It was the epitome of summer at Toronto’s renowned Sunnyside Pavilion, Saturday, September 1st for Dubfire, Kenny Glasgow and friends - beautiful weather, friends chatting, dancing, drinks, sun, that perfect glow through the trees, all surrounded by music. As I walked in, both courtyards were bumping with energetic, house-driven sets from local veterans Jonathan Rosa and Amália Leandro. Tie-dyed fabric draped from above along with hanging spheres and lanterns added ambience to the venue and softened the historical cobblestone grounds. As night fell, the site morphed into a luminescent experience with trees caked in coloured light on a dark backdrop, lasers clipping the air and colour enveloping the crowd.
Toronto’s beloved Kenny Glasgow gave us a deep set laced with cavernous groove pockets as we danced into the sunset. It was gritty, smooth, driving and non-negotiable - you had to dance. At the other courtyard, Jonathan Coe offered dynamic house, followed by Wonka’s compelling house/tech house journey with an ever-present techno undercurrent. Arman & Beynon closed with a gorgeous nighttime soundscape.
It can be challenging to define genres as an experience, or sounds in words - house can feel dark or light, tech house can be bouncy or driven, techno can sound melodic, minimal, both and beyond, and depending on the DJ, they can cover all of those genres and more in a set. Plus we all have different perspectives, moods, desires, expectations and receptivity. As much as I can describe what I heard, or my own experience, it’s cliché, but house music really is a feeling. And I loved it; the music between both courtyards was on point, energy elevated, and summer being celebrated.
With over two-decades as both DJ and producer, Dubfire is an innovative artist who’s consistently been on the leading edge of house and techno’s transformational wave. Tonight he began with an ethereal, resonant corridor of sound that turned heads, announced his arrival and brought attention to one focal point. A melodic overtone imbued with harmonic bass saturated the crowd before turning into a groovy, techno ride. It was dominant without being domineering, full and layered without being overly complex, and eventually evolved to dark, rhythmic techno. We traveled momentarily to bouncy tech house while staying tethered to his trademark deeper soundscape. The evolving thread led us through house music reminiscent of chunky Deep Dish rhythms, to fun, classic 90s warehouse rave old school into gritty, eclectic pockets, ultimately coming back to deeper, familiar techno-infused territory. It was a different set than I’d heard before, and it was incredible. It was more than a layered, minimal techno set, which I have always loved from Dubfire. It was an education. It was a ride into the music that transformed us, touched our souls over time and was a window into its evolution. We heard sounds that existed over a decade ago, and sounds that didn’t. We were there for community, hanging with friends, meeting new ones, soaking up the last days of our precious Canadian summer, and of course there for the music. It was a day to celebrate both White Label Promo and Captive Audience anniversaries, who have given the Toronto dance music scene incredible moments and memories, with more to come. We were there for a creative who’s dedicated to an exploration of audio and visual technology, who’s continual evolution has moved sound to new places within techno and house music; and it was fun, fitting, fulfilling and refreshing to be a part of that journey. As my friend said, reflecting on the set, this was the music that made us.
Check out Visualbass Photography's full album here!
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Over six years, Electric Island has grown into an expanded experience for house music and techno lovers. It increasingly offers something for everyone with two dynamic stages, a variety of food trucks, vendors, scenic moments, gorgeous lighting and memorable backdrops, underground soul and finally, perhaps most importantly, an evolving sense of community.
]]>Over six years, Electric Island has grown into an expanded experience for house music and techno lovers. It increasingly offers something for everyone with two dynamic stages, a variety of food trucks, vendors, scenic moments, gorgeous lighting and memorable backdrops, underground soul and finally, perhaps most importantly, an evolving sense of community.
This year’s new and distinct main stage offered a visually striking element to the season’s overall production while the Moog Audio stage added another layer of heart, breadth, depth and soulful magic in an equally compelling natural setting.
Crisp, gorgeous summer weather and groovy beginnings greeted us on Day One. Toronto’s Night Vision, Sean Roman and Shelley Johansson brought sweet vibes and house-inspired sounds to set the tone at the main stage while the venue slowly filled under the mid-afternoon sun. Versatile boundary-pusher, Danny Daze, cranked the energy next, welcoming the early evening rush with bass heavy, synth-infused, often syncopated, percussive sounds. He reached techno territory at golden hour, graciously preparing us for ever-rising Charlotte de Witte’s impending slay. From the first beat, de Witte announced her Toronto debut with solid, persistent, hammering techno, taking it from Daze’s eclectic blend to a more linear, powerful vibe as the sun set. She gave us high BPM with groove, acid-inspired trajectories, and personally, my love for triple kicks was satiated. As night fell into darkness, Loco Dice fed off her energy with a paced, driven tech house opening which continued throughout his set.
As I watched the main stage and its surroundings from a distance, it struck me that every time I go to the Island, it’s a growing community. The walk from stage to stage, dancing or meandering to get a drink undoubtedly leads to a conversation, greeting, random connection, long lost friend, life chat (+ jewelry purchase), dinner chat or simply for me, a warm awareness of being surrounded by people there to have a good time. The atmosphere is welcoming, laid back and of course, at times absolutely electric.
Over at the Moog Audio stage, the day’s lineup carved out a gorgeous, seemingly endless tapestry of sound; it was a family affair with a packed house, vibes for miles and incredible energy. Beloved local talent Alberto Jossue, Aleksandar Kojic and Borzoo opened with beautiful sets, leading to Nature of Music’s deep house journey, into Rodriguez Jr.’s groovy, soulful live performance and the bumping house vibes continued with Night Vision & Alberto Jossue. This season especially, the Moog stage became a centre stage in its own right.
