This past weekend, Marc Kinchen aka MK took the decks at Shimanski, the newly named Brooklyn nightclub that took over the Verboten space after it was forced to shut it’s doors last year. It was my first time returning to the club since then. There were still the same layout issues, but that wasn’t stopping this crowd from
By now, it would be expected that the novelty of getting blasted with streaks of pink, blue, and green would be a tad bit irritating. After all, paint parties have been around before Life In Color came to be.
What started as over-the-top college parties at Florida State University over a decade ago evolved into one of Miami’s most unique series of concerts in the last five years. From massive expansions across South Florida, touring across the country, and even a Guinness World Record for “most people covered in paint at one time,” the people behind Life In Color reimagined their paint parties into a festival experience that combines massive themes with enormous musical performances. And this year was no different.
Much like Ultra Music Festival, Life In Color’s flagship is in Miami, where prior installments packed enormous crowds by the Hard Rock Stadium. This year, however, the music festival made a venue change, trading the expansive parking lot of the Miami Dolphins’ football arena for the intimate combination of Mana Wynwood and the abandoned RC Cola Plant. At first, I came to believe that this is a continuance of the downsizing of Life In Color’s concerting production as Wynwood is a tight neighborhood. After Life In Color 2014 spread its stay for a full weekend of musical messes, LIC 2016 returned to a single-day music festival criteria while still bringing a fierce lineup of commercial house, trap, dubstep, and hip-hop.
To my surprise, the switch made Life In Color feel larger than ever as it sat between large murals of street art and chic restaurants.
Coming into the venue, the main “Sector X” stage featured opening acts Nitti Gritti and Bonnie X Clyde whose musical careers kickstarted from Wynwood Fear Factory and Life In Color 2016 respectively. Between new music, both acts have unreleased and tenacious bangers shaping 2017, their acts set the tone for the incoming performances on the main stage and for the nearby “Rare Stage” which took the form of a circus tent. It was over here that equally bass-heavy performances from Fresko, Doctor P, and Ookay transitioned from the dusk and into the evening. I stayed here for quite some time before returning to Sector X.
In between both stages where a vast array of food trucks and stands offering funnel cakes, gyros, salads, and more. Yet, most of these places began to run out of food faster than they could make new food for future customers. I found that around the time that Marshmello and Desiigner were set to perform (between 9p.m. – 11p.m.), the lines were too long to properly serve anyone and the food being served was underwhelming in comparison to their relatively high prices. This problem struck the hardest for the main food stands that supposedly offered hot dogs, gyros, and Philly cheese steaks because all of these options disappeared by the time Mija was finished with her performance. This came as such a shock to me as previous installments were able have had less food truck options while still having less issues with serving the fan base.
As the evening began to gear up for the headliners, it became abundantly clear that Young Thug was nowhere to be found on the lineup when he was apart of the promotional lineup for the event. However, after seeing his recent antics in not showing up for his own music video shoot, I think this was a little outside of the hands of Life In Color. Meanwhile, every other headliner delivered terrific sets from the melodic dubstep powerhouses such as Seven Lions and Illenium to the electro house bangers coming from the sets of Mija and Tritonal. The night was topped off with performances from Diplo and Carnage who dropped trap, dubstep, and moombahton tracks to send off the 10th Anniversary of Life In Color with flying colors.
Even though there were hiccups with the food provided for guests and one headliner was unable to make an appearance, Life In Color blew my expectations. I went in believing that the transition to Wynwood (which usually hosts underground concerts) would be particularly arduous as it was about to host a relatively commercial music festival. But seeing the success of Wynwood Fear Factory last Halloween and LIC’s using the size of two venues to host the whole event, Life In Color established another successful show filled with head-banging EDM and the most tolerant body paint to be splashed on the faces of its fans.
This article was first published on Your EDM.
Source: Life In Color Surpasses Expectations for 10th Anniversary [Event Review]
Lovers of electronic and hip hop music in the Midwest were treated to an epic, full-throttle New Year’s Eve weekend in the Chicago area last week, when React Presents threw one of the most jam-packed NYE festivals in the nation. Reaction NYE boasted an immense lineup of acts from far across the musical spectrum, split evenly between the event’s two nights. Stars like Flume, Zeds Dead, Anderson Paak., Dillon Francis, and Gucci Mane were joined some of the scene’s most notable up and comers, such as Mr. Carmack, Noname, Tchami, Smino, and even Danny Brown.
