The first night is mellow, you walk around the Mind, Body and Soul section, welcomed by warming hands. You can experience food from all over the world, whilst a life-size bus with light projections beams in the middle, playing some funky, disco, summery house. Through the trees, you can experience only a taste of the forest, with the rest hidden away for Friday’s reveal. In the small opening that you can access is a line of bespoke, hand-crafted items, and shops from around the UK, hosted by smiling faces. Further into the area is a bohemia of bell tents, flowers and a clan of dancers and musicians gathered around a fire pit. With the orange glows of the fire sparks in the sky, the top of the trees decorated with purple and red up-lighting set an incredible, otherworldly atmosphere. It is difficult not to get sucked into the trance of the music and feel the anticipation of the fellow creatures of Noisily. Without a doubt, one of the most eclectic, dreamlike starts to a festival…and it was only the beginning of the Noisily world.

The Friday started with blazing sunshine, the woodlands opened their flora-filled arms and we explored the inside of the magnificent Coney Woods. The woods were dripping head to toe in psychedelic mandalas lit up in the branches, performers filling the crowds with magic, stunts, poi and playful interactions, and sunlight hitting the disco balls – the artistry of the festival was immersive and arguably one of the most exciting, imaginative displays of art I have ever seen in a festival.

Friday held a playful atmosphere in the day, where you see actors playing cavemen, interacting with members of the public, and setting the earthly and organic scene. The was music coming from every corner of the woodlands, from soulful world music, to the capricious sounds of psytrance; no matter what mood you were in you would find a happy place. Walking into the depths of the woodlands you find the Liquid stage, where the platform was decorated with a DNA, Honeycomb-type frame, with ever-moving and changing mandala projections, hypnotizing you with the beats of the music. The noises of happy festival-goers were accompanied by trippy tunes from the surround sound speakers, flowing throughout the forest floors. Looking up, you would find slackliners as high as the tree tops, bouncing and moving with the shapes of nature, taking your breath away with the illusion of them in the clouds.

You could hear the sounds of cavemen as performers took to the crowds, playing with members of the public and staying in the character of the Neanderthals. These earthly people were an accessory to the beautiful sounds of Audley who created the ideal atmosphere during their set on the Liquid stage during the day, from tinkling delicate melodies, to bouncing trance, they showcased their musical finesse. Dancing in the summer heat to his set was the perfect start to our adventures, and this was only a taste of what was to come.

As night came on the first evening, we were drawn like a fly to the flame to Monrollers set at the Leisure Center. A smaller, more intimate stage hidden between two bridges hosted some of the naughtiest and booming Drum & Bass. Monrollers’ exciting style on the decks was enticing us in accompanied by the blue and green dancing lasers falling from the stage. His set was full of big booming basslines and exciting rollers.

Moving into Saturday, we were once again greeted with the heat of the sunshine, encouraging our journey into the shade of the woodlands. As we walked deeper into the woodlands we were greeted by the strong wooden structure of the Nook Stage. Taking your shoes off and dancing in the dust of the floor, with frozen (and affordable!) cocktails in hand was unbeatable. Moving in the shadows of the trees, and feeling sunbeams shining down on you is one of the few treats the forest offer to us. Lucid Stannard played a happy, funky set and it was pleasing to see a good representation of females on the lineup. Prancing around in the sun to her energetic beats was a beautiful way to start the day.

As the evening came, we were drawn towards a huge glistening disco ball hanging in the trees, marking the dance floor of the Noisily Stage with speckles of light. The sounds of Lampe’s cheeky, electronic sounds echoed around us, triangular lanterns seem to hang in thin air, accompanied by hands down the most inventive, creative and unforgettable laser displays I have ever seen in my life. The lasers travelled sideways, creating an ocean of lights above the audience in a holographic state. They moved like water and flowed with their own life and danced in the air above us, forming shapes and progressing with the music. It captured the essence of the festival as a whole, from ocean hues to floral themes, the lasers covered the sky in a magical exhibit of nature, light, and art. The lasers were framed by the huge pyramid structures which were also covered in trippy light projections caressing the crooks of the wood.

Searching for a break from the non-stop dancing we had found ourselves in we followed the Oo’s and Aa’s of a not-so-distant crowd, where we came across a darker version of Alice in Wonderland – fire performers dressed in all the characters, with Cheshire cats in hoops, and mad hatters with fire sticks flying through their arms. The faces of the crowd were lit up by the bellowing fire blown from the circus performers, playing with fire like it was a dancing partner.

I couldn’t miss the breakbeat trickling from the Treehouse Stage, as we watched the incredible sounds of Fixate followed by Skeptical. As expected, both of the sets were filled with the tastiest jungle, blinding breakbeats and techy Drum & Bass. The Treehouse stage had lights illuminating from the middle, which was a wooden build with lights in arrows projecting off of the center, drawing eyes in and making the faces of the crowd glow. Even at night, you could see the insane forms of the décor and my hat goes to the stage builders for the whole festival, they were intricate and inventive use of nature’s materials and light. Their flawless sets were nothing short of all the breaky goodness you need on an excitable Saturday night – It felt impossible to leave the area for either of their sets and was a huge highlight of the festival for the Drum & Bass scene. You couldn’t help but join in the cheers of appreciation coming from the other dimly lit smiles of the crowd.

Finally, on our way back to the camp we couldn’t help by swing by for the funky sounds of Adop+ who was shelling it out until the early hours of the morning from inside of an intimate and cheerful tent of the Parliament of Funk stage.

Sunday, once again the sun greeted us in the early hours, encouraging us to make the most of the day at Noisily. We fell to the spell of the forests once again, exploring every nook and cranny that Coney Woods had to offer. The atmosphere of the beautiful festival was not only down to the staging and the music, but it was without a doubt one of the friendliest, safest experiences of a festival. From the security, to the festival goers, there was a huge feeling of unity and openness, no judgement was made, no shoes were worn, and nothing but warm smiles all around.

