Martin Garrix, Travis Scott, Armin van Buuren, and more top 2020 Lollapalooza Chile, Argentina, and Brazil editions

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Martin Garrix, Travis Scott, Armin van Buuren, and more top 2020 Lollapalooza Chile, Argentina, and Brazil editionsLolla Argentina Photo Credit Alive Coverage

In March and April 2020, Lollapalooza makes its high-profile stops in South America with an eye-popping lineup that features some of the best in today’s music scene.

The last weekend in March, Lollapalooza Chile celebrates its 10th anniversary with a lineup that includes Guns n’ Roses, Travis Scott, The Strokes, Lana Del Rey, Martin Garrix, Gwen Stefani, and many more. Other dance music offerings include Armin van Buuren, REZZ, Illenium, Alan Walker, and more. The festival will take place at O’Higgins Park in Santiago.

The same weekend, Lollapalooza Argentina delivers a similar lineup, topped by all of the above, along with other headliners who will make their mark on Hippodromo de San Isidro in Buenos Aires.

The first weekend in April, Lollapalooza Brazil offers a comparable lineup to its South American predecessors, also featuring performances by Armin van Buuren, REZZ, Illenium, Alan Walker, along with the headliners. It takes place at Autódromo de Interlagos in São Paulo.

Tickets and more information about Lollapalooza Chile are available here.

Tickets and more information about Lollapalooza Argentina are available here.

Tickets and more information about Lollapalooza Brazil are available here.

Martin Garrix, Travis Scott, Armin van Buuren, and more top 2020 Lollapalooza Chile, Argentina, and Brazil editionsUnnamed 1
Martin Garrix, Travis Scott, Armin van Buuren, and more top 2020 Lollapalooza Chile, Argentina, and Brazil editionsUnnamed 2
Martin Garrix, Travis Scott, Armin van Buuren, and more top 2020 Lollapalooza Chile, Argentina, and Brazil editionsUnnamed 3

Photo credit: Alive Coverage

Gryffin taps Gorgon City and AlunaGeorge for final album single, ‘Baggage,’ shares ‘Gravity, Pt. 2’ release date

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Gryffin taps Gorgon City and AlunaGeorge for final album single, ‘Baggage,’ shares  ‘Gravity, Pt. 2’ release dateEDTcYjYoAAWanw

2019 has served as an intensive campaign for Gryffin, with the artist’s announcement that he’s finalized the latter half of his long-awaited debut LP, Gravity. Having released the first arm of the project towards the end of last year, Gryffin wasted minimal time in the months thereafter, attributing a handful of additional album singles to his name, including “All You Need To Know” with SLANDER, “Hurt People” with Aloe Blacc, and most recently a high-profile union, featuring pop icon, Carly Rae Jepsen.

After exclusively revealing to Dancing Astronaut at Lollapalooza that the balance of his freshman album would arrive sometime before his reinvented live show kicks off this October, Gryffin officially announced earlier this week that Gravity, Pt. 2 is slated for an October 10 due date. The information arrived in tandem with the news that the album’s final single, “Baggage,” officially out today, would feature the likes of both Gorgon City and AlunaGeorge.

The “Baggage” arrival has proven an all but covert landing, as it hastily garnered ample anticipation after Gryffin test drove the track during his Perry’s Stage slot at this year’s Lollapalooza showing. Laced with AlunaGeorge’s sensuous, breathy vocals, “Baggage” sees Gryffin appoint UK-based duo Gorgon City for production backing. The quartet’s first-ever collaboration materializes as a perfectly poignant and danceable requiem to the summer season.

Featured image: Juliana Bernstein

Madeon details his Good Faith Live premiere at Lollapalooza, plans for sophomore LP, and the genesis of ‘Pop Culture’ [Interview]

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Madeon details his Good Faith Live premiere at Lollapalooza, plans for sophomore LP, and the genesis of ‘Pop Culture’ [Interview]EBZ6loMYAMaEY

Excluding his immortal collaborative effort alongside Porter Robinson, “Shelter,” in late 2016, a four-plus-year interlude reverberated without any original material from the Madeon headquarters.

