Category: Events / Shows
*written by A’Damaged Pro for Electronica Life
The future is now. We have entered an age where artists are steadily pushing the creative envelope. By strategically combining elements, that are aesthetically pleasing in their own right, new performance fusion concepts have been born. I would like to address a specific combination that happens when an individual expertly combines: the elegance of a ballerina, the poise of a classically-trained violinist, and the energetic spark supplied by just the right amount of an electric vibe. Unless you’ve been living off the grid for the past few years, you would know I’m talking about the magical stylings of Lindsey Stirling. She made her national debut on “America’s Got Talent” in 2010 and made it all the way to the quarter-finals before being eliminated. Do you think she let this or Piers Morgan’s choice words about her brand of performance not having a place in the world derail her? Not a chance. In 2012, she released her self-titled debut album and began her meteoric rise to international acclaim, chalking up several awards, including reaching the coveted number one spot on Billboard’s Dance/Electronic and Classical charts, in the process. Lindsey is currently on tour promoting her newest album “Shatter Me.” This talented young artist was kind enough to give me a little insight into how her musical journey all began and how it has changed her life.
A’Damaged Pro - Where did you grow up and how do you feel it influenced your attitude towards music?
Lindsey Stirling – I was born in Santa Ana, California during a time when my parents didn’t have a lot of money. But that didn’t stop my dad from sharing his love of music with us. He would often find free orchestra concerts at the park for our family, and at home he would play classical favorites on our old record player and we would dance and laugh and run around the living room couch. My favorites were Rimsky-Korsakov’s Scheherazade and Borodin’s Polvetsian Dances. When I was six our family moved to Arizona, where country music was the “big” thing…which is funny because it’s the only genre I don’t really like haha.
A’Damaged Pro - What drew you to the violin? Do you play any other instruments?
Lindsey Stirling - When our family would go to see these free concerts, it became very apparent to me who the “stars” of the orchestra were AND the star of them all (the concertmaster) held a violin in her hand. I kinda sorta maybe liked being the center of attention so that definitely appealed to me. Plus, the violins got to play the melody a lot and had all the awesome parts. It was a no-brainer to me. So at six years of age I was begging my parents for lessons. As for other instruments, I played the piccolo flute in junior high school and the baritone briefly in high school, but I didn’t want to take the time to focus on either. I just didn’t have the time…so I focused on the violin.
A’Damaged Pro - What was your first introduction to electronic music?
Lindsey Stirling - I think I fell in love with techno as a kid…can’t really say when. I loved “Fresh Aire” by Mannheim Steamroller, etc.
A’Damaged Pro - I wouldn’t want to limit what you do by putting a term to it, so I’ll just ask. How did this concept evolve? What inspired you?
Lindsey Stirling - I love the violin, I love electronic music, I love performing, I love dancing…so I put all the things I loved together, like a casserole haha. Seemed like the obvious thing to do.
A’Damaged Pro - Music has obviously played a major role in your life and helped you through some dark times. Could you elaborate on how you used music as your own form of therapy to overcome personal obstacles?
Lindsey Stirling - Music is a huge part of my life, but I have used it more of a means of expressing those times and how I got through them than as a means of getting through them. It was the people in my life, my faith in God, and the moral teaching and foundation I had from my upbringing that has gotten me through the dark times in my life. Because even though I maybe couldn’t see the light at the time, I knew it was there, and that if I relied on the things I knew to be true and stayed true to them, while moving forward, everything was going to be ok.
A’Damaged Pro - Given where you are now from just a few short years ago being on “America’s Got Talent,” do you have any choice words for Piers Morgan or would you just give him a hug?
Lindsey Stirling - Big hug! And a big thank you!!
A’Damaged Pro - “Relative obscurity” has been a foreign term since your debut album dropped. What area of your life has been changed the most by your success?
Lindsey Stirling - Oh gosh…everything really. I mean my foundation, my morals, my beliefs, my personality, my work ethic (run run run)…none of that has really changed. But my life, as a whole, is nothing like it was even last year or the year before that. I practically live on a bus and I perform live for thousands of people on an almost daily basis. But then again other things haven’t really changed…I’ve always liked making videos, designing costumes, creating music…basically, I get to do all the things I used to do for fun, and at my own expense, and now I am able to do those same things for a living.