It’s wild how much a vibe can shift from one day to the next, same location and set up, but different lineup, people and weather. After opening sets from Alexander Harris and Gera on Day Two, lightning in the area put a hold on J.Phlip's performance as we experienced a mini rain outburst. We retreated to the edges for a half hour and when the music started again, it felt like a slingshot had been released - people were even more amped and excited. J.Phlip launched with a wicked groove and the collective vibe became extra fun, bouncy and jubilant. The Day One word for me was diverse, Day Two was fun.
Lane 8, wearing a Maple Leafs jersey, delivered one of the most talked about sets of the day - a wavy, melodic, emotive, groovy, progressive house cornucopia. Perfect for after the rain. Dancers gave it everything on the dance dirt, as it were, and yet the deep, ethereal soundscape also provided the perfect mood for a sunset picnic dinner. For some reason I’ll never forget eating tacos with a friend, basking in Lane 8’s sounds from a distance, the open sky, chill vibes, and the golden hour sun glancing through the trees.
We went to the Moog stage just in time to catch Pony & Karim Olen Ash crushing the site with Crystal Waters' groove-heavy classic 100% Pure Love. The DJ/rap duo brought upbeat, bouncy, deep house vibes with a (large) (outdoor) (Canadian nature) house party feel. It was different, fun, funny, soulful and electric. Nitin then destroyed us with dirty, deep house, followed by Jamie Kidd with an equally strong and soulful set.
Back at the main stage, Justin Martin delivered a fun, dirty(bird), bouncy tech house set. The vibe overall was upbeat, the grounds full, weather perfect and lighting on point. MOOD Records boss, Nicole Moudaber then took the reins and kept the groovy tech house momentum moving, showing her range beyond techno. She built from Martin’s set into a deep, dark (without it being too dark) transformative, captivating rhythm. Never over did it. Not too many sounds or layered noises. It was sexy, groovy, mesmerizing and stepped into a journey about halfway through (*confirmed by multiple sources) as she went deep into techno, taking the crowd with her on a euphoric ride. She delivered an incredibly special experience that touched hearts, connected the crowd, and for me was one of the defining sets of the summer. The power of music is that it can completely change you; it can shift perception and create a new emotional reference point that once experienced, you now know exists within yourself.
The two-day Electric Island finale was a sensory journey that offered something for everyone. It was the culmination of a summer series that offered consistently outstanding production and incredible moments, musically and beyond. It gave us a gorgeous home for house music and techno, and a space to enjoy a day with friends. On a deeper level it gave us the possibility of expanding, and the experience of being touched by music that may have transformed our soul.
Check out the full Ded Agency Day One Album here!
Thank you to the event organizers and LCPR for the warm hospitality and exceptional production.
]]>It had that hint of magic - off the beaten path, far from the club circuit, but right on point for lovers of house music, techno and the ineffable in between. It felt almost poetic to have a cab drop me off in front of one of Toronto’s most historic performance venues, The Opera House, with its ornate marquee and unique charm. Tonight, the Toronto staple, with its distinct arch above the stage and architecture reminiscent of early 1900s theatre, would house lauded Danish DJ and producer, Kölsch.
Over its past nine years organizing events, Ozmozis has built a community of dedicated followers; avid music lovers who align with Ozmozis’ intention of creating a sense of unity on the dance floor and connecting people through music. The space was imbued with a receptive, devoted family of music-lovers who were there for Kölsch with arms wide open (or up in the air, as it were).
Hometown favourite Alberto Jossue opened the night with an impeccably programmed, groove-heavy set. It built anticipation, had power without overpowering and carved out a magnetic atmosphere to welcome the crowd. As I walked in, the massive room with its high ceilings was dark, pierced only by multi-coloured stage lights and the orange hue of the back bar; but the energy was electric and mood increasingly upbeat as Jossue’s track selection merged with the crowd’s dynamic vibe. By the time Kölsch took the reins, we were ready.
Kölsch announced his arrival with a gorgeous remix of Massive Attack's 'Teardrop,' effectively drawing attention to the stage, allowing momentum to build slowly, culminating with a decisive downbeat. From there we were hooked into a story of driving groove, syncopated hi hats, instrumental layers, heavy bass, melodic overtones, full sound and anthemic moments. For the unbridled, enthusiastic and dedicated crowd, it was bliss.
Kölsch’s presence visually, on the elevated stage, was iconic. The lighting danced alongside animated revellers, and enveloped the artist’s wide-brimmed hat with thin, chromatic laserbeams and thicker rays that floated and bounced into darkness. He took control sonically with a diverse set, generous bass and undeniably danceable tracks. There were emotive peaks throughout the night culminating with a take on Radiohead’s ‘Everything In Its Right Place’ which Kölsch played out to end the evening. The full crowd clapped in sync as the last beats faded into a round of applause, house lights on and shouts of appreciation. There was a lot of love and zest in the crowd - which truly did feel like a community - and made the night even more unforgettable and extra fun.
It was refreshing to have this sound and vibe here - a new perspective, audio experience and overall treat for a community well-versed in club life. The coalescing of artistic expression, crowd receptivity, audio and visual palette, distinct venue and behind the scenes orchestration led to a memorable night with one of the underground’s premiere artists. It was a musical experience that was emotive, powerful, driving, full and brought people together - in other words, an unforgettable, harmonic mix.
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Kölsch came to Toronto from LA and his gig at Sound, and traveled to Montreal the next day for a performance at the much heralded and ever-growing Osheaga festival!