Nonetheless, the French native had already inscribed his indelible earmark on the wall of electronic music eminence long before he had (by most standards) reached adulthood. At the ripe age of 17, Madeon curated what many would consider the magnum opus of mashups in electronic music, “Pop Culture,” wherein he fused 39 of his favorite charting tracks via his Launchpad controller. The amalgamation’s live rendition, as of today, sits at a staggering 50 million YouTube hits; though it accrued viral status in mere days.

Following back-to-back EP releases in the subsequent years, Madeon formally demonstrated that he could not be further removed from one-hit-wonder discourse, as he put forth his accolade-abundant freshman project, Adventure. Not long after it reached shelves, Madeon’s debut LP has been widely regarded as one of electronic music’s signature releases. The album left his globally dispersed fan base to at a loss as to how such an endeavor could be eclipsed.

But this past March, all suspicion of what Madeon had been plotting during his absence from solo work reached long overdue fruition, when he announced that he would be unveiling a never-before-seen live experience at Lollapalooza 2019. Following months of well-warranted speculation following the cryptic teaser, Madeon began to inch back the curtain on the musical masterpiece that he was meticulously etching to perfection behind closed doors. Judiciously stamped, Good Faith, Madeon’s sophomore album proceeded to spawn back-to-back, contrasting yet equally enticing, productions. The first was ushered in by a strategically surreptitious billboard in Los Angeles, in May of this year. Since, the pair of releases, “All My Friends” and “Dream Dream Dream,” have faultlessly led expectations for the remainder of the forthcoming endeavor to skyrocket, as Madeon proved he hasn’t lost his golden thumb in the studio after all.

As the Saturday of Lollapalooza’s 2019 edition promptly approached, Madeon’s finale performance at the festival’s American Eagle complex was among one of the event’s most anticipated electronic spectacles. While he had previously revealed that new music would surely appear during the show’s display, it remained to be seen just how much of Madeon’s sophomore effort would be at the downtown Chicago audience’s fingertips.

Just a few hours prior to Madeon’s taking the stage to demonstrate for patrons the importance of showing a little faith, Good Faith, that is, with the new live setup, Dancing Astronaut had the pleasure of sitting down with the 25-year-old titan of his trade, to dive into the background behind the show’s assembly, what to expect from the album, and how his “Pop Culture” mashup changed his life.

As it was assuredly futile to keep up in real time during the 60-minute performance, 1001Tracklists.com afforded the understanding that Madeon rattled out a mind-numbing ten unidentified tracks throughout his visually-enthralling ‘Good Faith Live’ phenomenon. While he maintained that no material from his Lollapalooza performance would be a candidate for his next single release, clues from a puzzle pieced together on his latest Good Faith Radio episode indicates his third single could potentially appear to be “Be Fine.” Ultimately, listeners will have to keep the faith until further notice.

You’re debuting your new show ‘Good Faith Live’ here at Lollapalooza, and it’s your first solo live show since the Adventure days. What made you decide to specifically share it here in Chicago?

I’ve been thinking about the show simultaneously with writing music so it’s been years, and the vision for the show is best expressed in larger scales. I felt like a festival was the perfect opportunity to present it in its best light from the start. So when Lolla came asking me what I was up to, it felt like the right timing and the right amount of prestige to debut a show. It was a great landmark to look forward to in the future.

It felt like the right fit and it’s nice because I get to do this show and then I have a couple of months where I’m in Europe and then a couple of months for the U.S. tour. I get to improve and learn from this show and it’s like a large scale experiment. We literally brought the largest screen we could fit so we went all in.

What are you able to tell us about your plans for the unveiling of ‘Good Faith Live’ tonight? Are there any outright differences between this and the full tour?

The tour we’re trying to bring the most we can practically but obviously we’re doing different venue sizes. When we’re doing Bill Graham, it’s going to be as big but when we’re doing smaller cities, it’s like something else. We’re making sure we bring a full and great experience to every show that we’re doing but the main difference is that we’re doing is that the tour will have a longer set because this is just under an hour.

I’m going to be able to play a lot more songs and have a lot more moments so this first show is sort of like a condensed teaser. I also decided when I was working on the setlist that I wanted to debut some new music but not all the new music. So for example, I’m currently picking my next single and all of my next single options are not songs that I’m going to be playing at this show. So there’s still going to be new things that I’ll play on tour.

Recently you touched on how you started work on Good Faith right as the Adventure era was coming to a close. How was the creative process for ‘Good Faith’ comparable to how you approached ‘Adventure’?