Exploring the art, watching the magic performers and devouring the delicious food was a highlight of the Sunday daytime, but as it fell into Twilight, and the woods began to irradiate hues of the rainbow into the trees, we found ourselves firmly set into the hypnosis of the trance playing from the Liquid stage. Altered State drew us into the sunset with his alluring beats and sent us into our own altered state. Wondering around the woodlands and making the most of all the stages, we travelled to the Noisily stage where John Digweed formed a seamless set full of euphoric house and dreamlike trance.  The music floated with the stunning light display, with each laser hitting the disco ball in the middle creating stars around the woods and on our faces, another example of the exquisite detail in the festival’s art décor. DJ Storm’s signature style soon came to the speakers towards the night at the Treehouse stage, drawing us in for another faultless set. Her old skool, heavy tune selection has reigned over the Drum & Bass world for years and it comes as no surprise – you can taste her expertise through the vibrations of the speakers. From heavy rollers to the old skool Metalheadz sound, Storm came by name and by nature – another highlight for the Drum & Bass at the festival. Following suit was next up Ed Rush who closed the stage in style. His fierce tune selection pumped up the audience for one final blowout in the woods, hitting harder drums and dancing to heavier beats felt like the appropriate send-off not only for this 2022 year but for the final year of Coney Woods.

Drawing the festival to a close, we gathered up to the fire bit – as we began, so we ended – where you were welcomed to sit close to the fire, gathered in a tribe of dawn dwellers, with dancing artists and musicians coming together with their drums and guitars. We were taken through chants of an ancient culture and welcomed to join in the songs and play the instruments around us – even if that was a twig and a teacup. The moments around the fire encompassed all that the festival was about – people coming together, in peace, without judgement, to be here now.

An immense and enormous thank you to all those behind Noisily for having us, for giving us that experience and letting us enter that Noisily world – and a huge thank you and goodbye to Coney Woods, for letting us dance and keeping all our festival secrets!

Noisily have released a limited number of Early-Bird tickets and a special 10 Part Deposit Scheme ticket which will allow you to secure your Noisily 2023 ticket for only £20 and pay off the remaining amount with 10 equal monthly payments.

Purchase Tickets here >> https://go.kaboodle.co.uk/Noisily-Festival-2023

The post Reviewed: Noisily Festival 2022 appeared first on Data Transmission.

The main change this year was the festival’s reset to Chapter One – a change saying goodbye to the eleven-year-long storyline Boomtown had previously built. It wasn’t just a reset of the storyline (an interactive element of the festival we’ve come to love over the years), it was a reset of the festival layout we knew. This year, Boomtown condensed its operations into the area previously known as the downtown bowl. This meant no Lion’s Den, no Psy Forest and a lot less walking.

People were sceptical about what this meant for the festival experience. Would it be too small? Would it be the same Boomtown experience we loved? This was the first thought many had when arriving on the Wednesday. Looking down on the festival city from the downtown campsite was strange. It looked tiny and you could hear murmurs of people worrying about it being too busy at peak times. But this wasn’t the case.

Boomtown 2022 promised the new-look city, despite being smaller, would be more imaginative and immersive than ever before. They weren’t lying. Somehow, you still managed to get lost wandering the maze of streets joining the districts, there were actors everywhere bringing flair to the city, and the set design was magnificent. Even the close proximity stages, which looked like they would have sound bleeding into one another, all sounded incredible. While I heard many people complaining before the city opened, I heard barely any complaints once the city closed.

If anything, people were more concerned with the heat and dust than the changes to the festival. Usually, at Boomtown, we’re used to torrential rain (who remembers SHY FX followed by Jungle Cakes at Lion’s Den 2018?) but this year, everyone swapped ponchos for sun cream because there was rarely a cloud in the sky. While this did bring its struggles, it created a wonderful backdrop for Boomtown’s colours to thrive.

This came to the fore on Thursday when street parties popped up across the outskirts of the city. Huge rigs, good music and blue skies – what more could you want? With Born On Road and Rumble in The Jungle running a pop-up Elektrical Soundsytem stage, and Dubtendo throwing a separate one in conjunction with Swing & Bass, there was a party atmosphere in the air to kick-start the first full day of the festival.

The Dubtendo street party set the tone for the festival with its good energy. From people donning Mario costumes and mushroom hats to others waving Dubtendo signs – and not to forget the fat rig that shook your body to the core – the party was well underway here. JFB’s vinyl scratching and Foor’s mash-up bassline were highlights of the afternoon, with the latter artist bringing about a beautiful moment when he played Rozalla’s ‘Everybody’s Free’. With the sun beating down and arms waving in the air, it was a feel-good moment reminding everyone of the freedom Boomtown represents, especially this year. We were finally back at the Matterley Bowl dancing together again. Bliss.

It’s a feeling of togetherness that became a theme of the festival experience. Titled ‘The Gathering’, this year’s Boomtown was all about the community coming back together to connect and dance. Because of that, there was positive energy oozing out of the attendees, artists and workers. From food stalls battling it out with each other blaring tunes while punters decided which stall to dance in front of, to attendees lugging water spray cans and guns around the site just so they could cool off fellow attendees mid-dance.

This infectious energy carried on into Friday, which was the day when the city really came alive. All roads led to the official opening ceremony in the afternoon, which took place on both main stages – Origin (a towering industrial structure for all things drum and bass), and Grand Central (a retro-looking stage bringing Lion’s Den flavour). Boomtown’s opening shows always pack an important message, and this year’s was around unity in the world. There were #FreePalestine flags waving and lyrics around being “all together, all races, all sexualities”. Of course, it wouldn’t be a Boomtown opening ceremony without vibrant theatrics (especially the performers dangling from a crane above the stage).

While the opening show was incredible, what followed was just as memorable – Dick & Dom playing a cameo set to warm up for Arrested Development. There had been rumours flying around earlier in the day of Dick & Dom showing up, and it prompted excitement in the campsites with people screaming “BOGIES”. This was made better when Dick & Dom came on stage and shouted the famous phrase.

For many of us, watching Dick & Dom be silly on TV was part of our upbringing, so to see them on stage blasting bassline and Drum & Bass was a surreal experience – particularly when they worked the crowd with Kleu’s ‘Rudy, A Message To You’. It set us up nicely for what was going to be a festival weekend filled with good feels and plenty of hearty tunes.

