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LIVE Festival Full Programme
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Conversation with Stewart Copeland (60′)
Time: 10:30 a.m.
Location: Campus Georges Méliès
MIDEM+ Academy
Moonage Daydream David Bowie, directed by Brett Morgen Time: 4pm Venue: Cinéma Olympia Live Festival
Official Opening of MIDƐM+24 Time: 7:30pm Venue : Théâtre Debussy du Palais des Festivals et des Congrès Live Festival
Orchestre National de Cannes Yaron Deutsch Time: 7:30pm, following the opening ceremony Venue : Théâtre Debussy du Palais des Festivals et des Congrès Live Festival Baxter Dury / Royal Republic Time: 9pm Venue : Grand Auditorium du Palais des Festivals et des Congrès Live Festival
Antoine Bourachot / Pedro Winter Time: 10pm Venue: MIDEM+ BAR (Salon des Ambassadeurs) MIDEM+ CLUBIn the Recording Studio with Steve Lyon (1h45) Time :11h15 Venue : Campus Georges Méliès MIDEM+ AcademyFrom DJ to Artist and Music Producer with Joachim Garraud (60’) Time : 14h Venue : Campus Georges Méliès MIDEM+ Academy
KissKiss Datings Heure : 15h Venue : Salle de rédaction 2 (Palais des Festivals et des Congrès) MIDƐM+24 Experience Knowledge Transmission with Jean-Michel Jarre (60’) Time : 16h Venue : Campus Georges Méliès MIDEM+ Academy
Take a Byte: Exploring the Latest Trends in Music Investment (45’) Time : 16h Venue : Hi5 (Palais des Festivals et des Congrès) MIDƐM+24 Experience Toward Singularity: When Artists and AI Transcend GPTs (45’) Time : 17h15 Venue: Hi5 (Palais des Festivals et des Congrès) MIDƐM+24 Experience Make a Track in 11 minutes with Joachim Garraud (30’) Time : 18h Venue : Hi5 (Palais des Festivals et des Congrès) MIDƐM+24 Experience Yemi Alade / Kid Francescoli + French 79 Time : 19h30h/21h Venue : Grand Auditorium / Théâtre Debussy (Palais des Festivals et des Congrès) Live Festival Jacq Noise / DJ Live & Cinema par Joaquim Garraud / Nina Electrichka Time : 22h Venue : MIDEM+ BAR (Salon des Ambassadeurs) MIDEM+ CLUB The Creator & the Industry: Sharing the Created Value (45’) Time : 9h25 Venue : Hi5 (Palais des Festivals et des Congrès) MIDƐM+24 Experience The AI Disruption: Navigating New Frontiers in Music Creation (45’) Time : 10h10 Venue : Hi5 (Palais des Festivals et des Congrès) MIDƐM+24 Experience MIDƐM+ TALENTS Time : 14h30 Venue : MIDƐM+Bar (Salon des Ambassadeurs) Live Festival sur invitations à retirer sur cannesticket.com The Sector’s Environmental Impact Time : 14h30 Venue : Salle de rédaction 2 (Palais des Festivals et des Congrès) MIDƐM+24 Experience Dombrance «République Électronique » Time : 18h Venue : Hi5 Studio Live Festival Madame Monsieur + Clara Ysé / Black Star + De La Soul Band Time : 19h/21h Venue : Théâtre Debussy / Grand Auditorium (Palais des Festivals et des Congrès) Live Festival Trace Party – Warm up : EEC LOOPS Time : 22h Venue : MIDƐM+Bar (Salon des Ambassadeurs) MIDEM+ CLUB Moonage Daydream David Bowie, réalisé par Brett Morgen Time : 17h Venue : Cinéma Olympia Live Festival Concert-Cinema : Faridog Time : 19h Venue : Théâtre Debussy Live Festival sur invitations à retirer sur cannesticket.com Ensemble Alicantus Time : 19h30Venue : Notre-Dame de Bon Voyage Church Live Festival – Free entrance Soolking – 1st part Mademoiselle Lou Time : 21h Venue : Grand Auditorium (Palais des Festivals et des Congrès) Live FestivalMIDƐM+24, the global event dedicated to music professionals, is organized by the Mairie de Cannes and its Palais des Festivals et des Congrès, in collaboration with Hopscotch and with the support of Allover/Panda Events.
Can you tell us about the inspiration behind your upcoming ‘Closer’ February 2024 East Coast Tour and what fans can expect from your live performances?
Our main motivation behind this tour is to bring a live show to our interstate fans, particularly those in Brisbane and Melbourne. Fans can expect an intense, emotionally charged performance, embodying an atmosphere of dreamscape. We want people to remember these shows.
Your latest single, ‘The Day Brings,’ has received significant attention on various streaming platforms. How has the response been, and how does it fit into the overall theme of your upcoming album?
We’re so pleased at the response so far. Our fans are generally supportive but have exceeded our expectations for this single which continues to motivate us. Having Jack Fontes on board in the music video process truly helped capture the mystery and emotion behind the song. This song is a singular piece in a moving-parts concept which our upcoming album channels. The song represents a cry for help in a place of torment and anxiety. The all-inspired hope that a new day will bring ever desired change. The album culminates to a place of triumph in a journey of self-discovery. We’re excited to share more of this concept moving forward.
With the diverse lineup for the tour, including support from Aurateque, Noctica, Bridge Left To Burn, Torizon, In Eyes, New Million, and 50Fifty, how did you go about selecting these bands, and what do you appreciate most about sharing the stage with such a variety of musical styles?
We had Aurateque in mind as we believed their presence on this tour would make the experience really wonderful. I truly admire Lauren as a vocalist and am beyond grateful to share a stage with her. Our other supports are also so talented. I believe the diversity of musical styles in this line-up will only serve to compliment the tour. I’ll go on to say, there’s a wealth of talent currently in this music scene that deserves to be represented and celebrated.
Fifth Dawn has a distinctive sound with vibrant synths, cinematic orchestral arrangements, and groove-oriented rhythms. How has your musical style evolved since your debut album ‘Duality’ in 2018, and what can listeners expect from your upcoming 2024 album?
Duality was a milestone record for us. What we achieved with that release inspires us in our continued efforts to put out music in the world that people adore. With our next album listeners can expect darker themes, heavier arrangements and more ambitious vocal sections. It’s important for us to maintain our sound but in the same breath, test the boundaries of our current inspiration and creative pursuits.
‘The Day Brings’ has been featured in prominent editorial playlists across various platforms. How do you approach the creation of a single, and what do you believe sets this particular track apart?
Mark (lead guitarist) and I share the role of song writing within the band. In our catalogue of songs, we usually focus on developing a song into a single that has the strongest musical components. The Day Brings features an emotional and moving bridge section which offers a delicate contrast to the heavier parts and build-up in the song. We believe this stands out in comparison to our previous releases.
The tour includes stops in Sydney, Brisbane, and Melbourne. How does performing in different cities influence your live shows, and do you have any specific memories or expectations for each venue?
We’re so determined to make our mark in these cities. We’re aware we have fans in Brisbane and Melbourne but have not yet cut through the noise. We’re excited to play to newer audiences and hopefully accumulate more fans in the process. Our expectations for these shows are for fans new and old to truly immerse themselves in the experience and have a joyful night.
As a melodic metal quartet, how do you balance the technicality of your music with creating emotionally charged compositions that resonate with a broad audience?
We usually aim to achieve contrast in every song to allow for this e.g., softer verses paving the way for heavier chorus’. As each song is written, it normally becomes obvious to us what adjustments need to be made to make it more captivating. Emotion for me is equally a combination of the lyrics and vocal expression. The sweet spot lies somewhere in the middle.
The Oxford Art Factory and Thrashville Festival are notable recent appearances for Fifth Dawn. How have these experiences shaped your approach to live performances and the overall direction of the band?
