Dancing Astronaut’s 2017 Breakout Artists of the Year

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Runners-Up

san holo

San Holo

by Bella Bagshaw

2017 has landed Sander van Dijck – more widely known as the Star Wars-alluding San Holo – in the throes of prosperity. This year alone, the Dutch artist embarked on an international tour amongst sold out crowds, continued to experiment both sonically and with his live aesthetics, and worked to facilitate the success of his budding label, bitbird.

After making his rounds through Asia and Australia, San Holo spent the latter half of the year on his extensive, North American Gouldian Finch 2 Tour, accompanied by emerging Aussie, Just A Gent and bitbird buds, DROELOE, whom van Dijck has taken under his wing on the label. The two parties also collaborated this year on bouncy chill-trap track “Lines Of The Broken.”

Although his breakthrough single “Light” was released at the tail-end of 2016, the effervescent song remained a smash-hit through the following summer, racking up more than 86 million streams on Spotify. The genre-resistant track paved the way for a steady stream of fresh, avant-garde releases from van Dijck—including his radiant “I Still See Your Face,” which unprecedentedly incorporates his own vocals, along with the melodically tender, serenely-lyricized “One Thing.”

Amid his ample touring and studio time, this year San Holo also saw his label launch its own radio series, as well as release a compilation to accompany the Gouldian Finch 2 Tour, with “I Still See Your Face” as the lead track. The compilation also features bitbird favorites Taska Black, Eastghost, and DROELOE, all of whom corroborate van Dijck’s steadfast assertions that genre is nothing more than an outdated pretense.


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KAYZO

by Josh Hymowitz

Hayden Capuozzo had a sudden revelation towards the end of an aspiring professional hockey career. What was once his biggest inspiration for games, producing electronic music, was now his passion that lead him to move out to LA to learn full-time. After just nine months of honing in on his skills, he submitted a mix and was later chosen as the winner of Insomniac’s “Discovery Project” challenge, giving the Houston native a chance to perform at Escape From Wonderland Festival in 2012. This marked his first ever DJ gig and major career breakthrough.

Since then, KAYZO has climbed the ranks to become one of the most diverse producers in the game, showing off a variety of different production styles. Over the past year, he’s dabbled in trap, dubstep, happy hardcore and a bit of psytrance on his track “Holy,” a collaboration with the powerhouse duo Slander. He even delved into some melodic house on his Monstercat release “Over The Edge” with upcoming producer Gammer.

In addition to his 2017 discography, KAYZO has seen support from A-list producers like Diplo, with a guest mix for BBC Radio 1’s Diplo & Friends, and participated in the most notable live set from Holy Ship! 2017 in going b2b with Herobust, Jauz, Ookay, Getter and Slushii.

KAYZO’s highlight for 2017 was headlining Bassrush’s Doghouse Takeover, where he sold out the Hollywood Palladium in 24 hours and proceeded to put on a stellar performance. Capuozzo decided to spice up his second annual appearance at the Takeover and surprised attendees with guest appearances by Sum 41 and DJ Snake.

Although vague on the details, Kayzo should have a lot in store for fans come 2018, as he is planning a debut solo bus tour to kick off the New Year.


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Cristoph

by Bella Bagshaw

Since his plunge into life as a DJ-producer at the ripe age of 18, Cj Costigan, better known as Cristoph, has been working to perfect his unique brands of progressive deep/tech house and making his ascent in the Newcastle nightlife arena. His first momentous release came in 2016, when he was the first artist to be featured on Hot Since 82’s Knee Deep In Sound 8-Track album series

In 2017, the blossoming young artist signed with both John Digweed’s illustrious Bedrock imprint, as well as iconic, grammy-nominated DJ-producer Sasha’s Last Night On Earth — both of which housed prominent releases this year from the flourishing Cristoph.

