Party Top 15

Party top 15 / 2019-02-20

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Party Top 15

Party top 15 / 2019-02-14

Video Premiere

Glints - Gold Veins

Locked Groove: honouring Belgian heritage in his debut album.

Editor-in-chief Kasper-Jan Raeman reflects on 7 years of Subbacultcha Belgium

Fresh On The Scene

Martha Da'ro

Video Premiere

KRANKk ft Miss Angel & Blu Samu - Like That

Belgium’s power siblings: a quick Roméo Elvis & Angèle interview

Rampage turns 10 with a sold out weekender at Sportpaleis

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Jan Maarschalk Lemmens had been around for a while, but when he dropped ‘Bugatti’ last year, it was clear he was ready to take Glints to the next level. It’s been awfully quiet in these last few months and usually that means a lot of new material is in the making. This hunch is confirmed by Lemmens: “I’ve been working on so much new stuff, so an album is not far away anymore”.

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If “Gold Veins” is a sign of things to come, then we are dying to hear more. The single that's co-produced by Yong Yello and Jens Paeyeneers comes with a bright and colourful video, directed by one of Belgium’s best hip hop video directors, A$IAN Rocky. The track features samples by the legendary Western composer Ennio Morricone. “We were lucky those got cleared”, explains Lemmens. “I usually don’t really work with samples – normally we record everything ourselves – but that Western vibe really stuck with me. The lyrics are loosely inspired by the concept of a gold rush, drawing parallels with my crew and my daily life” (laughs).

"},{"type":"interviewfooter","text":"

Follow Glints on Facebook and Spotify to stay up to date with his latest news.

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Belgium’s classic dance genres like New Beat, rave, techno and EBM have been getting their fair share of attention recently. Yet no one really took their reinterpretation of this heritage to the next level quite like Tim Van De Meutter aka Locked Groove did. The Berlin-based (but raised in Antwerp) house and techno producer-DJ is proud to present his long-awaited debut album ‘Sunset Service’, which comes out on the established Hotflush Recordings in March. On it, Van De Meutter digs deep for his roots and delivers a rich, versatile and refreshing take on that ‘classic Belgian sound’. Before the release hits the shelves, the artist takes a trip home for a cheeky little DJ-set at Ampere this Saturday. In anticipation of the show, we sat down for a coffee with one of this country’s finest techno exports to talk about the album and his admiration for Zillion (amongst other things).

Hi Tim! How is life in Berlin? Are you a regular at Berghain, or?

\n\n\n\n

Life is pretty good to be honest. Having just finished the album, I can take a step back from the studio and focus on other things. And about Berghain, I try to keep my visits to a minimum (laughs).

\n\n\n\n

Now that you’ve been in Berlin for a few years, what’s your take on the current Belgian house and techno scene?

\n\n\n\n

I think we’ve got a lot of new talent that’s doing interesting stuff at the moment. I have a feeling the scene is going through a revival again, so I’m stoked to see what the future brings. Pelace for instance is doing some cool stuff, I really like what they are doing.

","id":0,"key":1550039721,"text":"","type":"text"},{"soundcloud":{"uri":"https%3A//api.soundcloud.com/playlists/698859003"},"type":"soundcloud","id":1,"key":1550022183},{"description":"

You’ve always had a fascination for Belgian heritage like New Beat and EBM. What is it about those genres that keeps you coming back for inspiration?

It’s an endless source of inspiration for me. Sadly, most people only know the hits, but if you dig a bit deeper, there’s an enormous amount of material to be inspired by. When I find a hidden gem, it still gets me really excited. For me, it’s the music that represents Belgium so well. Nothing like waiting for a delayed train in the rain while listening to some New Beat and feeling miserable. Now that’s Belgium for me (laughs).

Tell us a little something about your debut album. Why did it take you so long?

\n\n\n\n

It took me a while to get the concept together. I didn’t want it to be a simple rehash of old sounds. Coming up with the idea of a 90’s inspired album wasn’t the difficult part. The challenge was to bring something new to the table. A lot of projects didn’t make the final cut. Out of all the tracks I made over the course of this year (a number that has to be something around 70) only these final 12 ended up on the album.

\n\n\n\n

So what’s the idea behind the music on this album?

\n\n\n\n

As I said before, it was my idea to create an ode to Belgian heritage, while bringing something new to the table. The most difficult part for me was using these legendary sounds, like a hoover for instance, without making it sound too cheesy. I wanted the whole project to be strictly Belgian, so we had Paul Boudens do the artwork. I really love his work and I think he did a fantastic job with transferring the vibe of the album into the artwork.

Does this mean you won’t be releasing stuff on your own Locked Groove label anymore?

\n\n\n\n

For now, I’m taking a step back and opening the platform to new talent. But I’ll definitely make another appearance at some point!

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Back in 2012, Hotflush Recordings gave you your debut release. Now, they are releasing your album. Seems like you still feel right at home there. Has it come full circle now?

\n\n\n\n

Absolutely, Scuba (the Hotflush label owner, ed.) always gave me the freedom to do what whatever I wanted and release any kind of music I wanted. In my mind, there was no other way than to release my debut album on this record label.

\n\n\n\n

One of the tracks on your album is called Zillion (a legendary discotheque from the 90’s that closed its doors in 2003). Did you ever have the chance to go there?

\n\n\n\n

My grandmother used to live right around the corner of Zillion and I remember driving past there on a Sunday morning. It always fascinated me. Unfortunately, I never made it before it closed down. I was just too young at the time. However, I did sneak out of bed on Saturday’s to watch this TMF show called ‘At the Club’. They would visit a particular nightclub every weekend and film what was going on in there. Sometimes they visited Zillion, so that’s about as far as my experience with that club goes (laughs).

\n\n\n\n

You’re playing Hobbelpaard at Ampere in Antwerp this Saturday. What can we expect from your show?

\n\n\n\n

A lot of fresh material from my album off course. I’m also in the process of digitizing a lot of old Detroit records I have collected over time, so I’ll definitely play some of those as well!

","id":4,"key":1550053456,"text":"","type":"text"},{"id":5,"key":1550000376,"text":"

This Saturday, Locked Groove headlines Hobbelpaard at Ampere, Antwerp. Click here for more info and tickets. His debut album ‘Sunset Service’ will come out on Hotflush Recordings on March 8.

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They grow up so, fast don’t they? In its 7 years of existence, the membership-driven Subbacultcha Belgium has proven to be a reliable and autonomous source of news, content and events that celebrates alternative music. The independent Belgian branch of the Dutch media platform's impact on the underground music and art circuit cannot be understated. And so, the birthday party this Friday in Beursschouwburg is set to be one for the books. In anticipation of this anniversary, we slid into the DM’s of Kasper-Jan Raeman, the editor-in-chief who has been there since day one.

\n\n\n\n

Hi Kasper-Jan, how do you look back on the 7 first years of Subbacultcha Belgium?