We need to consistently perform to identify areas for improvement and general advancement. These shows were important to us for this reason after been inactive for a while. We are so determined to move forward in our band’s career and feel we have a positive trajectory if we continue to work hard at this. We’re so excited and prepared for this tour.
Can you share any insights into the collaborative process within the band when creating new music, especially for your upcoming album?
As stated earlier, Mark and I work together in the collaborative process to write the songs. It’s important for us to maintain communication in this process as we’re relying on harmony and understanding to achieve this. I truly believe people will feel inspired with this release. It’s extremely relatable in discussing the ugliness and challenging nature of the human condition.
The Australian music scene is known for its diversity and talent. How do you feel your music contributes to and stands out in this vibrant landscape?
I agree that there is so much competitive talent in this industry. As a vocalist I’ve always been very ambitious, which is exactly the reason Amy Lee of Evanescence has impressed me all these years. Her vocals are immersing and powerful in a way that’s memorable. I endeavour to achieve this in my own vocal style as an Australian artist. Further to this, our music is progressive and heavy which is exhilarating to combine these elements with soaring vocals. I feel confident in saying our music stand outs on its merit for these reasons.
What role does Qona Creative play in supporting local talent, and how has their involvement impacted the planning and execution of your upcoming tour?
Our experience with Qona Creative so far has been so positive and commendable. They are efficient and exceptional in identifying talent and potential. I am confident with their continued efforts, that their career will propel in the near future.
Looking beyond the February 2024 tour, what are your long-term goals for Fifth Dawn, and how do you envision the band’s evolution in the coming years?
Our focus and attention this year is directed in developing our next album and expanding touring opportunities. We’re working hard to deliver an album we’re absolutely proud of. I believe with the right strategy, promotion and execution, that this album perform well.
Title: Want Me Back (feat. Karl Boëthius)
Label: Dim Mak Records
Danish DJ and producer Snavs joins forces with his Scandinavian fellow – Swedish artist Karl Boëthius, on their new song “Want Me Back,” which is a unique and addictive fusion of chill dance and alt-pop music. With its combination of downtempo melodies and sultry vocals courtesy of Karl in the opening moments, the artists set an emotive tone appropriate for its subject matter, which (true to the title) laments on the realization that a significant other doesn’t want you back. Snavs weaves in synth-led, future bass elements in the track’s chorus and breakdown, lending a feel-good, danceable vibe to “Want Me Back” throughout. This is the first track of 2024 for Snavs on Steve Aoki‘s Dim Mak, following “Headlights” featuring John Alto from last year.
“I got this brilliant vocal from Karl and wanted to create a tight, bouncy dance track with a powerful chorus. A bit out of my comfort zone, but I’m thrilled with the result.” – Snavs
As the boss of his own label Riotville Records, DJ and producer Snavs has made it his mission to constantly push creative boundaries. He has explored the sonic realms through unusual collaborations that break genre barriers, including hardcore metal band Telos, legendary Scandinavian rocker Ulf Scott, Søren Buhl of alt-rock band Blaue Blume, and indie singer Karen Lassen. His music has taken him to some of the world’s most prestigious clubs, including Webster Hall (New York), Avalon (Los Angeles), Bootshaus (Cologne), WOMB (Tokyo), Pacha (Sydney), as well as well-known festivals such as Coachella, Tomorrowland, EDC Las Vegas, Eurosonic, Miami Music Week, Amsterdam Dance Event and more.
Title: Jet Plane
Label: Sony Music/CYB3RPVNK
R3HAB reunites with VIZE and JP Cooper on their new track “Jet Plane.” With minimal basslines and mesmerizing melodies coupled with Cooper‘s soulful vocal performance, “Jet Plane” is the perfect record to look back at 2023 with positive contemplation and launch 2024. “Jet Plane” follows R3HAB and VIZE‘s collaboration “One Last Time” from 2022 and his 2021 hit “Runaway” with JP Cooper and Sigala. Press play on “Jet Plane” and pretend you’re taking off to your dream winter escape. This is R3HAB‘s first release in 2024, following a highly successful 2023, which saw the Dutch/Moroccan artist collaborating with the likes of Tiësto on “Run Free (Countdown),” INNA on “Rock My Body,” Michael Schulte on “Waterfall,” AFROJACK on “Shockwave,” and more, which contributed to over 1 billion annual streams in 2023.
“VIZE and I loved working on “One Last Time” and have been sharing ideas for a follow-up ever since. We’re happy to have landed with “Jet Plane,” and it’s always a great time working with JP Cooper and his amazing vocals. “Jet Plane” is a minimal dance track with a hint of nostalgia that captures both the resolve to get one more chance, and the tranquility of watching clouds from the window seat of a long flight [a very common view in my tour life (laughs)]. We love how it turned out and can’t wait to hear it soundtrack your new year!” – R3HAB
“I’m happy that we found the opportunity again to work on a song. Last time it worked out really well and was a lot of fun. It’s about time to release the next collab with R3HAB. And having nobody less than JP Cooper on the vocals is an honor.” – VIZE
“I’m so happy to be putting out another record with R3HAB, this time a collab with VIZE, just in time to launch the new year. We had a lot of fun making this record. I hope it helps soundtrack some amazing memories for ya.” – JP Cooper
R3HAB
Multi-Platinum DJ and producer Fadil El Ghoul, better known as R3HAB, has been trailblazing his way through dance music for the past fifteen years. From his breakthrough remixes for Rihanna, Drake, Taylor Swift, Calvin Harris, Sia, Jason Derulo, Ed Sheeran, Tyga, Ellie Goulding, The Chainsmokers, P!nk, to name only a few, to anthems such as multi-Platinum-certified “All Around The World (La La La),” “Lullaby” with Mike Williams, “Flames” with ZAYN and Jungleboi, or “Creep” with Gattüso, to his collaborations with the likes of Ava Max, Luis Fonsi, Sean Paul, Afrojack, Armin van Buuren, Lukas Graham, Icona Pop, and more, R3HAB has proven to be one of the most forward-thinking artists in the game. His work has collected over 10 billion streams to date, including over 1 billion in 2023 alone. He is Spotify’s Most Discovered Artist, one of Spotify’s top 300 most streamed artists, ranked #14 on the prestigious DJ Mag’s Top 100 DJs chart, and has earned over 80 Gold and Platinum certificates. On top of that, he performed at the world’s top festivals, such as EDC, Ultra Music Festival, Tomorrowland, Balaton Sound, Coachella, Summer Sonic Festival, DWP Jakarta, and more. With his combination of innate artistry and innovative attitude, R3HAB has earned his place as a household name in dance music.
VIZE
Within the last four years VIZE has enjoyed unprecedented success in Germany and throughout Europe, gathering more than 2.5 billion streams and 1.3 million records sold, more than 35 gold and platinum awards in eight countries, plus over 70 released singles and remixes for and with the likes of Felix Jaehn, Sam Feldt, Afrojack, Leony, R3HAB, Dimitri Vegas & Like Mike, Papa Roach, Capital Bra, Mark Forster, Alan Walker and Tokio Hotel. VIZE has also built up a reputation as a touring act within a very short time. Having played gigs and shows in all over Europe, the UK and Asia and festivals like Tomorrowland, Parookaville, Electric Love, AirbeatOne, SonneMondSterne and many more.
JP Cooper
JP Cooper has done the legwork. Ten years in bands in and around his Manchester hometown. Multiple songs written for himself and for other artists, a number of which became hits including a couple of global hits-that-will-not-die: “Perfect Strangers” with Jonas Blue and his own “September Song,” which is now sitting at close to 1B streams. An international solo career built on pure songcraft and world class vocal performances. And he’s done the business. The singer/songwriter’s 2017 debut album “Raised Under Grey Skies” has sold in old-fashioned numbers: 1.5M copies at time of writing. His 11M monthly Spotify listeners have contributed to a grand total of 5B total streams. And, over the past 18 months, Cooper has done the hardest thing: built on all that to create a second album, a collection of 13 songs that work as together and work apart, that out-paces, out-sings and, by his exacting standards, out-classes his debut.
