Leading the charge, globally acclaimed dance music icons Jungle will deliver a headline DJ set, bringing their signature blend of funk, soul, and electronic grooves to the Stowaway stage. Reggae legends The Wailers, known for their timeless hits and connection to Bob Marley’s legacy, will bring an authentic roots reggae experience. Another pioneer of reggae and punk, Don Letts, will be behind the decks, spinning an eclectic selection that embodies his genre-crossing legacy. Groove Armada’s Tom Findlay makes a welcome return following the duo’s unforgettable 2024 set, promising another journey through house, funk, and electronic classics.

“I had a ball playing twice at the brilliant Stowaway last summer and so happy to be invited back this year to play disco on the Listen Here stage either side of some of my favourite DJs…. see you on the dance floor!” – Tom Findlay (Groove Armada)

The second wave of artists also features jungle trailblazer DJ Storm, a key figure in the Drum & Bass scene, and NTS selector Shy One, known for her genre-fluid approach to DJing. Festival favourite Luke Una will go B2B with the ever-eclectic Prosumer, delivering a set brimming with deep cuts and dancefloor energy. They join an already stacked line-up featuring previously announced headliners Fabio & Grooverider and The Outlook Orchestra, Shy FX, Derrick Carter, Horse Meat Disco, Seun Kuti, Anna Erhard, James Alexander Bright, Cousin Kula, and Webmoms. Our very own Hobbs & Ron Mexico will also be there for their debut at Stowaway and will bring their usual energy, vibes and fun! With this stellar selection, Stowaway continues to raise the bar as one of the UK’s most exciting rising festivals, blending electronic, jazz, reggae, and leftfield sounds into an unmissable weekend.

“The Stowaway lineup is designed to offer something for every musical taste, showcasing a diverse range of sounds across the festival each night. From late-night discos to family-friendly singalongs, each day brings something new, with our stages offering fresh experiences every evening. We want to take you on a musical adventure, whether it’s exploring the woods, relaxing by the jetty, or hunting down our secret late-night ‘covers’ bar…” – Festival founder Duncan Wheeler

Launched in 2022, Stowaway Festival was created as the perfect escape from modern-day distractions, offering an immersive weekend of music, nature, and connection. Set against a breathtaking backdrop, the festival brings together world-class DJs and live acts for an uplifting, genre-spanning experience. Its popularity continues to soar—this summer, attendance grew by over 20%, defying the odds in a challenging festival climate. The festival prides itself on its intimate atmosphere, where like-minded music lovers can dance beneath the stars, explore hidden woodland stages, and discover new sounds in a truly unique setting.

Beyond the music, Stowaway offers a thoughtfully curated selection of artisan food and drink, with everything from locally sourced street food to craft cocktails and independent breweries. Adventurous festival-goers can take part in wild swimming, canoeing, and paddleboarding, while those looking to unwind can experience wellness sessions, yoga, and the lakeside woodland spa. Families are well catered for too, with a full programme of kid’s activities, all included in the ticket price.

Made by friends, for friends, Stowaway Festival is more than just a weekend of music—it’s a hidden world of discovery, connection, and pure escapism.

Tickets for Stowaway Festival 2025 are on sale now and start at £209 and payment plans are available. Don’t hang about, secure yours today from their website!

The post Stowaway Festival 2025 Drops 2nd Wave Of Artists appeared first on Data Transmission.

Try talking about the rave scene, breakbeat culture, or Jungle/D&B and not mention the name Randall. Impossible. The DJs DJ, most, if not all in the industry, will claim Randall as one of their primary inspirations. With that legacy, it’s only fitting that he heads to XOYO London, a venue that has been at the beating heart of the capital’s bustling nightlife for over two decades. While others have come and gone, XOYO remains a jewel in the crown of East London with its stripped-back decor, undeniably potent sound system, and intimate dancefloor. The XOYO name is synonymous with the best in electronic music.

Meeting the demand for high-quality Drum & Bass events in London, XOYO and Randall step up throughout the month of August with a list of artists that reads like a who’s who in the history of the scene.

XOYO
https://www.facebook.com/xoyolondon
https://twitter.com/XOYO_London
https://www.instagram.com/xoyoldn
https://www.xoyo.co.uk

DJ RANDALL
https://www.facebook.com/DjRandallMac2
https://twitter.com/Randallmac2
https://www.instagram.com/ranstar88

The post DJ Randall Begins 4-Week Residency At XOYO London This August appeared first on Data Transmission.

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.

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!

The post 5 Must-See Acts at Noisily Festival 2022 appeared first on Data Transmission.

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!