\n\n\n\n

Very positive. In 7 years’ time, we have grown into what has become an important brand within the Belgian cultural landscape. Not only did we organize a lot of fun shows (with artists like John Maus, Yves Tumor, Mykki Blanco, Future Islands, Amen Dunes and more), we have also grown as a media platform, creating a solidly working organization.

"},{"description":"

With your budget in mind, what’s the primary goal of Subbacultcha?

\n\n\n\n

Our raison d’être is not related to money whatsoever. We aim to promote new and relevant artists, genres and movements to a larger audience. This a goal you can reach with both a big and a small budget.

\n\n\n\n

What’s your main source of income?

\n\n\n\n

Membership contributions for concerts and events are at the core of Subbacultcha. We also have a strong network of partners in and outside of Belgium and we have a platform on which organisations can advertise.

\n\n\n\n

What would be the most remarkable trends and changes in the alternative music circuit of the past 7 years according to you?

\n\n\n\n

A lot of things have changed. Our own audience seems to show a wider interest in different niches. Often they pick something up and then mix those styles together until they have created their own world. That’s a very interesting phenomenon. Other than that, there seems to be a lot more quality and quantity as far as concerts, festivals and parties go. If you compare the current situation with the one we had before, there are many more independent event promoters around: C12, Heartbroken, Slagwerk, Purple Panda, Supervue Festival, Overlast, etc... That’s an incredibly positive trend. When we look at the global picture, the monopolisation and increase in scale of booking agencies and festivals is something that strikes me. This development results in a situation in which big events and festivals all start to look similar.

\n\n\n\n

Music and brands: what’s your take on this increasingly frequent combination?

\n\n\n\n

It’s a collaboration that makes sense to us. Sponsoring is something timeless. If brands are willing to join your story and respect the philosophy of your organization, I don’t see why that would be a problem.

","id":1,"key":1549946700,"text":"","type":"text"},{"description":"

What’s the piece of Subbacultcha content that you’re most proud of so far?

\n\n\n\n

I don’t have a preference. I’m just very proud that young people often want to contribute by making content. It’s great to see that they are proud of their work when it’s published online or in our magazine. We really value this model in which we give chances to young, creative talent.

\n\n\n\n

After being an editor-in-chief for so long, what’s the most important lesson you learned?

\n\n

Never think you’re the only one who knows the truth. You always have to remain open to new influences and ideas. It’s incredibly important to listen to your community. That’s how you accomplish the most – both literally and figuratively.

\n\n\n\n

What can we expect from the 7th birthday party this Friday?

\n\n\n\n

We’ve invited artists that we value wholeheartedly: the Lait De Coco crew, Wu-Tangu & Golce Dabanna, Liyo B2B bb.zip and more. Other than that, we have planned a few live performances from the hilarious rapper Quintano and the NON Worldwide producer Bonaventure.

","id":2,"key":1549953553,"text":"","type":"text"},{"id":3,"key":1549899066,"text":"

On Friday, Subbacultcha Belgium celebrates its 7th birthday in Beursschouwburg, Brussels. More info and tickets on the event page. Want to become a member? Click here.

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Some have already obtained some small successes, spending years in the shadows, waiting for the right moment and others have barely left their bedroom studios. Some aim for headlining festival stages, others aim for nothing in particular – but all of them have developed a sound with the potential to turn a lot of heads. With this feature we shine a light on some of the most interesting new talents that our tiny country has to offer.

You might know the\n23-year-old Martha Canga Antonio as the lead actress in the notorious 2015\nblockbuster ‘Black’ – or you might have seen her as a part of the rap\ncollective Soul’art. Now, the\nBrussels-based artist takes matters into her own hands as Martha Da’ro. Based on her first shows at Botanique and Lotto Arena, plus her debut single ‘Summer Blues’, we might be in for\na treat. The multi-talented\nperformer effortlessly blends dreamy pop with strong hip hop, English with\nFrench and boundless energy with fragile emotion. Before her upcoming EP ‘Cheap\nWine & Paris’ drops, we invited Martha over for a cosy coffee chat to see\nwhat she has in store for us.

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How do you look back on the attention you got from starring in the movie Black?

\n\n\n\n

I don’t mind, I’m an actress too after all. As an artist, I express myself in many ways. If people got to know me because of what I’ve done in the past, then sure, I’ll take it – as long as they give my other projects a chance too.

\n\n\n\n

You were a part of the rap formation Soul’art too for a long time. Is that where you discovered your love for singing and rapping?

\n\n\n\n

Soul’art already existed as a group under the slightly different name Soulart (pronounced in French) before I joined the team. One of the guys, Benjamin Kabango aka Jazzy Bench, was my best friend and I often joined him to ROJM, the local youth center slash studio. Usually I was just chilling out there, listening to what they were doing. One day they needed someone to sing a chorus, and the rest is history as they say. Before that moment, I never really thought about singing, but the ‘anything goes’ atmosphere at this studio convinced me to give it a shot. A few weeks later they were booked for a show and that’s how Soul’art came to be.

\n\n\n\n

Your last performance with the group was at the Niveau 4 show at Couleur Café. Why did you decide to throw in the towel?

\n\n\n\n

It all went quite naturally to be honest. There were no hard discussions or anything like that and the relation between all of us is still as strong as ever. I decided to leave because I wanted to explore the possibilities of my own sound by giving myself the time and space to discover everything on my own.

"},{"id":3,"key":1549521378,"quote":"It’s ok to stay genuine without trying to fit in, just for the sake of it.","type":"quote"},{"description":"

What are the most important lessons you’ve learned from that era?

\n\n\n\n

We were 5 completely different artists working together: so I learned that it’s ok to stay genuine without trying to fit in for the sake of it. Everyone knew their strengths and weaknesses, so it’s this variety of styles and ideas that made us strong.

\n\n\n\n

Do you have creative outlets other than music or acting?

\n\n\n\n

Yes, together with Yaqine Hamzaoui I form the Visual Poetry collective. It’s kind of hard to put a label on it. We just carry out various ideas: these can be music video’s (like the one for ‘Summer Blues’), fashion design (we’re currently working on something together with Cha Noir), or anything else.

\n\n\n\n

You recently had your first live show: doing the warm-up for Mahalia at Botanique. How did it go?

It was such a stressful affair! I only knew I was going to do this three days ahead, so it was quite a rush. A few seconds before coming on, I was almost having a nervous breakdown. But when I got on that stage I remembered why I was doing this. A lot of people were supportive and towards the end, everyone was tuned into my groove. It went down really well in the end, so I hope every show will have as much reaction from the crowd as this one.

","type":"text","text":"","key":1549529399,"id":4},{"html":"","type":"video","quote":"","key":1549481693,"id":5},{"description":"

‘Summer Blues’ sounds like a dreamy version of R&B-pop. Are these the kind of vibes we can expect on your upcoming EP?