A’Damaged Pro - You’re currently touring to coincide with the release of your newest album, “Shatter Me.” How do you remain level-headed and balance perpetual creativity with life on the road?
Lindsey Stirling - I took nearly 9 months off of touring to work on my new album. There’s literally no way I could tour and create music at the same time; the focus really has to be one or the other. Touring pretty much takes all the energy and attention I have; there’s just no time to do anything else on tour but be on tour. It’s definitely a challenge to put first things first: communicate with my family and friends, go to church, take time for personal meditation and study…but it’s those things that keep me level-headed and empower me to do everything else.
A’Damaged Pro - What have been some of your favorite places to play so far? Any dream locations you’d like to play?
Lindsey Stirling - I absolutely love performing in Paris and in Germany because my fans there are so energetic; it’s unreal. I think it would be pretty amazing to play at the Acropolis or Madison Square Garden.
A’Damaged Pro - If you could collaborate with any artist, throughout time, who would it be and why?
Lindsey Stirling - Michael Jackson would be epic. Wish he was still here.
A’Damaged Pro - What’s the origin behind “Phelba?”
Lindsey Stirling - Phelba first appeared at my show at Webster Hall in New York City several years ago…she’s been my stal…I mean biggest fan every since.
A’Damaged Pro - After this tour, do you have any upcoming projects that you can talk about?
Lindsey Stirling - I’m definitely hoping to tour again in 2015 and I want to do more music videos to accompany the music on my new album. I’m a pretty spontaneous person, so I pretty much make plans month by month. I’m absolutely loving being on tour right now and am excited to see what the future brings.
A’Damaged Pro’s final words…
Perseverance and a positive outlook do not always ensure that your dreams will come true. Refusing to let negative experiences derail you from exploring your true potential and remaining determined enough to overcome them will definitely give you a better shot, though. Lindsey Stirling is a true talent and still manages to remain humble, amidst all of the accolades and international travel. Guided by her faith in: herself, her family, and in God, she is a true testament to where skill, creativity, and a resolute will can take you. I hope that her story inspires other young people to follow their dreams and helps make the world a more interesting place in the process.
Other photos are from Lindsey’s FB Page
*written by A’Damaged Pro for Electronica Life
Where do I begin? I go to every event I attend with an open mind and ready to enjoy: the music, the people, and the environment. Every once in a while, a party comes along that just makes it impossible to have a bad time. When Protohype and Dotcom, with amazing local support from C-Lab, Kayatik, and Kthulu Prime, came to Republic New Orleans is one of these parties I’m talking about. The killer crew at 3rd Coast Music knows how to put an event together. They know the crowd came to be dazzled by creative displays and dance the world away, in a sea of deep BASS and pulse-pounding drops, and Republic is just the place to do it.
Everybody started off as an opening act at some point, and I truly appreciate it when the first artists to the stage play like they’re headlining a show at a soccer stadium, filled with eighty-thousand people. Free your mind and start stretching because C-Lab is the maestro for our introduction to the evening. From the jump, you can tell this kid is not messing around. He comes out “tommy gun-style” with a steady rat-a-tat-tat for the senses. Rising action is something that must be for trance enthusiasts alone because he brings us directly into the mayhem that we seek.
Without missing a beat, another dose of Nola BASS-Traptasm, in the form of Kayatik, takes the stage and keeps the party going. Blending high-energy and “wop wop get loose,” seamlessly, is something that just comes naturally to this guy. You never know what you’re going to here when he’s in charge because originals, remixes, and that in-between flow freely. Check your pulse and stay hydrated because we’ve barely scratched the surface of this evening.
If Jimi Hendrix was reincarnated and his musical inclinations were towards electro-house and grimy dubstep, he would be manifested as Kthulu Prime. He is another local up-and-coming phenom that is consistently establishing his proficiency behind the decks by mesmerizing the audience with all-out audio warfare. I look around and I can’t make out any faces because everybody won’t stop dancing.
The time has arrived for the first out-of-towner to break the audience off a little. Dotcom is ready to bring his signature Philly-grown style to Nola. He manages to keep a poker face but you can tell that he is super focused on taking this party to the next level. I’m about to remark on his remarkable level of composure when he pops the lid off his enthusiasm and just lets loose. This is no time to worry about people stepping on your sneakers because they’re doing what you should be doing…dancing.