Heavy music was the main course on Boomtown’s menu this year. For the first time, the organisers kept the line-up secret until days before, which was a move met with criticism. If you were more into your house or techno or hoping for huge headliners, then you will have been disappointed. But if you love heavy bass music, then you would have been ecstatic at the likes of Born On Road, 24 Hour Garage Girls, Ed Rush b2b Optical, Dutty Moonshine, Sherelle and DJ Marky.

Boomtown always reiterated this year’s line-up wouldn’t be filled with huge acts due to the financial loss that occurred during Covid, and if anything, this encouraged the team to dig deeper with their music programming for what was arguably the most diverse line-up they’ve had. From more females than ever before to acts of all colours, races and identities, it was a joy to see so much thought go into this year’s programming.

Drum & Bass heads were especially happy with the line-up as there was a phenomenal billing of artists and collectives flying the flag for the genre. Friday felt like a love letter to the underground bass music scene with The Grid, Hidden Woods and Origin stages all proudly pushing Drum & Bass and Jungle flavours to thousands of ravers. It was the latter of those stages that stood out with a Critical Music takeover featuring Kasra, Enei, Halogenix, Bryan Gee b2b DJ Die and more. As a towering behemoth of a stage looking weathered and distressed, Origin was the perfect setting for a genre of music that has been through the mill over the years, but always comes out on top.

As the weekend hit, the feeling of celebration that had been building reached a climax with Boomtown’s official celebration fancy dress day. While many didn’t bother because of the heat, those who did ran with the theme in spectacular Boomtown fashion – the actors especially.

As important as music is to Boomtown, the theatrics are just as vital. This year, there was something happening everywhere you looked. Pop-up moving mechanical stages with a DJ inside, a band of people dressed in junk parts doing the YMCA with attendees, the little room in the Metropolis district where you could sit on the sofa ‘playing’ Xbox while listening to an intense loop of gabba – the city was a full-on sensory experience. I especially loved the actors at Area 404. By day, they were spraying people from above with water guns, and by night, they were shooting fire (not at us, thankfully).

It’s these random moments that define the Boomtown experience (and why the festival didn’t need to release a line-up beforehand). You always know you’re going to be immersed in a weird and wonderful world when you step into Boomtown’s city. Those following the storyline will have known all about this as they walked into random rooms, got asked to do questionable things by actors, and often were sent on wild goose chases to find clues.

If you weren’t following the storyline on Saturday then you were probably catching some of the incredible acts on the bill. The pick of the bunch was Fabio & Grooverider & The Outlook Orchestra at Grand Central. We first saw Fabio & Grooverider perform with The Outlook Orchestra at London’s Southbank Centre earlier this year, but this festival performance was one that was three years in the making, and a moment Grooverider admitted he felt “nervous” about.

As early pioneers of jungle and D&B, it was brilliant to see them reeling through the history of the genre in a format where the duo narrated the timeline and its developments along the way. The live orchestra was the star of the show, performing swine-tingling renditions of classics including Makoto’s ‘Golden Girl’ (with sublime live vocals from Cleveland Watkiss), and Chase & Status’ ‘In Love’, which Jenna G performed live alongside epic sax solos.

One thing I noticed during this set was the crowd energy. People were dancing like crazed beings expressing themselves however they felt fit. This is Boomtown. People oozing free-flowing energy in the dance like it was their last festival. Maybe it was the influences they were under, or maybe it was the fact we were witnessing special moments all festival that called for raw emotion. Saturday night was full of them, as across sight on Origin, Noisia were performing an emotional final UK set before parting ways. It was a performance we’d been building anticipation for all weekend and the production was fitting for the occasion with lasers and flames popping off from all angles.

I was disappointed only to see Thys behind the decks when you’d think all three members would have been there for their UK send-off. Because of that, the set was more of an experimental journey than a full-on Noisia showdown, but it was still a special occasion. Thys jumping on the mic at the end to say “And now it’s over… Thank you so much for all of these years” was a tear-jerking moment that will live long in people’s memories.

The final day of Boomtown was filled with just as many big moments to enjoy. Whether it was DJ Marky & GQ shutting down Origin when Marky scratched to DJ Hazard’s ‘Bricks Don’t Roll’ – one of the festival’s best moments that had the crowd going nuts as he spans with the vinyl deck in his hands, or DLR going b2b with Break for a hefty Sunday send-off, there were some outstanding musical moments to experience.

But if you weren’t into D&B, then you were probably watching Kool & The Gang at Grand Central. It was a beautiful show you don’t get the opportunity to see often in a lifetime as they reeled through classics sparking nostalgia amongst the crowd. When ‘Celebration’ played, there was a sea of people on shoulders and everyone was singing along. It was the perfect way to close a festival return we were all celebrating.

As always, Boomtown ended with a closing ceremony on the two main stages. Origin’s saw A Little Sound and take centre stage for what was an epic finale with hearty basslines, while also relaying an important message about the planet and being connected as one. Some people clearly didn’t get the message though – leaving masses of tents and rubbish behind after the festival closed. Sustainability is at the heart of Boomtown’s mission, so to see so much disregard for it was a big shame, especially considering the messages of togetherness throughout the event.

Here’s to hoping Chapter Two: The Twin Trail brings the same positive energy and big moments we experienced this year, but with more care for Boomtown’s values.

Keep up to date with news about Boomtown Chapter Two: The Twin Trail here

The post Reviewed: Boomtown 2022 appeared first on Data Transmission.

As the initial shock of lockdown passed and the realisation that this virus was going to indefinitely confine us to the walls of our homes, I decided to use the time as an opportunity to lay the foundations of a hopefully more fruitful DJ career. After landing on a name (Sir Francis if you want to check me out), setting up all my various social accounts and joining the Data Transmission course community, it was time to hit the studio. Long nights plugging away at Ableton finally resulted in some half-decent tunes that I was able to get signed onto some small and mid-tier labels. As lockdown eased and events started to fill the calendar once again it was time to go on the hunt for gigs!

