Each year the ARIA Awards represent the finest original acts to come from down under, often forecasting trends to come in the ever-evolving music industry. 2019 seems to be destined as the breakout year for Australian singer/songwriter, Tones and I, who managed to rake in eight nominations while riding the momentum of her inaugural release, The Kids Are Coming. ARIA is also thoroughly commending, RÜFÜS DU SOL who are nominated for Best Group of the Year, Album of the Year, and Dance Release of the Year for their latest LP, Solace.
RÜFÜS DU SOL – Solace (Rose Avenue Records/Sony Music Australia)
Other notable mentions include the folk-rock Teskey Brothers, as well as Julia Jacklin, whose recent album, Crushing, has been… well, crushing it. It earned her a laudable six nominations including Best Female Artist as well as Best Independent Release.
The 33rd annual ARIA Awards take place on Nov. 27 and will be hosted by Australian Idol winner, Guy Sebastian.
Who is Malaa? Conspiracies run rampant. But titles like purveyor of pernicious beats and mixer of maniacal melodies ring with resounding veracity nonetheless.
The French ski-masked menace just hit a noteworthy benchmark, the watershed 25th episode, in his longtime SoundCloud series, Who is Malaa. The mix collection has served as a vessel for Malaa to channel his multifarious musical proclivities, which range from minimal techno, to heady bass house, to his newfound affinity for on-brand nefarious mid-tempo (i.e., “Revolt“).
This latest installment exercises the length of the “Notorious” producer’s palette. From Eli Brown‘s whimsical, dancefloor-destined rework of up-and-coming Aussie powerhouse, Dom Dolla‘s recent “San Frandisco,” to Kage’s pandemic new “Virus,” to Martin Ikin’s soulful Beatport-topper, “Hooked,” the most in-demand house cuts of the moment are accounted for in the 30-minute milestone effort. The malevolent mix maestro’s mantra rings as apt prelude for this one: “You can listen to this shit at the club and go rob a bank afterwards.”
In 2019, festival organizers look to build on last year’s success by bringing in headliners Cirez D and TESTPILOT, along with a piping hot array of other artists like Bicep, Idris Elba, Nic Fanciulli, Gorgon City, Nora En Pure, and more.
Now, the festival has revealed its daily lineups, featuring deadmau5’s TESTPILOT alias topping day one and Eric Prydz’s Cirez D moniker at the top of day two at The Statesman. Saturday, Nov. 16 will also feature acts like Chris Lake, i_o, and Rinzen, and Sunday, Nov. 17 will bring performances from Lee Burridge, Gorgon City, Dom Dolla and many more. Along from the dynamic lineup, the festival will also feature live painting and art installations, live performers, totem, and costume contests.
“We couldn’t be more pleased with the glowing feedback from our debut year and now with this year’s lineup,” said RealMusic Events & Seismic co-founders Kelly Gray & Andrew Parsons. “Many US festivals tend to have very similar lineups so we really wanted to switch it up and cater to the more seasoned, underground connoisseur – and yes, believe it, in Texas.”
Camp EDC is back and better than ever for 2020, as Insomniac announces the festival feature’s return to EDC Las Vegas. The resurrected campground will see its third run outside of the Las Vegas Motor Speedway bowl, teasing a volume of exhilarating surprises and announcements for the upcoming installment.
Camp EDC has grown from an elaborate playground, to a full-fledged partier’s paradise within walking distance of the festival grounds. From luminous art installations to the four central Oasis swimming pools, Camp EDC treats its members with a whirlwind of amenities and activities to complete their weekend in the desert.
What may have started as a mere complementary addition to the already over-the-top, three-day festival, has morphed into an elaborate outdoors extension of the EDC experience. Camp EDC operates with the same fixations as the flagship festival, with organizers maintaining they’ve erected the space on the values of positivity, love, and inclusivity. Each corner of the campgrounds offers a new sight in store, with the heart of the activities hosted in The Mesa. Marked with three mountainous structures, aptly named the Sol, Cascada and Tierra tents, each tent hosts a handful of scheduled health, wellness, and beauty activities throughout the day for campers to participate in.