\n\n\n\n

Well, I will always be Martha, you know? Some stories are told better with a certain sound. I hope to make music that can’t be put into one category, music that will just sound like ‘me’. It doesn’t matter if some folks categorize my tracks as hip hop or pop because it will never be my intention to make easily classifiable music. To me, it’s so much more important that people can identify themselves with my message.

\n\n\n\n

So, what is that message?

\n\n\n\n

Well it may sound cheesy, but I want people to follow their guts you know? You should be able to see a show and have that feeling from that 2014 movie Whiplash afterwards: the feeling that you will do whatever it takes to reach your goal. I’m not here to literally say this to everyone’s face, I’m here to show everyone that it can be done. I’m proof of that – or, well, at least I’m working on it (laughs). 

","id":6,"key":1549506342,"text":"","type":"text"},{"type":"quote","quote":"I want to be able to create my own platform on which people can feel at home.","key":1549480691,"id":7},{"description":"

Seems like you got some inspiration in Paris for the title (‘Cheap Wine And Paris’) of the upcoming EP?

\n\n\n\n

I mostly draw inspiration from my daily life: my emotions and the stuff that happens around me. So the content of this message really depends on the moment in my life during which I wrote that piece of music. It can be anything, really. But yes, I did spend 2 days in Paris for an audition last year. I didn’t get the part, but I did wander around aimlessly, stumbling upon a little flea market. The sun was shining, I bought a bottle of cheap wine, I was holding daisies in my hand, … It was the perfect snapshot. Not all tracks on that EP reflect that moment exactly, but in general this collection of music symbolizes my mindset for that moment in my life.

\n\n\n\n

People have different reasons to make music. What’s yours?

\n\n\n\n

I want to be able to create my own platform on which people can feel at home, both for music or for any other art form. Stromae is is the perfect example: he is his own platform. He can perform, design fashion, make videos, produce music: it doesn’t matter what you see or hear, you just know it’s him. He’s a genre on his own. That’s my ultimate goal.

\n\n\n\n

What comes after this EP drop?

\n\n\n\n

Making as much new music as possible (laughs).

","id":8,"key":1549502016,"text":"","type":"text"},{"id":9,"key":1549490452,"text":"

'Martha Da'ro - Cheap Wine And Paris EP' is out soon. Follow Martha on Facebook in the meantime to stay in the loop.

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Remember the KRANKk fellas we interviewed in our Fresh On The Scene series a few months back? The Antwerp-based trio of musicians have released a brand new single, 'Like That', that features the raps and rhymes of two of Belgium's finest fresh faces on the hip hop scene: Miss Angel and Blu Samu. The latter even took home the gold medal in the Chase Award for best new urban talent on the most recent Red Bull Elektropedia Awards. Now, this happy bunch is proud to present the colourful music video, directed by Romain Habousha. UK Grime à la belge, it's an interesting development - and we can't wait for more. We hear their debut album, 'Dark', is coming rather soon!

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On March 13 you can witness a KRANKk live try-out at Bonnefooi in Brussels. On March 15 they will perform at Bouge B Festival in deSingel in Antwerp.

"},{"type":"interviewfooter","text":"

Follow KRANKk on their Instagram, Facebook and Soundcloud pages.

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The Red Bull Elektropedia Awards dust may have settled, but the award show’s big winner is grinding harder than ever. Angèle took home Artist of the Year, Best Track and Best Breakthrough Artist at Flagey. More recently, she struck gold three times at the D6bels Music Awards (Female Artist of the Year, Album Of The Year and Song of the Year), the MIA's ('Best Breakthrough', 'Solo Female', and 'Best Artwork') and the prestigious Victoires De La Musique (Best Debut Album and Best Video) - the French music industry award that launched the careers of countless francophone acts (like Stromae for example). Belgium’s biggest rap star, Damso, was crowned with a well-deserved first place in the Best Rap Album category for 'Lithopédion'.

\n\n\n\n

This just goes to show that there’s no stopping a Van Laeken. Roméo, Angèle’s older brother, already proved everything there is to prove. Together, they are a killer combo, each working their way up in their own unique fashion. We were lucky to catch these talented siblings in Red Bull Elektropedia’s backstage for a quick chat about awards, collaborations and the future. 

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Have you guys made music together already?

\n\n\n\n

R: We have made some music together. We even did a concert together about 6 months ago.

\n\n\n\n

A: Yes, we were arguing the whole time! But up until that moment, we never got around doing a show together.

\n\n\n\n

R: It went down perfectly!

\n\n\n\n

Angèle, you won no less than 3 gold medals at the last edition of the Red Bull Elektropedia Awards. How does that feel?

\n\n\n\n

A: It was already a major honour to be nominated in just one category, so this result feels almost absurd! Winning these awards feels crazy.

\n\n\n\n

R: Even though I didn’t win Artist Of The Year, I was sure Angèle would win. Just to be second in this category feels incredible already. It’s great my little sister surpassed me!

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description":"

What’s on the schedule now?

\n\n\n\n

A: To be honest, quite a lot. Some new gigs, I will finish my tour, Roméo will release his new album, etc. We will never run out of things to do. What’s better is that even more people are following our moves now. This gives us more motivation to work on different projects. It feels like we are constantly climbing a staircase. I hope there won’t be a day where we fall down (laughs)! But for the moment more and more is coming our way, so it’s all good.

","type":"text","text":"","key":1549517080,"id":4},{"id":5,"key":1549473946,"quote":"It feels like we are constantly climbing a staircase. I hope there won’t be a day when we fall down!","type":"quote"},{"description":"

So will you be working working working all the time?

\n\n\n\n

R: Of course. Ever since Angèle was a little kid, she always played the piano, performed on stage, etc. Exercise is the key for everything.

\n\n\n\n

A: True that. Ever since we started, we knew this. From the moment things start rolling, there are shows, things to do, etc. At the same time, it’s an exciting job that we have to do properly. Yes, it demands a lot of energy and proper preparation beforehand, but in the end we love what we do. I don’t want to come across ungrateful, but yeah, there are a lot of gigs, especially for him!

\n\n\n\n

R: Well, the both of us! We both toured a lot this summer. Work pays off.

","id":6,"key":1549541924,"text":"","type":"text"},{"id":7,"key":1549519372,"text":"

‘Angèle – Brol’ is still widely available on all streaming platforms. Roméo Elvis' new album will drop sooner than later. Keep your eyes peeled.