Having created a bucket list of DJ achievements, one of the big stand-out tick boxes for me was “Book A Festival Slot.” First, I compiled a list of all the festivals whose line-up’s matched my style and sound before hopping over to LinkedIn to find out who was running these events and, more importantly, who was booking the artists. As outreach began, imposter syndrome began to set in and my brain kept telling me “No one knows who you are, you will never get booked.” Despite this, I persevered and after a series of ignored and rejected emails, the seemingly impossible yes finally landed in the inbox, simply saying “Happy to look at something for the opening slot on the main stage if you’re up for that?”

The festival in question was One Out Festival in Walton-On-Thames. With a line-up packed full of dance music heavy hitters, my stage would be playing host to the likes of Eats Everything, Sam Divine, Prospa and many more. With the technicalities squared away with the promoter and rider order placed, to say I was bloody excited would be the understatement of the century!

As the 18th June rolled around I grabbed my headphones and drove down to Apps Court Farm for a day filled with four-on-the-floor goodness. The festival had 2 stages with the main stage being in an open-air setting, located towards the back of the site. We walked through the backstage entrance and into the artist tent where we were greeted by the super friendly team before heading up to the stage. Being the first set of the day I was playing to an empty field, but as the gates opened and crowds began to trickle in I was able to draw in a small crowd who seemed to be enjoying my set of disco and vocal house. Getting the chance to play on a main stage level sound system alongside awesome production really was a dream come true. You envision these sorts of moments standing in your bedroom waving your hands in the air but to actually be doing it for real was a rush like no other!

As the next DJ took over I headed backstage to hang out in the artist area to do some networking and struck up a conversation with AmyElle. She had played an unreleased tune of mine a few months back on Kiss FM after sending it to her promo email. We spoke about her rise to fame, and how she utilised social media for her career and gave me some tips on where to go next as an artist. Throughout the day I made a point of going up and chatting to every DJ I knew and quizzing them about their careers and the steps they took to get to where they are today. In a world where everything is going digital, as an up-and-coming DJ, these personal interactions are still so invaluable. With numbers and emails exchanged I made sure to follow up with everyone and now have a link to some of the biggest names in the game.

No festival would be complete without watching some live music, so we headed over to watch the professionals do what they do best. A personal highlight from the day was Latmun, who played one of the grooviest tech house sets I have heard in while, all layered with infectious vocals that really had the crowd moving. Prospa also deserve a special mention, with their anthemic hands-in-the-air catalogue of music it’s easy to see how this duo has risen to the top so quickly.

As the sun disappeared the rain began to set in but this could not dampen the spirits of the crowd as headliner Eats Everything stepped up to close the main stage with a blending of house, old school rave and disco. For a final surprise, Easts headed over to stage 2 for an unscheduled B2B with a blurry-eyed Skream, giving the crowd something unexpected and providing the perfect end to the festival.

One Out was truly special and massive thanks goes out to the team for giving me a chance to come down and play, hopefully in a few year’s time I will be topping the bill! If this sounds like your kind of thing tickets are on sale now for 2023 so grab your today and I will see you on the dancefloor.

One Out Festival 2023 ticket sign up can be found here!

The post Reviewed: One Out Festival 2022 appeared first on Data Transmission.

Look beyond the poetry recitals, naked cricket matches and luxury hot tubs, however, and you uncover a chunky line-up that wouldn’t look out of place on a flyer for Printworks. Coupled with unknown acts playing in secret corners of the woods and pop-up daytime raves, Wilderness is able to satisfy the appetite of any four-on-the-floor hungry raver. 

First up to kick things off for the 128 fanatics was Peggy Gou. Slotted on the main stage between the jazzy delights of Binker and Moses and ethereal sounds of headliners Jungle, it would have been safe to assume that a more stripped-back set for the daytime crowd could have been on the horizon. Nothing could have been further from the truth. Peggy started strong, whipping the crowd into a frenzy with acid-infused techno that thundered out of the dominating speaker stack. As the sun descended, she steered the ravers through uplifting vocals and disco remixes, creating those hands in the air, singalong moments that have become a trademark of the international DJ. 

As night descended upon the woodland, it was time for the crowds to make their way across the festival site to The Valley. This mammoth groove cut into the side of a hill is arguably the jewel in the Wilderness crown. Endlessness lasers and towering sound systems guide the seething crowds down the hill towards the dance stage where an evening of electronic bliss was about to ensue in arguably one of the best dance arenas the UK festival circuit has to offer. 

Flanked by gogo dancers, Jodie Harsh stepped up first, bringing a blend of infectious grooves and elevating melodies that gauged the mood of the crowd perfectly and kicked the night off with a bang. Up next came Irish producer Krystal Klear, bringing a tougher, darker sound that thumped through the trees and took the crowd on an emotional journey. Finally, it was the turn of party maestro himself, Eats Everything. Blending acid, disco, old-school rave, piano bangers and his own productions all into one, it’s easy to see why the Bristolian has ascended into the lofty heights of elite world-touring DJ. 

As day two commenced, many headed down to one of the two wild swimming spots that Wilderness has to offer. A quick dip in the icy water is enough to ease the symptoms of any raver’s sore head before marching back into the main site and getting straight back on it. 

Given the middle-class clientele attending Wilderness 2022, high-end brands have now joined the ranks alongside traditional food vendors and begun running their own exclusive areas. One of the most notable is the Veuve Clicquot tent. Despite the eye-watering prices for a bottle of champagne, this is the place to be if you are after a day-time shuffle set to quality electronic music. With no official line-up, the crowd are there for the love of the music and guest appearances are often made by main acts who have stayed on for the duration of the weekend. 

As the sun set on another day, it was back into the valley for an evening of exceptional dance music. Louise Chen was up first, bringing with her an eclectic blend of feel-good bangers and uplifting rhythms that perfectly paved the way for award-winning house legend David Morales. One of the original superstar DJs, he wasted no time in proving why he boasts a career that has spanned across the best part of four decades. Thumping melodic elements infused with classic house and emotional breakdowns, that at times felt almost spiritual, were brought perfectly to a close with ‘Where Love Lives’ by Alison Limerick. Finally, it was the turn of Circus Recordings head honcho Yousef to step up and see off the evening with his raw, chunky sound that squeezed out whatever energy the crowd had left to give. 