Daily label-hosted pool parties for this past year’s installment welcomed a slew of artists from Bassrush, Hard Records and Insomniac Records set to soundtrack each day. As campers trudged back to their tent sites, their walk was cut short from the sounds of 6:00 am after-parties hosted in the heart of the campgrounds. While the sun rose each morning, the campgrounds were reignited through high-energy sets from artists like Solardo and Dom Dolla and an elusive sunrise REDUX set from Kaskade.
Moon Glow and Desert Rose (symbolic of GA and VIP) tent packages for Camp EDC will be available for sale on September 27 at 9:00am PT. Following last year’s model, festival ticket holders are able to purchase their Moon Glow or Desert Rose (symbolic of GA and VIP) camping passes separately to secure their spots in the campgrounds.
In advance of next year’s festivities, Camp EDC has revealed the official site maps for the Mesa, and campgrounds. For more information and to purchase camping passes, head here.
The pulsating heart of house music beats with stamina on Dom Dolla’s “San Frandisco.” The record is liable to elicit a fervent “finally!” from Dolla fans, who’ve awaited the single’s official release for about a year’s time.
“I’ve been testing this track out on the road for the better part of 12 months, tweaking the moments until I felt it had just the right amount of dance floor appeal,” Dolla wrote in a recent press release.
Agile beats pound in tandem with a hammering, low seated bass line stimulated by shrill sirens. A vocal sample of an unnamed local San Francisco “dance legend” amplifies the cut’s potent dance floor power.
“I felt [the sample] was just too perfect to let the track out into the world without it,” Dolla says of the elemental inclusion.
Touting a rhythm that’s established its esteem among closely clustered dancefloor crowds, “San Frandisco” issues a hard-driving nod to San Francisco’s vivacious house scene. Dolla brings the body funk with “San Frandisco,” which is out now via Sweat It Out/Arista.
Catch Dolla on tour throughout the US this fall with the likes of his official remixer, Sonny Fodera. Tickets available here.
While HOLY SHIP! won’t be setting sail in 2020, it’ll sure still be getting down. The revered HARD Events maritime festival will anchor itself in the Dominican Republic’s Punta Cana next year, January 22-26 with a whole new name: HOLY SHIP! WRECKED.
Not only is the lineup set to be one of the most in-depth throughout the HOLY SHIP! timeline, but the shift in format will offer #Shipfam an event that is both excitingly new and refreshingly familiar. Cloud 9 Adventures,the lead company behind the ship experience, has been producing events in concert with the Punta Cana resort for many years already and will bring that expertise to HOLY SHIP! WRECKED .
Just as on HOLY SHIP!, the resort will only be open to attendees throughout the festival. Seasoned Shipfam will still receive their robes as well as their OG party as fans and artists live together for a weekend in paradise:
We are shipfam for life, so we couldn’t miss out on this! – Gorgon City
Time to start the search for buried treasure. We be shipwrecked this year me maties! – Claude VonStroke
When it comes time for the artists to perform, there will be nine different areas for music spread throughout the resort. With the increased amount of space, the overall production will be at a much higher level and each area will maintain a specific sonic identity. From daily pool parties to a 1,000 person-capacity club to a sunrise set on the beach, artists will be spinning multiple sets in a variety of environments to satisfy the astute tastes of Shipfam.
Plus, the extensive amenities provided both on-site and in the immediate area will allow for a much broader range of artist involved activities which will be announced soon.
Attendees of HOLY SHIP! WRECKED will have 24-hour access to the resort’s private beach. Every room includes its own balcony, hot tub, free Wi-Fi, and is roughly three times the size of rooms on the boat. There are nine restaurants around the resort offering everything from sushi to pizza, and just like on ship, food and drinks (including alcohol) are all-inclusive.
In terms of recreation outside of music, there is mini-golf, a lazy river, a waterslide, and much more on property. For an extra charge, attendees can take their experience to the next level with a full 18-hole golf course, excursions on dune buggies and ATV’s, a 65,000 square-foot spa, scuba diving, and various other activities that only a world-class island resort can offer.
Pre-sale for HOLY SHIP! WRECKED starts next Monday, July 29, and tickets officially go on sale Wednesday, July 31 at 11 am PT, available here, along with general festival information.