The post Reviewed: Hospitality On The Beach 2022 appeared first on Data Transmission.

Fabio & Grooverider and The Outlook Orchestra will be performing their only London show of Summer 2022, High Contrast will be there with a very special ‘20 Years of High Contrast’ set, Calibre, Camo & Krooked, Dazee, DJ Marky, Flava D, DJ Hype, DJ Storm, Kings Of The Rollers & Inja, Ruth Royall and Harriet Jaxxon amongst many many more will all be repping too. Stage hosts, FabricLive, Calibre Presents, Shogun, Born On Road X Run In The Jungle, Spearhead, Rupture, Undivide, Soulvent X Flexout and of course Hospitality will all ensure every point on the Drum & Bass spectrum will be represented in full.

Located just a five-minute walk from Beckenham Hill train and bus stations, Hospitality Weekend In The Woods 2022 is an easily accessible escape from everyday life. It plunges you deep into 98 acres of green and natural fields with lakes, woodland and the beautiful Palladian-style mansion all foreign an epic backdrop to two days of world-class music. 

Thousands of Drum & Bass fans attend this always sold-out event and never fail to be in awe of the unique stage designs, the next level audiovisual production, high spec sound and array of the tastiest street food South London has to offer. This year will be bigger than ever with wall-to-wall bangers, atmospheric woodland stages and never before seen back-to-backs. This is also one of the most diverse lineups to hit the news for a long time with a really good gender split, so big ups to the team at Hospital!

More info and tickets can be found here!

The post Hospitality Weekend In The Woods 2022 announce full lineup appeared first on Data Transmission.

“I don’t think you understand what it means to put on a festival in a pandemic and just how difficult this is to do in another country from where most of us live. Ladies and gentlemen, make some noise for Outlook Festival” – MC Lowqui opening Outlook Origins

If you were at Outlook Origins earlier this month then maybe you’ll recognise these emphatic words from MC Lowqui during Technimatic’s set on the opening night of the festival. But if you weren’t, then take his message as the sentiment summing up the Outlook 2021 experience. From the organisers to the artists to the ravers to the locals, Outlook Origins going ahead was the moment many had been longing for, and one some were anxious about.

It goes without saying that when Outlook announced plans to upheave everything they’d built at their spiritual home in Pula further up the Dalmatian coast, there were people left feeling dismayed at what the future held for the festival. Would it lose its magic? Well, I can confirm Outlook is still the magical experience it always was – it’s just a new experience.

Much smaller than the previous editions, Origins signalled a return to the festival’s roots before it grew into the giant of the bass scene it is today. If the pandemic has taught us anything, it’s that we should re-evaluate the values most important to us and focus on them, and I feel like Outlook did exactly this with Origins.

Celebrating Soundsystem culture is engrained into Outlook’s values, and Origins was a chance for the organisers to curate a line-up paying homage to the legends, pioneers and figureheads who helped get bass music to where it is today. You only had to look at the line-up to see this. From label takeovers including Metalheadz, Dispatch and Deep Medi, to artists such as Fabio & Grooverider, DJ Storm, Hybrid Minds, Mala and Mungo’s Hifi, the line-up was stacked with names who have done so much for their respective genres.

The opening concert was no exception, with Chase & Status, Children of Zeus and Shy FX all billed to host the prestigious show igniting the festivities. There was some disappointment though as the planned location of St Michael’s Fortress fell through, and Shy FX pulled out. It was gutting – especially after seeing how epic Outlook’s opening parties usually are. But Barbarellas Discotheque, one of Croatia’s best-rated nightclubs, was a decent substitution.

Surprisingly, the situation turned out to be a blessing in disguise with Noisia’s Thys stepping in and Dynamite MC jumping on the mic for what was an epic performance. This is a combination you’d never get normally, but it was incredible! Anyone who has seen Thys before will know his sets can be hit and miss, but it felt like Dynamite’s presence pushed him to go in with Noisia classics and weighty D&B hitters.

To add to this, Barbarellas was a super intimate, open-aired venue where you could get closer than ever to the artists. When would you ever get to party two metres away from Noisia, Chase & Status and Children of Zeus? It tied in perfectly with the theme of Origins – taking it back to a time when the stages weren’t huge, artists walked through the crowd to get to the decks, and the DJs fed off of the crowd’s energy. It was a real intimate affair.

This was one of the themes defining the Origins experience, and it was helped by the main festival’s location. Taking place at The Garden Resort in Tisno, the site was much smaller than Fort Punta Christo but just as magical. Walking through the resort was like being in a tropical paradise where the sun constantly beat down, the sound of cicadas and bass wubs filled the air, and the smell of the sea was always there.

