroes including Walker and Royce, Christian Martin, and more descended upon the desert to deliver some of the weekend’s top highlights. From the label head’s double duty playing by both his Vonstroke and Barclay Crenshaw monikers to Shiba San‘s top-billed performance, Dirtybird Records took over the party with a commanding presence and the swelling Arizona crowds knew exactly what to do.
Curation and programming
For a new event concept in an emerging festival market, it can be difficult to rope together the perfect blend of talent for a debut lineup. Beyond that, there’s an additional set of difficulties in nailing the festival’s overall programming, though Goldrush navigated these challenges impressively well in its inaugural installment. The lineup included hip-hop and dance music’s top-tiered and newly emerging talents alike, pairing acts like RL Grime, Excision and San Holo with Rich Chigga, Lil Pump and G-Buck. The lineup showcased well-rounded bookings that spanned the spectrum, from Flatbush Zombies to Jeremy Olander, Öona Dahl to Justin Jay offering up a balanced blend of talent with a clearly electronic-leaning focus. Beyond the lineup’s composition, the rest of the event’s overall complexion was a highlight worth its own mention. While the wild west motif came off a kitschy at times, with fans panning for gold and old timey saloons selling neon shutter shades, it generally came off as well-intentioned, well-produced thematic appreciation for Arizona. The western town venue was spacious and open, and while stages experienced some clustering at times, the event’s layout generally held sway. Ahead of Decadence New Year’s festivities at the same venue, Goldrush tested the grounds and successfully delivered a wild west experience that comfortably accommodated thousands of attendees.
Plenty of music festivals opt for cashless alternatives, though few execute as smoothly as Goldrush did. Communication with attendees was thorough and clear, and assistance at the festival was prompt and efficient. The event was strictly cashless. Once an attendee’s personal payment information was secured, wristbands with magnetic tokens managed the sale of concessions, merchandise, and more. The event that was so heavily authentic to its wild west themed production, though Goldrush also directed the proper amount of time and resources at ensuring a safer and swifter experience between performances. It is easy to overlook the small details of such large-scale events, but Goldrush managed to nail down the little details that made the dusty main drag of the micro-western town replica venue an amusing open-air marketplace packed with buzzing ravers.
Los Angeles is undoubtedly the foremost incubator of electronic talent in the U.S., but only a few hundred miles east sits Phoenix, which has also been called home by some of today’s top-tier DJs. Goldrush did a credible job of including local Arizona talent on the lineup, but seeing heavy hitters like Mija, Drezo, and Ghastly come home and play before their hometown crowds made for some of the weekend’s most memorable moments. Longtime local fans will remember Mija’s resident sets at dance clubs downtown, while droves came out to support dark house protege Drezo as he continues to carve out his own brooding, club-rattling house fare. Goldrush ensured that Phoenix is on the map, and it brought strong representation along to promote the hottest new stop on the major festival circuit. Among waves of internationally touring talent, Arizona’s brightest exports came home to round out a successful event with some special, personalized touches.
XS Las Vegas, the city’s premier electronic music hotspot, has revealed Marshmello and The Chainsmokers as the nightclub’s final acts of 2017. This year alone, the club launched a spate of new experiences including NightSwim, the debut of Jamie Jones’ Paradise and a two-year residency with Kygo.
In January, Wynn also announced its exclusive, three-year residency deal with The Chainsmokers. The partnership guarantees its properties, XS and Encore Beach Club, will be the only night and dayclubs where the duo will perform live through 2019.
Tickets to Marshmello on December 29 can be purchased here, and tickets to The Chainsmokers’ NYE performance are available here.
What will Coachella’s EDM programming look like this year?
Coachella‘s status as a music festival has grown to become larger than life since its humble, European-inspired beginnings in 1999, and their yearly lineup is both a cultural statement regarding the current state of music and a presage to future trends.
The behemoth brand has always integrated electronic music into their programming, with artists like The Chemical Brothers, Paul Oakenfold, Moby, Kraftwerk, Aphex Twin, and even Daft Punk helping to shape its reputation as an audacious tastemaker when it comes to curation. Until Coachella, electronic music had a hard time making it across the pond — it certainly never occupied such prime real estate as desert fields filled with upwards of 60,000 attendees.
Coachella’s longstanding relationship with EDM has been as mercurial as the multifaceted genre itself, with its programming interests shifting in conjunction with the tastes of festival attendees. 2010 saw Tiësto occupy a sub-headlining set, playing after Muse on the festival’s main stage. Swedish House Mafia’s seminal 2012 performance has become solidified as one of mainstream house’s defining moments as a genre. Calvin Harris‘ iconic set in 2016 marked the first year that an EDM artist has headlined Coachella, a precedent that has since shaped the festival’s programming ethos. Its most recent iteration saw the most electronic artist names in both the second line and undercard areas of its lineup in its entire history.