Soon after, none other than Sweden’s own Eric Prydz inaugurated Cristoph’s bouncy progressive track “Feel” as the first official release on his new label Pryda Presents. The track was initially unveiled on Prydz’s heatedly-anticipated resurgence of EPIC Radio’s Beats 1 tenure. Cristoph returned to Pryda Presents with jolting, minimal progressive track “EPOCH.” Prydz and Cristoph have a growing history after teaming up for several of Prydz’s tour dates in the US this year, as well as joining forces for EPIC 5.0 and various Ibiza slots over the summer.

With support from such a vast, esteemed collectives of sound, Cristoph is in impeccable position for massive expansion in 2018.


ekali

Ekali

by John Flynn

Ekali‘s rise to stardom over the past three years has been a wildly rapid ascent. The Canadian producer originally began to gain traction in 2014 when he was the only Canadian applicant to be ushered into Red Bull Music Academy Tokyo in November 2014. The Vancouver producer and DJ catapulted himself even further in 2015 when Drake sampled his song “Unfaith” on If You’re Reading This It’s Too Late for tracks “Preach” and “Wednesday Night Interlude.” According to Ekali, he wasn’t even sure how they found the tracks in the first place.

Ekali’s unique modus operandi when it comes to production enables him to take structural risks on his tracks, with carbonated synths and thickly layered bass he flips the script on contemporary trap music by injecting his own ethereal sonic touch. A versatile producer, Ekali creates tracks that are overflowing with eastern influenced strings (“Unfaith”), remixes that take a more ominous approach like his collaborative remix Jack Ü’s “Mind” with Gravez, or truculent future bass festival anthems like the recently released “Babylon” with Denzel Curry.

Ekali is wrapping up his North American tour with the last date planned for New Years Eve in Asheville, North Carolina at the U.S Cellular Center—for reference, the venue holds more than 7,000 patrons, not bad for a breakout artist. Ekali is certain to be one of the biggest names in electronic moving forward, and it would come as a shock if he wasn’t slated to perform at more than a few festivals this summer.


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Crankdat

by Farrell Sweeney

Christian Smith, otherwise known as Crankdat, may not be old enough to drink, but in 2017, he caught the attention of clubbers and festival attendees with his epic sets and dynamic releases. The Ohio native gained a following thanks to his infectious remixes, and his popularity was on the rise with his breakout single alongside Lookas, “Game Over,” in 2016. 2017 certainly served as the turning point in the young producer’s career as he not only earned his first festival slot, but he also went from opening shows to headlining his own tour through Asia and North America.

While on his Gear Up Tour, Crankdat performed at iconic dance music venues such as Omnia in San Diego, Webster Hall in New York, and Hakkasan in Las Vegas. After completing his first-ever festival performance at Numbers Fest in April, he landed on lineups of major festivals including Electric Zoo, Breakaway Music Festival, and Global Dance Festival as well.

In addition to booking major shows, Smith released some heavy-hitting collaborations including a track with Jauz, “I Hold Still” featuring Slushii and a collaboration with T-Pain called “In the Air.” His solo release “Dollar” amassed nearly a million streams on Spotify alone, and his remix of Gryffin and Illenium’s “Feel Good” featuring Daya hit an incredible 1.5 million streams, making it his most streamed release of 2017 on Spotify. As Crankdat continues to tour and release new music, we predict that 2018 will be the year that solidifies Crankdat as an industry mainstay versus a new force on the scene.


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Winner – k?d

by Austin Evenson

Any long time dance music fan will fondly remember the ascension of veteran artists like Porter Robinson, Zedd, Madeon, and more with their ‘complextro’ sonic identities that balanced elaborate melodies with gritty, aggressive bass and driving percussion. As the various sub-genres have continued to expand, only a select few producers have successfully resurrected this combination of elements with a modern twist.  However, when the initially-anonymous k?d hopped onto the scene, it appeared complextro might be resurrected into a new light.