Fresh off the SMOG City Tour with Dub and BASS giants, 12th Planet and Datsik, L.A.-based Protohype is quick to make sure the intermission is short-lived and your senses aren’t given a chance to recover. Call it “Dubhop.” Call it “brain-stinger” music. Whatever you name it just know that you can’t fight it. I step away to the green room, for a few minutes, so I can have a little chat with Dotcom.
A’Damaged Pro - Who am I chilling with right now?
Dotcom – Chris Comstock aka Dotcom.
A’Damaged Pro - How did you come up with the name, brother?
Dotcom - My last name is Comstock…Dot-Comstock. Ever since the fourth grade people have been calling me a variation of that or Dotcom, specifically.
A’Damaged Pro - You grew up with the internet obviously.
Dotcom - Yep. Not too old
A’Damaged Pro - What brought you into the music industry? Given the internet you are able to be bombarded constantly.
Dotcom - I’ve was in a few bands when I was a kid.
A’Damaged Pro - What instruments do you play?
Dotcom - I play guitar but I can play pretty much any instrument.
A’Damaged Pro - Do you have a favorite?
Dotcom - I like the drums a lot. I grew up playing music and thankfully it stuck.
A’Damaged Pro - Did you grow up in a musical family?
Dotcom - Ironically, no. I was the musical one. At the time that I got into EDM, I was also in a band but there’s only so much you can do in a band because you’ve got to coordinate with everyone else’s schedule and everyone has to be on the same page in respect to releases and such. I started DJing in 2010 and it kind of just took over.
A’Damaged Pro - You produce as well as perform. Since you’ve dipped your feet in both waters, which do you prefer? There has to be an exhilarating feeling being in front of a crowd but at the same time where do you rank the process of creation to completion?
Dotcom - Good question. They’re different. The satisfaction that you get from producing is when you know that: you came up with a great idea, you know exactly how it’s supposed to go, you finish it, you put it out, and hopefully it does really well. On top of that, when you perform it and you get to see the tangible, in-your-face reality of what you spent ten straight hours working on in your bedroom and you get to see it come to live and the crowd’s reaction.
A’Damaged Pro - I can see it in your face that you genuinely relish that connection.
Dotcom - In this industry, at least I hope, it’s what moves everybody to want to make music to see the positive reaction from the audience.
A’Damaged Pro - The crowd, via the power in numbers, has to be a big part of the total process. When the track plays and you wonder why is the fucking floor rattling and it’s because you made them jump!!!
Dotcom - Absolutely. Then it all goes back to the ten thousand fucking hours I spent working my ass off in my bedroom trying to perfect my craft. It’s a balance. I have to say they are two very different things but you can’t have one without the other. Bringing my work live has to be the ultimate for me. Easily.
A’Damaged Pro - Ghost producing is a “hot-button” issue, currently. Do you have an opinion on artists that use them? I mean, you can get the crowd whipped into a frenzy with one of your tracks, mix in tracks from other artists, but if you’re not the one responsible for any of the creation, does it take something away from being a true showman?
Dotcom - I guess it depends on the person. I personally couldn’t do something like that. If there’s nothing from you in that track, you shouldn’t claim it as yours.
(We both take a pause because Protohype is going off right now)
A’Damaged Pro - There is a consolidation among the major players that produce electronic events and festivals. How do you feel this will impact the individual identity of the respective festivals/events? Will it be possible for them to retain their individuality or will there be some homogenous scene as a result of this corporate assimilation? Is there anything that an artist can do in order to ensure integrity remains?
Dotcom - I would have to say, if I understand what you’re asking me, that there will be some artists that will follow whatever rules that are laid out and say “Just give me the money,” but there will also be those that refuse to be branded and compartmentalized. These festival companies, that have been recently purchased, haven’t thrown their festivals under the new management yet, so only time will tell. If there is a blanket or umbrella thrown over the events, I think the ones that won’t rock the boat will be the commercial, ghost-produced “artists.” There’s trailblazers, in the commercial sense, that will do business over integrity and there’s trendsetters that are doing things that haven’t been done before. They have the balls to be insanely different.
A’Damaged Pro - We’re on the cusp of a fucking transition of the world’s evolution of understanding right now.