","type":"interviewfooter"}],"type":"default","locale":"en","categories":[],"id":"5c5ae152531b3c5463b200b0","isPlaceholder":false},{"owner":"5c344d39d6d4b12a8d144be7","client":"563fa1fd1b73f17f676b8201","author":{"url":"","name":"Jonas Lion"},"i18n":{"en":"5c5aa10e531b3c5463b1fa34"},"title":"Rampage turns 10 with a sold out weekender at Sportpaleis","photographer":{"url":"","name":"Fille Roelants, Philippe Wuyts, AOOA.TV"},"slug":"rampage-turns-10-with-a-sold-out-weekender-at-sportpaleis","i18nSlug":{"en":"rampage-turns-10-with-a-sold-out-weekender-at-sportpaleis"},"excerpt":"Selling out Belgium’s biggest indoor venue for a weekend-long birthday party is no small feat. Doing it 2 months in advance is a record. We linked up with Murdock for a conversation about his brainchild and the state of drum ‘n’ bass today","updatedAt":"2019-02-06T13:22:26.448Z","createdAt":"2019-02-06T08:55:42.300Z","recordStores":[],"related":[],"publishedAt":"2019-02-06T08:54:00.000Z","images":[{"url":"https://i.redbullelektropedia.be/720eb31663d7f47ea71f801ca355b7c1-600x401.jpg","filename":"720eb31663d7f47ea71f801ca355b7c1-600x401.jpg","type":"thumb"},{"url":"https://i.redbullelektropedia.be/720eb31663d7f47ea71f801ca355b7c1-401x600.jpg","filename":"720eb31663d7f47ea71f801ca355b7c1-401x600.jpg","type":"thumb-portrait"},{"url":"https://i.redbullelektropedia.be/720eb31663d7f47ea71f801ca355b7c1-1200x802.jpg","filename":"720eb31663d7f47ea71f801ca355b7c1-1200x802.jpg","type":"normal"},{"url":"https://i.redbullelektropedia.be/720eb31663d7f47ea71f801ca355b7c1-802x1200.jpg","filename":"720eb31663d7f47ea71f801ca355b7c1-802x1200.jpg","type":"normal-portrait"},{"url":"https://i.redbullelektropedia.be/720eb31663d7f47ea71f801ca355b7c1-802x802.jpg","filename":"720eb31663d7f47ea71f801ca355b7c1-802x802.jpg","type":"cover"},{"url":"https://i.redbullelektropedia.be/720eb31663d7f47ea71f801ca355b7c1-2000x1336.jpg","filename":"720eb31663d7f47ea71f801ca355b7c1-2000x1336.jpg","type":"big"},{"url":"https://i.redbullelektropedia.be/720eb31663d7f47ea71f801ca355b7c1-1336x2000.jpg","filename":"720eb31663d7f47ea71f801ca355b7c1-1336x2000.jpg","type":"big-portrait"}],"isHome":true,"isVisible":true,"isSticky":false,"tags":[],"body":[{"description":"

Selling out Belgium’s biggest indoor venue for a weekend-long party is no small feat. Doing it 2 months in advance is a record. “Now that’s what you call a nice present for your 10th birthday party”, says founder Hans Machiels aka Murdock. His team is on a roll, having announced their first edition of a full on 2-day festival in July, fully dedicated to drum ‘n’ bass and dubstep. Long story short: it’s an overload of good news for team Rampage. We linked up with Murdock for a conversation about his brainchild and the state of drum ‘n’ bass today.

\n\n\n\n

First of all: congratulations on this remarkable achievement!

\n\n\n\n

Last year was the first time we did two days of Rampage, a full weekend of mayhem with over 20 hours of drum ‘n’ bass and dubstep – but we were sold out 10 days before the event. This blew us away because we really didn’t expect to sell all the tickets the first time we did 2 nights in a row. Now, we felt we couldn’t go back to just one day, especially since it’s our 10th anniversary. We have a slightly higher capacity now and when people arrive at the venue, they will see why. It will be a nice surprise. So it’s great to see the tickets fly out the door faster than ever. We’ve sold out a whopping two months in advance and we are flooded additional ticket requests!

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You have seen drum ‘n’ bass evolve from its early jungle beginnings to filling up Belgium’s biggest indoor venue. What’s your take on what the scene looks like right now?

\n\n\n\n

When I first got into the music, my world wasn’t much bigger than the city I lived in. Nowadays, the whole globe is within reach and distance has become relative. If something happens at the other side of the world, you can experience it online in realtime. To me, that’s the biggest difference: people are flying in or driving to Rampage from over 60 countries because they’ve seen it online. The trip to Belgium just has become a lot more feasible with cheap travel now.

\n\n\n\n

Musically speaking, it’s all about cycles. The big thing in drum ‘n’ bass right now is rollers: pretty minimal drums with huge midrange stabs that sound like foghorns or some growling monster in a horror movie. It takes a lot from the jungle era and it has a cool, underground vibe to it. At the same time, there are still plenty of neuro fans that like it really hard, or jump up fans that just want to bounce. But at the end of the day, people seem to enjoy the musical side of this genre, which you can tell by the huge Spotify plays for vocal and vibey tracks. My vocal-led ‘Can’t Keep Me Down’ on V Recordings easily surpassed 700.000 plays in less than a year without any real radio or press support, solely because it was used in a lot of DJ-sets. 

"},{"type":"quote","quote":"I get the impression that people are only willing to travel to events that really stand for something.","key":1549528427,"id":3},{"type":"text","text":"","key":1549454005,"id":4,"description":"

And then there’s dubstep, which is having a big moment now. The big tear-out sound, particularly popular in the U.S., is starting to make serious waves over here as well. The ‘riddim’ movement has ushered people back into the arms of the original dubstep dons. Dubstep, the proper dubstep, that real, bass-driven sound, is really popping off again in London and the young guns doing riddim are popularizing this movement with their updated version of this sound.

\n\n\n\n

Lineup-wise, you skipped the massive A list artists, booking only hardened drum ’n’ bass names (like Andy C, DJ Hype or DJ Hazard) as headliners instead. That makes selling out all the more impressive. Weren’t you afraid this tactic could backfire?

\n\n\n\n

All the big waves in drum ‘n’ bass and dubstep are coming from the underground. It’s mostly new producers that come up with new ways of approaching the well-known recipe, creating a buzz along the way. Since I feel that Rampage should be about the essence of music and the gathering of real followers of the movement, everything just came together naturally. Although I do try to hit the different key elements of both genres with the different acts I book, selling tickets is not what’s on my mind during the process. But when the jigsaw gets pieced together just right, everyone in the scene seems to feel addressed.

"},{"type":"video","quote":"","key":1549472837,"id":5,"html":""},{"type":"text","text":"","key":1549472418,"id":6,"description":"

Do you feel like making your event more niche actually helps you attract more people?

\n\n\n\n

Again, it’s not a conscious choice as such, but I do get the impression that people are only willing to travel to events that really stand for something, that have a clear, outlined profile. Just look at the house and techno festivals that are doing so well across the continent: they wouldn't get more people in if they put on some flash-in-the-pan crossover hitmaker, they would most likely loose people, especially in the long run.

\n\n\n\n

Now that you’ve also announced the Rampage Open Air weekend at the end of July, do you intend to make Rampage a brand that can compete with the giants of the Belgian festival circuit?

