Weeks ago, Avicii announced that his health was indefinitely sidelining his future performances, including this coming weekend’s TomorrowLand. But rising Norwegian star Kygo is stepping in to fill Tim’s spot at the Georgia show.
Kygo will take to the Main Stage between 6:15 and 7:15 p.m. on Friday, September 26, according to TomorrowLand’s itinerary.
Other headlining acts for TomorrowLand include Bassnectar, Kaskade, Richie Hawtin, Skrillex and Tiësto.
The appearance marks a continuous rise for Kygo, who, according to Billboard, recently signed a deal with Sony and Ultra, and is close to selling out his Endless Summer Tour, which begins at the end of this month.
Her latest album, Food, features a track called “Rumble,” which has been reworked by Ben Westbeech’s alter ego, Breach, into a new offering called “The Key.”
With a cymbal-heavy thump, “The Key” unlocks elements of garage and soul-driven house, inserting piano-like synths over the organic-sounding percussion on the track. The introductory melody is reminiscent of the one that hypes crowds on Devone’s “Energy,” but what really drives the tune are the looping vocals and the emotive wails Kelis delivers when she longingly screams, “Don’t go!”
But vocal variety abounds on the track, with breathy interludes, pop-style vocals and repetitive hooks balanced out by church-sung, nearly gospel-like reaches on the part of the singer.
Push play below to give it a listen.
That fiesta-driven spirit makes its way into the newly released video clip, which also features guest vocalist John Ryan. And like any Pitbull video, there’s a bevy of beauties willing to shake and shimmy for Mr. 305.
One lady in particular has gotten Pit’s attention. Donning a form-fitting red dress, she exudes Jessica Rabbit confidence and sex appeal — and plenty of cartoon-style reactions from men enamored with her assets. There are also a number of other women doing choreographed steps to the playful horns heard in the rhythmic number as Ryan plays his guitar and belts out the lyrics.
“Fireball” is set to appear on Pitbull’s forthcoming Globalization album, which is expected to be released this fall.
As one would expect, the Scottish DJ dropped “Summer” during his set at the two-day festival that also featured performances from the likes of Taylor Swift. But Harris had one of the hottest hits of any season this calendar year, so, after spinning it in front of a live audience, how did he further hype the crowd?
By welcoming pal John Newman to the stage so the UK soul singer could pepper “Blame” — one of the fastest-rising hits on the dance/EDM and pop charts — with his energetic and remorseful vocals.
Newman cut a rug as the track’s raucous melody blared in the background, pausing every now and then to lament during the song’s chorus and bridges. He also seemed truly thrilled to be doing so in front of the massive audience.
Though not specifically EDM themed, the iHeartRadio Music Festival provided another big moment for dance acts this week just days after Tiësto’s fountain show at the Bellagio debuted. Looks like Sin City’s pulse throbs in bpm.
A video of the showcase made its way online. Within the five-minute show, walkers on The Strip get treated to the tunes “Footprints,” “Rocky” and “Red Lights” off his A Town Called Paradise album.
And what they saw was an awe-inspiring display. With water jetting this way and that, at times seeming solid and at others flailing in the night sky, no detail was overlooked, from the complementing lighting to the plumes of as mist seen during songs’ transitions. Truly a sight to see if you’re in Vegas, but if not, check out the video above.
Alt-R&B songstress Tinashe is only weeks away from dropping her debut album, Aquarius. So far, most of the songs she’s previewed have been slow-burning bedroom grooves, which have been hot, but the one with a little more tempo was “2 On,” a party jam celebrating friends, fun and fiesta.
But now that track has been given a few extra beats courtesy of remixer Sneaker Snob. The self-described twentysomething is admittedly a fan of early Chicago and New York House house and some of its key innovators, including the late Frankie Knuckles, Marc “MK” Kinchen and Armand van Helden, and they can be heard on his rendition.
Tinashe’s breathy and seductive vocals work well with the melody laid out by Sneaker Snob, which is instantly ready for the floor. In fact, the tune almost enhances the soul factor of Tinashe’s voice while also broadening its pop appeal. And guest rapper Schoolboy Q gets a completely new voice full of deep bass, and almost worthy of the designation “chopped and screwed,” a genre within hip-hop popular in the mid ’00s.
Tinashe’s album is set to be in stores October 7 and we’re hoping this remix is at a club near you by Saturday night.
Anticipation continues to build for Knife Party’s forthcoming full-length album, Abandon Ship. But one half of the duo, Rob Swire, got fans salivating even more when he shared the album’s tracklist on Twitter.
As predicted, the set — due out October 27 — includes the earlier-leaked, seizure-inducing “Resistance” and the lighter disco track “Begin Again.” A track titled “EDM Trend Machine” raises the question of whether it’s a follow-up to “EDM Death Machine,” which appeared on the Haunted House EP, while the curiously named “Micropenis,” uh, raises questions period, as does the acronym “D.I.M.H.” Guess we’ll have to wait and hear for the answers to those inquiries.
Here’s the full tracklist:
3. “Boss Mode”
4. “EDM Trend Machine”
6. “Begin Again”
10. “Red Dawn”
11. “Give It Up”
One of dance’s catchiest tunes got some national exposure on Wednesday when Clean Bandit performed “Rather Be” on Good Morning America.
Though the song’s vocalist Jess Glynne was out, Elisabeth Troy stepped in to help the group’s lone female member, Grace Chatto, sing the song that peaked at No. 2 on Billboard’s Hot Dance/Electronic Songs chart.
With some mean string playing and that hypnotic melody, the group showcased their talent for a few brief minutes before the performance cuts to a commercial break.
—Ugh … what a bummer. Still, it’s worth checking out yet another dance act hitting Good Morning America. If the show keeps brining folks like Clean Bandit on to perform, this will be our show of choice — if we’re up that early, of course.
And now that he’s left Ultra Records to put out music on his own imprint, Kindergarten Records, his independent spirit is coming out in the thoughts he shares in a new interview with Billboard. Here are some of the highlights:
On what led him to change his sound:
“I don’t know if I realized until last year that the current musical phenomenon that dominates the Beatport dance charts just started going downhill.”
“Before I was Wolfgang Gartner, I used to make sampled disco house, funky house, Chicago house, and I switched over around the time that dance music started to become commercially viable again, with the transition to digital music around 2007 and 2008.
“I’m still making dance music. EDM is not EDM anymore. It’s just electronic music, but it’s not dance music. It’s like people hanging over guardrails pumping their fists. That’s not dancing.”
On whether he felt Ultra pressured him to make a certain sound:
“I did feel that a part of me was trying to be safe and continue to produce the sound I feel I kind of spearheaded and championed. I was in a groove doing my thing, and at the time I didn’t realize I was in this little bubble, but now when I look back on the last six months to a year of music that I put out on Ultra — it’s good music to play in my sets, but I wondered if I’d look back on it in ten years and say ‘these were timeless’ or ‘these were just cool dance tracks.’ And it was the latter. They were just cool dance tracks, and that wasn’t enough anymore.”
On what’s happening with electro house:
“The problem is what people want at a festival, and the fact that DJs are trying so hard to get those main stage and closing spots, so they want to play sure-shots, clichés and formulas that people recognize.
“Part of the problem is the dance music audience, part of the problem are the DJs who are training these fans, and another part is the music being made by producers geared towards this festival-oriented big business system that dance music has become, especially over the past two years with the corporatization that has happened.”