Dotcom - So true. Everybody is just going along right now and waiting to see what happens. There’s some kind of haunting demise that is in back of everyone’s mind. I guess back to the root of your last question (I’ll call it a global consolidation), I don’t what it means for these festivals.
A’Damaged Pro - For the artists that are already under some sort of regimented sponsorship, having performance parameters might not change the way they do things, but for the newer artists, who are trying to break the mold, how can they approach survival with this looming? Is there a battleplan?
Dotcom - The only option I can see is to persevere.
A’Damaged Pro - The word “commercial” has an asterisk next to it. I’m sure you’ve seen the meme that has Hardwell and Tiesto asking “Whose going to play “Animals” next? Don’t get me wrong. I love festival anthems, but I love hearing new music live before it gets played out on the radio.
Dotcom - With everything that is happening with “EDM,” to me as an artist, there are those that are trying to advance that seem to be overly concerned with whose shoes they have to fill. Who’s going to be the next Skrillex? Who’s going to get the recognition and get that break? I think some people are forgetting that it’s supposed to be about the music.
A’Damaged Pro - Is it sad that there are ascribed roles? Music is supposed to be expansive. There are only so many mathematical ways that you can arrange notes in music. If you could ask Mozart, Beethoven, or Bach, they would say the same thing. Your ethereal impression on the EDM landscape is supposed to be uniquely your own and illustrated through your work.
Dotcom - That idea makes sense on paper, but the unfortunate truth is that different, to an extent, isn’t popular outright. We’ll see where it goes.
(We have to cut it so Dotcom can go kill it side-by-side with Protohype)
Individually, these cats are monsters behind the decks, but when they perform their Voltron-tandem combo, I implore you to brace for impact. If there is an audio zenith for this evening, it’s happening right now. Hooks, drops, and watch your back because this mob of BASS-hungry people is alive. After the set is over, I head back to the green room to discuss the evening with Protohype.
A’Damaged Pro - How did you enjoy tonight?
Protohype – I really enjoyed tonight. The sound was great. The visuals were great. The crowd was amazing. New Orleans is great. This is my first time here, so it was really fun.
A’Damaged Pro - As long as you come on vacation and don’t leave on probation, we do have a great city.
Protohype - You’re right, and I’ve had a great time so far.
A’Damaged Pro - Let’s get right into it. Producing versus Djing. The ability to create versus performing. What provides the most solace for you? What provides that unlimited lifting factor?
Protohype - I would say that factor comes from producing…on a good producing day. On a shitty producing day, I feel like shit and I can’t make anything and my music is terrible..blah blah blah. I can always DJ. DJing is so easy. Don’t get me wrong. It’s hard to be incredible at, but it’s easy to just get it done. Producing is a difficult thing. You have good days and bad days.
A’Damaged Pro - Do you set benchmarks for yourself when producing or does that counteract the creative flow? Like I need to make so many tracks by such and such…?
Protohype - No. It’s normally, I just sit down at the computer and if I can make something, that’s great. A lot of times it works out like that and I can just sit down and come up with something. When it doesn’t work out, it gets frustrating and it’s tough. You get annoyed. On a good producing day, there’s nothing better. I would say producing over Djing any day. I started producing when I was 13. (How old are you now?) I’m 24. I started Djing when I was 21 so I’ve been producing for so much longer than Djing. So that’s where my passion is.
A’Damaged Pro - What does it mean to you when someone takes a track that you feel has been “mastered,” in its entirety, and remixes it? Is it a promotion of the track? Is it an accomplishment?
Protohype - I think it’s an honor. I think it’s a matter of respect. I think it’s great that someone would enjoy my track enough to spend time working on remixing it.
(Small break for Slapshot sponsored by Jack Daniels)
So, yeah, anytime that someone would get the desire to remix one of my tunes it’s very fucking humbling. Even if the new approach isn’t something I like, per se, I still respect that they took the time to do it.
A’Damaged Pro - When someone approaches a remix and they have free reign to choose to preserve or eliminate certain elements like: the baseline, lead vocals, etc., is there any personal separation that you feel when you hear the new version?
Protohype - That’s the cool thing about a remix. It’s a personal interpretation and they are entitled to change it how they see fit. Even if there is a part of a song that I might feel is the best part of the tune and they don’t use it, I can’t be offended.
A’Damaged Pro - Do people send you their remixes as they make them? Is it like a sign of respect?
