Hard + Cloud 9 Adventures + The Bowery Presents
Holy Ship! 8.0
DJ Snake, Tchami, Duke Dumont, Boys Noize, A-Trak, Marshmello, Big Gigantic, Rudimental (DJ Set), and more!
Fri, January 6, 2017 - Tue, January 10, 2017
Port Canaveral, FL
This event is 21 and over
Kill the Noise, Destructo, Justin Martin, NGHTMRE, Jai Wolf, Snails, Rufus Du Sol, Bob Moses, Busy P, Anna Lunoe, Malaa, Mercer, Slander, Louis the Child, Troyboi, Totally Enormous Extinct Dinosaurs (dj set), Wax Motif, Jimmy Edgar, Danny Daze, Ghastly, Shiba San, Jonas Rathsman, STWO, Amtrac, Kastle, Nina Las Vegas, Joyryde, Curses, Louisahhh, Hotel Garuda, Ardalan, Drezo, Unlike Pluto, Gina Turner, Spank Rock vs. Lil Internet, DJEDJOTRONIC, Christian Martin, Rory Phillips, Will Clarke, Kaneholler, Point Point, Manila Killa, Mambo Brothers, Sita Abellan, Kaz James, Aazar, Nvoy, JSTJR, Cardopusher, Gunslinger, Cameron Graham, Dena Amy, Bones, The Interns, DJ Black Frames + special guest and more TBA!http://www.bowerypresents.com/event/1240845/
In a way, the enormous success of Duke Dumont has somewhat slipped under the radar. So unassuming is Adam George Dyment, that it's easy to forget he played one of the most pivotal roles in making UK deep house the thundering global juggernaut it is today. When his single 'Need U 100%' soared straight to number 1 in March 2013, it became the first UK house track to do so in over a decade, reaching Gold certification, and opening up a gap in the British music consciousness for deep house to really prosper on a massive scale. It's fair to say that the success of "Need U 100%" blew open a void for other deep house acts like Route 94 and Gorgon City to fill, transcending so many from club favourites to serious chart contenders.
Dumont followed that success 9 months later with his next single, 'I Got U', a Whitney Houston inspired Waikiki Beach of a dance track, that, again, topped the UK singles chart. An achievement put into stark context when you think of the acts – Pharrell Williams and John Legend – that it was keeping from top spot. And when his third big single 'Won't Look Back' rose to number 2 on the UK chart, whilst topping the Billboard Hot Dance Club Songs chart, Dumont's name as a top ten producer was cemented.
Away from the charts though, he continued the underground explorations that first made his name, through the For Club Play Only EP series on Turbo Recordings. So while 'Won't Look Back' was snaking into Radio 1's A-list, the more radical and rigid percussive banger 'Drumapella' from his other project was simultaneously permeating the underground club scene. It's this multifaceted success, a fingers on all turntables approach, that unleashed such a relentless touring schedule for Dumont, taking him worldwide – and all the while he would be snatching at moments of downtime to work on the material that would comprise his first full length record.
At Coachella this year, Dumont put this prospective album material to the test – performing a 60 minute live set of all original work to a crowd that swelled from 3,000 to 25,000 during his show. "I was between 2 EDM acts, so I was a little scared," he admits. "When you are performing music at a live level, things can get very competitive. Is the act before you going to be more aggressive, louder, are their lights going to be bigger and better? The thing a lot of people lose in that respect is that music should have a lot of emotion to it. It should be heartfelt. It should trigger something. I put most of the songs from the album into that set, so it all hinged on my stuff. This was no DJ set. And I felt proud when it really captured the crowd's attention."
So much tireless work has gone into making his live show what it is, taking cues from acts like Chemical Brothers and Daft Punk, in an effort to create a performance that truly reflects the artistic craft of electronic music rather than pandering to the cultural clichés of hedonistic immediacy. His performances are pulsating, emotional journeys. But, at the end of the day, the show would be nothing if the source material wasn't strong enough, and that's where Dumont excels.