Inside the doors of Rosemont’s Donald E. Stephens Convention Center and through its towering halls, the spectacle of Reaction NYE opened itself to the colorful collection of attendees that sought refuge from the wintery Chicago air. Donned in neon, costumes and black, Night 1’s crowd wasted no time pushing to the front of the venue’s endless main stage.
Stretching from one side of the hangar-like warehouse to the other, the stage and its array of screens, lights and effects creating an engaging visual spectacle from start to finish, with each of the evening’s acts given more visual and aural intensity and control than the last. By the time Flume closed out the night, the entire Convention Center was a wash of never-ending hands, screams and dancing. Before him, Danny Brown, Mr. Carmack and Dillon Francis brought the energy to its peak, while Anderson Paak. and the Free Nationals represented the soul sector. Fans left the venue with weak arms and smiles, exhausted but prepared to return for the New Year’s Eve festivities to come on Day 2.
One of the most defining attractions of the weekend was Reaction’s secondary Arcade Stage, filled throughout both nights with an incredible roster of techno, deep house and other local acts. Featuring intimate performances from the likes of Milk N Cooks, Statik, Antics, Fee Lion and many more, the pushed back space came as a temporary breather from the mayhem and grandeur of the main stage.
As the Arcade fans bounced in the back, the Warehouse saw live performances from Emily Nichols, rapper Smino, dance music legends Manic Focus and Tchami, as well as an enormously special show from hip hop godfather Gucci Mane.
As the clock finally struck midnight, ushering in the first moments of 2017, bass duo Zeds Dead took to the decks to play out a monumental set worthy of their ever-expanding base of Chicago listeners. From their own, nostalgic material to the newest beats from their 2016-released Northern Lights album, the two provided an ideal and explosive introduction to the new year.
Despite the incredible lineup and always-exciting production, the tall ceilings and immeasurable amount of space within the Convention Center’s walls made for several sets that were mired in sound bleeding. Perhaps if more was done with the Center’s space, or if the sound system was arranged in a more appropriate manner, fans of the first few opening acts would have been able to experience the full power of their performances.
But regardless of some sound system shakiness toward the beginning of the evenings, Reaction NYE’s 2016 edition went off without a hitch. Its unbeatable lineup, ample room for attendees to explore and convenience of location made for a truly idillic transition into the new year. For fans of all things hip hop and dance music in the Midwest, there was no better place to welcome in 2017.
Check below for photos from the NYE weekend, courtesy of Georgia Modi Photography.
New Year’s festivals hold a special place in my heart. Sure, who doesn’t love the idea of saying goodbye to the year prior and getting amped for the New Year, all in the presence of your favorite DJs? But for me, it was a New Year’s Eve a few years back that I attended my
The post Decadence Colorado: The City of Dreams [Event Review] appeared first on EDM Sauce.
EDC rests at the top of the EDM festival pantheon, largely in part to its flagship event that occurs in Las Vegas every June. While it’s been great watching the festival reach unthinkable heights year after year, EDC’s spin-off festivals deserve recognition for their exceptional growth as well. One in particular has really come into its own over its six-year run, with this year marking its brightest event yet.
EDC Orlando returned for its sixth event on November 4-5 at Tinker Field in Orlando, the city known for its amusement parts such as Disney and Universal, thriving music scene and what I like to call the three T’s: tourism, tolls and traffic. It’s only natural that Insomniac Events imbues EDC Orlando with as much as focus and flash as it does with its other massive events, but each year it always seems like EDC Orlando is a little sister to its bigger sibling in the west. This year, EDC Orlando excelled at moving past that position by recontexualizing EDC Vegas’ production, assembling a diverse lineup and adding small yet welcome touches that raised the festival from a fun weekend excursion to a full-on, multi-sensory experience.
EDC prides itself on its production, but EDC Orlando’s production up to this point has always felt like a compartmentalized adaptation of what’s at EDC Vegas. The kineticFIELD is typically shrunk and shipped, with vanilla designs being used for circuitGROUNDS (the exception being in 2015 when Vegas’ megastructure was used) and neonGARDEN. This year, Insomniac tried a different approach: bring the exact same stages from EDC Vegas, with the exception of the kineticFIELD, which was a reimagined version of the Vegas stage this year.