Protohype - Yeah. It doesn’t happen that often. I’m really not that big. People aren’t just remixing my tunes all the time so when it does happen I’m really stoked about it. I try to put myself in their shoes and see how they approached it.
A’Damaged Pro - You were on the SMOG City Tour. Between 12th Planet, Datsik, and yourself, there had to have been some collaborative moments. What is it like being in that collective atmosphere? I would assume that they would happily help nurture your craft.
Protohype - The coolest part about it, and it means so much to me, is that some of the people that I have idolized for so long are now my friends and my peers. That means a lot to me. Even though they’re my friends, they’re still my idols. Datsik, for example, is one of my best friends now and we hang out almost every day. I mean, two year ago, I couldn’t have even dreamed of talking to that dude. Little did I know that we would end up speaking for, like, fifteen minutes and (BOOM!!!) realize we’re the same person. It still doesn’t change the fact that they are my idols, but it’s very cool to work on music with them and have them as my peers.
A’Damaged Pro - How does having people around, that you’ve looked up to for so long, influence the creative environment?
Protohype - When Skrillex plays my music and I see the videos, it gives me this crazy energy. Even though Sonny is one of my friends, that fool is like the best to me. It doesn’t change how I view him. Even as one of my friends, he’s still the best to me. It’s really fucking awesome to have him, and other people that I respect, to support me. It’s humbling. Surreal? It’s surreal and it’s inspiring.
A’Damaged Pro - As long as you see the positive.
Protohype - It’s nothing but positive.
A’Damaged Pro - Some people might get overwhelmed being surrounded by these BASS Gods and you have to remember that you have your own identity and your own goal to make new music for the people.
Protohype - If anything, it just keeps me motivated and inspired to keep pushing forward. It’s a blessing. It’s awesome. It’s a great feeling.
A’Damaged Pro - Everybody has a dream gig. What’s the platform where you think you could be the most effective and the most instrumental? Where would you enjoy it physically, emotionally, and spiritually the most?
Protohype - EDC Vegas or Tomorrowland, hands down.
A’Damaged Pro - How do you feel about the potential global consolidation of EDM festivals and events and its impact on an artist’s ability to preserve their integrity if they aren’t inclined to become “commercial?”
Protohype - It’s not about being “commercial.” It’s not about being “underground.” It’s not about labels. It’s about doing what you fucking love to do.
A’Damaged Pro - Those terms equate to someone who is undiscovered versus someone who has been playing for years and been accepted by sponsors and promoters alike.
Protohype - Maybe your favorite song that you’ve made ends up on the radio and that makes you commercial. That’s your favorite song. You love that song. It shouldn’t put you on a negative tip, you know. What really matters is that you give a fuck about what you make.
A’Damaged Pro - The fact that you said “commercial” and applied it to mean that you’re on a negative tip, implies universally that “commercial” has a stigma.
Protohype - That’s dumb as fuck. I hate that this term means something negative. It’s supposed to be about doing what you love. Don’t let a term define you.
A’Damaged Pro - What’s your mantra for progress?
Protohype - Find your unique sound. Stay true to yourself. Embrace what you’re good at and find what you’re shitty at and work at it. Do everything you can to improve on everything that you feel you suck at and you’re bound to make progress.
A’Damaged Pro’s final words…
Five amazing artists under one very hospitable roof normally equals a good time. This evening was a great time. I have to thank the crew at 3rd Coast Music and Republic again for bringing this event together. Trust me when I say that you can expect many more memorable evenings with these teams at the helm. I would be mad at myself if I didn’t remind everybody that the music, once again, is what made this all possible.
This upcoming Memorial Day Weekend May 22nd-26th, sees the return of Lightning In A Bottle, at a brand new location in Bradley, CA. We could not be more happy that LIB has been restored to it’s original weekend over the Memorial Day Holiday, and we’re excited to see what the new location in Northern, CA will bring to this years festival. Lightning In A Bottle is the ultimate festival experience, unlike any other Electronic Music festival that has become the norm. Immerse yourself in a world of creativity, music, inspiration, imagination and all around good vibes. Expand your mind and open your heart with daily yoga classes, workshops, speakers, live artists and art installations throughout the festival grounds. With a wide variety of activities and performances to tickle your fancy, there is never a dull moment to be had at Lightning In A Bottle.