The site itself was made up of four open-air spaces – Main Stage, Olive Grove (a smaller stage with awesome decorations), Wabi Sabi (a tiny area next to the restaurant smashing out bass music to hungry punters), and the Beach Stage (without a doubt the star of the show with its insane views of the ocean).

After the opening show concluded, everyone headed back to the main site for a huge evening of music until 5am. Opening nights always have the tendency to be the best ones, and I feel like this was no different. It was all about the Hybrid Minds main stage takeover with Ama, Hybrid Minds & Degs, Technimatic & MC Lowqui and Artificial Intelligence (again with Lowqui) running the show. On paper, it’s a liquid lover’s dream, and in reality, it was that and more.

Hybrid Minds played arguably the set of the night with dub after dub being laid down to a crowd buzzed to be at a festival. It was Degs’ words “hold on to the person you love. Fuck covid” just before the drop of Culture Shock’s anthemic ‘There For You’ that hit home how beautiful of an occasion this was. For many people, this was their first festival back, and the roar of the crowd after Degs’ words summed up the crowd’s emotions. That roar felt like people letting go of all the pent up frustration they’d accumulated over the past 18 months. We were finally at a festival!

It was a feeling of coming home we didn’t experience at the start of summer (sorry, I had to bring it up), but one that left everyone at the festival with a spring in their step – especially on the Friday as the boat parties began setting sail. Undoubtedly the star of the show, the Arognaughty boat parties saw many curators take to the sea for intimate showcases with dedicated fans. Dub, dubstep, D&B, garage, grime – there was a boat for everyone.

Friday saw Cimm Presents and Navy Cut set sail, but I jumped on the Contrast boat party featuring Artificial Intelligence, DLR, Redex and Lowqui. It’s hard to describe how insane these charters were. Imagine being able to stand so close to the DJ you can see what dub they’re bringing in next. Especially when you’ve got DLR on the decks (a man known for his stash of dubs from The Sauce), this was a winner.

As good as the music was, sometimes you had to just sit on the top deck and take in the surreal views of the Croatian islands – that’s until a naked water-skier comes zooming past to taint the view… He was flapping around more than the Croatia flag on the boat!

One of the best things about Origins was the variation of music on offer. Friday night had this in abundance with Calibre curating an experimental Main Stage featuring LCY and Thys, the Olive Grove blaring jungle with Sheba Q and Ama, and the beach stage hosting an evening of dubstep courtesy of the White Peach crew.

But this music variation wasn’t always there at the festival, and I felt the weekend section of the event suffered as a result – particularly the Saturday. For those who love their BPM fast, at times it felt like a mission to find something to groove to. You’d see people milling about like confused creatures waiting to catch wind of an amen break. In all fairness, the Saturday after-party at Barbarella’s was a hefty D&B offering with Sofa Sound X Dispatch causing carnage, but on-site during the day this wasn’t the case.

It wasn’t a coincidence the stages were quiet during the weekend days, with the Main Stage opening late and the Beach Stage only ever having a small cluster of people bopping to the dub or reggae on offer. I felt sad seeing the beach stage empty like this, but then I reminded myself of Lowqui’s quote from the first night. Organising a festival during a pandemic is difficult, and kudos to Outlook for doing it.

But let’s be clear here, even though the numbers were lacking at times, the vibes weren’t. If anything, the smaller attendance made it a unique experience. Each day, you’d bump into the same people, rave with them, then repeat the process the next day. That was special. Something we missed most during the pandemic was connecting with like-minded ravers, and at Outlook Origins, you were able to connect with anyone. There was no drama, no silly antics. It was a real family affair where everyone celebrated their freedom and a love for music.

It was the Roots in Session set on the Beach Stage on Saturday afternoon that summed this up and provided one of the moments of the festival. A raise in BPM with the duo reeling through reggae, grime, jungle and D&B had people flocking to the stage like moths to a flame, and the spirits were high. Someone whacked out a beach ball and it ended up being a game of…if you hit it in the sea, you strip off and jump in the water to get the ball. Or for some people, just jump in and soak everything… It was a festival after all!

I loved the music selection from Roots in Session. You could tell they were playing tracks that meant a lot to them, and that’s something I found throughout Outlook Origins. This festival felt different to the norm. Artists weren’t just drawing for the tracks that would guarantee a reaction. Instead, it felt like they were digging deep to find tracks important to them. It comes back to the values of Origins: paying homage to our musical heritage.