The experiment paid off excellently. The kineticFIELD, while similar in appearance to the Vegas stage, towered massively over attendees, equipped with a variety of lights, pyrotechnics and even spouting water. Insomniac brought the new 360 circuitGROUNDS to the event as well, assorting tall pillars decked with LEDs around the stage. Finally, neonGARDEN received its much overdue upgrade. No more Buddha blocking a sole LED screen; EDC Orlando gifted attendees with the Vegas tent for the stage, creating a club-like atmosphere for its trance, tech house and techno acts. Every stage sounded great, although some noise bleed did occur when sitting at the fringe of one stage. Overall EDC Orlando’s 2016 production was a massive improvement, and we’re excited to see what’s next.
The Chainsmokers, Bassnectar, Jamie Jones, OH MY!
Insomniac also does a great job in diversifying its lineups and representing all corners of the EDM spectrum. This year, EDC Orlando continued the trend of crafting a lineup complete with radio-friendly headliners, genre heavyweights and rising stars. On the kineticFIELD side, The Chainsmokers, Above & Beyond, Hardwell and Axwell held down headlining slots, with acts like a DJ set from Porter Robinson, W&W, Jauz and more rounding the days out. All of these artists fit the main stage vibe and their accompanying production meshed well with kineticFIELD’s own production kinks.
The bass-centric circuitGROUNDS once again brought favorites like Bassnectar, Alison Wonderland and others. As was the case with kineticFIELD, circuitGROUNDS’ production complemented the frantic, heavy music that played from the stage’s speakers throughout the weekend. Despite some sound issues during Bassnectar’s set, the proceedings went relatively smoothly. On day two, a heartwarming tribute set to the late BIG MAKK was held, a bittersweet appreciation for the Orlando-native bass producer.
Finally, kineticFIELD once again split its lineups down the middle: trance on day one and house and techno on day two. Both lineups comprised some of the best artists in the game, with rare sets from Simon Patterson, Bryan Kearney and Ferry Corsten presenting his Gouryella alias on day one and tech favorites such as Jamie Jones, Nicole Moudaber and a great b2b from Mark Knight and Florida natives Chus & Cheballos on day two. All three stages did a great job at slotting similar yet distinct lineups, always a great perk of EDC.
Extras: Smirnoff House for the Win
EDC Orlando is always a well-run and organized festival, and this year was no exception. Getting from stage to stage proved to be a pretty painless task, and water stations next to the kineticFIELD and circuitGROUNDS helped attendees stay hydrated. The removal of a water station next to neonGARDEN proved to be a big oversight, though, and we hope they bring it back for next year.
This year marked the debut of the Smirnoff House, a traveling stage that gives attendees a chance to catch intimate sets from performers. Only big enough to fit 150 or so people, this stage was EDC Orlando’s cherry on top of the proverbial cake. Everyone from NGHTMRE to Mark Knight played sets in the Smirnoff House, giving attendees the rare chance to catch some of their favorite acts twice during the weekend.
We’ll Be Back
In its sixth year, EDC Orlando has running a successful festival down to a science. At this point the festival is mainly refining the aspects that work and fine-tuning the small problems along the way. This year sold out in advance, signalling a huge demand for its return. If EDC Orlando continues to bring top-class talent, production and service, we expect it to one day rival EDC Vegas. We’ll be back.
This article was first published on Your EDM.
Source: EDC Orlando Shines Bright in its 6th Year [Event Review]
Last weekend, the 6th annual EDC Orlando made history, the first sold out event bringing in a crowd of approximately 75,000 raging fans to Tink Field – the largest ever. Electric Daisy Carnival is a place where people come together for two days from all parts of the world to dance, have fun, and to be
Los Angeles had plenty of Halloween events to select between and take part in this year, however it was underground party Minimal Effort that was clearly the front runner. The beloved brand has built a loyal following in the city — and quickly as well, moving from small warehouses parties to the larger Belasco Theater, and ultimately setting down this year at LA Center Studios.
With views of downtown LA’s urban skyline as a backdrop, Minimal Effort took over the multipurpose venue and transformed it into a “mini-festival” featuring 10 hours of music from some of the most defining names in house and techno.
Photo by: Christopher Soltis
Situated outdoors were two stages: The Bridge and The Garden. The former focused more on true techno, delivered by Steve Bug, Jonas Rathsman, Thugfucker, and Human Resources (one half of which is Minimal Effort’s founder, Cyril Bitar) while the latter diversified things a bit, featuring a touch of disco from Tensnake, electro from TEED, and the LA debut of Tiga’s live show. Meanwhile, indoors played host to the Suara Room, arguably the stage with the best sound and darkest selection of music courtesy of artists such as Mark Farina, Edu Imbernon, Coyu, and Dosem.