A thick cloud of uncertainty loomed over the months leading up to the 2019 iteration of Spring Awakening Music Festival. A venue change for any festival leaves a precarious taste on a prospective attendee’s tongue. With one location swap already in recent memory (the move from its iconic Soldier Field footing to Addams Medill Park in 2016), organizers of the Midwest’s largest strictly electronic music festival had plenty of work ahead them following the announcement that Spring Awakening would not only be on the move again, but would be altogether leaving Chicago: its longtime, hallowed home. The somewhat nebulous news of the upcoming edition landing about an hour outside of Chicago, in Hoffman Estates, was at first daunting, as seen in the discordant social media reactions from repeat patrons of the festival. There were quite a few qualms to assuage—indeed.
Though, with the latest chapter of Spring Awakening, React Presents proved that its hallmark event has deservedly endured the treacherous festival front, where so many promising productions have folded in recent years.
The most apparent ingredient in the June affair’s success was a lineup that obviously spoke to its audience. Trend-setting talent from the bass-centric house domain came in droves, compliments of quintessential electronic curator, Gary Richards, and his All My Friends stage takeover, while deeper, melodic appetites found plenty of fuel from a long length of Anjunabeats‘ renowned repertoire. All the while, scene staples like REZZ, Chris Lake, Rusko, Illenium, and last-minute addition to replace an injured Martin Garrix, Kaskade, made the 2019 ticket all-the-more difficult to turn down. In its aftermath, the bygone roster of this year’s Spring Awakening echoes the famed Field of Dreams adage: “If you build it, they will come.”
But besides a robust, wide-reaching lineup, Spring Awakening saw its 27-acre Poplar Creek festival grounds succeed in rectifying much of the sound-bleeding issues it’s experienced in past years. Some traffic stoppages at the entrance and exits (mostly confined to the event’s first day), and a smattering of mud (mitigated partially by organizers as the festival stretched on) throughout the venue proved to be the primary, isolated complaints from the 26-30,000 attendees the festival amassed each day of its three-day run.
This year, Dancing Astronaut sought to get the artists’ perspectives on not only the newest chapter of Spring Awakening, but its legacy in the national and Chicago event spaces. We sat down with both first-time performers at the fest and well-oiled veterans, rounding up talent from different ends of the map, including native Chicagoans (Porn and Chicken), Aussies (Dom Dolla and What So Not), even a Frenchman (Shiba San) for good measure. Here are their takes:
Nora En Pure
Real name, Daniela Di Lillo, En Pure has traversed the Chicago club scene quite extensively over the years, though 2019 was the South African-Swiss artist’s first Spring Awakening. The “Come With Me” producer has been a revered name in the deep/melodic four-by-four realm for years, touting a length of accolades for her mixing proficiency, ever-apparent in her radio show/event series, Purified.
I love playing Chicago. It’s a great city for me to play: very music-driven. It’s very rewarding. You can play more elaborately and really try things.
Of the 2019 lineup:
…very diverse, I like that there are not too many similar acts to me, so I can play my sound and people can appreciate it. It’s a mix between that really uplifting stuff and deeper stuff… sticking to the melody.
All My Friends label head and taste-making guru, Destructo (Gary Richards) returned to Spring Awakening this past year, with a trove of on-the-rise talent in hand. As one of the first festival organizers to book acts like Diplo and Skrillex at his Southern Californian and now-ubiquitous brainchild, HARD Events, Richards is certainly no stranger to simply figuring out what’s cool from the underground, and feeding it to the masses.
My parent company, LiveStyle, owns the festival. It was a natural fit to bring an All My Friends stage here. But also too I feel like every one of our festivals we do needs that bass-house lane. It was fortunate enough that we got our hand in Spring Awakening. It’s just really worked out. I think it’s important for the scene as a whole to make sure this festival stays healthy.
On what goes into curating a stage takeover:
Finding the new breed of producers, trying to showcase new talent and bring up new people. Dance music’s all about the new. I think the masses only know the tried-and-true names, and I’m trying to break through new people to keep it fresh, but also to help those young producers really shine.
What So Not
One of the most omnipresent talents in the electronic ether, Australian-born What So Not was another familiar face at the most recent Spring Awakening effort, having played the fest in 2017. A driving source of innovation not just in his cross-genre niche, but the scene at large, What So Not’s most prominent cuts — like “Gemini” and his “Innerbloom” remix — continue to resound throughout festival grounds across the globe.