This year’s stellar lineup includes some of our personal favorites: Moby, Phantogram, Simian Mobile Disco, The Polish Ambassador, Claude Von Stroke, Pumpkin, Baauer and Maxxi Soundsystem just to name a few of the many acts that we can’t wait to see.
MANUFACTURED SUPERSTARS are BRADLEY ROULIER and SHAWN SABO. Formed in 2006, the duo cut their teeth in the American club scene of the late-‘90’s. Today, the act holds down vital club residencies at XS Nightclub at The Wynn in Las Vegas and HQ Nightclub at Revel Resort & Casino in Atlantic City. Add in a slew of dates at major outdoor festivals (Electric Daisy Carnival, IDentity Festival, Nocturnal Wonderland, etc.) and clubs all over the world where you can hear them play sets that traverse from mainstream pop to underground prog-house to urban-infused electro. Not only in clubs, the duo can be heard on their radio show on IHeartRadio along with their podcast. They’ve been tapped to perform at unprecedented shows such as The Kennedy Space Center in Washington DC and in 2011 and at the inaugural launch of the Virgin Galactic space port. Said SABO and ROULIER of the MANUFACTURED SUPERSTARS’ core philosophy, “We just wanna play great tunes and be the most fun DJs out there! – From Create
MANUFACTURED SUPERSTARS at Create Nightclub Tickets: http://limitedtimeoffer.co/2895/create-nightclub-upcoming-events
It was that break that led to the explosion that has become Danny Avila today. It’s not just the legions of adoring fans that have become firm supporters of his explosive live sets – the elite of the music industry have fallen under his spell just as swiftly. Playing in Ibiza across the summer of 2011 at jet-set hot spot Blue Marlin, Avila was duly invited to join the Café Ole team at Space Ibiza and the following year, at the personal request of Tiësto for his 2012 Opening Party, at Pacha Ibiza. Wowing both the crowd and probably his biggest idol, Danny was invited to join Tiësto for an incredible nine further dates across the summer. “Ever since Danny opened for me at the start of the 2012 season in Ibiza, I felt he was going to be something special,” Tijs Verwest said. “He’s smart, respectful, knows his music and most importantly knows how to give the crowd what they came to hear. There’s nothing I enjoy more than working with upcoming producers and DJs like Danny who are willing to work hard and who want to win. I believe 2014 is going to be a big year for Danny.” In the crowd, listening with rapt attention, was Eddie Dean, owner of Pacha NYC and now one of Danny’s biggest supporters. “I couldn’t believe how young Danny looked at first,” Eddie said. “Then I couldn’t help noticing how poised he was on such a huge platform such as Pacha Ibiza in August, with Tiësto looking over his shoulder. Right there, I knew he had ALL of what it takes.
They say word of mouth is the biggest form of support, but when the mouth of Eddie Dean speaks to the ear of Scott Greenstein, head of Sirius XM in the US, you’re entering a whole new ball game. Without one single date in the USA, based purely on the music and the level of buzz that was emanating from Ibiza about Avila, the young Spaniard found himself the station’s youngest ever prime-time resident with his ‘Ready To Jump’ radio show broadcasting both afternoons and nights across the North American continent.
To say things mushroomed for Avila after that is probably an insulting understatement. Now so in demand with global promoters that he could play every single day for a year if he wanted to, the teenager has already graced the hallowed stages of Coachella, Ultra Music Festival (an incredible Main Stage debut), Electric Zoo, Electric Daisy Carnival, Creamfields, Tomorrow World and too many Insomniac events to mention, plus his incredible residency at the show-stopping Hakkasan at the MGM Grand Hotel and Casino in Las Vegas. Further club dates across North America, South America, Europe and Asia have flooded in, with 2013 wrapping up in spectacular style with the confirmation that not only would Danny join Tiësto on dates in the USA, Mexico, Holland, Israel, Malaysia, Indonesia and South Koreo, but would also join Tijs and Calvin Harris as official support act for the UK leg of their ‘Greater Than’ tour.
DANNY AVILA at Create Nightclub Tickets: http://limitedtimeoffer.co/2895/create-nightclub-upcoming-events
LAIDBACK LUKE is landing at Create nightclub, LAIDBACK LUKE has been to known to sell out! Get your presales here!