Photo by: Christopher Soltis
World class tastemaking artists aside, what stood out most about Minimal Effort Halloween was the unassuming and loyal nature of its attendees. Ask around a bit in the crowd and one will find that most have been to a Minimal Effort event or two before. And that’s for good reason. The brand has left plenty of room for creativity in both the experience it offers attendees and the musical direction of the artists it books. This has in turn created a community that’s a little transformational festival, part Burner, and still attracts a significant chunk of the all-black wearing underground crowd.
Photo by: Christopher Soltis
During a time of year when most electronic music events are plagued by flashy productions and bottle-service ridden clubs, Minimal Effort has taken great care to instead put the focus on areas which serve as the foundation for its events. Communicating event updates openly with attendees, crafting a welcoming space to dance within, and matching that with an incredibly talented lineup, Minimal Effort events have become what could be called a guaranteed good time.
It thus comes as no surprise that one of the most anticipated and exciting parts of Minimal Effort Halloween came in the form of a flyer for its NYE event. Boasting some of the most in demand live acts today: Stephan Bodzin, Recondite, Audion, in addition to performances by &ME, the Desert Hearts Crew, and a DJ set from Simian Mobile Disco, it’s looking like Minimal Effort NYE will be a front runner in events yet again.
Tickets for Minimal Effort NYE go on sale Monday, November 7 and can be purchased here.
It’s Thursday night, mere hours before Hurricane Andrew hits the coast of Florida. Cars zoom down interstates to evacuate, residents pack supermarkets to stock up on food and water and Governor Rick Scott declares a state of emergency. Yet, a music festival set to take place that weekend in Miami (with the first day scheduled for the following day) did not back down. Festival organizers watched the storm’s trajectory closely and prepared for a wide gambit of outcomes. Attendees traveled south to avoid the potential landfall of the storm and safely prep for the event. It’s true; music festivals are really some of the most powerful forces in modern society.
In its fourth year, III Points stood face-to-face with Mother Nature and survived. Hurricane Matthew ended up turning more into the Atlantic Ocean and almost entirely avoided Miami, much to the satisfaction of organizers, attendees and artists alike. The hurricane became the running talking point of the weekend’s festivities in the Wynwood art district of Miami. It caused headlining band LCD Soundsystem to cancel along with Oneohtrix Point Never and others and prevented Your EDM from making it down to Miami to experience the first day of the festival. Yet, we soldiered on and drove down to the Mana Wynwood venue hosting the festival to experience the final two days of the festival.
After attending the festival last year, we can comment on one definite change: III Points has grown. A lot. An army of stacked shipping containers created a passageway for attendees as they entered, guiding them to the towering Mind Melt stage. A sizable step up from its predecessor last year, this Mind Melt ran as large as stages one would find at bigger music festivals. Artists such as M83, Jacques Greene and Thievery Corporation performed here, a fitting platform for more live-centric artists and bands.
Inside the actual Mana Wynwood warehouse lied the Main Frame stage, which stood before tall pillars decked with LED screens. This stage drew big crowds to artists the entire weekend, from the much anticipated collaborative performance of Method Man & Redman to the otherworldly beats DJed by Flying Lotus, not to mention deeper sets delivered from the likes of DJ Koze, Black Coffee, Andy Stott and more. The festival also hosted four other stages, including the deep-friendly and Soulection-showcasing (at least on Sunday, the final day) Isotropic stage, a smaller Mind Melt-type stage called Sector 3, the smaller warehouse Door IV and the local-friendly Sunset @ Noon stage. Every stage transported attendees to its own unique world, some layered in visual-heavy production while others showcased the performers first and foremost.
III Points prides itself on being a festival that highlights the best of art and technology among its musical roster, and we must recognize that pride is well-placed. This year’s event offered a variety of exciting and innovative art displays and technological hubs, much more than most bigger festivals offer by a long-shot. It packed in everything from a virtual reality experience that took users to Mars to a graffiti-laden school bus. The festival also does a great job in putting a spotlight on the lesser-known musicians rising in Miami, a great treat for both people wandering stages looking to discover new artists and dedicated, local contingents looking to home grow the next superstars.