So, what will EDM look like at Coachella 2018?
As always is the case, Coachella’s internal forums and sub-Reddits have been crawling with speculation around the lineup since the end of last year’s festival in April. However, 2018 has been more silent in terms of credible rumors than in recent years. 33 names on the 2017 bill were confirmed by this time in 2016, including all three headliners. This year, a mere 8 names are confirmed, with only Beyoncé confirmed as a headliner due to her unexpected cancellation.
The Chainsmokers‘ potential elevation to headliner status catalyzed a lot of buzz earlier in the year, for example, but these rumors have since been proven insubstantial at best. Such hypotheses beg the question: Who aside from Calvin Harris does have the EDM star power to headline a festival as large as Coachella? One could only name a few potential candidates, really: the new ‘it boy’ Marshmello, Daft Punk, Zedd, and maybe Major Lazer or Skrillex off of a new album.
The Sahara Tent
Most of the Coachella’s EDM selection tends to be confined to one of North America’s most storied destinations for the genre: the Sahara Tent. Since the festival’s recent attendance expansion, it has gone to great lengths to increase the amount of space between stages, removing bottlenecks and increasing traffic flow. However, it failed to predict that the jump in attendance would largely be from those looking to quench their collective thirst for EDM.
Massive acts like DJ Snake & Martin Garrix were placed one after the other in 2017, rather than being scheduled in conjunction with one another to help ease crowding. The same was true of Sahara mainstays Dillon Francis and Steve Angello, both of which played there once more at peak hours.
The likely reason for this lack of counter programming stems from the fact that fans pay a great deal of money to see as much of their music of choice as possible, so directly countering EDM with more EDM would likely upset Coachella’s core demographic. Still, the Sahara Tent is nearly uninhabitable after sundown, and fans can’t even break into the tent to catch their favorite sets if this scheduling methodology persists.
Coachella’s online forum users have pointed towards the prospect of the festival adding another gargantuan tent similar to the current Sahara Tent, which could showcase similar styles of music while lessening the bottleneck effect in the Sahara. A more plausible option, though, would be the expansion of the current Sahara Tent to accommodate a larger number of attendees.
Regardless of how they tackle it, Goldenvoice must, and likely will address the overflow of wide-eyed festival goers flooding into the Sahara Tent in dangerous fashion.
With so many dance titans occupying the second line of Coachella’s roster over the past couple years, its seems like the event has almost jumped the gun just a bit. Booking so many of EDMs hottest names means that there are now far less to look at for 2018, assuming there are no repeats — quite the conundrum indeed.
ODESZA appears to be one of Coachella fans’ most sought-after artists. Fresh off of a new album and accompanying tour, which saw them incorporate a drum line and other exciting elements into the mix, the seminal indie/pop electronica duo is likely going to claim one of Coachella’s top spots come Spring of next year. One could even go so far as to wager that they will fill the third name on the second line and occupy the same main stage sunset spot that Porter Robinson & Madeon occupied in 2017.
Since Kygo’s ascension to national stardom that essentially began in 2015, the Norwegian giant has garnered hundreds of millions of streams and has since gone on to popularize the “tropical house” sound and captured the attention of the masses. A key second line slot seems fitting for Kygo in 2018 — a step up from his 2015 booking — and the artist certainly has the clout to headline the festival’s second biggest stage: the Outdoor Theatre.
Eric Prydz is another name that hasn’t played Coachella in years, and has since accrued a massive increase in popularity among the dance music community. With the release of Opusin and the debut of his new Epic 5.0 stage setup, Prydz is certainly a candidate for high placement on Coachella’s 2018 poster — there’s even a good chance he could occupy a similar after-dark set on the Outdoor theatre, à la Justice in 2017. Or, perhaps Prydz could headline the legendary Sahara Tent during a main stage set from The Chainsmokers.
One of trap music’s most elusive figures, RL Grime, has been on his headlining Nova tour for the last two months, which features groundbreaking visuals that are rarely seen in the trap world, or EDM world at large. The LA native, who has redefined trap music’s fundamental style, always ensures his sets are filled with a tangible verve. He could very well close out the Sahara Tent or perform second to last on Coachella’s Outdoor Theatre, especially if he releases an album in the foreseeable future.
Finally, after their meteoric rise to mainstream recognition since Group Therapy, Above & Beyond is also primed to their long-awaited return to the Polo Fields — maybe for 2018 after the release of their Common Ground album. The trio is known for filling their sets with tear-inducing moments aided by sentimental visuals, and like RL Grime, would make for perfect counter programming in the Sahara Tent or placement at the Outdoor Theatre.