The album has also given him a chance to breath some new life into existing material. 'The Giver' first dropped in 2012 on Turbo, and quickly turned a deep house staple, it's use becoming almost ritualistic in the way so DJs would consistently deploy it as their peak time banger. And soon, it developed an organic life of its own online. "When I wrote it, I don't even think deep house was invented in its current form," says Dumont. "I've always wanted to play it to as wide an audience as possible. It did really well by itself, but that was without any promo or marketing. Now, with the re-polish I've done on it, I want it to have the best possible chance to do well on radio."
Away from Dumont's clear affinity for deep house, prominent vocals and textured electronic pop, there's also one other key influence that bleeds through his work. "I came through as a DJ with a lot of the French wave guys like Justice, Sebastian, Mr Oizo," he explains. "And Daft Punk's Discovery: that just has the perfect balance of incredible music alongside massive dance tracks." Somewhere in his subconscious, this powerful French influence is etched and it comes across most prominently on standout track 'Ocean Avenue' – a hard and slinky pop jam that conjures nocturnal visions of a lost scene from Nicolas Winding Refn's 2011 film Drive.
The record has also given Dumont a chance to widen his scope of collaboration. His fine ear for vocals has already seen him team up with MNEK and AME, and the record boasts further features from Vincent McMorrow, and the legendary 80s house vocalist Robert Owens. The grooving 8 minute disco track that features the latter is like Dumont's very own homage to Daft Punk's epic 'Giorgio'.
The funny thing about all the success that now surrounds him is that Duke Dumont hasn't really changed the way he makes music, and the re-release of 'The Giver' will pay testament to that. The change has come more in both the UK and American music culture, and the way club music now finds itself positioned so boldly on both sides of the Atlantic. "I remember I went to America in 2008," he says, "and I played in a nightclub in New York called Studio B. I remember I got heckled by people asking me to play hip-hop. So, when I went back in 2012, I was genuinely petrified, but it ended up being one of the best tours I've ever done. The scene just seems to get bigger and bigger."
With his eyes set on some huge UK shows, and massive forthcoming collaborations, Harrow-born Adam George Dyment looks set to play a huge role in the way UK pop music continues to shift ever further into new realms, just like an early noughties Timbaland did for the US or a recent Pharrell has done for the world. Still, he remains unnervingly grounded: "I don't necessarily want to be the biggest DJ or biggest act in the world, but I certainly want to be one of the best."
He established himself as one of the world’s preeminent wizards behind the decks, having played the world’s biggest stages alongside the biggest names in dance music.
His sets are equally uplifting, not only technically but also as a showman, leaving unforgettable experiences for the witnesses. One of the reasons why the Rolling Stone voted BOYS NOIZE amongst the Top10 `DJS WHO RULE THE EARTH` in 2012.
As a recording artist and producer, Ridha has created his own sound, and pioneered his own brand, amassing a formidable body of work in the process.
He has released three albums (2007’s Oi Oi Oi , 2009’s Power and 2012´s Out Of The Black) and countless singles as BOYS NOIZE, as well as doing profoundly influential work as a remixer and producer for everyone from Depeche Mode, Daft Punk, Feist, David Lynch to Jarvis Cocker, Santigold, Scissor Sisters and Chilly Gonzales.
He has collaborated with Snoop Dogg, genius film maker Mr. Oizo (on a project called Handbraekes), Erol Alkan, and most recently Skrillex (under the moniker of Dog Blood) and won Beatport’s ‘Best Electronic Act’ 3 years in a row.
Ridha is also the heart of Boysnoize Records, the label that he started back in 2005. Founded originally as a means to get his own music out into the world, Boysnoize Rec.—and it’s sub-label, BNR Trax—is now home to more than a dozen artists (including up-and-comers like 18-year old SCNTST, Le1f, Spank Rock, Strip Steve, Peaches and Siriusmo) and responsible for over 100 releases while remaining fully independent.
“I don´t compromise when it comes to music,” says Ridha. “I do what I think is cool and what I like and not what the market wants or people may expect. Maintaining artistic freedom has always been the most important thing to me — for my own music and for anyone on my label”
Despite his ever-expanding label roster and the increased demand for his time as a producer and remixer, Ridha’s primary loves continue to be the twin pursuits of making and performing music.