Title: OneHundred
Label: OneHundred/Spinnin’ Records
Danish artists HEDEGAARD, Matt Hawk, and Bronx-raised CANCUN? (but also based out of Denmark) team up for their new track “OneHundred,” a perfect representation of their signature genre – “car music,” out now on HEDEGAARD‘s label of the same name – OneHundred, operating under mighty Spinnin’ Records. As the forerunners of the “car music” movement, the three artists expertly blend electronic and rap/hip hop at around 100 BPM (lending both the track and its corresponding label their names) to make for the perfectly suitable music to – you guessed it – being played at max volume on your car stereo, getting you pumped up for your workout, as well as setting the mood perfectly in your favorite nightclub during the weekend. “OneHundred” packs a multifaceted punch with its ominous background chorals, rap vocals, and a deep bassline. The new single is accompanied by the label’s “Car Music Vol. 1” compilation, which features some of earlier “car music” bangers such as HEDEGAARD‘s previous “INFERNO” and “Ratchets,” Matt Hawk‘s “GANG GANG” and CANCUN? ‘s “Jiggy,” to name a few, showcasing what “car music” is about.
“For me, the perfect cocktail is when friendship and music meet in a song. Our styles as individual artists are very close, so it was a smooth ride working together on ‘OneHundred.’” – HEDEGAARD
“Making ‘OneHundred‘ made me feel charged in every cell. That beat moves forward like hell on wheels, and the sound captures the very essence and enormous power of this unique group of people. OneHundred is a lot more than just a title or a label’s name; It has become an unstoppable movement that I am incredibly proud to be part of. Creating the song with HEDEGAARD and Matt Hawk in the studio felt like we were making a movie. The energy jumping from their fingers on a piano, creating the haunting chords and choir chops blasting out of the speakers, made my job easy, doing the topline. In every aspect of the song, it felt like we were elevating each other through sonic power.” – CANCUN?
“It is a huge privilege to create music with such amazing artists — and great friends at the same time. Our minds are so aligned in our style of music, and we complement each other so well that everything comes together very easily.” – Matt Hawk
HEDEGAARD
Since the release of an unofficial remix of Dr. Dre‘s “The Next Episode” in 2011, introducing the audience to HEDEGAARD‘s unique sound, he has produced several of the biggest Nordic hits in the last decade, generating more than – mind blowing – 1,4B streams across streaming platforms. “Happy Home” with Lukas Graham and “Twerk It Like Miley” with Brandon Beal and Christopher are just a couple of the major hits HEDEGAARD has released and produced over the past years, resulting in several #1 all over the World. With the release of the single “NYC BABY” and the localized version “BEIJING BABY” – released exclusively in China – he took the top spot once again on the weekly QQ Music EDM Chart. Later on, the single took 2nd place on the quarterly version of the same chart for the entire Q2. The follow-up singles “BORED” and “The Ones We Lost” entered the Top 20 and became HEDEGAARD‘s 4th and 5th Top 20 entry in a row, underlining his status as the hottest EDM artist in China. That status was recently further substantiated by enormous viral attention on the Chinese social media Douyin, where HEDEGAARD accepted a remix challenge from the influencer Sander Kole, resulting in an 8-minute video that has generated more than 71M views and 2M+ likes. The reward for his work does not only come in the form of impressive streaming numbers but has also resulted in nominations at award shows. HEDEGAARD has previously won several DMA awards, DJ and Club Awards, and as the top nominee at the Club Awards 2024 in five categories, and with a big share in a nomination in a sixth category, the feat is second to none in Denmark.
CANCUN?
CANCUN? had his musical upbringing in the Bronx, where soul, hip-hop, poetry, and his Afro-Caribbean roots all left a significant impact on his interest in and perspective on music. Today, he lives in Denmark and is known as “The Concept Guy” – the man who freestyles and blends lyrics, genres, and melodies, turning them into hits. With his deep vocals, creative style, and unique ability to fuse genres together, CANCUN? has established a strong presence on the electronic music scene in record time, both in Denmark and internationally. He has conquered the top of the Chinese EDM chart. In November 2022, he entered the weekly chart of China‘s largest music platform – QQ Music, with the mega-hit “All Designer” with HEDEGAARD, after which the single went straight to the top spot on the platform’s EDM chart. The single “NYC BABY” with HEDEGAARD, was released in China in a localized version under the title “BEIJING BABY“, where it was out into A-rotation on the biggest radio stations in the country. The song also hit the top spot as no. 1 on the weekly QQ Music‘s EDM chart and went on to reach the spot as no. 2 on the overall EDM Chart on QQ Music for the entire second quarter of 2023. For many years, CANCUN? has written songs for and with the biggest Danish stars. His raw, hard-hitting vocals and unorthodox song lyrics can be found on albums by Lukas Graham, Christopher, HEDEGAARD, and Brandon Beal.
Matt Hawk
Matt Hawk, the next big star in “car music,” is all about minimalism and genre clashes – two things that make him stand out from other DJs. The 33-year-old art director from Aalborg started dreaming of a music career in his teens when he began mixing styles and genres in his creation of new and unique productions. Today, his dream has come true, and he is producing hits with Denmark‘s biggest DJs. In collaboration with HEDEGAARD, Matt Hawk has produced and released the single “SA-MY-D” and their joint remix of the rap classic “Ni**as in Paris.” Among friends, Matt Hawk is known as the geek and a master of coherence. He tears songs to pieces, only to put them back together in all kinds of creative ways – which has given him a special weapon as a DJ: The ability to mix club vocals with hip-hop beats – an original approach, which ensures his audience a big party. Matt Hawk is energized by the unknown. A constant curiosity and the untamable urge to create means that he is, again and again, combining that which has never been combined before. Matt Hawk brings genre clashes to the stage and loves to create contrasts and new, never-before-heard combinations. He lives for experiences and for creating them for his audience through music.
Can you share the inspiration behind your upcoming single, “Funhouse,” set to be released on January 26, 2024? How did the creative process differ from your debut album in 2022?
The inspiration for this came to me while I was lining up for a kebab at a fair that my daughter’s school was running. There were a lot of kids and children’s entertainment. The atmosphere just had a really upbeat positive energy. It was while lining up for a kebab (chicken in case you were wondering), that the idea for the sing came into my head. I don’t think I’ve ever had an idea develop so quickly. I grabbed my phone and started recording the idea in my phone, careful not to look like a complete weirdo singing into my phone, I held the phone like I was speaking to someone. I think this is something all musicians can relate to lol. By time we got home I pretty much had the bones of the song down. I recorded it that night and woke up early and recorded the vocals. The song has a very strong 80’s influence so I naturally tried to d my impression of one of my favourite 70s/80s artist Michael McDonald (Doobie Brothers). A lot of these demo vocals made the final cut.
The creative process of this compared to my first album is chalk and cheese. The ideas for the first album all came to me while I was playing around on guitar/keyboard or just on FL studio. This just popped into my head out of the universe. As I mentioned I don’t think I’ve had a song come together so quickly and naturally.
“Funhouse” is entirely self-produced from your house in Perth, Western Australia. Can you elaborate on the challenges and advantages of self-producing a single, and how it contributed to the unique sound of the track?
Number one would be the money side of things. Studio time with a producer isn’t cheap, so having the equipment and ability to do it yourself really helps with being able to sit with ideas and experiment. It allows you to take your time with ideas and enjoy the process more. If I have a day booked for tracking vocals and my voice isn’t the best, there is pressure to still push through. If this happens at home, I just come back the next day. I absolutely believe there is still a place for studio’s especially for someone that doesn’t have the space or know how to record themselves, but today’s technological age has a lot of benefits.