Day three and the headliner’s name was on everyone’s lips. 90’s Rave legends and movie soundtrack specialists Underworld were set to take to the main stage and see off the festival. With the final day having an earlier finish time than normal, many of the main DJs were playing during the day. Tribal and percussive house aficionado Melé was on-hand to liven up a visibly exhausted dancefloor before lady-of-the-moment TSHA took to the decks, bringing a high-octane infusion of underground beats mixed with choppy vocal hooks and intricate basslines. Finally, it was time for Underworld to take the stage to round off the festival with their own brand of pulsating synths and jagged melodies that have earned them a spot in the dance music hall of fame. With the instantly recognisable, ever beloved, ‘Born Slippy’ rounding off the set, the crowd couldn’t contain itself. The Trainspotting theme song touches a nerve so deep it’s enough to bring a tear to your eye. 

There really is something for everyone at Wilderness, whether it be expansive thinking, spiritual awakening or just a good old boogie in a field, the welcoming family spirit that swills around in the air keeps so many returning to the little slice of Oxfordian festival heaven year after year. 

Thanks to all for having us at Wilderness 2022, we’ll be sure to return next year! Follow the link to book now for 2023 https://bit.ly/3dTPzhd

The post Reviewed: Wilderness 2022 appeared first on Data Transmission.

Orrell Hill Woods, which is situated just a short drive from Liverpool, is packed with colossal pine trees. Stepping foot into the dense woodland felt like walking through a portal and venturing out into the most picturesque utopia.

The original plan was to host the event at the start of June but damage caused by storms earlier in the year forced organisers to push the event back. An incident like that might have threatened to dampen the quality of the experience but it was a pleasant surprise to discover the complete opposite.

This year there were three stages with each one providing the most sumptuous audio whilst careful consideration had gone into their visual appeal with rustic wooden designs combining well with the natural trees enveloping them.

If the charming quality of the sound wasn’t enough there was also an impressive array of pyrotechnics – The Drum & Bass stage suddenly became an inferno when flames burst high into the sky just as Kenny Ken unleashed High Contrast’s staple remix of the classic ‘Show Me Love’.

There was no chance the high-octane energy was going to subside even if the rain had started with our very own DT Radio show host Mel stepping up to showcase her turntable talents.

The Kent-based artist played after the mighty Dillinja which might have proved quite nerve-racking for some acts but she showed no sign whatsoever the occasion was too grand. Her choice of hard-hitting selections and ferocious blends soon had the crowd hypnotised, with everyone’s hands up in the air and beaming smiles on their faces.

Day one was brought to a close in superior style with the techno pioneer Jeff Mills taking to the stage. The sun had gone down which provided the perfect opportunity for a sea of lasers to paint the sky above as the American lived up to his nickname ‘The Wizard’ with a spellbinding choice of tracks. The industrial feel to his set really did feel like the perfect accompaniment for a nighttime show deep in a forest.

There were star names everywhere you looked as the festival entered its second day. A.M.C has been crowned best DJ at the Drum & Bass Arena Awards for the past three years and it was easy to see why when he stepped behind the decks.

His ferocious mixing style is completely mind-boggling and once again he proved just how talented he is with a pair of turntables, sending the crowd into a heightened state of euphoria with his earth-shattering blends. There was a brief pause in proceedings when he reached over to shout belatedly to MC Phantom that England’s women had won a major football tournament, beating Germany in extra-time.

Camo & Krooked helped to bring a curtain on the festival in scintillating style with their mind-shattering selection of beats, in particular, their recent collaboration with Mefjus ‘Break Away’.

The Austrian duo are always a real joy to behold when they are let loose on a pair of turntables and it was no different during their appearance at The One In The Woods. Whilst they were busy demonstrating their alchemist qualities with CDJs, Mel had the most vivid look of astonishment on her face up in the booth. Just one brilliant example of how exhilarating it is whenever the pair are performing.

This festival might only be in its infancy but the first-class production and serenely curated line-up made for an exuberant audiovisual experience and certainly left a desire to come back again.

The sign-up for 2023’s edition is now live so be one of the first to know when tickets go on sale by clicking HERE

The post Reviewed: The One In The Woods 2022 appeared first on Data Transmission.

With over 85,000 tickets sold across the three-day event and Saturday and Sunday both selling out, the much-loved electronic music celebration in Parco Dora brought together passionate techno and house lovers from all over the world, with over 105 different nations in attendance this year. A truly international crowd partying in scorching temperatures that reached over 37 degrees on Sunday. 

Kappa Futur Festival welcomed the cream of the electronic music world across its 4 stages, with sets from the likes of Amelie Lens; Carl Cox, Craig Richards, Derrick Carter, Diplo, Honey Dijon, Jamie Jones, Peggy Gou, The Blessed Madonna, Seth Troxler and so many more.

See below for some of the best images from across the weekend! 

Plans are already underway for 2023’s edition, so keep your eyes on their Facebook page to cop tickets early!

Photos by Sinestésia, Antonio Corallo + Marco Menghi

The post Photo Review: Kappa Futur Festival 2022 appeared first on Data Transmission.

Bru-C

Bru-C is everywhere right now. His new single ‘No Excuses‘ is firing up the national charts as he starts to make inroads into the mainstream consciousness. This follows massive tunes like ‘You & I’ and ‘Streetside’. The MC and rapper from Nottingham came up as part of CruCast and has collaborated with everyone from Holy Goof to Skepsis. Now he is seriously set to blow, so no better time to catch him live at MADE.

A.M.C

Fresh from a huge set at Glastonbury, A.M.C is widely recognised as one of the most exciting and talented artists in the Drum & bBss scene right now. His DJ sets are known for their big double and triple drops, speed mixing and his combination of classics and brand new dubplates. He never disappoints behind the decks so makes the must-see list at MADE.

Alisha

Alisha is a fast-rising star on the intelligent side of tech house. On a mission to put her hometown of Peterborough on the map, she’s just released an EP on Eastenderz and is consistently popping up on some big lineups including Parklife, Creamfields and Paradise Amnesia in Ibiza. This one-to-watch will definitely do the business at MADE Festival.