This sentiment was echoed by many acts across the festival – especially Mungo’s Hifi – who hosted arguably the busiest Beach Stage of the festival on Saturday night. Reeling through reggae classics and old school rave anthems, it was a nostalgic trip down memory lane. The moment they played their vocal rendition of Underworld’s ‘Born Slippy’ was like being transported back to the ‘90s rave days, but with the message that the modern world has not forgotten – something reinforced by Mungo’s finishing the set with theirs and Gardna’s ‘Back In The Dayz’ (Feat. Catching Cairo) – a track all about celebrating the old rave days.

It’s a sense of remembrance that was threaded throughout the festival. Whether it was the Metalheadz main stage on Sunday night plastering a hilariously creepy image of Goldie’s face across the screen behind the DJ, or Zula from Artificial Intelligence wearing a t-shirt paying respect to the deceased Marcus Intalex – a pioneer who inspired so many of the top names in D&B – the whole event celebrated the past.

The final day of the festival was the finale Outlook Origins deserved with various takeovers from curators who have done great things for their scenes. From DJ Storm and the Metalheadz family curating the Olive Grove to The North Quarter closing the beach stage with liquid D&B to Conducta & Zed Bias turning the main stage into UKG heaven, this was a mega Monday.

It was the latter takeover that closed the main stage in style with Sammy Virji bringing his bassline energy and Shosh shutting down the festival with feel good UKG. The whole stage packed out for one final celebration of the live music we had dearly missed. 

At the end of the day, music would be nothing without its origins, and I think the new Outlook Origins concept provided a fresh take on the festival experience and a thoughtful nod to the people who got us to where we are. It’s a new Outlook experience, that’s for sure, but it will no doubt continue to grow into something even more special over time.

Keep up to date with news from Outlook here

The post Reviewed: Outlook Origins 2021 appeared first on Data Transmission.

Encompassing 8 scintillating stage hosts, Hospitality Weekend In The Woods is a who’s who of Drum & Bass royalty from some of the world’s leading labels, collectives and parties. Artists announced include Netsky with a 10 years set, Camo & Krooked, Noisia with their last ever UK festival show, Drumsound & Bassline Smith, Kings of the Rollers & Inja, My Nu Leng, Calibre & DRS, Hype, Sherelle, a 94-98 Dillinja set, DJ Storm and many more artists across the weekend.

Hospitality Weekend In The Woods is set to be one of the defining festivals of this year. The kaleidoscopic sounds and vibrant culture of Drum & Bass will also be celebrating Hospital Records’ huge 25^th anniversary which will run throughout 2021.

The team behind Hospitality Weekend In The Woods are planning ahead as far as possible in the belief the festival will take place. With the UK-wide vaccine rollout continuing and road map announcement, it is hoped festivals can take place later in the summer and especially by September. There is a 100% guarantee refund if the festival cannot take place. 

The post Hospitality Weekend In The Woods full lineup drops appeared first on Data Transmission.

The festival celebrates the individual, cultivates understanding in the collective, and explores what it means to be human via the mediums of music, art and healing. Deep in a secluded woodland at the heart of the English countryside, the site is as unique as the festival family some 6,000 strong who make the annual pilgrimage each July. 

With 3 large stages and a number of smaller satellite venues throughout the woods, the musical programming covers the breadth and depth of the Electronic genres. Techno lives on the Noisily Stage, whilst Psy Trance finds its home on the Liquid Stage, and Bass Music at the Treehouse. The Nook, the newest addition to the festival, has provided a platform for the emerging sounds of Medicinal House and Desert Techno with long journey sets a staple. 

Line-up wise they’ve announced 12 acts across those genres including Ace Ventura, Altruism, DJ Storm, Dub FX, EVP, Frankey & Sandrino, Gaudi, Goldie, Gregor Tresher, Hidden Empire, Hypogeo and finally legends Layo & Bushwack!

Beyond the music, the festival site is adorned in interactive art installations, and in 2020 the theme is ‘We Are Nature’, wherein all artists have been encouraged to keep our fragile environment at the centre of their planning and production. 

Tickets are on sale now from www.noisilyfestival.com

The post Noisily Festival, Leicester announces the initial line up for 2020 appeared first on Data Transmission.

When label founders Goldie, Kemistry and Storm first started their Sunday Sessions, battling for the time of day in a scene very much in its infancy, never in their wildest dreams could they have imagined the label would be celebrating such an illustrative milestone in one of London’s most prestigious venues – Printworks.

Celebrating 25 years of one of drum and bass’ oldest labels inside a venue as outstanding as Printworks felt right – like it was always meant to be the place Metalheadz celebrated such a monumental achievement. The industrial, stripped back feel of Printworks stylishly harked back to the origins of the rave scene in which the label made its name.