Following the release of his third long-player Out Of The Black in late 2012, he presented the first BOYS NOIZE ‘LIVE’ show to the masses.
“I really wanted to give people a concert where I perform my music only. It´s not that I don´t like DJing anymore, I´m a DJ to the bone and will always be. But playing my tracks live and putting on a completely new show was something I wanted to do for a long time. It´s different and fresh and that is what I love.”
After spending years as Kanye West’s tour DJ and consigliere, he founded the celebrated record label Fool’s Gold in 2007 and developed the careers of artists such as Kid Cudi, Danny Brown and Flosstradamus. With its string of releases and parties, Fool’s Gold broke down bygone rules of the record industry, paving the way for a new wave of independents and helping to make North American electro a dominating force. As a Grammy-nominated producer, A-Trak’s seminal mix of the Yeah Yeah Yeahs’ “Heads Will Roll” marked an entire generation’s introduction to dance music. Duck Sauce, his irreverent collaboration with Armand Van Helden, flipped the bird to chart-topping formulas and reached #1 in 12 countries with the ubiquitous “Barbra Streisand”, electronic music’s first true viral music video. A-Trak easily segues from working with EDM’s elite to revitalizing rap superheroes, launching Federal Reserve with Cam’ron and Low Pros with Lex Luger. He casually picked up 3 VMA nominations along the way.
Not bad for a kid from Montreal who was once known as a 90’s turntable prodigy. As a teenager, he brought home every DJ title known to man, starting with the 1997 DMC World Championships and holding a record-breaking 5 titles by the time he was 18. Meanwhile, as his older brother Dave morphed into the lead-singing lothario in the acclaimed electro-pop sensation Chromeo, Alain grew from a nerdy teen who created an elaborate scratch notation system to a bona fide style icon and one of the most recognizable figures in the DJ scene. He recently appeared in campaigns for Adidas, Grey Goose and Cadillac and graced the covers of Billboard and Complex. Based in New York for close to 10 years now, A-Trak’s interest in the lifestyle of his generation has certainly made its mark. As one of the first blogging DJs, he now regularly contributes to the Huffington Post and owns the travel website Infinite Legroom. Through Fool’s Gold, he cemented his reputation as a cultural curator: the label’s legendary events – most notably the Day Off series – are like a knighting ceremony for new talent; FG has its own clothing line and a Brooklyn storefront which doubles as an art gallery. It’s the accumulation of these projects that defines who A-Trak is. With this sort of breadth to his resumé, it’s no surprise that Rolling Stone named him one of the 50 Most Important People in EDM. Currently focusing on more solo recordings, the ever-young Trizzy continues to write new chapters in his storied career.
With a provocative sound that's as thoughtful as it is danceable, Big Gigantic's new songs like "Nocturnal" and "Hopscotch" weave whirling melodies into addictive beats and samples that wouldn't sound out of place on a Kanye West or LCD Soundsystem single. No genre is off-limits for Big Gigantic, whose breakthrough sound channels everything from funk and dub-step to house and hip-hop.
Watch the video for "Rise and Shine," the first single from 'Nocturnal,' here: http://www.youtube.com/watch?v=YqiRRAsC7wU
After graduating with a master's degree in jazz at the Manhattan School of Music, Lalli relocated to Boulder and began performing with Salken, experimenting with the idea of interpreting traditional DJ-based music with live instruments. The duo built up early hype in 2008 with local shows and one-offs around the country before releasing their debut album 'Fire It Up' in 2009 and embarking on a full US tour.
Already a smash on the festival circuit, Big Gigantic's transcendent live shows are a showcase of brilliant improvisation and a tightly-knit bond between Salken and Lalli, who breathlessly alternates between keys, sax and laptop, building a futuristic wall of sound that keeps the crowd on its feet. The marathon shows feature a variety of songs new, old and unreleased, as well as outside-of-the-box remixes including Wiz Khalifa's "Black and Yellow," Aloe Blacc's 'I need a Dollar,' and Notorious B.I.G.'s "Notorious Thugs."
Port Canaveral, FL, 32920