]]>Immersed in the natural beauty of Hanlan’s Point, thousands of revellers came through to celebrate Canada’s birthday at this season’s second installment of Electric Island. The Island did not disappoint. Exceptional production, blazing sun, full crowd and superb acts made the day memorable. The new and notably resplendent circular main stage, with its distinct lighting, took the event to another level. That theme resonated as I walked through the grounds - Electric Island is continually evolving and elevating, year after year.
]]>(all photos cred: ded agency)
Immersed in the natural beauty of Hanlan’s Point, thousands of revellers came through to celebrate Canada’s birthday at this season’s second installment of Electric Island. The Island did not disappoint.
Exceptional production, blazing sun, full crowd and superb acts made the day memorable. The new and notably resplendent circular main stage, with its distinct lighting, took the event to another level. That theme resonated as I walked through the grounds - Electric Island is continually evolving and elevating, year after year.
(photos: ded agency)
This year, with the next level attendance, what was particularly noticeable was the time it took to get from one stage to the other. It’s a fun game - bouncing along, perhaps inadvertently into people because it’s justifiably packed, inevitably seeing that friend you haven’t seen in forever. Stopping for a chat. Continuing through to the curated food vendors, resting under a lit tree (hehe *eye roll) with dream catchers, chromatic cubes and other decor. Then flowing naturally (i.e. randomly weaving) into the Hippie Market, with its colourful clothing made by local designers where you happen to get lost in chats while browsing the bikinis, jewelry and tops. Then you remember you were trying to get to the other stage. Onward the journey continues, thwarted again by friends, friendly strangers, games en route, the misting station, a photo op at the iconic Electric Island letters. Focus. Must focus. Finally you arrive. But first a drink. And shade - find the trees. Oh right, the stage. Eventually you get there but the fun’s in the journey, no?
(photo: ded agency)
The Moog Audio Stage was set in front of a beautifully lit, picturesque tree that naturally blended into the island vibe. Once again, this stage proved a destination in its own right. Jeremy Stott offered deep, layered techno, building on solid opening sets by Andy Cue and Brian Johnson. Jade seamlessly took over the packed crowd with an organic, deeply groovy vibe that had the party locked and moving together. These are the moments where you feel the island’s magic - where the music, vibe, atmosphere, surroundings, weather, people and artistry all come together. Each artist added to that layer, building moments - like vibes congealing into more magic. After a warm round of appreciation for Jade, Robert Babicz’ introductory soundscape was rich, textured and promised an epic ride. It became a masterful journey of nuanced techno, melodic groove with emotional undertones, wavy frequencies that enveloped us with harmonic accents, and occasional, yet powerful vocals - powerful not only in inflection, but in their affirming message. Imagine the sun setting, crowd in sync, vibe thick and a sound shaman dishing out unforgettable soul moments. That was my Babicz experience.
(photos: ded agency)
As a side note, Babicz can see sound and it was amazing to watch him in action, likely seeing the colours and geometry of frequencies as he was performing. You can check out our interview here.
Back in time, over to the main stage and the early midday heat... After a groovy opening set by Simon Jain, Billy Kenny kicked it up a couple notches with a hard and heavy, at times deeper set that provided the sonic landscape for mid-afternoon arrivals. Next, Jackmaster’s groovier take merged into industrial percussiveness at points - it was an eclectic sea of techno to driving tech house to vocal house and seemingly everything in between. The sun was glorious(ly hot), anticipation high and energy in the crowd electric. As The Martinez Brothers took the helm, we gelled - it felt as though people had arrived and were settled in for the ride which reflected musically and vibe-wise. The Bros’ fun, groovy, funky tech house unified the dance floor to a coherent bounce as we collectively danced into golden hour. As night descended, offering its natural shade, the main stage and lights became even more of a focal point. By then, it was ANNA time.
(photos: ded agency)
The Brazilian techno maestro took us to town, church, the vortex - whatever you want to call it, she destroyed the island. From the first beat, her energy was palpable and dynamic. She gave us intense, driving techno, with depth and variety, showcasing her versatility within the genre. I’ll just say she was the boss of me and I didn’t mind. I wasn’t the only one. She was in tune with the crowd. Optically, the festival stage looked far from us compared to a club booth, but she made the distance irrelevant, so in truth it felt close. She took us on an odyssey. Between ANNA and Robert Babicz, Island-goers were treated to two distinct and incredibly powerful closing sets by masters of their craft.
(photo: ded agency)
To see the view from mainstage, from ANNA’s perspective as she posted the next day on her Instagram, the magnitude of where the Island has come was evident. The crowd was massive, excitement tangible and overall production impressive. If I didn’t know it was Toronto, I would have thought it was a major festival in the US or Europe. What 6 years ago was more of a picnic destination with blankets on the grass and great music, has morphed into a significant stop on the house and techno summer circuit.
Alongside the increased profile and attendance, getting to and from the island has become its own mission. Most have by now discovered the water taxi trick - the ferry’s little (unaffiliated) sibling. I’m keeping my fingers crossed that the city opens to alternative ferry/taxi options to support the water transportation infrastructure. Yet, even with the wait, the indelible memories, magic, gorgeous sunsets with epic soundtracks, life-changing experiences, musical moments, newly forged and ever-deepening friendships are all well-worth the trek.
Check out the full Electric Island Canada Day gallery by Ded Agency here!
]]>Last Saturday was another gorgeous summer day in the city as festivalites made their way to Toronto’s TIME Festival. Fort York’s historic site provided the backdrop for three stages, thousands of revelers and various styles of music.