As the innovator in dance music, Holland’s Laidback Luke blasts a blitz of energy, driving his avid fans around the world into a raving frenzy! 100% immersed in his fans, the Super You & Me hero continually breaks the mold, shaking up chaotic beats to favor electro, techno and bass heads globally. Locking and loading events with hugest lineups and the most powerful beats, the electronic idol is saving the world from mediocre music and transforming dance floors into havens of high quality merriment!
With no tunes missed- Luke’s label Mixmash Records combusts a dance music explosion across every sound to satisfy the hearts of fans. Never cornered into one style, he takes his musical beast and unleashes it to the world while taking his renowned production skills to the youth. Discovering and coaching new talent with sub-label Ones to Watch. With an ear for breaking tunes and an eye for game changing talent, early 2013 saw the finely tuned deliverance member of Luke’s recording family. Powering promising artists in neon lights, the label encourages unique rising talent while allowing a stepping-stone to the big daddy in Mixmash.
It’s no surprise the anticipation is on high alert for the oncoming collaborative release of ‘Blow’ with #1 ranked French Dance Music Open champion Martin Solveig, on Mixmash. Riding high on the electronic rocket the label saw More drop with Dimitri Vegas and Like Mike, while just prior, the collective explosion with Hardwell on Dynamo took the Mixmash bomb straight to the Beatport Top 10. Responsible for EDM’s most sought after remixes Laidback Luke fronts up to the his crowds for recent demand on Martin Solveig’s ‘Hey Now’, ‘Thinking About You’ featuring Ayar Marar for Calvin Harris and Robin Thicke featuring Pharrel and T.I on chart busting ‘Blurred Lines’. – From Create
LAIDBACK LUKE at Create Nightclub Tickets: http://limitedtimeoffer.co/2895/create-nightclub-upcoming-events
Los Angeles-born, New York City-based DJ/Producer Clockwork is no stranger to the world of electronic music. The young producer was one of the many 18-year-olds circulating the dance music blogosphere with various bootleg remixes. His single “Squad Up”, an original track that was played out at festivals around the world, quickly caught the attention of internationally-renowned DJ and Dim Mak chief, Steve Aoki. Aoki signed Clockwork immediately, making him the youngest artist ever signed to Dim Mak’s prolific roster.- From Create
CLOCKWORK at Create Nightclub Tickets: http://limitedtimeoffer.co/2895/create-nightclub-upcoming-events
BASSJACKERS are landing at Create Nightclub for Memorial Day weekend, they’ve been known to sell out, get presales here!
After first getting noticed by Fedde le Grand, a solid stream of releases and remixes followed which received massive support by all the top global DJ’s. However their big break came in 2011, when their dancefloor bomb “Mush Mush” got picked up by Tiesto and released on his imprint Musical Freedom. It dominated the Beatport top 10 for over 2 months and grew to be one of the biggest club/festival tracks of 2011.
Since then Bassjackers have remixed for A-list artists like Rihanna, Enrique Iglesias and Moby and played in clubs from Ibiza alongside Tiesto, to Las Vegas alongside Afrojack, and continue to tour around the globe with a recent emphasis on North America.
In early 2013 Bassjackers scored a major hit on Beatport with ‘Hey!’, their collaboration with Showtek. Soon followed by another with Dyro- ‘Grid’, as well as ‘Duckface’ – their collab with Kenneth G. The year also saw the likes of the popular ‘Raise Those Hands’, their collab with fellow Dutchman R3hab and ‘Zing’ on Nicky Romero’s Protocol label. Early 2014 however saw a major breakthrough again when their biggest track from 2013 “Crackin” was released as a new collaboration with teen phenom Martin Garrix – instantly topping the Beatport charts! – From Create
BASSJACKERS at Create Nightclub Tickets: http://limitedtimeoffer.co/2895/create-nightclub-upcoming-events
Hailed as America’s “First King of Dubstep,” 12th Planet, marks his triumphant return to The Big Easy, where he will be headlining the first BASSIK event of June, hosted at Republic New Orleans. This massive showcase of BASS will be brought to you by the bad boys over at Winter Circle Production and EDMutual. Consider this your first official warning that you will not want to miss this show. Marks your calendars because this is going to be a great way to welcome the summer season.
Lineup: 12th Planet and support TBA but you can bet money Nola will be showing some in-house love at this event.