GRiZ has never performed at Coachella and, fresh off of the release of his newest album Good Will Prevail, the Michigan DJ and saxophone master is definitely evolving into an excellent booking choice. With live, instrumental-centric sets that are full of insurmountable energy, it’s only fitting that GRiZ occupies a coveted slot on the lineup. GRiZ seems to be on the cusp of second liners — he may be closer to filling a high spot on the third line — regardless, he might make his debut at the 2018 iteration.
Yuma Yuma Yuma
As Coachella’s electronic programming progressed through the years, organizers soon felt a need to incorporate a tent that captured the essence of the underground dance niche. Thus, the Yuma Tent was birthed in 2013. The stage’s indoor setup features awe-inspiring lighting schemes, air conditioning, a giant disco ball, and even giant beds that sore feet can head to rest and soak in the sounds of top underground talent.
In years past, the Yuma Tent has featured such legendary acts as J.E.S.u.S (Jackmaster, Eats Everything, Skream, and Seth Troxler), Richie Hawtin, The Belleville Three (Juan Atkins, Derrick May, Kevin Saunderson), Bicep, and Ben Klock, to name just a few.
So who will DJ in the legendary tent this year? Our bets are on the return of artists like those that comprise J.E.S.u.S. Others that are due for a return include Maceo Plex, Carl Craig, and Dubfire.
Coachella’s Yuma tent selections continue to break ground within the electronic side of the festival sphere, but it will need to expand upon its current scheduling methodology in order to keep up with the growing factions that divide ‘popular’ underground leaders — like Hot Since 82, Solomun, and The Martinez Brothers — and their lesser-known counterparts.
Will bookers finally decide to pay homage to such pivotal acts as Len Faki, Amelie Lens, Rødhåd, Detroit Swindle, and The Black Madonna? The aforementioned underground acts have not typically made the cut in recent years; whether this is due to them not receiving an offer, or simply not wishing to play a mainstream festival like Coachella, is entirely unknown.
One thing that is for certain is that they would do well to expand their horizons in terms of the styles of techno and house they book, given the apparent lack of diversity in the Yuma Tent’s recent years. Ultimately, the stage is still defining its identity after only half a decade of existence, so who knows what it will have in store come April 2018.
Coachella’s most consistent aspect is its stellar undercard, and electronic music within this area of its roster continues to act as an integral force in its success. Acts like Nicolas Jaar, Tycho, Galantis, Kaytranada, Jai Wolf, and Four Tet all occupied its undercard last year. When one considers that even some of electronic music’s most established and hottest acts didn’t even make the second line, the festival’s depth becomes entirely apparent.
This year’s bill has the potential to showcase an array of tantalizing dance music up-and-comers. Some acts we predict will appear on the 2018 undercard include Virtual Self (Porter Robinson’s alter alias), Ekali, Big Wild, Gorgon City, Malaa, and Oliver, to name a few.
A Cultural Phenomenon
Coachella holds strong in the festival sphere of influence, continually expanding its attendance rates and selling out each year thanks to bookings like Lady Gaga, Radiohead, Outkast, Kendrick Lamar, and more.
The festival is a glaring manifestation music’s current state and where its headed: this is especially true for its electronic programming, in which its talent buyers are faced with a more arduous task than ever to remain cutting-edge for the upcoming rendition.
Coachella’s upcoming lineup is most definitely going to be incredible no matter what, and we’re excited to see who makes the cut.
Musical retrospectives are all the rage as 2017 winds down, with SoundCloud’s “2017 Playback” graphic being the latest to enter the yearly recap ring. The visual review identifies Lil Uzi Vert’sLuv Is Rage 2 as the most frequently streamed album on the platform, and “XO Tour Llif3” as the Top Rap/Hip Hop Track of the year.
Two Friends claims a triumph in the Top DJ Set category for Volume 11 of their high energy Big Bootie Mix series. Electronic music is represented across SoundCloud’s Playback. R3HAB is accordingly recognized as Top Remixer, while Marshmello gets a special spotlight as one of the “Artists Who Were On SoundCloud First And Owned The Internet in 2017,” a nod to Marshmello’s musical origins.
It was only a matter of time: Marshmello is now doing it for the culture.
In a year of continued growth for the producer, collaborating with some of music’s most sought-after acts — like Khalid and Selena Gomez — the helmeted producer has finally teamed up with hip-hop’s hottest group, Migos.
The resulting track “Danger” is a quintessential, nitty-gritty hip-hop track from Migos. It bolsters both delightful underlying brass instrumentation and a smooth bassline, leaning into Migos’ style wholeheartedly. And while it’s surely a departure from Marshmello’s more recent releases, it’s not entirely out of character for one of music’s most keen cameleons.
“Danger” is off the Netflix soundtrack for the original new movie Bright, which makes its worldwide release on the streaming giant December 22.