Chrome Sparks lit up the OverTIME stage, featuring electronic acts, with their experimental sound, live drum and electronic audio setup. Over on the Main Stage, English band Everything Everything gave late-afternoon listeners a good dose of their catchy, indie sound. It was a laid-back, leisurely vibe overall with friends hanging out underneath trees, sitting, walking, wandering, catching up, watching the acts, dancing - a very chill, picnic situation. Myriad food vendors dotted the site, along with clothing/jewelry booths, massage area, henna, braiding and face-painting stands. A perfect way to spend a summer day with your friends, especially at that price point, surrounded by diverse performances.
Midway through the afternoon at the OverTIME Stage, Jacques Greene started his set with a chill, deeper house groove and took people on a multi-faceted sound journey, even dropping Drake’s ‘Running Through the 6..’ Jonas Rathsman moved in with a percussive, tribal deep house start and also continued with a varied house set to take us into the early evening.
Back on the Main Stage, Joey Bada$$ delivered. It was a high-octane, fierce set powered by his dynamic personality, undeniable talent and gift for interacting with the crowd. The day was becoming an engaging exploration of the various sounds and stages of the festival’s curated lineup. TOKiMONSTA’s set was both tight and varied, dropping Ol’ Dirty Bastard’s “I Like It Raw” amidst her signature trap and other electronic musings.
On the Main, Kehlani brought her R&B ballad vibes, like a mix of talent and melancholy with some serious spice, while back at the OverTIME stage, KiNK created a fine live set. He showed the crowd the tools of his trade as he played various synths and sound machines, and carved out a nicely coherent set that the audience loved.
As the sun dipped, electronic pop duo, Broods’ entertained the ever-growing crowd with their light vibe and upbeat flair.
Into the night, Bob Moses set the scene at the beginning of their show, taking their time with a mesmerizing build-up - like they were there to say something musically. It felt very focused and like there was a thoughtful intentionality to what they were about to play and share. After a day of such a mix of genres and differing styles, it was the focus behind their music that I loved about their performance. They delivered to a thankful crowd with their luxurious interplay of live instruments and electronic artistry.
Run The Jewels (Killer Mike and El-P) brought power and political edge to their Main Stage show to close the night. With Toronto’s cityscape as a backdrop, their energy was lively, badass, real, pointed and had an activist message that went beyond simply offering an entertaining show. The crowd responded passionately to the two rappers who brought their mostly intense, yet at times light-hearted, power to the performance.
Overall the day was easy-going and casual with varying degrees of intensity depending on the artist; an eclectic, interesting and riveting mix of performances and genres. It was a fun place to be, offering impressive experiences, musical diversity and relaxed charm - an excellent contribution to the city’s summer-scape of festivals and events!
]]>Nitin brought a soulful, at times vocal, deep, groovy, classic house feeling to the day. It was a fine early crowd, imbibing the perfect weather and sounds, and people were starting to sway. Andhim for many was the set of the day - bouncy goodness, full house vibes, energized and melodic. He brought the energy of the island to a new place and handed it off to special surprise guest, Kenny Glasgow. Guy Gerber couldn’t make the event and Kenny provided an ideal replacement. It got deep, smooth and groovy, and for many his techno was the set of the day.
(photos: Ded Agency)
Much anticipated, Gui Boratto came on after a warm send off for the Toronto homeboy, Glasgow. Boratto brought his heavy, layered, driving, synth-laden sound, often grimy and dirty, often melodic and elegant - it was perfect, and for others his was set of the day. Then came headliner Paul Kalkbrenner, and you know where this is going. Beautifully rich, emotive, powerful and creative, for me his live artistry elevated the energy and took us on a euphoric journey. He was having fun and it came through the music. I was standing between the stage and the crowd and felt (or imagined I felt) the communication taking place between performer and us being washed in it.
(photo: Ded Agency)
His set was dirty, full and uplifting. If you were in the mood for this, it was perfect. It became anthemic at times. In anticipation of his album, 7, released a year ago, he was given the opportunity to explore Sony and Columbia records’ musical coffers and choose a few tracks to sample. He opted for Jefferson Airplane’s memorable ‘White Rabbit’, kept the vocals intact and created a layered foundation to make it his own. An unforgettable moment from the night when he dropped this record.
Thousands of people focused in a particular way is a very powerful thing, and this extended moment, a culmination really of an entire day of beautiful vibes, was an example of that pooled strength and shared energy. A lot of love in the dancing crowd.
And so it was, another edition of this truly memorable Island series of events. Toronto’s summer musically so far has been incredible, and this, for me and from what I could hear around me, was the best Island musically so far this season, and perhaps yet. It was a treat to have been there and experience this important contribution to Toronto’s house and techno scene. And it’s definitely not over - coming up is Electric Island’s two-day grand finale for the season, with a dream lineup. Looking forward to the next! Check it out here.
Thanks to Ded Agency for the shots! You can check out their full album here.
]]>When seasoned DJs speak of their craft, they often mention that the art lies in telling a story or taking the listener on a journey, transporting the dancer from here to there, wherever ‘there’ may be. Last Sunday, July 17th, All Day I Dream touched down in Toronto and it was a beautiful journey. For countless revellers, we embarked on an undulating, groove-filled narrative that unified us into a lot of love, happiness and memorable moments.
Lee Burridge, Matthew Dekay and YokoO took us through their dreamy, ethereal house and techno, deep bass lines and rolling melodies. Their personalities shone from the booth, creating a harmonic atmosphere that was upfliting and inspiring. I kept thinking of how the origins of house music had intentionally offered a space for people to let go and feel like themselves, a place to feel free. This event softly yet powerfully created that space. Standing on the periphery, watching people move, it was like we were being magnetized by warm, hypnotic rhythms toward the large, pagoda structure draped in fabric and gilded with lanterns. It was a gentle open-air enclave delineating the stage and welcoming partygoers. Trees in full greenery framed the historic Fort York site, bars dotted the edge, and the weather was superb with mostly blue skies and picturesque clouds overhead, à la ADID. The air was thick with good vibes.