It was so incredibly different, nothing like it. Yesterday, I was getting emotional about this show. I was going through the e-mail I sent to my team in very early 2016 when I was kind of wrapping up what my vision was for that next era and almost everything in that is still what I’m doing now. The way I described the show then is still the show I’m doing tonight. I had such a clear idea of what I wanted to do which was quite different from Adventure, which was more a process where I was trying to figure it out.

I took a lot of time because I was mostly concerned that I was taking care of myself, taking time off when I needed it, taking the time to learn certain things I didn’t know and not rushing into things. There are some songs like “Dream Dream Dream” that were ready very early on and just because they are ready doesn’t mean they need to be out right now. Let me figure the whole vision out first, so I had to be patient. With Adventure, I made it while I was still touring a lot and it was more so start and stop and more interrupted where I could be less introspective with it. I love that album so much but that process felt vastly different for sure.

So far your sophomore album has given us two singles with “All My Friends” and “Dream Dream Dream,” which possess clear stylistic differences. Is Good Faith going to lean specifically towards either of these styles or towards something completely unexpected?

You’ll find there’s a really clear sonic theme to the album. I think both singles touch on elements of the recurring palette, like one big thing is humans, choirs and chants which is obviously very prominent in “Dream Dream Dream.” That’s the thing throughout the show and throughout the album. That will be seen in the visuals and that’s manifested in the audio of almost every song, so those singles are good representation of that. The palette of emotion does get a little bit broader than those two songs. I do think they’re a good intro, though. I think they hopefully set the tone quite well but there’s more secrets and fun moments to come. 

You had acknowledged that “All My Friends” was probably the most pop-leaning production on the album

Yeah so I really like the idea of making music that I didn’t even think of as necessarily living within the format of dance music. The songs I was referencing or thinking about when I made that one felt very free. I didn’t feel like I needed to make it relate to any particular format so in my head so I was just writing a straight up pop song, but in the best and most sincere way possible. Pop music is a really respectable genre. The Beatles are great and they’re a pop band, so deciding you want to write a pop song isn’t necessarily a bad intention, it’s a beautiful intention. I was trying to express my love for that genre and obviously anything I do is still informed by my background in dance music, so it comes through and ends up being dance music, but it’s nice to free your process and clutter of genres.

Through the creation of Good Faith, were there any musical inspirations that helped you along the way?

I was listening to a lot of more hip-hop when I was making Good Faith. I got into Pink Floyd too and you’ll hear some influences maybe on the album. I rediscovered my love for The Beatles, which I do every so often. I got really into Tyler the Creator and stuff like Kraftwerk. All of the bands and acts I was destined to eventually love that I hadn’t found by that point, I found now. My musical taste had expanded in the most enriching way and I’ve never loved music more than the past couple of years.

Earlier this summer, your legendary “Pop Culture” Launchpad mashup celebrated its 8th birthday. What has that song meant to you personally as you look back and see how far you’ve come?

It’s so hard to say. It’s mostly a beautiful, beautiful memory. It’s something that I’m so thankful and grateful for. I felt very lucky to have that idea at a time where it had the room to connect and it found an audience. It felt like the stars aligned in my life for me because I needed that to happen. I was just out of school and everything was uncertain, so it made my future more precise.

It was a big relief because it felt like my take on music was maybe going to connect with some people. It changed my life and I still really enjoying it, listening back to it and performing it in sets. It was so spontaneous because it was literally the first thing I did when I got a launchpad. I just had that idea, I went to the store and then shot it that night. I just saved it and didn’t put it out right away because I wasn’t that secure about it I guess. Then I got more confident like, “You know what? This will probably do 10,000 or 100,000 views.” So I put it up and went on vacation. It blew up and I didn’t even see it so my manager called me and was like “Hey, so here’s what’s going on.” I was on vacation in somewhere with no internet so I could only go to the cafe every few days. Between the time I arrived and the first time I went to the cafe, it had several million views which was so cool.