\n\n\n\n

We’re not trying to compete. We’re trying to do our own thing. There’s too much competition as it is and everyone could take a few notes from the way things are handled in the drum ‘n’ bass scene, where big events co-exist and cooperate. Most of the big events just take place just once a year, so people want to party on the other weekends as well. That’s why you will need other parties and festivals too. And besides, if the crowd at Rampage Open Air is anything like the one in Sportpaleis, we will have around 60 to 70% of foreign visitors. So we are definitely not trying to eat into other festivals’ crowds.

"},{"type":"quote","quote":"Everyone could take a few notes from the way things are handled in the drum ‘n’ bass scene, where big events co-exist and cooperate.","key":1549460571,"id":7},{"type":"text","text":"","key":1549461706,"id":8,"description":"

That said, we’ll just see how things evolve. The daily capacity for this year’s Rampage Open Air is 15.000 per day and I would be very impressed if we can fill that up. And if we do, we can look into making it a bit bigger next year. There is no use in being too ambitious I think. the most important thing right now is to create something that has an identity of its own, a place where people will feel at home, an event that ticks all the right Rampage-boxes, something we can be proud of and we’ll be happy to look back on down the line.

\n\n\n\n

How will you be able to successfully transfer that Sportpaleis energy to an outdoor stage?

We are putting a lot of thought and effort into the production of the three stages at Rampage Open Air in order to make sure we bring that same audio-visual experience. We will be working with tent- and dome-like structures to create an indoor feel while being outdoors, without losing the summer vibe. Additionally, the last weekend of July should (statistically at least) come with the best weather of the whole summer. So we aim to give people the best of both worlds: the mad rave vibes of LEDs, lights and lasers, but the holiday feeling of being away from the world for a while as well. We have permission to go on until 3 a.m., so we’ve got plenty of time to build the energy throughout the day and well into the night. The camping site will be right next to the festival, so people can go to sleep almost instantly after the last lights go out and really have plenty of time to rest up before we go back at it again. And if they don’t want to rest, they can grab a drink at the all-night bars! We intend to pour some of that special Rampage sauce over the whole weekend: we’re creating a haven in the middle of nowhere that will look and feel like a Mad Max world, while also providing the perfect camping grounds to make it a holiday.

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You’ve also been in the studio with MC Mota to make another Rampage Anthem, which will premiere on the Rampage Weekend itself. What can we expect from that single?

\n\n\n\n

Doctrine and I put the music together. It’s a bit of everything: a military style intro, frantic rave stabs in the build-up and a gruesome drop that switches up a few times. And yes, we have Mota doing a full vocal, expressing what it feels like to be a Rampage soldier. Last year, the anthem needed a little vocal input and I asked around for a bit, trying to find the right kind of voice to do so, but in the end I just ended up doing it myself. Doctrine went to town on the few bars I spit, so you can’t really recognise my voice anymore. Mota really liked the vocal drop in there and he told me if I ever wanted him to do vocals for an anthem, he’d be up for it. He really cracked up when I told him it was my voice on the track (laughs).

What could possibly be the next step after selling out a weekender at Sportpaleis and throwing a new festival?

Doing it all again? :)

"},{"type":"interviewfooter","text":"

Rampage 2019 takes place in Sportpaleis, Antwerp on March 29 and 30. Sadly, all tickets have been sold. Tickets for Rampage Open Air on July 26 and 27 in Lommel are still available. Head over to this link for more information.

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How I Work  is a series of talks with a focus on the music & nightlife industry. By inviting seasoned speakers and questioning them about their work, their experiences, their failures and their successes, How I Work tries to share the word and inspire a new generation of promoters and artists. Across different genres, topics like artist bookings, ecological festivals or how to run a club or a label have been discussed in the past. We decided to eavesdrop a little during its latest sold out edition at Ampere that focussed on how to host a party concept at external locations.

Ugur\nAkkus, promoter of Labyrinth Club, opened the panel\ndiscussion by making clear the difference between running a club and hosting\nevents. “A club opens every weekend and promoting multiple nights every week is\nmore difficult than promoting separate events. At Labyrinth, we encountered a\nreal evolution. Today independent nights attract way more online attention than\nregular club nights, hence the decision to turn Labyrinth from a club into a\nnomad event”.

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The headliners issue

\n\n\n\n

Online engagement appeared to be the biggest talking point, not to say frustration, of the evening. “It’s all about headliners today. When you release an event with some big names on top, you immediately reach a lot of people on social media. Facebook event attendees stack up fast which attracts more people. But if I can only book headliners, then I quit”. This leaves local artists in a though spot. Resident nights are harder to sell and therefore promoters don’t risk to organise them anymore. But it is important for the local scene these artists get a chance too. “Having middle-sized artists is crucial to every scene. It’s like society, you need the middle class. If you look at what happened in the EDM scene, you see this middle class disappeared. Only headliners get booked and young djs are left out”, Akkus stated. “In hip hop it’s different, there are just no DJ’s who bring in big crowds”, Willem Vandesande of All Eyes On Hip Hop intervenes, “We really need the strength of our brand to sell tickets. Throughout the years we built our reputation by delivering quality music and a real hip hop atmosphere”. Arno Lemmens, resident and host of Vice City, this year’s winners of Best Party at the Red Bull Elektropedia Awards, confirms: “We don’t book major acts, but underground djs, locals and friends. Additionally, Vice City had to carefully build its image overtime. Our parties are basically selling themselves. People tell their friends how epic our latest edition was and invite them for the next one\".

So, how should one promote an event in 2019? All three admitted posters are no longer part of their strategies. Flyers might work, but it’s all about social media these days. It’s important to monitor the attendees and boost it if necessary. “Follow up which online advertising tools works best and adapt accordingly,” Akkus stressed, “Look for organic reach before pouring money into Facebook and Instagram ads.”

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The perfect location

\n\n\n\n

What characteristics should be taking into account when scouting locations? A good vibe, proper sound, a strategically placed bar, clean toilets, experienced personnel and preferably a unique profile. Vandesande advised to look for a location that has the right capacity and matches the desired vibe. Other tip and tricks for aspiring promoters we wrote down included vision, vibe and originality. Try to stand out and have a clear vision about your party. This vision needs to come together in the event name, its artwork, line-up and promo. “It has to have a soul”, concluded Lemmens.