Originally emerging on SoundCloud and Hype Machine in 2016 with major remixes of Manila Killa, Daft Punk, Illenium, and more, k?d — real name Patrick Cybulski — had an immediately distinctive style, blending intricate melodic synth arrangements in a grandiose fashion attached to anthemic percussion.

Towards the end of 2016, the 20-year-old Miami native took his first real moment to flex his production chops and offer a darker, heavier side to his production capacities with his remix of Huntar’s “4AM.” The remix resembled the crashing percussion and growling synths that bass favorite REZZ pioneered, and fans planted the idea on Twitter for the two to join forces on a collaboration. Lo and behold, k?d and REZZ teamed up at the top of 2017 with their debut collaboration, “Fourth Impact.” A combination of extraterrestrial melodies atop a lurching bass line, “Fourth Impact” marked a major transition for k?d and played in instrumental role in setting up his biggest year yet.

To counterbalance the bass-heavy release, k?d turned to Swedish imprint PRMD — notable alumni include CAZZETTE, Syn Cole, Hotel Garuda — for his next string of original releases . The first single, “Lose Myself” featuring Phil Good, leaned in a more commercial direction of dance music yet still kept his sonic fingerprint and sound design present. Simultaneously, k?d drew a major co-sign from dance titans The Chainsmokers as he took over their Nice Hair Radio for its 32nd episode and then supported the duo on their stadium tour across North America.

For the back end of 2017, k?d released collaborations with fellow rising stars Medasin and Varien, continued his string of releases on PRMD with “Distance” alongside vocalist Blair, before finishing the year in a massive way with an official remix of The Chainsmokers‘ “Young.”

With an incredible year on the music front, its also important to note k?d’s meteoric development on the touring front with major festival appearances at EDC Las Vegas, Electric Zoo, and Nocturnal Wonderland as well as sold out headline shows at Exchange in LA and 1015 Folsom in San Francisco. The enigmatic young producer also supported the likes of Tiesto, REZZ, Jauz, and more on their headlining North America tours.

In terms of what we fans can expect from the Miami prodigy in 2018: he hasn’t alluded to much other than new music, bigger shows, and continuing his upward trajectory at full force. For fans of Porter Robinson, REZZ, Illenium, Adventure Club, or any sound in between, be sure to jump on the k?d train sooner rather than later.

k?d is Dancing Astronaut’s Breakout Artist of 2017.

Dancing Astronaut’s 2018 Draft Class

Every year, a new class of artists make their way into the spotlight. With a number of young, talented acts emerging, we’ve decided to pick a select group who we believe are destined for breakout years in 2018. Behold, Dancing Astronaut‘s Draft Class of 2018.

1. Petit Biscuit
In the space of chill electronica, 18-year-old producer Petit Biscuiit has become a force-to-be-reckoned-with after his original “Sunset Lover” went viral back in 2015. In 2017, the French wunderkind broke out the one-hit-wonder category with his debut album, Presence, that received rave reviews upon its release and will surely set him up for another massive year.

2. DROELOE
San Holo proteges, DROELOE, truly defined their sonic identity and presence in the future bass world with groundbreaking releases on Monstercat, Lowly Palace, and Holo’s bitbird imprint. With a prime slot at SnowGlobe Fetsival to kick off 2018, this Dutch duo should certainly be on your radar for acts to step into the spotlight in 2018.

3. Gammer
UK trailblazer, Gammer, put hardcore on the map this year with a number of versatile releases, from originals and collaborations to powerhouse remixes of Marshmello & Slander. With his latest EP, THE DROP, out now via Monstercat, the Northampton native also capped off the year with a massive Diplo & Friends Mix and will surely continue to push the hardcore movement even further in 2018.

4. FISHER
Predominantly known for his work as one half of Australian tech house duo, Cut Snake, FISHER launched his own solo project via Dirtybird and saw an incredible response upon his first release, “Ya Kidding.” With his electric personality and thumping singles, FISHER is sure to continue bringing the party in 2018 and be one of Dirtybird’s most promising rising talents.