It’s a great festival to come out for. Last time I played, I think it was at 3 pm; really hot. They were struggling to move—staring into the sun. I remember being like, ‘Come on guys, let’s dance.’ They all just kind of laughed like ‘We’re trying!’ I’ve got some friends coming on a little bit later I’m really excited to catch, like [DJ] Snake. The Bass Tent looks like it’s going crazy. I want to go in there, put on a hoodie, and go get sweaty.
A Dirtybird crown jewel and more-than-seasoned purveyor of infectiously animated deep and tech-house, Shiba San returns to Spring Awakening as one of the lineup’s most coveted acts. Having established his very own label, Basement Leak, along with several acclaimed EP releases, the Parisian producer has certainly been busy since his last Spring Awakening stop.
Spring Awakening was one of the first festivals I played in the US, around the time I played HARD. It was so packed, and very special. I started my house music with the ’80s house music of Chicago. Each time I play in Chicago, I remember where house music came from. Chicago is house music. I’ve been waiting on an offer to play Spring Awakening again for a while.
I think they do a good job of placing up-and-coming artists at good times and fair stages. It can be hard for smaller artist to play a big stage at 2 PM, and then no one shows up.
Another Aussie, by the name of Dom Dolla, made his Spring Awakening debut this year. The “Take It” artist is quickly proving himself one of the most enticing propagators of the forward-thinking tech-house sound that’s taken American festival stages for ransom of late.
American audiences are super excited: house music is evolving so fast for them. Australia has quite a few established cultures. We’ve got our tech-house scene, a bass-house scene, a progressive/melodic scene, and all these established artists who tour within them. But dance music really only started to hit America in a commercial sense a few years ago. It’s been a really interesting tipping point observing what I can get away with in a set.
I’m performing a lot tech-ier here than I was a few years ago. I think the focus [at Spring Awakening] is very much on dubstep, trap, and that EDM sound, but I think they’ve picked their house artists really well, Shiba San, Chris Lake. It’s a distinctly American house sound, that Blackbook Records, Dirtybird sound, which I love.
Porn and Chicken
Having played the festival every year since its inception, Porn and Chicken are the invariable authorities on all things Spring Awakening. Known for their outlandish and voraciously attended event series (of which, unsurprisingly, visuals of porn and chicken are a cornerstone), the Chicago-based “dubstep-rock” crossover outfit has had one the most intimate vantage points of Spring Awakening’s progression.
We first played the festival on the Red Bull truck, which is no longer here. The stages are 10 times the size. This festival has grown as much as we have over the years. I feel like we were babies when we first played it. It’s been very interesting to see how the festival has matured, as we have as performers over the years. The festival’s identity is almost parallel to ours. [Spring Awakening has] faced so many challenges… But it’s bigger than it’s ever been.
The curation of the festival has always been electronic dance music, but throughout the years I think the sub-genres have been represented equally. You can find dubstep, you can find techno, you can find house, and everything else in between. It brings together all the best the world of dance music has to offer. I remember one of the first years we played: You could walk over and see Green Velvet on one stage and see Skrillex just across the way.
From the local level to the headliners, the festival takes care of you. They make sure that the local artists get a chance to shine.
With just two weeks away from Goldenvoice’s Splash House festival in the heart of Palm Springs, CA what better way to get ready for the festivities than with an exclusive curated Splash House playlist!? Except to hear some of the best and most popular tunes by some of the biggest artists in dance music including Grammy-winning
An annual highlight at California’s Coachella Music & Arts Festival, Do LaB‘s carefully curated musical stage coalesces expert electronic acts, for a high caliber lineup within the festival’s larger billing. A cornerstone of the Coachella experience, Do LaB will present its themed stage at the 2019 edition of the multi-weekend affair for the 15th year. The longevity of the Do LaB stage at Coachella evidences Do LaB’s consistent ability to wow Coachella crowds with its collection of artists, and judging by the newly unveiled lineup, 2019 will be no exception.
While the 2019 lineup touts a wealth of stellar electronic entities, those familiar with Do LaB’s history of production know the expression “expect the unexpected” to be salient advice. Do LaB routinely surprises attendees with unannounced sets from dance favorites, in past years bringing the likes of Skrillex, Major Lazer, and Richie Hawtin to the stage without much advance notice.