\n\n\n\n

Making your event stand out

Practically, Akkus suggested to start small and collect a budget first before aiming bigger to compensate for failures because these will happen undoubtedly. Promoters are often and unfortunately strictly evaluated by club owners based on numbers like the amount of attendees, bar revenues and overall return. This makes it difficult to try out innovative parties since, whether you like it or not, audiences tend to be conservative and want to attend successful parties. When approaching a club owner, make sure you have your vision clear. This will help to make a good impression. The concept you’re proposing should fundamentally differ from the events that are already hosted in that place. You have to know why your party deserves its spot and why the club needs your concept. And right at the moment the panel discussion was reaching its conclusions, Ampere’s manager-in-chief Joachim Marynen, who was seated in the audience, took the floor to deliver a perfect take-home message to all future promoters present: “We are constantly looking for new ideas and new talents. We have the room and space to experiment and give new concepts a chance. But unfortunately it looks like young people don’t dare to take the risk. Don’t be afraid and contact us”!

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The next episode of How I Work takes place at De Serre, Hasselt on March 6 and will deal with the question: ‘How do I find and manage a pop-up location?' Invited guests Selim Edeer (Toestand), Jules Gahide (KERK Gent) and Hans Empereur (Stelplaats) will share their expertise and experiences with the audience. More info and tickets through this link.

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Many were surprised when Vice City was announced as Best Party on the most recent Red Bull Elektropedia Awards, not in the least the promoters themselves (one of them was out smoking when the group was called on stage). But those who have visited Vice City before, know why this exceptional party is rated so high. The spontaneity of this incredibly laid-back house, techno and disco event is quite a breath of fresh air in the Antwerp nightlife circuit that had its fair share of ups and downs recently. On the latest edition at Ampere, the main guest San Soda played a killer closing set, after he was handed over the decks by the Vice City crew. The team of four (consisting of Arno Lemmens aka Arno Lemons, Lawrence Vandeputte aka Lil Lawaw, Arno Klaes aka DJ Boats and Pieter Vochten aka Juice The DJ) is a jolly bunch of free spirits that live across 3 different countries, which makes promoting a party together all the more special. We were only able to catch half of them at the same time – Arno Lemmens and Lawrence Vandeputte – for a conversation about Vice City, “where party is a duty and work is a sin” (as their motto says).

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How did the trip down Vice City start and how did the Vice City team come together?

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There are a lot of venues in Antwerp we hosted events in, like the Renault Garage, Piaf, HAVN Dam, Ampere, Kompass and Pekfabriek, but we did our very first party at Bar Venetië in Borgerhout. These were very humble beginnings, because everyone that has been at this place will know it’s not the most state of the art music venue. Rather, it’s a back room of a brown café. You wouldn’t suspect a party is going on just from looking at the façade on the outside. On that first edition, only Pieter (who was called MVMNT back then) and Arno Lemons played, but DJ Boats was there for a helping hand alongside co-founder Tim Vandewalle. We really wanted Pieter because he has an amazing collection of Roulé vinyl records (the record label of Daft Punk’s Thomas Bangalter, ed). After that first set, he became a resident because he was he was one of the first DJ’s to play a lot of disco, a genre which seemed to be taboo in Antwerp back in 2013. People would laugh when you played a disco track back then, but Pieter, Tim and Arno Lemmens were the first ones to embrace it completely. Arno Klaes went on to become the most skilled selector of the whole crew – and he has the biggest record collection too! Lawrence joined the gang later by means of a DJ contest. But before that, he was always dancing on the front row, so unofficially, Lil Lawaw has always been a part of Vice City.

\n\n\n\n

You all live in different countries, doing different daytime jobs. How do you manage to regularly host parties together?

We’ll hand it to you: setting up IRL meetings has become almost impossible. Luckily the internet comes to our rescue. It also helps to have jobs in the nightlife industry. Arno Lemmens has been living at the OYE Records’ office in Berlin the past year and Lawrence is finishing his internship at the Octopus booking agency in Amsterdam. Our superiors understand our situation and cut us some slack every now and then. That said, it’s still a matter of working fast during your lunch break or doing emails until well into the night. The good thing is we have a very good understanding between the four of us and we have a good relationship with the venues we work with and our ‘citizens’, as we like to call our patrons. Promoting parties in Antwerp from a distance wouldn’t be possible if that wasn’t the case.

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How do you try to distinguish Vice City from other parties?

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We believe we reached a point where people don’t need to look at the line-up anymore, because they know what kind of party they will get. Everyone is ready to be surprised or eager to learn something new. This trust feels incredibly liberating for us. At the same time, we don’t feel obliged to book the same kind of DJ’s or play the same kinds of music every time. Disco, house, techno, electro, etc. Everything is possible and our visitors understand that. Maybe that’s one of the reasons they like to stay dancing until 9 a.m.! When the lights go on, we usually see at least 50% familiar faces. Additionally, we’ve noticed that the artists we book have become increasingly enthusiastic.

\n\n\n\n

How would you describe the core values of your event?

\n\n\n\n

We believe it’s extremely important not to lose track of the atmosphere of your parties and enjoy the evening yourself. As a promoter, you’re easily caught up doing a million different things while your guests are having fun. That’s normal, someone needs to be the guy at the entrance and someone needs to be the guy who looks after the guest DJ’s. But sometimes these jobs prevent you from really seeing the night from the perspective of a dancer. We’re lucky to be in a group of four people, so one of us is always on duty on the dancefloor at any given time. If we all had a good time by the end of the night, we’re happy. That’s the most important benchmark for us. Other than that, we always try to see how many people come down from other cities. We love to take the train for a good party in Brussels or Ghent ourselves, so it feels great when people take the effort to do that for our events too.

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Vice City doesn’t have a fixed location. Why are you putting so many events in different venues?

We would love to have a fixed location if the situation in Antwerp allowed us to. There’s just a major shortage of mid-sized music venues with a good soundsystem that are open to alternative music. It’s not hard to find a bar or a concert venue, but it’s not always easy to host parties like ours there. The same goes for big nightclubs with a weekly program of their own, like Kompass in Ghent or C12 in Brussels. We really lack that kind of organization over here, where clubs try to be forward thinking and not put all the risk in the promotors’ lap. Antwerp doesn’t really have a club with true residents, which is a shame. This could be a way of pushing and developing talented artists instead of just booking the warm-up and closing slots based on personal relationships or hype.

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It’s less relevant for us, but it shows what kind of state our city is in at the moment. We feel like Antwerp is in the midst of a transition: a lot of locations have closed their doors already, while a lot new stuff is coming our way soon. The recent additions of initiatives like TRANS for example is a sign of good things to come, but we still have a long way to go. We long for the days of Piaf and Petrol, destinations where people of all backgrounds can feel at home. Antwerp has always been at the forefront of Belgium when it comes to fashion and arts, so we don’t really get why the city isn’t seeing the advantages of a more open and more modern approach to nightlife. This starts with a clear line of communication with all the sides involved. Then again, we’re lucky we operate in a city that allows for long opening hours without too many problems. It all boils down to what city we compare Antwerp with. Relatively speaking, we are still pretty spoiled, but we can always do better.