5. WAVEDASH
The next generation of up and coming bass music producers can’t be discussed without WAVEDASH included in the forefront of the conversation. The Austin, Texas trio are a classic come up story who started out as playground pals who were all gaga for Skrillex. Now, just barely out of high school, Luke, Gavin, and Michael are actualizing their dance music dreams behind a growing catalog of blistering remixed beats and punishing original products. With their idols quickly becoming their peers, WAVEDASH are positioned for a major moment, and who knows where it’ll take them, deservedly landing them a spot in 2018’s draft class.

6. Luttrell
Among Anjunadeep’s lineup of deep house young guns, Luttrell is becoming the frontrunner as he carves out his own niche in the deep house and electronica space. The producer’s tunes are already gaining support from Pete Tong and Annie Mac. His Generate EP in the summer served as a milestone for the San Francisco producer’s sonic development, and Anjuna fans can certainly expect more from the rising talent as he follows in the footsteps of label success stories like Lane 8 and Yotto.

7. Sullivan King
Bass music is having a surge in popularity, but Sullivan King has taken the wheel at bridging the gap between bass music and its predecessor, metal. Whether it be his revered set at Lost Lands, his Monstercat-backed EP with Dirtyphonics, or even his recent collaboration with Slander, Sullivan King proved bass and metal will coexist in the future and he will be the one to prove it in 2018.

8. um..
Enigmatic producer duo um.. are primed for a breakout moment in 2018. The Los Angeles-based beat makers’ commitment to their spontaneous brand of unconventionally strange electronic music plants them firmly in line for the recognition they deserve. The pair provide a nuanced sound that playfully teeters a line between avant garde and offbeat indifference, and they’ve already caught the attention of fellow experimental sound designers like Skrillex, Josh Pan, and others. Watch for Ben Bruce and Dylan Gold next year; fans are ready for something different, and um.. is primed to shake things up.

9. Oshi
A few short years into his career, up and comer Joshua Brennan is defined by his enormous wealth of potential that seems to be more finely tuned by the day. The London-bred teenager, better known as Oshi, is growing into an international DJ sensation as he continues to carve out some of the most intriguing and infectious electronic productions out there right now. Rumored collaborations with the likes of Baauer and Skrillex sit under the hood, as Oshi positions himself at the head of next year’s pack. Of all the bright production talent emanating out of the UK, Oshi is ready to up the ante, and 2018 is likely to bring a ton of new music from him our way.

Read more:

Dancing Astronaut’s top radio series of 2017 are…

Dancing Astronaut proudly presents the 2017 Label of the Year

Dancing Astronaut’s Breakout Artist of 2

What will Coachella’s EDM programming look like this year?

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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.

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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 Harrisiconic 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.

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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.

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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.

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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.

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Second Liners

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.

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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.

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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.

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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.

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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.

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Undercard Hopes

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.

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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.

5 musical moments that shook the crowd at Suwannee Hulaween 2017 [Event Review]

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5 musical moments that shook the crowd at Suwannee Hulaween 2017 (Event Review)

Suwannee Hulaween has just turned five, but that’s not the festival’s only accomplishment in 2017. The Silver Wrapper and Purple Hat-partnered event has cemented itself as the south’s premiere fall festival; held inside the eminent musical venue of Florida’s Suwannee Music Park at Spirit Lake, the event boasts four days of expertly-curated jamtronica, underground bass, and unique house music offerings. In today’s over-saturated music festival market, standing out among the rest takes one part true tenacity and a pinch of good luck. Yet, the “spirit of Suwannee,” as many refer to these sacred grounds, runs deep into the roots of its towering moss-covered trees.

Fresh off last its conclusion, we’ve compiled 5 unforgettable moments from Hulaween’s 2017 that made it’s audacious fifth anniversary its most bright, prosperous, and wildly auspicious event to date.