The line-up could not have been more suited to the occasion either. As a label who defined the genre we now love so dearly, it was only right to produce a line-up featuring some of the names who were there at the beginning.

Goldie, Doc Scott, Fabio & Grooverider, DJ Zinc, Storm, Randall – this was a line-up filled with legends. Too often nowadays we throw around the term legends too easily, but these acts deserve the title. However, they only represented part of the line-up.

Upon entering Printworks it was clear to see how different the crowd was to other drum and bass events. Filled with older heads proudly repping their Metalheadz tees, it was evident this event was to be a euphoric trip back in time for many.

Nostalgia turned out to be the theme of the day. Metalheadz Printworks was more than just an event, it was an opportunity for people to relive their upbringing and the music culture defining it with one big celebration in the capital where it all started.

From the early stages of the event where David Rodigan dropped ‘Original Nuttah’, took his shirt off and proceeded to swing it in the air, to DJ Zinc unleashing ‘Super Sharp Shooter’ and the crowd going wild, all of the classics were celebrated like they were brand new dubplates.

It’s no surprise as to why the crowd were so amped up when you consider the main stage was situated in the press halls – an incredible long room lined with pillars and balconies, alongside moving light grids above the crowd producing dazzling visual displays.

The goose-bump feeling you get walking into the room for the first time and seeing the arsenal of lights can only be likened to being a child at Christmas who gets their first glimpse of presents under the tree. It’s truly magical.

It was when My Nu Leng took to stage that the atmosphere started to build inside of the venue. As two DJs renowned for bassline, some may have questioned their inclusion on the line-up, but what they may not realise is My Nu Leng grew up on early drum and bass.

This passion for the music was clear to see, with both of them reeling through classics and reacting to each other’s drops. The diversity in their sets is what makes My Nu Leng such a privilege to watch, particularly when they blend classics with modern big hitters. Mixing LTJ Bukem’s ‘Atlantis’ with Benny L’s ‘Vanta Black’ was the perfect example of this – one causing a raucous response from the crowd.

Another act with deeper musical roots was the event’s special guest – Skream, who performed a one-off hardcore set. I can still remember when Skream played dubstep, but his hardcore roots were news to me.

He took the music back even further with original breakbeat sounds that made me feel like I had been transported back to the old school rave videos you see online at the likes of Lydd Airport. It was a history lesson.

Remembrance was another theme for the day. We were not just celebrating 25 years of Metalheadz music, we were remembering the people who played their part in the journey of a genre but sadly could not be around to join in the celebrations.

This was drilled home during Storm b2b DJ Flight, with MC GQ telling Flight to pull the track so he could pay tribute to Spirit, Marcus Intalex and all of the fallen soldiers. One of which was Kemistry, who surely was looking down on this momentous Metalheadz celebration with a big smile on her face.

Alongside the press halls, there was also a room two operating at the event. Taking place in the dark room, which is quite literally the darkest room you will come across at a rave, the line-up included Scar, Zero T and Benny L. The latter of which I tried to see but the room was so busy there was a queue snaking out of the entrance.

It was near impossible to tear yourself away from the main room though. One of the reasons for this was the immense 3D visuals that had been increasing in intensity all day along with the pace of the music.

As Fabio & Grooverider took to stage, an image of a huge glitter figure appeared on the screen above them. Looking like an Eric Prydz style hologram running towards the crowd, gasps and cheers echoed through the press halls as the crowd were left stunned by what they were witnessing.

The visuals throughout their set were breath-taking, and this reflected the brilliance of the music as Fabio & Grooverider produced arguably the performance of the day, with the music ramping up to new levels when Grooverider took control of the decks.

Their drawn out build ups launching into heavy drops had both the crowd and GQ going crazy, who was constantly going up to the decks demanding rewinds from the duo.

It was fitting for Fabio & Grooverider to play before the final set because their performances in the seminal days of Rage inspired both of the DJs closing the event – Goldie and Doc Scott.

It was an emotional ending to the day. As the sound of John B’s ‘Pressure’ provided a euphoric introduction to the set, combined with incredible 3D imagery of a figure being circled by a light cylinder, we were reminded by MC Blackeye that we were all a part of history. A history that began in Blue Note nightclub with sweat dripping down the walls.

Goldie and Doc Scott finished the event with the most energetic performance of the night, filled with a flurry of modern heavy bass slaps mixed in a with the classic breakbeat sound defining the foundations of the label.

It was a perfect representation of the evolution of Metalheadz – a label that not only is the root of a music culture we are desperately trying to protect, but one that has never been afraid to push the boundaries of innovation to create something new.

Printworks and Metalheadz, you were something truly special to experience.

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