GW Harrison

GW Harrison has been steadily making a name for himself as resident at the legendary Abode parties but with the release of his new track ‘Feels Good‘ on Toolroom he’s set to take a giant leap up. The summer anthem has been getting support across the board, with Danny Howard on BBCRadio1 getting behind it. Could be the surprise set at MADE so don’t miss it.

Bad Boy Chiller Crew

Love them or hate them you simply cannot ignore them. After an unlikely UK album chart battle with Ed Sheeran, the Bradford collective are now taking the sound of Northern bassline global, with a USA tour. With a UK no.2 album (‘Disrespectful’) and 2 top 40 singles (including top 10 smash ‘BMW’) under their belts this year, Bad Boy Chiller Crew are in huge demand. If you’re at MADE you’ve got to see them live.

MADE Festival takes place on 30th July at Dunstall Park, Wolverhampton. Get tickets here

The post 5 Acts You Shouldn’t Miss At MADE Festival This Year appeared first on Data Transmission.

Opening the infamous Coney Woods for the final time this weekend before they head to their new home next year, Noisily Festival 2022 will lay out the red carpet for us, offering the very best of the dance music scene, the Godfathers and Godmothers of the music that makes us feel free. From healing woods to performances and activities, this festival is an immersive sensory experience. The woodlands open up their branches and show us a secret magical world hidden in psychedelic lights and alluring music.

Noisily has created a staggering lineup of diverse artists, it is a comforting display of inclusivity and equality within the music world. Here are five that we wouldn’t miss…

“We endeavour to stand on the edge of knowledge, creating an environment that inspires conscious awareness, kindness and caring, for ourselves, for one another, and for the planet we call home.“

Noisily

Eats Everything

Eats Everything has been reigning in the genre since 2011, receiving critical acclaim for numerous tracks. His vibrant flavour comes from his influence on the Bristol culture where his roots lay. From Fatboy Slim tours to the dancefloors of Brazil, this walking talent has showcased his abilities all over the world, landing at Noisily this July.

DJ Storm

DJ Storm is one to thank for many of the scenes attributes and Treehouse stage offers the thrown to the Metalheadz Queen herself, and we can undoubtedly expect the dark, old-school signature sound from the first lady of Drum & Bass. Since 1992 Storm has REIGNED the underground scene, from pirate radio to co-running one of the genre’s biggest labels, her fingers produce gold – and incredible sounds! Not only holding one of the most ADORED reputations in Drum & Bass, but she is also a significant inspiration and supporter for women in the scene.

John Digweed

John Digweed has become a secured household name in the electronic music world. With DJ Mag voting him the World’s No 1 DJ in 2001 he has been celebrated all over the world. With his big energy, big sounds, and big name this set will be a highlight of the weekend. John Digweed will reign our soundwaves this July and will be one to watch!

Fixate

Fixate blew into the scene in 2019 with his infamous track ‘Ripgroove’ after SHERELLE’s boiler room set blasted it through our speakers. With his Debut, this year at Glastonbury, 2022 is proving to be the year of the breaks. With his reputation growing at the pace that it is, he was soon dubbed one of the most exciting UK new producers. You’ll find blending influences from the likes of jungle to grime, hip-hop to footwork and everything in-between.  

Martha van Straaten

Martha van Straaten has given us colour and fun throughout each performance and has sprinkled that Berlin magic all over the world. With enticing sounds and stimulating track selections, Martha collects sounds that create an expression of influences into an eclectic assortment of sound. With all eyes on this enigma, she proves to be one of the scenes stars.

With doors opening on Thursday 7th July, we can almost hear the bass and feel the grass under our feet…see you all in paradise!

The final remaining tickets for Noisily Festival 2022 are running low so cop them before it’s too late from here!

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EXIT Festival was originally founded in 2000 as a student social movement that aimed to inspire progress, social responsibility and freedom. 22 years later, the festival has established an impeccable reputation for curating eclectic lineups that unite people of different backgrounds through their love of music.

With over 600 artists set to feature across 20 stages, EXIT attendees will be absolutely spoiled for choice during the festival. Here’s 5 acts the team at Data Transmission is most looking forward to seeing:

Calvin Harris

Arguably the most successful and well-known DJ in the world, it’s no surprise that Calvin Harris is set to headline the Main Stage on Saturday night. The Scottish DJ holds the notable achievement of being the first British solo artist to achieve a billion streams, and his impact on the worlds of dance and pop can’t be overstated.

Well known for his energetic pop-infused dance classics, Harris has returned to his acid house roots in recent years via his Love Regenerator alias. Offering something for everyone, this headline set is set to be an iconic moment at this year’s festival.

Honey Dijon

As a lifelong fan of house music, Honey Dijon has a deep appreciation and respect for the genre’s roots and the queer artists of colour who paved the way for today’s scene. A cultural icon whose impact reaches far beyond the music industry, Dijon has soundtracked Louis Vitton and Dior shows and spoken at MoMA and King’s College London.

Able to effortlessly slip between disco, house and techno, you’ll struggle to find many artists as versatile as Dijon. Bringing three decades of experience and passion to the table, her Saturday set is one that you can’t afford to miss.

Adam Beyer B2B Enrico Sangiuliano

Two titans of techno headline the MTS Dance Arena on the first night of the festival. Drumcode head honcho Adam Beyer needs no introduction as one of the most influential figures in dance music. Under his leadership, Drumcode has become a pioneering brand renowned all over the globe for championing some of the most exciting artists in techno.

Enrico Sangiuliano is one such artist, with an impressive catalogue of releases on Drumcode, as well as influential labels such as Suara and Gem Records. The Emilia native recently demonstrated his commitment to sonic storytelling by launching his label NINETOZERO. This transient label will only release 10 ‘chapters’ that will craft a rich and compelling narrative. We can’t wait for the story Sangiuliano and Beyer will tell us in Novi Sad.