All photos courtesy of Suwannee Hulaween

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The String Cheese Incident’s infamous Saturday night set

The String Cheese Incident is known for having a heavy hand in curation at their mainstay festivals. For the long-time alum of Hulaween and other transformational gatherings, the talk of the weekend centers around Cheese’s Saturday night “shebangs” — and for good reason. With six full sets on the bill, the coveted show of the weekend was SCI’s Halloween-themed “Night Of The Loving Dead” performance. Their love-themed set included renditions of iconic songs like Sublime’s “What I Got,”  Beyonce’s “Crazy In Love,” and of course, both the Bob Marley and Beatles’ original by the same name, “All You Need is Love” amidst fireworks, confetti blasts, and giant inflatables began making their over a sea of plastered smiles. As an undeniable bridge between the jam scene and electronic scenes, String Cheese’s vision of bringing a multi-genre bill to life runs deep into the spirit of Suwannee.

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Space Jesus’s secret set at the Indendia Stage

Stumbling across the Incendia stage at 2 am is as much of a treat as it is a must. Famous for its birthplace at Burning Man in 2013, the mobile artistic installation and interactive stage consists of six geodesic structures, all featuring a spellbinding propane flame effect ascending from atop its modular ceilings. Incendia has made its way across the US over the years, and is better known to Floridians as Okeechobee‘s secret set locale for artists like Snails, GRiZ, Ganja White Night, and more. Hulaween was no different. As attendees made out like children wandering through the iridescent woodland playgrounds of Spirit Lake, the unmistakable inter-dimensional wubs of Space Jesus drew late night wanderers like a moth to a flame — bringing truth to the idiom “not all that wander are lost.”

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GRiZ’s secret sunrise set in the campgrounds

After closing out the Meadows main stage with an elating funk-driven set, GRiZ took to the campgrounds in the wee hours of Monday morning, thereby confirming the rumors his family had been clamoring about all weekend. As the sun peaked through the trees, the All Good Records label head played up-close-and-personal for a crowd of roughly a hundred people. The sunrise set would become the memorable moment of Suwannee Hulaween — for those lucky enough to attend, that is. For all others, GRiZ’s secret campground appearance was the most heartbreaking affliction of the weekend (Watch it here).

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Manic Focus bringing out Space Jesus and Break Science

Taking to the Amphitheater stage on Saturday night, Manic Focus (aka “JmaC”) elevated his new wave hip-hop infused electro-soul act to new heights. The All Good Records producer served fans a hearty helping of tracks from his most recent genre-defying LP, Minds Rising, as the All Good family poured down the stage’s narrow steps. JmaC’s fiercely spirited performance culminated to the point when he brought Space Jesus onto the stage for some heavy back-to-back play, capped off with another rare Break Science showing alongside Lettuce drummer Adam Deitch.

 

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The five songs that dominated the dance floor

Walking through Suwannee felt like blasting back into time. The Beatles’ “Hey Jude” was agreed upon by attendees as the most played song of the weekend, imbuing the sacred grounds of Suwannee with an authentic Woodstock vibe. Michael Jackson’s 1980s hit “Thriller” was another popular stage anthem, creating an appropriately spooky vibe for the Halloween weekend event. Deep within the forest’s Spirit Lake stage, Dirtybird boss Claude Von Stroke treated his audience to his retro-house redo from two 80s classics, “The Rain Break.” A solid trap mainstay of the festival came courtesy of  Minnesota with his recently-released, long-awaited track, “HiLow,” which was heard heavily across the bass stages. Finally, Bassnectar premiered his unreleased collaboration with Digital Ethos, “Slather,” which was broadcasted across his 2017 traveling stage set-up.

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Perhaps the biggest strength of Suwannee Hulaween lays in its manageability of it’s sheer size. Set in an expansive venue, capped at 25,000 attendees of all ages and sizes, the festival values keeping the authentic transformational vibe alive over notorious expansion and maximizing profit. This vibe scuttles deep into the spirit of the festival grounds, across its swampy sands and panoramic landscapes.