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So you struck gold in the ‘Best Party’ category at the most recent Red Bull Elektropedia Awards. From the looks of your reaction: that came as a surprise…

It was incredibly surprising! Even so surprising Arno Lemmens was smoking a cigarette outside while it was announced! To make matters worse, Lawrence was watching the ceremony from his bed because he had a traffic accident not long before. Luckily, Arno Klaes and Pieter really aced the speech (laughs). It’s funny because those two usually are the least talkative of the bunch. That said, this award really was a very welcome pat on the back for what we’re doing as a team.

If you’d ask us which music you guys play and promote, disco comes to mind first. Do you feel like it’s a hype or is it here to stay?

Actually, we’re not really just doing disco. People do make the association sometimes, somehow it’s the only genre that people remember at the end of the night. For example: when you play just one disco anthem at the peak of your DJ-set with all the other genres we touch, some friends will congratulate you on “that great disco set”, because for a lot of people, there are only 3 genres at the moment: disco, house and techno. Any genre that’s easy to dance to, like bubblegum, electrofunk and italo easily gets categorized as disco. We get that the style is popular again these days and we definitely enjoy it ourselves, but as DJ’s and promoters, we are much more versatile than that. We don’t really like monotonous sets anyway. It has come to the point where we are avoiding it on purpose. Those classic anthems like ‘Keep The Fire Burning’ have been rinsed too many times and as we said before, we love to surprise or educate our patrons. You don’t just give your kids chocolate and fries either, right? You need to give them veggies, fruit and other healthy stuff too!

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If you had to place your bets, what kind of music will be hyped next?

At Vice City, we want to reach a point where hype doesn’t really matter anymore. People should see the beauty of every genre or niche on its own. In the end, that’s what a selector ought to do – and our residents know that. Our guest DJ’s will always be artists who can go in any direction. To use a big cliché: we like to book DJ’s that other DJ’s would like to listen to.

Ok, but which genres do you believe are on the verge of becoming the next ‘disco’?

Lawrence: I feel like electro is making a big comeback, which you see by hype around anything Drexciya these days. Bigger festivals like Dimensions and Dekmantel obviously play a big part in deciding what will be cool. To be fair, we also embrace this on our own festival (Lose it in The City, ed.) and Arno Lemmens has been playing a lot of electro as DMT Lemons (a duo which he forms with DTM Funk) for a while as well.

Arno: Me and Tim tried to push electro with a party named Atlantis, with previous guests like DJ Stingray and Stroheim. In hindsight, that was a bit too soon.

How do you see Vice City grow from here?

We just continue the grind! We’re hosting a stage on Listen! Festival and we’ve been invited to Kala Festival in Albania. We’ll be doing some more radio shows on Kiosk Radio as Vice City. We’re extremely grateful for opportunities like this. In May, we will release a compilation of 9 original tracks by artists who were invited over these past 6 years. It’ll be some sort of autobiographical story about Vice City and all the people involved.

So no new Vice City events?

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAh yes of course!\nHere’s a little exclusive for you: our next event will be at Pekfabriek on\nMarch 16. We’re happy we can book Dane, a man who has played a big role in the Canadian\nscene. We can’t wait to hear what he’ll bring to the booth. Lastly, we’ll\ncelebrate our sixth anniversary on May 11.

"},{"id":9,"key":1550590030,"text":"

Follow the Facebook fanpage to stay up to date about upcoming trips to Vice City.

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In what has become a yearly pilgrimage for the fans of hard hitting electronic music, Reverze unites more than 20.000 across Sportpaleis and Lotto Arena in Antwerp on February 23. One look at the track record of this truly massive event proves something special is going on. Since 2006, the Bass Events production has been throwing yearly sold out raves in the massive Sportpaleis (and since 2011 simultaneously in Lotto Arena) with increasingly impressive line-ups, lights and lasers. How’s that for a 2-room party? 

In what has become a normality for Reverze, all tickets have flown out the window already – but we still have 3x2 tickets left. Fill in the form below and maybe you’ll find yourself in a jumpstyle frenzy next weekend.

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Jan Maarschalk Lemmens had been around for a while, but when he dropped ‘Bugatti’ last year, it was clear he was ready to take Glints to the next level. It’s been awfully quiet in these last few months and usually that means a lot of new material is in the making. This hunch is confirmed by Lemmens: “I’ve been working on so much new stuff, so an album is not far away anymore”.

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If “Gold Veins” is a sign of things to come, then we are dying to hear more. The single that's co-produced by Yong Yello and Jens Paeyeneers comes with a bright and colourful video, directed by one of Belgium’s best hip hop video directors, A$IAN Rocky. The track features samples by the legendary Western composer Ennio Morricone. “We were lucky those got cleared”, explains Lemmens. “I usually don’t really work with samples – normally we record everything ourselves – but that Western vibe really stuck with me. The lyrics are loosely inspired by the concept of a gold rush, drawing parallels with my crew and my daily life” (laughs).

"},{"type":"interviewfooter","text":"

Follow Glints on Facebook and Spotify to stay up to date with his latest news.

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Belgium’s classic dance genres like New Beat, rave, techno and EBM have been getting their fair share of attention recently. Yet no one really took their reinterpretation of this heritage to the next level quite like Tim Van De Meutter aka Locked Groove did. The Berlin-based (but raised in Antwerp) house and techno producer-DJ is proud to present his long-awaited debut album ‘Sunset Service’, which comes out on the established Hotflush Recordings in March. On it, Van De Meutter digs deep for his roots and delivers a rich, versatile and refreshing take on that ‘classic Belgian sound’. Before the release hits the shelves, the artist takes a trip home for a cheeky little DJ-set at Ampere this Saturday. In anticipation of the show, we sat down for a coffee with one of this country’s finest techno exports to talk about the album and his admiration for Zillion (amongst other things).

Hi Tim! How is life in Berlin? Are you a regular at Berghain, or?

\n\n\n\n

Life is pretty good to be honest. Having just finished the album, I can take a step back from the studio and focus on other things. And about Berghain, I try to keep my visits to a minimum (laughs).

\n\n\n\n

Now that you’ve been in Berlin for a few years, what’s your take on the current Belgian house and techno scene?

\n\n\n\n

I think we’ve got a lot of new talent that’s doing interesting stuff at the moment. I have a feeling the scene is going through a revival again, so I’m stoked to see what the future brings. Pelace for instance is doing some cool stuff, I really like what they are doing.

","id":0,"key":1550039721,"text":"","type":"text"},{"soundcloud":{"uri":"https%3A//api.soundcloud.com/playlists/698859003"},"type":"soundcloud","id":1,"key":1550022183},{"description":"

You’ve always had a fascination for Belgian heritage like New Beat and EBM. What is it about those genres that keeps you coming back for inspiration?

It’s an endless source of inspiration for me. Sadly, most people only know the hits, but if you dig a bit deeper, there’s an enormous amount of material to be inspired by. When I find a hidden gem, it still gets me really excited. For me, it’s the music that represents Belgium so well. Nothing like waiting for a delayed train in the rain while listening to some New Beat and feeling miserable. Now that’s Belgium for me (laughs).