As a follow-up to your debut album, how does “Funhouse” fit into the evolution of your musical style? Are there specific elements or influences that played a significant role in shaping this new sound?
I suppose it is different in a lot of ways. I wrote my first album as a way of dealing with the loss of my father so naturally a lot of the songs had a darker feel to them. Some of the music I have written for my previous band (The Arsonist) was very upbeat and poppy and probably more in line with Funhouse. I think where Funhouse differs is it definitely follows more of a pop/mainstream formula as far as song writing goes for example there are 3 choruses, and it comes in at just over 3 minutes. With the first album I made a point of writing whatever came out and let the song go where it felt it needed to go naturally regardless of time/pop sensitivities. I have certainly done that this time around but because Funhouse feels more poppy and upbeat, naturally I wanted it to be straight to the point and not mess around. Maybe I’m just a little more impatient this time around, who knows lol.
I feel like the energy of Funhouse was something that needed to be expressed in my song writing. I felt like I needed to leaver the theme of the first album behind and turn a page. Maybe that’s why it came out so naturally.
What can listeners expect from “Funhouse” in terms of musical elements, themes, or emotions? How does it reflect your growth as an artist since your debut album?
Dance, 80s nostalgia and happy. Honestly when I hear this song I want to dance like they use to in the 80s. I know the reason for this is because I have used a lot of classic sounds that were huge in the 80s like the CS-80 synth and LinnDrum. If you’ve heard Phil Collins music, then you’ve heard these sounds.
I think most of all it reflects the current space I’m in as my music always does. I think that’s the beautiful thing about music. It is such a strong tool to express oneself. I’m in a happier place than I was after my father passed away, so naturally the music sounds happier.
Could you share some insights into the writing process of “Funhouse”? Were there any specific experiences or events that inspired the lyrics or overall vibe of the single?
As I mentioned above it was largely written in line for a kebab at a fair. The lyrics were largely inspired by the music itself. A lot of the time when writing lyrics or vocal melody’s, I will just say random words that come to my head and if they fit then will write around those. Funhouse made me feel happy, so I wanted to sing about having a good time or “having a ten outa ten”. I try not to complicate things too much and get in my own way.
Given that “Funhouse” is your first single since the debut album, did you intentionally set out to explore new musical territory, or was it a natural progression in your artistic journey?
I am always trying to tap into different genres in my writing. I think what has always been a strength of mine as a song writer is my ability to write across different genres. I grew up playing in nu-metal bands so there was a lot of distortion, but I also always had a love for ballads so would also try and write in that style. I think the less you get in your own way as a song writer and try and control what’s coming out the better the song ends up being. So often I will try and write a certain type of song and in my experience, it always ends not being very good. When I just go with the idea that’s come out regardless of it’s feel or genre, that is when I write my best. I really feel that songwriting is magical in that these ideas seemingly come out of thin air like they are floating around and the more you practice channelling the ideas and getting the idea to sound as close as to what you hear in your head, the better you get at writing. So to answer your question, I usually try and just write what comes to me and not resist, so it will always be a natural progression for me.
How does the music scene in Perth influence your sound and creativity, especially when working on a project like “Funhouse” from your home studio?
Great question. I don’t get to go to gigs as much as I use to just based on time and other commitments (family etc.). Speaking form my younger days, There were so many bands that had a great influence on me as a song writer especially in my early 20s when I was super focussed on being the best songwriter possible. Obviously Karnivool had a big impact. I lived with the drummer at the time so my friends and I would always go to the shows to hang out. Before Karnivool I don’t think I really understood how good a band could sound like. They are a band that I would recommend everyone to see live at least once as it’s really a world class product (quick shout out to their sound guy Luke Willott who doesn’t get enough kudos).
Can you discuss the role of experimentation in the production of “Funhouse”? Were there any unconventional techniques or instruments used that added a unique flavor to the single?
One thing that springs to mind is my vocals. As I mentioned I tried to do my best impersonation of Michael McDonal. Some of the vocals from the original demo would eventually make the final cut however someone of it just felt a little over the top. I still wanted that Michael McDonald vibe but wanted to make it more modern. What I did was sing the song like I usually would, then Dave (Dave Parkin @ Blackbird Studios) applied a Soundtoys plugin called Little Alter Boy. This makes my voice sound a little deeper and gives it that 80s flavour but with more of a modern twist. Highly recommend this plugin.
Since the single is set to release in January 2024, what are your expectations and hopes for its reception? Are there specific messages or feelings you aim to convey to your audience with this release?
Honestly, just want people to be able to listen to it and enjoy what their listening to. Hopefully it puts a smile on people’s faces and they feel like singing and dancing.
“Funhouse” is your first self-produced single. How did the experience of being the sole producer impact your creative freedom and decision-making throughout the production process?
It is my first release where I’ve recorded everything however, I still had a lot of help from my friend Dave Parkin. He did the mix and made the song what it is today. He has a wealth of experience and a super ear for things. I recorded keys, guitar, bass and some backing vocals for my album at home and learned a lot. The main thing I learned was the idea and the execution is the most important thing. As long as you have a clear signal, there is so much you can do in the box after the fact to make something sound good. I learned this with the chorus of a track called ‘Falling’ from my debut album. When I recorded it in the studio, I wasn’t quite getting the same vibe I did in the demo. I recorded the versus on Dave’s $11k studio mic, then he did an EQ match on my demo chorus where his EQ listened to the verse vocal then applied the differences to my demo vocal. My demo vocal was recorded on a $100 mic at home in nan untreated room with no pop filter and the final product sounds great. So, I was a lot more relaxed around this.
Are there any collaborations or featured artists on “Funhouse,” or is it a solo venture? How did the absence or inclusion of collaborations shape the overall sonic landscape of the single?
The only person I collaborated with was Dave which was in the mixing phase. Otherwise, it’s completely solo. I am used to writing stuff solo so is a space I’m familiar with.
Looking ahead, what are your plans for the future? Do you have a roadmap for upcoming releases, and can you provide any hints about the direction your music might take in subsequent projects after “Funhouse”?
I am looking to release a series of singles throughout the year and follow up with another album but no date one that yet. Quite like the idea of taking my time with things as this is something I didn’t do on my debut album. I can say that the new stuff is much more upbeat and easier to digest which I’m excited about.
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Bandcamp – https://nocturnal6.bandcamp.com/follow_me
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In just one week The Australian Open will celebrate diversity and inclusion at its Pride Day on Thursday, 25th January. LGBTQI+ advocates Peach PRC and AO Pride Ambassador Tash Sultana, along with ‘Raingurl’ creator Yaeji, are just a glimpse of the incredible lineup who will be playing at Finals Festival that day. They will be joined by Djanaba, Anesu, and DJ Luv You, taking over John Cain Arena.
AO Pride Day serves as a powerful statement, showcasing the Australian Open’s commitment to creating a welcoming and inclusive space for the LGBTQI+ community. Pride Day was initially conceptualised by the Australian Open in recognition that some members of the LGBTQI+ community have historically felt excluded in sporting environments.
Beyond the excitement of the Finals Festival, Pride Day promises to be a spectacle with roaming drag queens and kings, glam stations offering instant makeovers, rainbow roller skaters, and the iconic Rod Laver Arena will be illuminated in a dazzling array of rainbow colours come evening.
After a massively successful, sold-out Finals Festival last year at Kia Arena, the festival will this year take place in the John Cain Arena boasting the biggest open air music performance the John Cain Arena has seen in the history of its existence.
On Woman’s final day, Saturday 27th January fan favourite DMA’S will take the stage along with Australian indie rock royalty, The Jungle Giants, ARIA Award winning Ruel, Tia Gostelow and Melbourne based DJ Mell Hall.