I walked in during YokoO’s groovy opening set and noticed a flow of conversation, people swaying and dancing. Nothing seemed abrasive - from the hanging lanterns to the wood columns and material swathed overhead, to the living walls behind the ground-level booth, it took a moment to calibrate the absence of any metal rigging, flashing lights or elevated stage, and how this tangibly soothed the overall atmosphere.
Matthew Dekay melted his pristine sound with YokoO, at times playing solo, other times the two playing back to back before Burridge masterfully brought it home for the evening. Together, the three created a fluid, extended set of truly incredible music. I think it was my favourite set I’ve ever heard live, of any event or show I’ve ever seen. It was a continuous stream of irresistible, layered house with the deepest bass and sink-hole grooves punctuated by laughter and a carefree yet focused air at the decks.
The ADID concept made its initial appearance on a rooftop in Brooklyn back in 2011, by design creating a dreamlike, soft atmosphere to contrast the harsh, urban horizon. It’s a reminder of the emotive beauty in music, surrounded by an equivalent soft ambience. Burridge had created a mix years before titled All Day I Dream Of Her, inspired by the distinct sounds he’d found at that time, which ultimately led to this growing, intercontinental event series.
Watching Lee work with unbridled enthusiasm and humour, and to feel the day as it unfolded, inspired me personally to want (even more) to work with the world in a way that is undeniably marked by love, to know beyond a shadow of a doubt that success comes from a place of so much goodwill and warmth, connection to ones own authentic vision and collaboration with others.
The experience was an ocean of good vibes, emanating from the happy maestro at the root of the event, himself embodying a contagious joie de vivre. I don't know Lee personally, but when I think of the quote, ‘Be the change you wish to see in the world’, it's someone like him who comes to mind, that state of being. His energy exuded love and we responded in kind. So many smiles, and I thought, the world needs this warmth. It was the perfect experience to be the change.
In this global moment, it's not necessarily more words we need, it's a feeling, this dance, and ADID touched us so we could easily embody it. Near the end, Burridge dropped Who Keeps Changing Your Mind by South Street Player and that was pure bliss with a collective bounce - it was all the love. We were in the midst of something special and I couldn’t help but think that this was an event that would be talked about for a long time.
The soundtrack was beautiful with a soulfulness that struck chords, the playful energy of the three artists so enjoyable to see, and the collection of amazing people having so much fun all made me appreciate and reflect upon what we had right in front of us - this magical day that began as a dream and became real. ADID's first Toronto event brought the love on all sides - it was memorable, uplifting and inspired and undoubtedly awakened new dreams to look forward to...
]]>Senseless was this unstoppable force of raw, refined artistic impression. Set in the gorgeously restored Evergreen Brick Works, a partly open-air historical building set amidst urban ravines of east Toronto, the venue breathed unembellished warehouse elements - scrawl and graffiti, old metal-plated contraptions and decayed devices, holes in walls like tunnels to the other side and a metal frame gracing and supporting the ceiling that, when illuminated at dusk, became an art installation itself.
Rodriguez Jr. dished out the perfect early set with a layered, swirly, groove-filled sound that ramped the party up as people started to fill the floor. Frank & Tony kept the silky flow and gave us a ride that was all beauty and depth.
Visual elements were on point with compelling lighting, multi-layered cubes behind the main stage, lit triangles framing the booth, projected-light art installations throughout the venue, a couple of suspended, weaved rope installations mingling with the dancefloor along with an aerial silk artist.
Alberto Jossue brought the second room home with a perfect groove, followed by Nitin’s heavy bass-driven house. With so many artists to choose from and experiences to sense, I got to see most everything and though I missed a few sets, all the artists contributed to the atmosphere. So much to do, so little time. It was a wicked party with great music, decor and electric vibes.
Back on the main stage, Frivolous performed his live set with creative flair, at once melodic and deep. Tube & Berger were fun, bouncy and elevated the mood followed by my favourite set of the night, Totally Enormous Extinct Dinosaurs, who took us on a trip - from sophisticated, industrial, driving techno, to a refreshing remix of St. Germain’s 'I Want You To Get Together', to some heavy disco inspiration at the end. A trippy, melodic and gorgeous end to a trippy, melodic, gorgeous event.
Local food vendors were on the periphery and by all accounts the dishes were divine, ice cream was a hit, and the bars speedy. Subpac’s booth won people over with their wearable, immersive music technology that transfers low-frequencies to the body, adding a more somatic and physical dimension the listening experience.
From taste to touch, sound to sight, and the occasional evanescent aroma, from the venue, music, lighting and attention to sensory dimensions overall, For The People created a richly textured experience, ultimately designing a vivid, different and spirited event for Toronto's house and techno scene. I'd go back for seconds in a heartbeat.
Check out the truly magical Senseless photo album here with work by DED PIXEL and Alec Donnell Luna !
]]>Colossal storm clouds brought pounding rain to Toronto last Friday, but sunshine won the day as the afternoon rolled in and brought with it great music, thousands of partiers, mostly clear skies and another splendid Electric Island experience.
Koki and Jeff Button warmed early revellers with sultry, groovy beats and the nascent crowd enjoyed themselves under the emergence of this now fine day. The stage decor was ornate and tasteful with flowers lining the overhead rig and booth, while reflective mirrors provided a gleaming veneer with shiny accents throughout.