**This transcript has been slightly edited for clarity and readability

Featured image: Dan Franco

Gryffin details ‘Gravity, Pt. 2,’ securing Carly Rae Jepsen for ‘OMG,’ and reinstating his remix roots

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Gryffin details ‘Gravity, Pt. 2,’ securing Carly Rae Jepsen for ‘OMG,’ and reinstating his remix rootsEBGI5bjYAEscj4

In just a handful of years, San Francisco native Gryffin has asserted himself into headliner-status prestige, aside some of dance music’s most critically acclaimed acts. To formally discover himself atop the electronic apex, Gryffin shaped out a formerly untrodden pathway early on in his career by establishing an exhaustive record of hungrily streamed indie SoundCloud-hosted reworks, for Grammy-associated talents such as Ellie Goulding, Tove Lo and the late Whitney Houston. After formally anchoring down with a batch of original productions, including his debut release “Heading Home” in addition to “Whole Heart” featuring Bipolar Sunshine, Gryffin was properly equipped to roll out the first segment of his freshman effort, Gravity beginning in late 2017.

Meticulously stamped with Gryffin’s rhapsodic acoustic arrangements, Gravity, Pt. 1 surfaced nearly one year thereafter, having spawned six imaginative productions including “Nobody Compares to You,” “Remember,” “Just For A Moment,” and perhaps Gryffin’s most famed original thus far, “Tie Me Down.” After a mild interlude following the album series’ first arm of releases, the producer sought to conclude what he started with another scattering of singles during 2019’s first half. Four tracks have been credited to Gryffin’s name since the year commenced, including numerous high-profile collaborations alongside Slander, Aloe Blacc, and most recently, Carly Rae Jepsen. Surprisingly enough, the fourth output from Gryffin in 2019 was something that his core audience had been longing for as he re-entered the aural avenue that helped jump-start his career with an official remix for Shawn Mendes’ hit single, “If I Can’t Have You” this past July.

As Gryffin set his eyes on the premiere of “OMG” just days before he was bound to appear at Chicago’s Lollapalooza, he noted to his fans that the album was still slated for an early fall release, though he was still fine-tuning the project’s final tracklist. During the Saturday afternoon preceding Gryffin’s sensational GRAVITY LIVE spectacle during Lollapalooza Perry’s Stage sunset slot, Dancing Astronaut took the chance to down with him to learn more about his plans for Gravity, Pt. 2, readying its coinciding GRAVITY II LIVE show at The Brooklyn Mirage, honoring Avicii alongside Aloe Blacc at Coachella, and more.

During your Coachella set this past April, you treated fans to not just one, but two unreleased originals, including an early version of your ‪Carly Rae Jepsen collaboration, which is officially out now. How did “OMG” actually come together?

I basically had been working on that one for a while and the end of last year was when I really started finishing it. Ali Tamposi was the vocalist. She’s an incredible writer along with Andrew Wyatt, who are a lethal team that’s made so many smashes together. She was an amazing part of the song and she wrote an amazing record so once I finished the production on it, I was just sitting on it for a while. I was just trying to figure out what was missing in terms of who could cut it and some of the production elements weren’t quite there. I then played it at Coachella and as a Hail Mary. I messaged Carly’s team and said “You know what would be sick for this record is if Carly Rae Jepsen sung it.” Through some channels we got to her management and they were like “Hey so we actually really do like it and we’re going to play it for her. She’s super selective on this stuff.” Within the next day, they said that Carly loved it and wanted to cut it next week in LA. The next week I met her in the studio for the first time and we were cutting it and within the first five minutes of her singing the hook, I just had crazy chills. It felt really strong and I was so excited about it so it took me a couple weeks to finish it all up.

Towards the end of 2018, you released the former half of your debut album, Gravity and now you’re officially three singles deep for the latter portion of it with “All You Need To Know,” “Hurt People,” and now “OMG.” What can we expect from the remainder of the project and can you disclose any other collaborations you have in the works?

I’m basically finishing it up right now but I honestly can’t say anything about who’s on it. There’s some big things coming though and I’m trying to put it out in September because my tour starts in October. It’s just a matter of how fast I can finish up these records in the next few weeks.

This is set to be your first Lollapalooza appearance since 2017 and it wasn’t explicitly labeled on the lineup poster, so are we experiencing a ‘GRAVITY LIVE’ show or a Gryffin DJ set? Either way, what do you have in store for it? Any surprises we can prepare for?

So it’s going to be the live Gravity show. I’m going to have Quinn XCII for an edit of “Winnebago” and Elley Duhé is coming out for “Tie Me Down” so I’m really excited for that. For these multi-genre festivals, I try to always do it live and even though I’m on the Perry’s Stage, I felt it’s a better representation of my music.