On Men’s final day, Sunday 28th January you can expect epic British superstars Groove Armada and Rudimental, Latifa Tee, Sunshine & Disco Faith Choir and local DJ Cooper Smith.
With tickets being hot property you have two options. Match goers are able to upgrade any tennis match ticket to get access to Finals Festival that day. Alternatively, fans can purchase a dedicated Finals Festival day ticket which automatically includes a ground pass to enjoy all the incredible music, food and beverages AO has to offer. Match ticket upgrades start at $40.00 and Finals Festival day passes (including ground pass) start at $69.
Untitled Group, Australia’s largest independent music and events promoter are leading the music programming, returning for their second year. The group are best known for music festivals such as Beyond The Valley, Wildlands, Grapevine Gathering and Ability Fest.
Tickets are on sale now. Visit Untitled Group’s Website for tickets and more information.
Thursday 25 January 2024 – AO Pride Day
Special performance by AO 2024 Pride Ambassador Tash Sultana
Peach PRC, Yaeji [USA]
Anesu, Djanaba, DJ Luv You
Saturday 27 January 2024 – Women’s Final
DMA’s, Ruel, The Jungle Giants
Tia Gostelow, Mell Hall
Sunday 28 January 2024 – Men’s Final
Groove Armada (DJ set) [UK], Rudimental (Live) [UK]
Sunshine & Disco Faith Choir, Latifa Tee, Cooper Smith
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“The band’s signature shimmering synth chords combined with Burns’ mediative vocals manage to capture a sense of nostalgia throughout No Place Like Home‘s 10 earworm tracks, surely certifying Vacations as a playlist staple for fans of dreamy, sun-drenched indie rock.” – UPROXX
“the demand for their music at its highest since forming” – Flood Magazine
“a brisk return that expertly fuses light and shade. Unafraid to be honest, Vacations pepper this with a thirst for melodic that makes their music easy on the ear, and accessible in a warm, humane way.” – Clash
Two-time platinum-selling Newcastle band Vacations have today released their long-awaited new album, No Place Like Home. The record follows an intense period of transformation for the lead singer Campbell Burns, who was diagnosed with Pure OCD (or “Pure O”), a subtype of Obsessive Compulsive Disorder marked by intrusive, unwanted, and uncontrollable thoughts. His experiences learning to live with this while touring the world informed the record, which also engages in nuanced discussions around personal growth and sexuality.
The band tapped Georgia Maq, formerly of the band Camp Cope, for their last official music video for the album release single, “Over You.” The band explains, “I thought it would be really fun to lean into this idea of ‘Over You’ as an exploration of self-obsession. The high peaks and low valleys of ego just make for a funnier visual story, I think. We’d saved a silly goofy video until last. I’d originally planned for Campbell to be in the role of protagonist and therapist, but circumstances meant none of us would be in the same city at the same time to work with the director, Jax Anderson, and their wonderful team. To our rescue came Australian darling Georgia Maq, of Camp Cope fame. We were so lucky to have them involved, and their charisma really brought a sensuality and hilarity that was needed.”
Following 2020’s Forever In Bloom LP, No Place Like Home finds the Newcastle DIY outfit comprised of Burns and bandmates Jake Johnson, Nate Delizzotti, and Joseph Van Lier, expanding their trademark melodic indie rock to new sonic horizons. The first Vacations record to be produced by Campbell Burns and an outside producer, John Velasquez (Zella Day, Broods), it comprises 10 shimmering tracks brimming with indie-pop hooks and just a touch of bittersweet sensitivity. “I had this loose concept of No Place Like Home being an Americana-influenced album,” Campbell says of the album’s sonic inspirations. “I wanted to incorporate more pianos, acoustic guitars, Nashville tuning, and country-inspired lap steel, but then also bringing in drum machines and synths and finding a mix between the two.”
The album features singles, “Terms & Conditions,” “Midwest,” “Close Quarters,” and the buzzy radio single, “Next Exit,” which has over 15 million streams, was the #11 most played track by Sirius XMU in 2023, #22 on their 2023 countdown, is in the top 10 on Alt Nation, and debuts this week on the Mediabase Alternative chart at 39.
Vacations have lots to celebrate with the new release. They were picked by Pandora as one of their ten artists to watch for 2024, their single, “Telephones,” was certified platinum in the United States in December, marking their second platinum track stateside (the other is “Young”), and they will make their debut TV performance on CBS Saturday Morning tomorrow, January 13th. To cap it off, they will host a private release party with a performance and Q&A at Brain Dead Studios in Los Angeles on January 16th.
A DIY affair from the get-go, the band Vacations formed in 2016 primarily as a songwriting vehicle for Campbell Burns, Burns later adding band members Jake Johnson, Nate Delizzotti, and Joseph Van Lier. Their song “Young” is certified Gold in Canada, Australia, and Poland, and is certified Platinum in the U.S., and their single “Telephones” is also certified Platinum in the US as of December 2023. The band has racked up over 1.5 billion streams worldwide, an average of 55 million streams/month, including over 675 million streams within the last year and over 2.2m Shazam’s. Not just a streaming band, the group has become known for their raucous live shows, doubling venues from 500 capacity to 2,000+ in under two years. They sold out both of their headline US tours since 2022 and their first ever UK one, mostly sold-out their massive North American fall co-headline tour with Last Dinosaurs that included sold-out dates at Webster Hall and The Novo, and have performed at Austin City Limits, All Things Go Festival, The Great Escape, All Points East, and The Sounds Project in Indonesia. They are confirmed for Laneway Festival in Australia later this month.
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Get loud and proud at the Australian Open Finals Festival Pride Day Join us at John Cain Arena for the party of the summer, alongside some of the biggest and best international and homegrown talent for Pride Day at the Australian Open. Taking place at our new home of John Cain Arena, expect an even bigger and better experience, with some of the very best live music on offer from Aussie icons to global superstars, there’s something for everyone to enjoy. Tickets starting from $69 and are selling fast, secure your pass now to all the Finals Fest action below. Summer never sounded so good! |
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AO PRIDE DAY Kicking off the Finals Festival in sensational style, the AO Pride Day returns, with a triple headliner extravaganza featuring pop-princess Peach PRC, the O.G. ‘raingurl’ Yaeji, and a performance from very special guest, AO Pride Ambassador Tash Sultana. When you aren’t busy SERVING on the dance floor, head on over to the Pride Hub for even more colourful fun. |
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WOMEN’S FINAL The Finals Festival continues its three-day extravaganza of tennis, music and on Saturday. Catch pumping headline sets from DMA’s, Ruel and The Jungle Giants – plus Tia Gostelow and Mell Hall will all be hitting the stage at John Cain Arena. Keep the party going with food, drinks and incredible women’s finals action on the big screen. |
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MEN’S FINAL Things get electric on the final day of the Finals Festival, with performances from Groove Armada and Rudimental, as well as Melbourne favourites Sunshine and Disco Faith Choir, Latifa Tee, and local legend Cooper Smith. When you’re all danced out, bounce over to Grand Slam Oval to catch the epic men’s finals action on the big screen. |
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Photo by Tjasa Nardin
Interviewer: Domenico Frascino
Lottie is an up-and-coming DJ based in Ljubljana, Slovenia who is quickly making a name for herself in the electronic music scene. With her unique blend of experimental, downtempo, ambient, and trip-hop, Lottie’s sets are sure to transport you to another world. On the stage, she has a unique ability to connect with the crowd on a deep level to deliver energetic sets of dark-ish and breaky techno. With a passion for vinyl and a dedication to quality, Lottie is one to watch in the years to come.
The Partae: Lottie! It’s a pleasure to have you here with us after your Butik set, it was absolutely mind-blowing! Please, introduce yourself to our readers.
Lottie: Thank you for having me! My name is Loti, I am living in Ljubljana, Slovenia and my love for music has been with me for my whole life.
The Partae: Let’s start with your DJ name, how did you decide on it?