Anfisa Letyago

Anfisa Letyago has been on a meteoric rise since being championed by the legendary Carl Cox. Within the last 18 months the Italian techno star has started her own label N:S:DA, featured in Mixmag’s famous Lab LDN livestream, and performed at venues such as Printworks.

Letyago is fiercely opposed to limiting her musical palette. Although her self-described ‘groovy techno’ sound is the foundation of her sets, she is never afraid to stray into other genres or embrace deeper melodic sounds. 

ARTBAT

The Ukrainian duo of Artur and Batish are set to deliver an emotional and melodic set to close out Sunday night at the MTS Dance Arena. Experienced producers and DJs in their own right, it’s no surprise that they quickly rose to global superstardom after joining forces.

Attracting support from legendary artists like Richie Hawtin, Solomun and Pete Tong, ARTBAT’s driving melodic sound had made them one of the most influential acts of the last few years. If their Cercle set at the iconic Sugarloaf Mountain in Rio de Janeiro is anything to go by, they’re a definite must see artist at EXIT 2022.

EXIT Festival 2022 takes place between 7th and 10th July, tickets are available but running low so move quickly if you wanna go! Grab tickets here!

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As the sun rose for the final time of the festival, MC Lowqui’s emotionally-charged words epitomised the Hospitality On The Beach 2022 experience. We were at a Drum & Bass festival in ALBANIA! It was a moment to take a step back and reflect on what this week meant for the scene.

Earlier this month, we witnessed history in the making with the return of Hospitality on The Beach for a third instalment. Whereas previously we knew the festival for its roots in Tisno, Croatia, this year the label took the decision to move to Dhermi, Albania.

‘Discover a new Drum & Bass holiday’ was the slogan Hospital used to describe the experience, and the festival lived up to that. The whole week felt like an intrepid adventure where the D&B community travelled in force to celebrate their favourite genre of music in an unknown paradise over six days. No one knew what to expect (apart from broken bodies at the end), but that was all part of the fun.

And paradise this festival was. From the blissful billing of talent including stage takeovers from DARKMTTR, Critical, AWOL, Spearhead, Soulvent, and Marky & Friends, to immense scenery with turquoise ocean and beach parties against the setting sun. While we have experienced Hospitality on a beach before, this was a different experience for fans and a fresh challenge for the label. Did everything go smoothly? No. Did it make for a memorable experience? Absolutely!

Anyone who went to Tisno will remember it as a small site where you could walk between stages in a couple of minutes. That wasn’t the case here. Instead of being centered on one resort, D&B was taking over an entire stretch of town filled with venues, restaurants, shops and accommodation. The music was spread across four stages. During the days, there was Yacht Club (a covered terrace sticking out over the sea) and the Cove (a pebbled beach hidden in a rocky alcove). Then at night, two more stages came to life. Empire (the grand main stage feeling like some Hawaiian resort) and Splendor (the closest resemblance to Tisno’s beach stage).

The opening night was like a warm-up with it being an all Yacht Club and Cove affair. Hospitality were in control of the Cove and it was a perfect start to the week with Stay-C, Degs, Keeno, Grafix and Pola & Bryson among those playing out. Despite feeling fragile from long journeys, energy levels were high. Even the security were down for the occasion – skanking out at the side of the stage. It was the words of MC Ruthless during Grafix’s performance that set the precedent for the following days: “All in this together. One family, one sound, one vibe.”

This feeling of togetherness carried through into Thursday – especially on the boat parties. Anyone who went to Tisno will fondly remember the moments the boats created. These boats didn’t disappoint either. This time, the stage was on the outside with full viewing coverage of the scenery around. It’s hard to explain just how magical the moments at these boat parties were. Sailing across the ocean with D&B providing the soundtrack ­­– it’s what dreams are made of, right?

One of the best aspects of these parties is the unpredictability, and the Hospitality boat featuring Grafix, Keeno, Winslow, Lens, Slay and Dynamite, with Degs onboard as a guest, was a prime example. From people swimming up to the boat and Dynamite joking we were pirates and they could join our tribe for €1000, to the boat rocking so much Degs was holding the speaker in place, to an impromptu b2b2b2b breaking out with the boat not being able to dock due to choppy waters – Hospitality boat parties always entertain.

The same could be said for the rest of Thursday with V Recordings bringing their soulful sound to Splendor and Hospitality putting on a full-label showcase mainstage. But it was Thursday night that sprung a peculiar experience when the music cut off across the whole festival – just before Andy C was due on Empire. There was a feeling the festival was over before it had begun, with Hospital’s Chris Goss on stage explaining there was an issue with the local authorities. Thankfully, the music returned and Andy C was able to do what he does best – tear up the stage.

If anything, that moment hit home how powerful music is in uniting us, as the atmosphere afterwards was electric. This rolled on into Friday, where it felt like the whole festival cranked up a notch. The unofficial theme of the day was a homage to the greats. People who’ve created history for our scene, but also the ones who inspire others to do great. AWOL’s takeover at the Cove celebrating their 30 years in the game was a testament to this with the likes of Uncle Dugs & Navigator, DJ Rap & Carasel, DJ Storm & GQ and Grooverider & Ragga Twins providing a history lesson in chest-rattling basslines.

Despite not being the busiest stage with Critical and Spearhead takeovers elsewhere, the atmosphere was unique. People skanking hard and dancing without a care, cheering along to every drop – all with a big smile on their faces. It was a nostalgic taste of the early rave days.

While that was going on, Splendor was gearing up for a beautiful moment to round off Friday’s proceedings – LSB rolling out to the rising sun. While he may not be a historic great, there aren’t many in the scene who can do liquid like LSB, and that’s why the backstage area was filled with names including LTJ Bukem, Chris Goss, Hugh Hardie, Riya, Lens, Whiney and Etherwood. Usually, the crowds at graveyard shifts are minimal, but this one was packed. Like Robert Manos said on the mic, “We’re blessed to be here” listening to LSB roll out classics (apart from ‘The View’, surprisingly).

I initially questioned LSB being on at 4:30am, but when the sun came up and the colours of the sky danced to a D&B rhythm, it was incredible. There are not many times in life you’re happy to see the sunrise at a rave, but during LSB’s set, it was a blessing. Closing the performance with his and DRS’ ‘New Day’ was the perfect way to kickstart the weekend (after a few hours kip, of course).