Earlier this summer, you re-entered the remix game with your very first since 2017 with a spin of ‪Shawn Mendes‬’ “If I Can’t Have You.” What was the driving force behind the decision to release another remix and do you have a particular preference between doing those versus creating original music?

Nowadays I’m definitely a lot more focused on my originals with the album. I always like to do a remix because it’s fun and that’s how everything got started for me anyway… but I just haven’t prioritized it for a while. Shawn hit me up, asked me to remix it and we were communicating back and forth on feedback. It was a cool process working with him that closely and I just felt like it was a cool opportunity because I really liked the original. I immediately had an idea of what I wanted to do with it so it just worked out that way and I’m going to do remixes again for sure but right now it’s just total album mode.

Throughout the length of your career, you’ve obviously worked alongside a list of some impressive names. If you could narrow it down to just one, who was your favorite artist you’ve worked with?

That’s so tough because they’re all so different and awesome in their own ways. For a producer collab, working with Illenium was really cool because we just vibe on a personal level really well. We’re both from the Bay Area and we’re both chill people so it was a really fun process working on that record. On the vocal side, probably one of my best friends out of all them was Bipolar Sunshine. He’s one of my favorite human beings and he’s one of the coolest dudes ever. The Carly track was honestly really cool too because I had never really worked with an artist that was that big in the pop level so that was a cool experience. Even working with Aloe Blacc too.

That Avicii tribute at Coachella on the first anniversary of his passing was seriously nothing short of unbelievable...

Thanks man and it was Aloe’s idea too. I didn’t even put that on him at all. We were just planning to do “Hurt People” and he said to me “Hey, what do you think about this tribute?” So he was the one who pitched the idea and I had thought of it but I definitely wasn’t going to make Aloe do that. If he wanted to do it, I was down.

If you could pick just one release that you’re most proud of between all of your remixes, originals and collaborations, which would it be?

My personal favorite is “Nobody Compares To You.” That’s one of my favorite tracks that I’ve ever done because that was just a really meaningful record to me personally and I was really proud of that production. On the songwriter side, “Feel Good” and “Whole Heart” were both really fun to do. Honestly some of these upcoming ones too are big ones for me so I just really feel fortunate because lately I’ve been able to work with a lot of really cool artists on both the production side and singer/songwriter side so it’s been a good ride and I’m excited for the new music.

You’re set to premiere the official first performance of your GRAVITY II LIVE show at The Brooklyn Mirage just a couple of weeks following Lollapalooza. What do you have in store that we may not be able to experience here in Chicago?

It’s basically going to be the most Gravity II show of the tour. I’m not going to play the full album because it won’t be out by then but I am going to sneak in three or four new records that people haven’t heard yet so I’m really hyped about that. I haven’t even been able to go there yet but my team wanted me to play there so I’m really looking forward to it. I’ve got a lot a prep to do before then but everyone tells me that it’s the spot to watch music in the summer.

Featured image: Lollapalooza

Jonas Blue Talks Collabs And Launch Of New Label [Interview]

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I caught up with Jonas Blue shortly after he played an incredible set at the Perry’s stage at Lollapalooza. His set included originals like “Fast Car” and the newest release “I Wanna Dance”, as well as a mashup of The White Stripes’ “Seven Nation Army”, Billie Eilish’s “Bad Guy”, and Benny Benassi’s “Satisfaction” that blew

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Music industry shows its support in light of recent mass shootings

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Music industry shows its support in light of recent mass shootingsKacey Musgraves Lollapalooza

The first weekend of August, two mass shootings in Texas and Ohio left more than 31 people dead in the span of 14 hours.

The first shooting in El Paso, Texas on Saturday, Aug. 3 took 22 lives. Another nine people were killed in Dayton, Ohio. The two shootings are the latest in a dangerously common trend that have led to a toll of 255 U.S. mass shootings in 2019 as of today. The number of mass shootings has outpaced the number of days in the year.

In wake of the recent tragedies, the world has shown an outpouring of support and condolences for the communities affected. Artists and music industry figures, from Mija to Khalid to Lana Del Rey, and Bebe Rexha used their platforms to express their grief and provide comfort for those affected.