Lottie: As I already said my real name is Loti and a lot of people have always told me “Oh, what an interesting name!” It already sounded great as an artist name, but I decided to make it international: Lottie. It’s nice, not too complicated. I’ve never brainstormed too much about my artist name because my artist career really started suddenly. So I had to decide quickly and I was like, okay, let’s go with this.
The Partae: Tell us a bit about your musical journey. How did you start? And what did inspire you early on?
Lottie: I was inspired by my sister Simona. She’s 15 years older and she started partying when she was 14 years old. So she experienced the golden era of the Slovenian scene, with clubs like Ambasada Gavioli, Africa and others that have been closed for years now. When I was growing up, she told me her rave stories, showed me some sets on dancetrippin.tv, and gave me a love for this music. She was dating Blaž, as a DJ he goes by El Fabiiani, for seven years and he was showing me a lot of things, gave me my first knowledge about deejaying and he was always telling me “Hey, little Lottie, you will be a DJ one day!” I didn’t believe him back then but look at me now. So since I was little, I have had a passion for music. I was singing in a chorus when I was young. Later I realized that I can do a lot with deejaying and expressing myself through selecting different music genres. You can connect with it on a much deeper level, so that’s why I really started to love it. Now that I know how fun it is to mix and share this with the people, I realized I needed to do it more!
The Partae: You mentioned a few genres before, if you could put three labels on your music or three types of genres or three adjectives, What would you like to be described?
Lottie: Usually, I play two different types of sets. One is more experimental, downtempo, ambient, and trip-hop, while the other one is more club type like techno, electro-break, progressive house. It’s really hard to describe which type of music you play or produce now. You have so many different elements that are taken from the past and added something new. So sometimes I can label music with many different genres.
The Partae: Who were the artists that inspired you?
Lottie: Dojaja is the main DJ who pushed the electronic scene in Slovenia. He mostly played techno, but now he plays many different genres and he has a label called Chili Space, which is more of ambient dub type of music. He’s the main guy who inspired me the most and also gave me a lot of support. Another inspiration is Eliaz, he’s a special gem in the Slovenian scene. He makes music that you can’t describe. Eliaz is his own type of music.
The Partae: Are you listening also to international artists?
Lottie: There are many artists that I like to listen to, one of them is Super Venus. She is from France but at the moment she’s based in Berlin. Her type of music is what I really like and also play. Her main style is breaky, trip-hop or downtempo, but the way she builds up really amazes me! She starts with slower music and then she makes a transition into club type and all that kind of stuff. Right now she’s a big inspiration to me, also for putting it out: “I don’t want to be booked just because I’m a female DJ. I want people to book me because of my music”. Lately it became popular to have female artists in line up but it loses its meaning and becomes disturbing to book someone just for the gender.
The Partae: So we talked about your origin. How do you keep yourself busy with DJing? Are you a resident at some club?
Lottie: Now I’m not a resident in any club but I am booked on different events. In August, I’m playing at Drops Festival, a psytrance festival in Slovenia. I’m going to play a morning set from 9 till 11 a.m. and I will play techno music which for them is like a chill set [laughs]. At the moment, what keeps me busy most is the organization of some events called Sončna Muzičarna (Sunshine Music), which is a music event and is fully powered by solar panels connected to the DJ booth and sound system. It takes place in the forest near Ljubljana’s castle or parks. We have a mailing list and old-school flyers for promotion. Next year’s plan is to create our own label and make more events like this. This is the next step since I am not part of any label yet.
The Partae: A big part of DJing is to search and scout for new music. Since you work with both vinyl and digital tracks, how do you prepare your musical selection?
Lottie: If it was for me, I would only play vinyl, but sometimes it’s just impossible and then I go with the digital tracks. To search for digital tracks, I mostly go on Bandcamp and obviously, look for specific labels that I’m following and artists who I like. Regarding my vinyl selection, it really depends on what I can get my hands on! Lately, the prices have gone up too much, especially since shipping costs have become really expensive. Sometimes you pay €3 for the vinyl and €20 for shipping! Also, records that became rarer went incredibly up in price. A lot of records I bought for €3 and now are like €60+. I would really love to go on some trips around Europe just to go vinyl digging: leaving with an empty suitcase, visiting local record stores and coming back with a full bag of new records!
The Partae: As an emerging DJ is always difficult to go to the next level. Do you use social media to create a community of fans or do you keep it mostly just personal connection? And if you do, what is your approach to social media and your public image?
Lottie: My favorite is obviously through personal connections. But I need to level up my social media presence sometime soon, especially on SoundCloud. On my to-do list is to record some podcasts for a bunch of different organizations that have already asked me. I already have like 2 or 3 planned, just missing the finishing touches. So in the upcoming future, I will definitely post more. Stay updated!
The Partae: Have you identified any blockers to your DJ career so far?
Lottie: My biggest problem is that I am quite a perfectionist about my music and I’m never 100% satisfied with the music I am putting out. I have an almost maniacal approach to quality and I will always find something that is not good enough or that I no longer feel. However, I understand that this works only as a break in my mind and slows down my development process. It’s just so much better to produce as many podcasts as you can and then show the improvements from one another. In the end, even if I make mistakes, it’s still my work that I like and I need to put it out also to learn from mistakes.
The Partae: How do you see your DJ career evolving? Do you want to become a full time or is it just like your passion and whatever it comes?
Lottie: I do have aspirations to take my DJ career to new heights by playing in different countries. I’m intrigued by the idea of experiencing diverse crowds and how they connect with the music. For instance, the Slovenian crowd is very energetic, wooing and hyping up, while in other places like Romania, people seem to immerse themselves in the music on a deeper level: dancing with eyes closed and just feeling the music. I’ve heard stories from fellow DJ who played in England, where the audience appreciated the music in a more laid-back way but was much more interested in personally interacting with the DJ after the set. These unique interactions with different crowds are what I’m mostly interested in exploring further. Travelling would be also a way to meet and collaborate with artists from various backgrounds, sharing music and art.
The Partae: Which set would you use as your musical ID to introduce you to someone who doesn’t know you?
Lottie: The set that resembles me most is called “Lottie on SW:IDR”. I recorded this podcast for Eliaz’s SW:IDR label during the Covid lockdown, a very tough time when nothing was happening. We were closed inside, the police were patrolling the streets and we couldn’t go out, so I wanted to express this feeling.
It resulted in an ambient, downtempo, hip-hop, more chill kind of podcast building its power from beginning to end. This is surely the podcast where I show what kind of music I feel most.
Follow Lottie on social media:
Title: Tomorrow Comes
Label: Protocol Recordings
In true form, Nicky Romero wasted no time releasing some brand new music in 2024, joining forces with fellow dance music veteran Deniz Koyu and singer Jaimes for their vocal progressive house gem “Tomorrow Comes.” The track is emotional and inspiring in its soulful lyrics – an appropriate song for new beginnings at the dawn of the year–and also catchy and festival-worthy with its organic melodies and upbeat buildup and drop. “Tomorrow Comes” has been, ironically, a long time coming – Nicky premiered the track at Parookaville in 2023 and has since played it all over the world, amping up anticipation for its release. Romero set the bar high late last year with his first-ever solo show, Nightvision, and the very first live performance of “Tomorrow Comes” with Jaimes joining The Dutchman on stage. Deniz Koyu has equally been a major player in the industry for over a decade, stacking collaborations with Alesso, Galantis, Dimitri Vegas & Like Mike, and more; he has also performed at the world’s best festivals such as Ultra Music Festival, Tomorrowland and many more. Singer and songwriter Jaimes has worked with Tiësto, Afrojack, Benjamin Ingrosso, and many more, amassing millions of streams along the way.