In terms of actual sets, pretty much everyone exceeded expectations. We heard great reports from artists such as Dixon, KiNK and Vince Staples on the first day, and the second and third days packed in so much good music that we we barely had time to breathe. Saturday assembled a mammoth lineup for the Isotropic stage, bringing the likes of Leon Vynehall, DJ Tennis and Ben UFO for hours of deliciously experimental, groovy and techo-hinged bliss. Meanwhile, Main Frame enlisted its own roster of superb talent, ranging from Black Coffee to Maya Jane Coles, both of whom’s sets were much anticipated among Miami fans who had not been able to see them in the city in almost a year (or in the case of Maya Jane Coles, years!).
Sunday proved to be a bit more of a relaxed day, and that was quite alright given the intensity of Saturday. While sets from M83 and Jacques provided some fun, no one compared to the insanity of Flying Lotus and the soul searching of DJ Koze. Fly Lo assaulted our senses with his own productions, video game OST remixes and a surprise appearance from rapper Denzel Curry, while DJ Koze took us on a journey through some of the best house music we’ve heard in ages. Both capped off the festival excellently.
III Points had a lot to lose if Hurricane Matthew caused its cancellation, but fate smiled kindly upon the festival. This year only proved that both III Points organizers and attendees possess a determined moxy to keep the party going at all costs, and that moxy paid off big time for a festival only in its fourth year. We look forward to seeing what’s to come from III Points in the years to come, ideally without the looming threat of a hurricane. Until next year!
This article was first published on Your EDM.
Source: Despite a Hurricane, III Points Stands Rooted as One of America’s Best Festivals [Event Review]
Safe in Sound Festival has been making its way across the country over the past month or so, stopping off in nearly every major area imaginable. The festival sports a bass-heavy lineup, so expect a night full of headbanging. I was fortunate enough to attend the Boston date of the tour, which featured Boombox Cartel, Terravita, Snails, and Borgore.
The four acts combined into what can only be described as a night full of headliners. Seriously, it didn’t feel like anyone was opening for anyone, as every set was chock full of banger after banger. Boombox Cartel started things off, playing an eclectic mix of all things bass, most notably the recent collab with rising artist Quix, “Supernatural.” Boombox’s high energy set definitely satisfied the crowd, as attendees everywhere were seen dancing uncontrollably, stank face on lock. Finishing off with what is arguably Boombox Cartel’s biggest and best song, “B2U,” the first set was fit for a midnight outdoor festival slot.
Hometown heroes Terravita took control afterwards, bringing their aggressive sound right from the start. With MC Jon there to keep the crowd hyped, their set was easily a favorite of the night. They dropped dirty dubstep throughout, sprinkling in some heavy trap every now and then to keep things interesting. Every set was an hour long, so they had plenty of time to play a good number of their classics, including my personal favorite “Bach Off,” an ultra-filthy rendition of Bach’s “Toccata & Fugue.” The duo handed the decks over to Montreal’s Snails, who received the full PK treatment.
Snails’s set was unbelievable, and the PK sound system was definitely turned up for the last two sets. In the middle of the crowd, you could literally feel the bass vibrating your internal organs. I forgot my earplugs, so at times the highs could be a bit overwhelming, but overall, it was in no way a deal breaker. The vomit-step king played a set once again full of originals and filthy hits from all the best names. With the added bump in volume, it was absolutely one for the books.
Borgore took over the decks at 11 p.m., rounding off the four-name roster for the night. His originals went off, with people belting his jokingly obscene lyrics out with all their might. He included a bit of the jungle-y/twerk sound towards the end of his set, which I personally found a bit off-putting. It was undoubtedly a smart move, however, as he was playing for a crowd that had just heard three straight hours of heavy bass music. And I mean HEAVY. Like, all four acts played “Jotaro” heavy.
Overall, Safe in Sound exceeded expectations and more. The festival held nothing back, and the results were impeccable. If you’re lucky enough to live in an area with one of the remaining tour dates, I highly recommend going. . . you won’t be disappointed. You can check out if Safe in Sound is coming near you HERE!
Check out some shots from the show below!
This article was first published on Your EDM.
Source: Safe in Sound Delivers One of the Best One-Day Festivals of The Year [Event Review]
The one of a kind all bass event called Safe In Sound Festival, took over New York City this past weekend. On Friday October 7, Playstation Theater was consumed by devoted bassheads; raging along to the unbelievable sound system that the one-day festival brought along with PK Sound. Everyone could not stop talking about the
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