New York's Honey Dijon stole the show with her deep groove, to heavier groove, to deeper and more driving always-in-the-groove-pocket-groove and constantly-killing-it with sometimes vocals, set. If you didn’t know who Honey was before this set, you’d want to know now. It was bouncy, happy, clean, deep and she steered us into this Canada Day edition with mastery. Apollonia followed suit with a groovy set that kept the place dancing with their delectable flair for track selection.
Berlin-based duo Tale Of Us came in with a layered, full sound which brought the energy to a new place; at times trippy techno, sometimes more driving, other times softer and melodic. It was a deep, soulful yet hard techno, with movement between the beats that, like a story, takes you in. Those triple-kicks get me every time.
The day was gorgeous! Sunny, brisk at times, definitely on the breezy side, and definitely a good idea to have brought a sweater. (Or for me a full blown toque, sweater, jacket, turtle neck, long john combo). But I was fine, really.
As night fell, Marcel Dettmann and Ben Klock took to the decks for their much-anticipated back to back set. The BPM (beats per minute) rose and the island became acquainted with their steady, German, industrial techno punch. The crowd stayed strong and rose to the occasion, muddied shoes and all.
Again, my second time at the Island was special, fun and so well worth it. With exceptional production elements in terms of stage, sound and lighting, features like walk-through mist pop-up structures to ping pong tables and hydration stations, bars and locally curated food trucks, the experience was sensational and the perfect place to enjoy a day of stellar music in a scenic setting.
It essentially provides a backdrop for a community to come together. For hangs with friends, chance meetings, old friends to run into, new ones to meet and new love to form - it is the summer of love, after all! The ride home was dazzling with views of the city skyline, and our CN Tower lit with Canada Day and Pride colours. Toronto, you're winning me over and it's events like this that make me love you even more.
I’m already looking forward to the next one with a stacked line-up that includes andhim, Nitin, Guy Gerber, Gui Boratto and headliner Paul Kalkbrenner playing a live set. Check it out here. Thanks again, Electric Island - loving you hard!
For more superb shots from the day, check out this album from our friends over at Godzilla Disco!
]]>The picturesque Sunnyside Pavillion housed a smashing good time Saturday, June 18th with the Blu Party. The brainchild of DJ and producer Sydney Blu, the event made its triumphant return to Toronto on a gorgeous, perfect summer evening nestled next to Lake Ontario’s waterfront. The venue itself was teeming with good vibes and blue decor. Upside-down, hanging umbrellas and blue and white lanterns were sprinkled amidst the ambient greenery, reflecting the thought put into creating the festive atmosphere. Blu fans (literal, fans to cool you down, and of course, people fans) were out in full force. Two stages occupied the charming venue at either end - one harbouring fine local talent, and the other showcasing Jonathan Rosa, Blu, and international artists Joeski and Weiss.
Blu’s set was deep, heavy, bouncy and massively fun. She kept it moving and constantly amplified the vibe. It was so impressive that the words ‘Yassss girl!’ were basically shouting this constant refrain in my head, cheerleading her on throughout her set. It was such great music, flow and programming as she moved into heavier techno vibes. The buoyant party grew with the crowd filling both dancefloors. Joeski brought his New York-influenced bumping house and techno, dropping his own edit of Armand van Helden’s ‘I Don’t Know You’ early on, which coalesced the vibe and kept the party riveted.
The talent all brought their own flavour, with Weiss loading nasty, dirty, rolling, at times vocal, tech house and techno. As dusk settled on this warm, superb evening, the dancing blue lights became brighter, as did the partiers. It’s always nights like this that make me thankful for being here. Like, on the planet being here, really. The bringing together of people, their thoughts and efforts, intentions and ethos, beer and tunes, lights, atmosphere and how it comes together and plays out beautifully. Well done, Sydney Blu and crew, can’t wait ’til next time!
And one of my favourite all time tunes... thanks, Joeski!
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I rolled in Saturday afternoon to the new site at Toronto's Woodbine park expecting a good time, and was genuinely inundated by the festive atmosphere. From the free high 5s after the entrance gate, to the plethora of tasteful, thoughtfully-curated food trucks, drinks and cocktails at long bars, to the detailed decor throughout the site with its gorgeous flags and custom stages, to the games and inflatable church. Boredom was out of the question.
Four stages to satisfy diverse musical tastes dotted the venue, along with Bestivalites adorned in fancy dress and more conventional summer couture.
(photo: Stevie Gedge - Bestival)
A splendid day provided the perfect backdrop, a living canvas for the art unfolding as this festival. I walked past the Big Top tent and its electronic vibe and followed the open path through sparse trees to a distinct groove emanating from the monumental Bollywood Stage with Gaiser at the helm.
Such a wicked outdoor party with the crowd bumping to the nicely dialed sound system. From there I wandered over to the Main Stage where an energized Jamie xx lit the crowd, before heading back to Bollywood for Art Department’s deep bass. The sun was setting as Maya Jane Coles brought it home with her powerful groove.
Over at the Main Stage to close out the night, Tame Impala’s resonant sound was ethereal and tight musically with impressive instrumental arrangements.
Under the half moon, Bollywood’s awe-inspiring structure became mesmerizing, with a spectrum of light emanating from its temple design, embellished with animals, lasers and flames.
Maya weaved from staccato melodic tracks to classic bass lines, to vocal then back to techno’s more dark, driving groove. I was at that stage when the night came to a close, and as if on cue, the winds picked up, like the music ending was the sign that the weather could have its way again. But for Day One, it was hot and perfect.
