Calabasas, California is a luxurious L.A. suburb tucked away in the Santa Monica Mountains known to host residents such as Britney Spears, Kanye West, and Justin Bieber to name a few. Because of that, it should come to no surprise that artists have been singing about this suburban hideaway for years now, in particular, rap
Sunny San Diego is preparing itself for their boutique spring music festival, Crssd Fest. America’s Finest City will host the event March 3rd and 4th 2018 at Waterfront Park in Downtown San Diego. The park features water splash areas, gardens, picnic areas and public art all overlooking the beautiful San Diego Bay and its skyline
After days of video flashbacks posted on their social media account, Insomniac finally revealed the dates of their massively popular spring festival, Beyond Wonderland. Set to return to the NOS Events Center in San Bernardino, the two-day event will take place March 16 and 17, 2018. Last year’s event drew a staggering 78,000 fans as
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Are you a Southern California resident or will you find yourself under its sunny skies this New Years weekend? Are you a fan of EDM (which we hope you are since you’re on our site)? Are you still asking yourself where you will be when the clock strikes midnight? If your answer was ‘yes’ to
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?
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 Opus in 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.
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.
James Blake has taken a trifecta of new tracks on tour with him. The singer/songwriter surprised San Francisco and Los Angeles audiences by previewing three unheard songs, “I Can’t Believe That We Float,” “Asking For A Friend,” and “Black Lung” during his recent performances.
Blake released his last album, The Colour in Everything, back in 2016. While Blake’s recent trifold debut of new content does not necessarily signal an impending follow up to his last album, Blake’s unexpected presentation of new music only conveys that Blake has not stalled in the studio.
The blue and white streak of lights that circled around Mary Tennisson’s body captured my attention as I roamed the back of the Citrus Building, known as ‘The Vision’ stage. As I approached her, her arms seemed to rotate even rapidly like a windmill catching a gust of wind, creating an almost perfect ring of
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Ten days have past, the music has stopped, the food has been eaten, and the laughs have finally settled. KAABOO has ended, but the memories have not been forgotten. As an avid festival attendee, I wasn’t sure what to expect heading into KAABOO. I have attended festivals all over the world, of all shapes, sizes,
California officials who have fought for months to extend California’s last call time for alcohol from 2 AM to 4 AM won’t witness the institution of their proposed bill anytime soon, it seems.
The bill circulated throughout the state’s Senate where it passed, pushing the bill forward to the Assembly, the final hurdle in the bill acceptance process before reaching the governor for signature. Despite the creation of a petition in support of the bill that notably received more than 1,000 signatures, the bill did not pass the Assembly round. The bill’s Assembly rejection proved to be particularly irritating to Senator Scott Wiener, the spearhead of the “Let Our Communities Adjust Late Night Act” (LOCAL) on which the bill was built.
Opponents of LOCAL and its corresponding bill asserted that extending drinking hours from 2 to 4 AM would likely invite an increase in DUIs and various other alcohol-related offenses — their counterarguments have led lawmakers to implement a task force devoted to the study of the extended call time and its potential effects.
Wiener, however, finds the creation of such a task force unnecessary. “There’s no need to study anything,” Wiener wrote in a Twitter post, “There’s nothing radical about letting local communities decide for themselves whether to let their bars and nightclubs go later. It’s embarrassing that California shuts down its nightlife so early. We’re not going to give up. Nightlife matters to our economy and culture, and California’s one-size-fits-all approach to closing time needs to be reformed.”