Nicky Romero
After taking the world by storm with early hits such as “Legacy” with Krewella, “Like Home” with NERVO and the #1 single “I Could Be The One” with Avicii, Nicky Romero quickly proved that his talent is ever-evolving and here to stay. After launching his Protocol Recordings imprint in 2012, the renowned performer, producer, and label head continued his personal successes with a string of high-profile releases, ranging from collaborations with Armin van Buuren, David Guetta, Dimitri Vegas & Like Mike, W&W, Timmy Trumpet, Steve Aoki, Jonas Blue and Hardwell to remixes for the likes of Bebe Rexha, Robin Schulz, Kygo, Rita Ora, Steve Aoki, Martin Garrix, Jess Glynne, Calvin Harris, RAYE, and more. While showcasing his label’s roster via his weekly Protocol Radio show, Nicky Romero continues to innovate and evolve, and with his annual “Nicky Romero & Friends” ADE showcase and the launch of Monocule alter-ego, he keeps proving his ability to turn into gold everything he touches and continues to push boundaries with each show concept and new release, forever instilling himself as a dance music icon.
Deniz Koyu
Deniz Koyu is a dance music veteran who has helped to shape the landscape of progressive and electro house music as it is today with iconic club hits such as “Tung!“, “Bong” and many more. His work has included high-profile remixes of Alesso and Anitta‘s “Is That For Me” and The Chainsmokers‘ “Young.” He has evolved with the constantly changing landscape of electronic music, evidenced by his foray into indie-pop and house fusion with “Paradise” and the uplifting vocal house of “Lost Soul.” It follows Koyu‘s prior releases “GO” on Spinnin’ Records, “Feel It” with Magnificence, and “Destiny” with Nicky Romero on Protocol. It’s always a treat when Deniz returns to the label, so keep an eye out for his next single.
Sydney quartet Fifth Dawn are set to bring their explosive brand of melodic metal across Brisbane, Sydney, and Melbourne for their ‘Closer’ February 2024 East Coast tour. Featuring exhilarating fretwork, vibrant synths, cinematic orchestral arrangements, and a groove-oriented rhythm section bolstering Sam Faul’s powerhouse vocals, the group delivers infectious melodies akin to Evanescence and Flyleaf.
Renowned for their introspective and emotionally charged compositions, Fifth Dawn have continued to captivate audiences globally since the release of their debut album ‘Duality’ (2018). The band’s resurgent popularity is undeniable, as evidenced by their recent single launch at the Oxford Art Factory, Sydney and their appearance at Thrashville Festival alongside Australian veterans COG and Mammal. Additionally, Fifth Dawn‘s music has found its place in editorial playlists on major streaming platforms such as Spotify with over 11 million+ streams, Apple Music, Amazon, and AWA.
Their latest offering ‘The Day Brings’ has been featured on Spotify’s All New Metal, Apple Music’s, The Riff, Breaking Hard Rock, New Music Daily, and Deezer’s Metal Radar, Heavy League, Metalcore editorial playlists and more. Gearing up to unleash their high energy performances with drop tuned riffs rooted in heavy metal, evocative vocals and chant along choruses, Fifth Dawn’s upcoming shows are not to be missed.
“We’re all so excited for this tour” says Faul, “With an inspiring lineup, and our new songs to showcase to our home and interstate fans, I’ve no doubt these shows will be magical.”
Qona Creative on the upcoming tour: “Australia is bursting with diverse talent on the local level. We’re passionate about fostering not only diversity but great music in a safe environment that is personally and professionally important for these bands’ performances.”
Accompanying Fifth Dawn are Sydney nu-punk outfit Aurateque. Delivering a captivating crossroads for chaos and composure, the group offers a unique, punk-infused blend of alternative metal that is strikingly unorthodox, yet infectiously palatable. The release of their debut EP ‘The Dragonfly Pursuit’ was received well by fans and media alike with over 150,000+ Spotify streams and features on triple j, Music Feeds, Kill Your Stereo, Spaceuntravel and more. Their electrifying live performances has seen them tour nationally and support Ghostseeker (ex-Storm The Sky), Eat Your Heart Out, Patient Sixty-Seven, RedHook; and secure a coveted showcase appearance at BIGSOUND 2023.
With supports from Noctica (heavy alt-pop) and Bridge Left To Burn (metalcore) in Sydney, Torizon (alt-metal) and The Atomic Beau Project (electronic rock) in Brisbane, and New Million (alt-metal), 50Fifty (alt-rock) in Melbourne, this tour is exactly what fans of alternative metal and modern rock have been waiting for. Grab your tickets now for this one-of-a-kind sonic adventure.
Qona Creative Presents
Fifth Dawn ‘Closer’ February 2024 East Coast Tour
Friday 2 Feb 2024 – Waywards, Eroa/Sydney
Saturday 3 Feb 2024 – Stranded Bar, Meanjin/Brisbane
Saturday 10 Feb 2024 – Bergy Bandroom, Naarm/Melbourne
Tickets via https://qona.tourlink.to/closer
Maša at Butik Festival. Photo by Jaka Rogelij
Interviewer: Domenico Frascino
In our quest to discover talented emerging artists around the world, we sat for a talk with Maša, the vibrant 26-year-old resident of the legendary Klub K4 in Ljubljana, Slovenia. Maša’s style defies genre boundaries, blending old-school beats infused with electro, garage, funk, and RnB elements. Let’s dive together into her DJ journey in this interview and listen to her mind-blowing afternoon set at Butik Festival!
The Partae: Maša, thanks for taking the time for this interview. Briefly describe yourself to an audience that is not familiar with you.
Maša: I’m Maša (pronounced Masha), from Slovenia and I just turned 26. Originally, I’m from a small town called Sevnica, but since moving to the capital Ljubljana 7 years ago, my influences and interests shaped me into a graphic designer, music event organiser and DJ.
The Partae: Can tell us a bit about your DJ journey, how did it start? How did you get inspired?
Maša: In the beginning, I didn’t listen to electronic music at all. I didn’t even like it, or better, I didn’t give it a proper chance. Then I started working in a bar where the owners were producers and DJs (Pritličje in Ljubljana). The owners had this random event where all the bartenders would be DJing and they said, “You’re really good. You should maybe try doing it”. And I was like: “No, I haven’t listened to enough music yet”. And then they kind of pushed me into this “You should do it, you should do it”. I really started enjoying it. So then I started learning more about the culture, found my own sound, and went on a different journey from there. This was the beginning.
The Partae: What type of style? What were your influences before you switched to electronic music?
Maša: Before, I would listen to just about anything, but indie rock had a special place in my playlist. When I started to listen to electronic music, I started to like funky, tropical and electro-like sounds. Then I went more and more towards the house.
The Partae: Do you have any other artists who played a relevant influence in your journey?
Maša: It’s hard to pinpoint a name right now. In the beginning, I was mostly inspired by the local crews, such as Kvalitat, Just Us, LuckIsOn. I always felt it was not just about the music, but also their parties and the whole experience. How somebody prepares a club for the night and stuff like that.
The Partae: These days, I find that electronic music is evolving into a genreless type of music and it becomes very difficult to explain. However, I still think it’s important to describe it somehow. What are three labels you would categorize your music with?
Maša: We’re now in the era where people are taking so many influences from the past and mixing them together. And that’s why you can’t belong to a genre. I especially enjoy some of the old-school sounds, when putting that into a housey perspective. When I say “housey” I usually describe the beat. Then I would use other adjectives which describe my sound. I get influences from electro, garage, funk and RnB sounds.
The Partae: Switching to a more personal question. Besides deejaying, you mentioned that you’re a designer. How do you bring these two passions together? And how do you feel those two worlds influence each other?
Maša: I currently work as a graphic designer and I consider myself a designer, so I see my career developing into that path. Of course, I translate these skills into the music world. For example, when we organize parties, I like to think about how every aspect of the event will be perceived. From designing the visuals, decorating the venue, and overall making sure the vibe is alright and everything works as a whole.