Mija, Khalid, and Riot Ten took to social media to announce their respective benefit concerts while Lana Del Rey wrote a song, “Looking for America” with Jack Antonoff in light of events. Meanwhile, Bebe Rexha urged her followers to talk to their senators to make changes against gun violence.

J.I.D. and Kacey Musgraves used their Lollapolooza slots to address audiences. The rapper dedicated a moment of silence to victims before his set, while the country singer addressed her concerns during a performance of her song, “Rainbow.”

“I can’t even believe that we’re having to process the s–t that’s happening in the last 24 hours, much less everything that’s happened in the last two-hundred and f–king fifteen days in America. I don’t know what the answer is but obviously something has to be f–king done,” Musgraves urged. “Maybe somebody will hear us if we all yell together to say, ‘Somebody f–king do something.”

Photo credit: Josh Brasted

Lollapalooza 2019 [Four Day Event Review]

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I had the wonderful opportunity to attend my third Lollapalooza this year. Going in I wasn’t sure what to expect from this year’s festival since it almost didn’t sell out, which would’ve been a first in Lolla’s history. Some of that might have had to do with expanding the diversity of the closing headliners from

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Lollapalooza sets and highlight moments have trickled in

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Lollapalooza sets and highlight moments have trickled in81faccdc C7e3 4f0f 92c4 Ccb3b7fb8e54 08.01 The Chainsmokers Lollapalooza 2019 By Greg Noire DSC00669

Chicago swelled with music aficionados during the first weekend of August, where Lollapalooza‘s 2019 edition unfolded. The iconic festival booked a myriad of world class talents across all genres, with Tame Impala, Flume, Ariana Grande, Childish Gambino, and The Chainsmokers topping the bill. Outside the strong electronic presence among the headliners, Lollapalooza boasted a healthy slate of other burgeoning electronic acts that included Flume‘s eccentric live show, Madeon‘s Good Faith Live premiere, Louis The Child, Cassian, San Holo, and even Shaquille O’Neal under his Diesel moniker.

Aside from a bumpy start to the action that saw hundreds of people stampeding over a fence to enter sans tickets, the weekend was one for the books. The artists brought their A-games, and of course, some special surprise gusts and fresh new IDs along for the ride. We’ve captured a few of these moments, and some recently aired live sets, so that both guests and those who missed out can relive the majestic multi-day affair.

Madeon’s debut Good Faith Live set

Flume debuts new IDs with friends during his Lolla showing (and plants flowers)

Flume ID- played at Lolla from r/EDM

Flume ID- played at Lolla from r/EDM

The Chainsmokers put together a stunning headlining performance

RL Grime hits the bass hard

Alesso injects energy into his Lolla crowd

Ariana Grande debuts her next chart-topping hit, “Boyfriend”

Camelphat sprinkle a taste of house music into the mix

An unexpectedly wonderful cameo: Chance The Rapper at Death Cab For Cutie

There was no escaping the feels at RÜFÜS DU SOL’s set

Lil Wayne simply cannot do Lollapalooza without his new “Old Town Road” remix

CRAY drives fans wild

Photo credit: Greg Noire

DUCKY enlists melodic dubstep for ‘A Place to Rest’ on Deadbeats

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DUCKY enlists melodic dubstep for ‘A Place to Rest’ on DeadbeatsDucky LIVE

DUCKY has had an explosive 2019 so far on the release front. After her full EP materialized earlier this year, she is now back in the mix with a new single titled “A Place to Rest.” The producer is known for the diversity of her productions, which range anywhere from dubstep, to hardcore, all the way to melodic pop.

“A Place to Rest” opens with heavily synthesized female vocals that pave the way for a kicking build. The listener could easily expect the track to fall into a melodic bass drop, but instead the song features an ethereal and chaotic collection of synths with retro dubstep undertones. In addition to the new music, DUCKY debuted a brand new live show setup at Lollapalooza this past weekend in front of thousands of fans. “A Place to Rest” is out now via Zeds Dead‘s imprint, Deadbeats.

Watch Denzel Curry & Slowthai Perform An Unreleased Song At Lollapalooza

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Denzel Curry performed at Lollapalooza over the weekend, and he brought out the promising British rapper Slowthai — who put out his debut album, Nothing Great About Britain, a few months back — to perform an unreleased collaboration of theirs. More »