It’s special moments like this that continued cropping up throughout the weekend. DJs going harder than usual. Selectors drawing for tracks they hadn’t played in years. MCs wheeling tunes who don’t like rewinds. People jumping on stage for unorthodox b2bs. It felt like there was something in the air.

You could say it was the blistering mid-30s Albanian heat sending people delirious, or you could see it as something linked to Hospital bringing D&B to unchartered territory. It was a moment, a vibe, a page for the history books, a sign of how far this small but powerful genre of music has come – and the artists were on board with the narrative.

Saturday in itself sprung some unique occurrences. Banger vs Clangers soundtracked the day with DJs stepping up and putting their productions to the judgement of a crowd armed with signs. Then at the night, you had Ivy Lab rolling out a rare liquid D&B set on the DARKMTTR stage with S.P.Y, Workforce, Skeptical and more.

But it was the celebration of D&B women that stuck out. Solah Live with Emma B on the decks at Cove, Kara supporting A.M.C on his boat party, Frenetic laying down a hectic set at Yacht Club, demonstrating why she is one of the best female selectors in D&B – this was a day celebrating the many awesome females we’ve got in this scene (even if not everyone sees it).

I’m not sure if everyone celebrated too hard on the Saturday, but by Sunday there were many tired bodies and weary heads – particularly on the boat journey to the fort party with DJ Marky, GQ, Kyrist, Children of Zeus and Charli Brix. This was an occasion to be excited about though – we were on the way to party in a historic fort as one of two fort excursions during the festival. But the heads on tables and faces in bins throwing up told a different story. To be fair, the sea was relentless, and it felt like we were on a ride at Alton Towers that went on for far too long (two hours longer than it was supposed to).

That was just the start of Sunday’s demise. When the fort appeared in the distance spirits were high, but as we walked up the hill and saw the fort party, spirits came tumbling down. The small stage was outside of the fort’s walls, no one was allowed inside, we’d missed Charli Brix’s set, Kyrist couldn’t make it – and to make things worse –  the only spirit the bar served was Jägermeister. It led to a mass exodus of people jumping on coaches back to the festival before Marky & GQ had even made it up the hill. They were bemused. It was a mess.

Thankfully, they jumped straight on stage and salvaged things. As GQ said, “We’re gonna do the best with what we’ve got” – and that’s what they did. Marky pulled out his Brazilian flair, scratching the decks while spinning around, and GQ tried his best to insert life into the legs of those who stayed. There weren’t many, but to look at this with a positive – when else would you see DJ Marky in such an intimate setting?

There was a lot of frustration from ravers after the fort, but it’s worth noting the Hospital team who were there looked just as disgruntled. I’m sure Hospital had big plans for the fort, but as had already become apparent during the Thursday of the festival, there were issues arising from us being in Albania for the first time.

And that’s important to remember – this was the first HOTB in Albania. Inaugural festivals usually run into teething issues. Thankfully, it was easy to look past these annoyances when the music was so good – especially Marky & GQs nighttime set on Splendor. They promised they’d go hard to make up for earlier, and they did. SP:MC jumping on stage for an impromptu b2b with GQ, Marky closing the set by grabbing the mic and singing over his remix of Ne-Yo & Ghostface Killah’s ‘Back Like Dat’ ­– it was a performance putting smiles back on people’s faces.

The final day of HOTB is always an eventful one with people giving every last ounce of their energy, and this Monday was no different. With Run in The Jungle and Born On Road taking over Cove, and Splendor playing host to one final Hospitality showcase, it was an awesome final day of big wubs and bigger melodies.

But away from the festival site, something special was going down – a party on Gjipe Beach – which fans got speed boats to. These afternoon parties had been going on for a few days, but this one, in particular, invited Camo & Krooked, Etherwood, Kings of The Rollers, Harriet Jaxxon, Makoto, Lally, MC Fava, MC Daxta and Lowqui. This wasn’t just any beach party. It was located inside of a canyon, set back from a hidden beach, with a make-shift-looking stage featuring the biggest stack of speakers on either side.

It felt like a free party we’d stumbled across in amongst the bushes, and it made for a festival highlight. Whether it was Camo & Krooked going in with a throwback dancefloor set like the ones they graced Rampage 2014 and 2016 with, or Harriet Jaxxon rolling through jungle while Lowqui ventured out into the crowd with the mic to vibe with ravers – everyone in the crowd had beaming smiles. This was a friendly, family affair – the Hospitality mantra. People in the crowd giving water to Daxta while on the mic, Etherwood singing ‘Begin By Letting Go’ (something he never does), girls on the side dancing with hula-hoops – it was special.

It reminded me of the feeling of gratitude I had at Barbarella’s after-parties in Tisno when the sun came up and the crowd were still vibing at 6am. It was a pinch-yourself moment. I didn’t have as many of these moments in Albania. I particularly missed the crazy Barbarella’s b2bs that made your mouth water (Friction b2b Randall b2b S.P.Y especially). There should have been more of these in Albania with the list of names gracing the festival, but thankfully, Hospital had a surprise up their sleeve to close out the festival at Splendor – a gigantic b2b between artists including Makoto, Fred V, Etherwood, Stay-C, Viridity, Degs, Whiney, AC13, Lally and Buunshin, with Lowqui and KAZ on the mic.

It wouldn’t be HOTB without an unorthodox b2b, and the people who stayed until sunrise to see it were treated to throwback tunes, big mixes, and the occasional funny clanger. There were so many DJs on stage that even Lowqui didn’t know who was dropping what. There was even a successful marriage proposal! It was the joyous ending to a festival that has been in the hearts of many Hospitality ravers since it started in 2018. While the Albanian version of Hospitality On The Beach did have its ups and downs, you can’t ignore the fact this festival was one for the history books – one where we demonstrated just how global Drum & Bass is!

If this is enough to whet your whistle don’t forget about Hospitality Weekend In The Woods which is coming 17th and 18th September 2022! Final remaining tickets can be found here!

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