On the other side, I feel that doing music matches well with design: at their core, it’s all about the layers! Both are about how you build and layer different elements visually or in sound.
For now, I would not want DJing to be like my full-time occupation. I just enjoy the privilege of having it as my main hobby and I get the opportunities to play in front of more people, to travel to new places I’ve never been, and to meet a lot of like-minded individuals. I feel that if this would become my full-time gig, it would bring a lot of stress and other negative aspects to it. At the moment, I want to keep it at this level, keep the quality high and build bit after bit, and we’ll see what happens. I want to give some more time to production in the future.
The Partae: Do you take care of your DJ image outside of the club, are you present on any social media?
Maša: My Instagram was private until six months ago. Before I have a gig, I always make a post to promote the venue or when I have a good experience after the party. I always enjoy showing places to other people and giving shout-outs to people who deserve it. Lately, it’s been public, I don’t do so much with it, I feel like with social media these days, it’s also your mental health and you cannot always handle it at 100%. There are times when you just don’t feel like doing it. However, I realized that social media presence is sadly important in 2023.
The Partae: Do you like when people add you after you do a set and when they compliment you for your selection?
Maša: It does make me happy. My goal is always to help people have a good time, so it’s rewarding when someone reaches out and it makes you feel good. It’s quite an ego boost. Gotta admit, every now and then anyone needs some validation
The Partae: Let’s explore your future. Do you have like any specific dream location, venue or festivals or places where you would like to play?
Maša: There’s no specific festival or club that I want to go to, but I just enjoy going to new places and meeting new people. So everywhere I haven’t been yet. Also love to cross the borders of Europe one day.
The Partae: Where do you usually play as a resident and what were your favourite gigs last summer?
Maša: I’m a resident at Klub K4 in Ljubljana, so you can usually find me playing there, while in summer we’re very active with outdoor parties. Past summer was a very hectic time for my DJ career, as I played in many gigs. Obviously, it started with our home festival Butik in the Slovenian Alps. I also played in Munich for the crew Cyclic Existence. It was my first time in Munich and my first time playing for them. It’s a cute independent club, where you can feel the passion of the team behind it, both execution and vibe-wise. I had a blast! At the end of September, I played at the festival L’Ode Mere, located at a stunning chateau on the Western coast of France. It’s a new festival at its first edition and I like the ideas behind it. They’re very aware of the minorities and they’re very transparent. Before the festival, they posted on Instagram a breakdown of the costs to show how much money goes into fees for the artists, how much into the venues, etc. I like their incorporation of social awareness into the party culture. It doesn’t need to be political, but it’s nice that we’re aware of some stuff.
The Partae: Since you mentioned social awareness, let’s talk about equal opportunities. Do you feel that female DJs get the same recognition and opportunities as their male counterparts?
Maša: Just in the past few years. When I started deejaying, there were fewer girls. People told me that before, it was even more challenging for women. I don’t feel like it’s because people would not be accepting of it. It was just a boy’s world, and girls just didn’t enter that. Nowadays, every girl that I know from our scene, gets opportunities. Sometimes it seems like positive discrimination. More and more organisers are actually being inclusive, but some just want to fill the quotas. It has happened to me that I got a gig just because “they needed a girl”. I feel like we sometimes get even more opportunities just because there’s less female DJs in the industry. It’s kinda problematic if inclusivity is prioritised before quality, but if you show up and prove your worth, when given the chance, it’s okay. So fellow girlies, go for it!
The Partae: Would you like to inspire other girls to start a career in DJing?
Maša: I would love to inspire more girls, but even better, I would like to inspire more people! I don’t feel like it’s a gender battle. Just go for it, whoever you are!
Maša’s set at Butik Festival
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How did you first start playing music?
My first exposure to music was at the age of four, it was classical music because my mom used to listen to classical and orchestral music. I fell in love with all the instruments, especially the piano, violin, and cello. What is fascinating about music is that it’s a universal language and connects people from all over the world. I taught myself how to play piano at the age of 15, and honestly, it was one of the best decisions I have ever made. Over the years, I fell in love with more genres, especially EDM.
What’s been happening recently?
I have to be honest, the last few months were extremely difficult mentally. I am working on new music but also working on myself. The music industry is very tough and most people don’t know that. A lot of people reference that 10,000-hour rule to be good at something. Nobody mentions how those hours can be boring, repetitive, and exhausting waiting to see signs of progress, so I am proud of myself that I didn’t give up on my dreams and kept going even though this year was challenging mentally and emotionally. I always remind myself that every day I get out of bed excited to do those things I’m passionate about, and I have all the time in the world for them.
Your first single ‘Explore The World’ that you created with your sister, has hit over 525,000 reels, what influenced the sound and songwriting?
How did you go about writing Explore The World? Yes, crazy results! 3 years ago my sister traveled to the Philippines, I told her that I want to create a travel song and release it when she gets back home. She wrote the verse and sent it to me, I fell in love with it and wrote the chorus. When she came back home we finished the vocals literally in 30 minutes. I produced, mixed, and mastered the track and we released it at the end of 2019. It was a pleasure working with her; the process was fun and happened naturally. I can’t wait to work with my sister on more songs in the future.
What does this single mean to you?
This song holds such a special place in my heart. It means the world to me, especially because I wrote it with my amazing and talented sister. This is the first song I have ever released, and I never expected it to be huge.
The song started to take off only a year after I released it. People started using it on their Instagram videos, and it went viral. I never thought that my debut song would go viral! This song touches so many people, and I am extremely grateful for that. It’s been a cool thing to see the message in the song have such a profound impact on people. I was in such a strange place in life when this song came out. The success of this song gave me confidence. It made me believe I am good enough and that I must continue no matter what.
Being an independent artist, where did you record/produce/master and who did you work with?
I record, produce, mix and master everything in my parent’s house. I can’t wait to move to my own place but it’s better for me to stay with my parents and save money for the future. Eventually, the goal is to move to the United States, it’s an expensive process but it’s a must for me. I worked with singers from the United States and am going to work with more singers from all over the world…
How did you approach the recording/production process?
I remember the first time I watched the Tomorrowland festival on Youtube, and I was hooked. There is something contagious about electronic music. A couple of years later, I started creating music and knew I had found my purpose.
I learned and still learning everything from Youtube. I still have a lot to learn, and I am getting better every day. Consistency is the key!
Please tell us about your EP and any new music on the way:
I created this EP with Dorel, an amazing singer/songwriter and one of my best friends! He is the best singer I know.
First, we decided to create just one song together. The process was so fun, and we were so happy with the result, so we decided to create a full EP together. This EP means a lot to us; we created these songs from the depth of our souls.
So much love, fear, excitement, frustration, confusion, and happiness shaped this EP. The whole process sort of guided me in a healthier direction mentally when I really needed it. I’ve learned a lot about myself and about growth while making these songs. I can’t really explain how much this project means to me. I allowed myself to be very vulnerable in the process and show different sides of my soul. I am working on new music and can’t wait to share these songs with the world. I am working on Electronic, Acoustic, Pop, and Pop rock projects with extremely talented singers.
Who are you listening to at the moment?
ILLENIUM, Avicii, Martin Garrix, Coldplay, Bring Me The Horizon, Bad Omens, Hans Zimmer, Demi Lovato, Onerepublic, and Adele. I listen to so many genres and get inspiration literally from everything. Versatility is so important.
What’s planned for 2023?
Keep making music and touching people’s hearts and souls. I want to keep growing my socials and fanbase and of course, evolve and become a better version of myself – as a musician and as a person. My main goal is to get an artist visa and move to the U.S. I believe that I will be able to develop my music career in the U.S. much faster and I will have plenty of opportunities.
Favorite food and place to hang out?
BBQ, a good steak can fill my heart with happiness. Nature, because it gives me peace of mind and a huge boost of inspiration.