Indeed, even purists from festivals like Electric Forests Forest often end up finding themselves more at home within this more intimate, yet equally magical venue. With a well-curated line-up and a smaller, more intimate venue, its no wonder Suwannee Hulaween has blossomed into the shiny new jewel of the jam, bluegrass, and bass scene.

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Watch The Knocks make a ‘Knock-Tail’ as Supply NY debuts the first episode of its new content series, Buzzin

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Posters thickly plastered on New York City surfaces are rarely the visual centerpieces of its metropolitan landscape — nor do they elicit the attention of the throngs of passersby in pursuit of their respective destinations. However, in 2013, a visionary walking though Chinatown on his way to the Tribeca Grand took notice. Griffin Camper’s gaze drifted to a sign denoting the existence of a supply shop one day while walking past Canal Street. Not long thereafter, he’d stroll into Tribeca Grand’s lobby to utter a brand-shaping suggestion to the business partners that awaited his arrival: “Let’s call ourselves Supply.”

Their then in-nominate initiative centered around Camper and his colleague Andrew Smith’s propensity to host an event together. The concept was initially conceived over rounds of beer, as the partners contemplated the best ways in which to approach the event industry. Supply materialized as a natural route, given Camper’s understanding of event orchestration and access to talent, and Smith’s connections to New York venues and broad social network. Once officially christened with a name, their ideas gained an identity that would later bespeak industry presence as growth soon became unprecedented.

Last, and what would prove to be a crucial element, would be the innovation of the event’s promotional material. A friend of Smith’s, Jordan Lister, was known in certain circles for both his creative and music experience — a reputation that led Supply to tap Lister to brand their inaugural event. Years later, Lister would join the team as it full-time Creative Director to help build out its content and digital strategy side. Supply has grown from a concept forged among friends to an award-winning culture agency that radiates its own distinct vibe.

“I think from the beginning it’s always been about bringing our community together in fun and interesting ways. The best thing for us is that we’ve worked in this industry for four to five years now, so we’ve really started to build that community, and not just in the people that come to the parties or the individuals that consume content, but the artists, venue owners, and industry professionals as well. Having performed globally now, we have a lot of friends and partners that we can call on.”

Much remains in store for Supply as the brand expands its reach through its event series and content strategy, boasting Sony Music, DJ Mag, and Tesla as a sampling of its considerable list of partners. One such example of this new expansion is Buzzin — a new content series on the forefront of the company’s innovation and core development.

Buzzin centers around providing a personal snapshot of artists’ lives while on the road, choosing a different act to feature each month. “I think the big piece here is thinking about the ingredients of a musician’s life, and then incorporating that with the on the road element,” Smith says of the content series.

The first installment of Buzzin features The Knocks, the feature somewhat of a nod to Supply’s history — the founders have known The Knocks for four-years now, with James Patterson (“JPatt”) of the electronic duo having played Supply’s introductory party on June 6.

Buzzin observes The Knocks as they craft their signature go to drink while on the road, “The Knocktail,” the drink’s inspiration being as Smith puts it “If you just got done with a gig and you have access to nothing but a 7-Eleven, what would you make?”

The content of Buzzin, however, will not be limited to artists’ favorite on the road concoctions. “It doesn’t have to be alcohol,” the founders note of Buzzin’s material. “It could be food, it could be a hardware product, it’s the ingredients of the artists’ lives that make them perform better or simply enjoy themselves after a long-day.” Supply emphasizes that the personal element of the series as a whole is derived not solely from the featured item’s centrality to the artists’ daily life, but from the artists’ ability to spotlight an element of their own choice. “I think the big thing here is it’s [Buzzin] led by the artist, and not informed by any brand or partner,” Smith states.

Those interested in learning more about Supply and the culture agency’s new content series may visit Supply’s website here.

 

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