Sunday was like more dessert after you’ve already had dessert. Bouncing from Lee Foss’ bouncy tech house and the party at Bollywood, to Grimes’ animated, electro pop indie set on the Main Stage, I ran into this full-throttle percussion-laden musicycle on the way - it’s like somehow there’s always an adventure, never a basic walk to the next thing.
A spectacle of fun, dance, games, trippy pursuits and off-the-wall pop-ups amidst the musical tapestry, the atmosphere was carefree.
The Sunday Best Balearic Bar, somewhat sequestered and surrounded by pine trees on a grassy knoll, provided a quaint, chilled-out atmosphere for those seeking that vibe. A stroll through the Cosmic Commune would take you past games, performances, sound healing workshops and onto the inflatable church. Bestival was a happy place to be.
From my experience, transportation to the festival in terms of traffic and public transit was in flow, and much smoother than the ferry system last year. And although there was a rush at the end of the night packing streetcars, taxis and ubers, it was great to have more options from the mainland.
(I'm obsessed with the Bollywood Stage obvi.. and Increasing the Peace!)
It was easy to feel and see the love that was put into this festival. The founders are passionate about providing an incredible experience (you can see my interviews with Rob da Bank and Ben Turner here), and I was happy to have been there. The Summer of Love is in full swing and it was heavenly to ring it in with Bestival!
(A little art edit of my beloved Bollywood Stage <3)
]]>Danny Tenaglia is an experience. I’ve heard it said that words don’t teach, life experience does. Words can affirm what life experience has shown you, but it’s the experience, the feeling of it, that truly allows you to know something. That’s how I feel trying to explain these nights.
It was fitting to have Tenaglia close out Nest’s First Anniversary celebration as it brought the club full-circle from his set at last year’s opening weekend. In that time, Nest has brought some of the industry’s finest: Victor Calderone, Hernan Cattaneo, Stacey Pullen, Radio Slave, Nicole Moudaber, Joseph Capriati, Marco Carola, Neverdogs, Timo Maas, Chus & Ceballos and Louie Vega, as well as consistent local nights where the city’s formidable talent is showcased.
On this night, Danny’s sound was relentless, gritty, dark, drum-heavy techno.
(John Mitchell at www.derinkuyu.ca )
He is versatile and can easily move from techno to tribal to house classics to disco and more in a night, which he did near the end of his 13.5 hour journey, but tonight was like a charging train. Valves closed, full-steam ahead. Straight up pummeling via elastic bass lines, White Label Promo’s Brent Hayward’s description of the sound emanating from the Dynacord sound system. It’s a bottom heavy system with punch on the lower end that brought Danny’s signature sound to life.
Hayward provided the perfect opening set - just the right mix of tracks and timing to coalesce the packed room into a state of both fulfillment and anticipation.
The space was bumping, groove on-point and energy ascendant in preparation for the main event. A proper warm-up for an industry legend. And then, Danny.
(John Mitchell at www.derinkuyu.ca)
His sound is so full, chunky and locked into a groove pocket - nobody does it like him. The journey had begun. What makes a journey? Traveling from one place to another. Hayward’s opening set brought us to a new place, setting the stage for the next destination. And now with Danny it would be another adventure. After a house-y, melodic start, it got nasty with his combination of heavy techno and deep groove, pounding us with nuanced sound loaded in history. I remember realizing there were no phones in the air recording much of anything, a rare sight. Just darkness and dancing. Even Tenaglia had no lights on himself in the booth.
The night continued into morning, often industrial, always hammering, non-stop techno with a rock steady, rooted bass underneath every other layer of sound. There was so much movement sonically, something fresh always coming through. Layers blended into something new as every beat moved you forward. Whether it was a shaker coming in, a lo pass filter, some melodic build up, something was always on its way, the journey never stagnant. Every once and awhile I hear a DJ, a set, that makes me think of what I have read and seen about how this whole thing started. How I imagine it was at Paradise Garage in New York back in the late 70s, with people tuning into themselves, dancing like no one’s watching, feeling something that wakes up within themselves what they most want to be alive. No hype, no big lights, just you, the music and a feeling. Getting lost and found at the same time. That was this night.
Near the end he threw in more vocals, one or more Prince tracks and an epic Jennifer Holliday vocal track to close out the voyage.
I’ve been to Nest many times now and am constantly impressed by the sound, vibe, and the quality bookings. A welcome addition to the vibrant Toronto nightlife scene, a city that attracts major talent to distinguished venues. It could be just me, but I leave these nights fully immersed in the sweet spot of what it is to be alive and on this planet. The night was a convergence of talent, people, sound and space - an atmosphere that allowed a feeling to breathe. Tenaglia used to have a night at Vinyl in New York called, Be Yourself, also the title of a chunky, bass heavy track he’d released with Chicago vocalist, Celeda. And ultimately, to me, at the end of the night into day, that’s what this is all about - connecting to your truth, a feeling, a knowing, and allowing it to be.
Congrats to Nest on a solid first year, and to White Lable Promo and Balance Inc for bringing in some incredible talent and being an integral part of the fabric of the Toronto scene.
Thanks to Nest, Brent and OJ of White Label Promo, Danny for the incredible event and to John Mitchell of www.derinkuyu.ca for the use of photos from the night:)
(John Mitchell at www.derinkuyu.ca)
]]>A rainbow greeted us from the airport and onto the bridge from Brooklyn to Manhattan last Friday. Best omen! I’d come to the city to check out EDC and Nicole Moudaber’s MoodZONE stage, see some friends and imbibe the overall New York City vibes. Electric Daisy Carnival is mega - 5 stages and almost 100 artists amidst a carnival atmosphere in the massive parking lot of Citi Field (home to the Mets) with rides, installation art, interactive structures, food trucks and more.
I went late the first day to check out the atmosphere and Hot Since 82’s set at his Knee Deep in New York stage where he welcomed guests Nicolas Matar, Technasia, Sante, Green Velvet and the Martinez Brothers. It was there, at the Neon Garden tent, amidst the colossal energy of EDC, that I found my techno sanctuary. Superb vibes, great bass, impressive visuals and a great time. From there we went back to Manhattan to see Felix Da Housecat at Flash Factory - exceptional decor, like a church, tons of detail right down to stained glass windows, great sound and atmosphere. More good times, and always good to see someone you've heard so much about! Felix brought the vibes:)
Then it was time for Erick Morillo at Stage 48, incredible for me to finally see this man who I’d heard and read so much about for many years and to watch him do his thing live. Animated, full of the music, tuned in and connected - doing his thing.
The next day was Nicole Moudaber’s MoodZONE stage, a special, and truly extraordinary, day celebrating her first festival stage and this notable career milestone. She invited Lauren Lane, Thugfucker, Mind Against, Paco Osuna and Chris Liebing as her guests. I got there for Paco pounding the tent with his straight-up techno. Nicole then came on and took it both deeper and heavier, rolling out her thick techno thunder to an ever-growing, appreciative crowd. They packed the tent early and the vibe was concentrated love.
The word ‘mood’ is apt to convey what consistently occurs at her shows - she sets a mood, vibe, ambience and atmosphere that magnetizes people to it. A collective space that holds energy, everything from euphoric to melancholic, yet always uplifting. Again here at this tent, the spirit was palpable. From her set, Chris Liebing built on the momentum and took it to the next realm. He basically pounded the tent relentlessly. And though he smashed pure techno, it was nestled in a capacious groove.
From there, Nicole joined him to finish the epic day with a seamless, brilliant b2b set. Hard to find words to describe their integrated musical journey. Passionate, real, full force, connected and outstanding.
The day was amazing and for me the achievement that stood out the most was the undeniable energy that permeated the Neon Garden tent. Nicole, the organizers, artists and the partyers brought the mood and it was impossible not to feel it!
Always special to hear Victor Calderone play, I was excited to check him out for the first time at the Dynacord sanctuary that is Nest, Toronto. I walked in and it was alive. Midnight, a full party, great sound, dark, and the floor was pumping. So much power in the system and he knows how to use it. Simply full throttle techno. The people were having it. I felt like I walked into a mega house party, packed with people I’ve met a bunch of times over, some I knew well, many familiar faces, and the massive majority I hadn’t met but we’d probably crack a beer and toast life. I usually make a point of being there early to catch the vibe as the night goes from zero to 100, especially with Victor on for the full night, start to finish, but tonight’s agenda found me arriving fashionably late. It was already like a rolling train with something different every mile, creating a hypnotic atmosphere where you lose yourself, yet stay tethered, tuned in and plugged in to the nastiness for the whole ride. Nothing boring about this four on the floor techno groove.
Rock solid with vocals interspersed, a quintessential party with rolling notes that got deeper, darker, and more twisted, all steered by his relentless bass. It was interesting bass, animated and lucid. Marked by moments through the night where the energy elevated noticeably - I remember one at 2:30am and one at 4am - but who’s checking. (Just me.. cuz I’m that girl). At those times, a distinct shift in the sonic landscape took us in and we had no choice but to go deeper - like we were being primed the whole time for more, and then, that moment came through, bringing us to an increased, solid state of being hammered. Nasty, real and deep.
As 5am rolled around he played a Reset Robot track that coalesced the crowd into a bottomless groove, bringing us into a new, resonant plateau. The crowd was solid through to the end, where the night’s rhythm waxed into more percussive, syncopated beats. Then Victor led us into a classic, gorgeous track from the early 90s, Robert Owens’, “I’ll Be Your Friend.” A fitting finale to help close the night - the music was the main event, but it was amplified by surrounding laughs, smiles and old hello’s. Victor was superb and took us home - what more can you say about something words can’t express.. What drives me at my core? I'd say nights like this.
Many thanks to White Label Promo, Victor Calderone and Nest for an outstanding night!
]]>Whilst in Miami I wrote a little review of Josh Wink's OVUM party w special guest Dubfire at Do Not Sit On The Furniture - here it is via Decoded Magazine ! Good times during Miami Music Week .. An awesome club thick with atmosphere and wicked music
PARTY REVIEW: JOSH WINK & DUBFIRE AT DO NOT SIT, MIAMI (MARCH 2016)
]]>From back in tha day, many weeks ago, I experienced one of the coolest - ha, literally - parties I've ever been to.. And one of the warmest. The organizers and founders of the Igloofest Vieux Port De Montreal have a joie de vivre that translated into creating this spirited festival atmosphere and friendly ambiance that literally made me stay, even though it was sort of, but actually, somewhat incorrigibly cold ;)) I just kept staying - I swear it was the vibe and the music, and the uplifting mood of the partyers.. and the beer was great..
I went with Decoded Magazine North America - Peter Damian and I had a stellar time.. you can check out a bit of what we experienced here, including interviews with one of the founders, one of the most enthusiastic and genuine people I've met, Nicolas Cournoyer, as well as one with the lovely, creatively eclectic, thoughtful and multi-talented Jimmy Edgar...
Very happy to share this event review I did of Nicole Moudaber's full-throttle show at Nest in Toronto back in December for Decoded Magazine North America. It'll take you right back to the experience:)
EVENT REVIEW: NICOLE MOUDABER @ NEST, TORONTO (DECEMBER, 2015)
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