Tell us a little something about your debut album. Why did it take you so long?

\n\n\n\n

It took me a while to get the concept together. I didn’t want it to be a simple rehash of old sounds. Coming up with the idea of a 90’s inspired album wasn’t the difficult part. The challenge was to bring something new to the table. A lot of projects didn’t make the final cut. Out of all the tracks I made over the course of this year (a number that has to be something around 70) only these final 12 ended up on the album.

\n\n\n\n

So what’s the idea behind the music on this album?

\n\n\n\n

As I said before, it was my idea to create an ode to Belgian heritage, while bringing something new to the table. The most difficult part for me was using these legendary sounds, like a hoover for instance, without making it sound too cheesy. I wanted the whole project to be strictly Belgian, so we had Paul Boudens do the artwork. I really love his work and I think he did a fantastic job with transferring the vibe of the album into the artwork.

Does this mean you won’t be releasing stuff on your own Locked Groove label anymore?

\n\n\n\n

For now, I’m taking a step back and opening the platform to new talent. But I’ll definitely make another appearance at some point!

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Back in 2012, Hotflush Recordings gave you your debut release. Now, they are releasing your album. Seems like you still feel right at home there. Has it come full circle now?

\n\n\n\n

Absolutely, Scuba (the Hotflush label owner, ed.) always gave me the freedom to do what whatever I wanted and release any kind of music I wanted. In my mind, there was no other way than to release my debut album on this record label.

\n\n\n\n

One of the tracks on your album is called Zillion (a legendary discotheque from the 90’s that closed its doors in 2003). Did you ever have the chance to go there?

\n\n\n\n

My grandmother used to live right around the corner of Zillion and I remember driving past there on a Sunday morning. It always fascinated me. Unfortunately, I never made it before it closed down. I was just too young at the time. However, I did sneak out of bed on Saturday’s to watch this TMF show called ‘At the Club’. They would visit a particular nightclub every weekend and film what was going on in there. Sometimes they visited Zillion, so that’s about as far as my experience with that club goes (laughs).

\n\n\n\n

You’re playing Hobbelpaard at Ampere in Antwerp this Saturday. What can we expect from your show?

\n\n\n\n

A lot of fresh material from my album off course. I’m also in the process of digitizing a lot of old Detroit records I have collected over time, so I’ll definitely play some of those as well!

","id":4,"key":1550053456,"text":"","type":"text"},{"id":5,"key":1550000376,"text":"

This Saturday, Locked Groove headlines Hobbelpaard at Ampere, Antwerp. Click here for more info and tickets. His debut album ‘Sunset Service’ will come out on Hotflush Recordings on March 8.

","type":"interviewfooter"}],"type":"default","locale":"en","categories":[],"id":"5c62b7df531b3c5463b2c98b"},{"owner":"56b061b019a9982120da2c8d","client":"563fa1fd1b73f17f676b8201","author":{"name":"","url":""},"i18n":{"en":"5c137aba9ad24929595816c1"},"title":"Ruby Grace","photographer":{"name":"","url":""},"slug":"ruby-grace","i18nSlug":{"en":"ruby-grace"},"excerpt":"Some have already spent years in the shadows, waiting for the right moment - others have barely left their bedroom studios. Some aim for headlining festival stages, others aim for nothing in particular – but all of them have developed a sound with the potential to turn a lot of heads. With this feature we shine a light on some of the most interesting emerging new talents our tiny country has to offer.","updatedAt":"2018-12-14T10:38:18.524Z","createdAt":"2018-12-14T09:41:14.272Z","recordStores":[],"related":[],"publishedAt":"2018-12-14T09:40:00.000Z","images":[{"type":"thumb","filename":"0a29f7b6fd8263c9ae2db15135d64c71-600x401.jpg","url":"https://i.redbullelektropedia.be/0a29f7b6fd8263c9ae2db15135d64c71-600x401.jpg"},{"type":"thumb-portrait","filename":"0a29f7b6fd8263c9ae2db15135d64c71-401x600.jpg","url":"https://i.redbullelektropedia.be/0a29f7b6fd8263c9ae2db15135d64c71-401x600.jpg"},{"type":"normal","filename":"0a29f7b6fd8263c9ae2db15135d64c71-1200x802.jpg","url":"https://i.redbullelektropedia.be/0a29f7b6fd8263c9ae2db15135d64c71-1200x802.jpg"},{"type":"normal-portrait","filename":"0a29f7b6fd8263c9ae2db15135d64c71-802x1200.jpg","url":"https://i.redbullelektropedia.be/0a29f7b6fd8263c9ae2db15135d64c71-802x1200.jpg"},{"type":"cover","filename":"0a29f7b6fd8263c9ae2db15135d64c71-802x802.jpg","url":"https://i.redbullelektropedia.be/0a29f7b6fd8263c9ae2db15135d64c71-802x802.jpg"},{"type":"big","filename":"0a29f7b6fd8263c9ae2db15135d64c71-2000x1336.jpg","url":"https://i.redbullelektropedia.be/0a29f7b6fd8263c9ae2db15135d64c71-2000x1336.jpg"},{"type":"big-portrait","filename":"0a29f7b6fd8263c9ae2db15135d64c71-1336x2000.jpg","url":"https://i.redbullelektropedia.be/0a29f7b6fd8263c9ae2db15135d64c71-1336x2000.jpg"}],"isHome":true,"isVisible":true,"isSticky":true,"tags":[],"body":[{"description":"

Some have already spent years in the shadows, waiting for the right moment - others have barely left their bedroom studios. Some aim for headlining festival stages, others aim for nothing in particular – but all of them have developed a sound with the potential to turn a lot of heads. With this feature we shine a light on some of the most interesting emerging new talents our tiny country has to offer.

","id":0,"key":1544827927,"text":"","type":"text"},{"id":1,"key":1544857647,"text":"","type":"text","description":"

For most of us, the 20-year-old Ruby Grace will be a name you haven’t heard from - yet. As the Hasselt-native is finishing her final year in college, she dropped a much anticipated first single (Lipgloss) that was essentially avant-garde pop music, yet rough around the edges. The carefully coordinated aesthetic of the sound and music video got a fair bunch of new fans hooked. And for those fans there’s some good news: a full debut EP is hitting the digital shelves very soon. Many things remain somewhat mysterious about her, but one thing is clear: this woman has a distinct vision. In what may be the first interview she ever did, Miss Grace explained to us who she is, what she wants and what we can expect from her in the future.

"},{"type":"video","quote":"","key":1544861005,"id":2,"html":""},{"type":"text","text":"","key":1544798955,"id":3,"description":"

You previously toured around with your band as a cover group. Is this where you got the taste for more? Or did you know you wanted to go solo for a long time already?

\"It’s something I wanted from the very beginning, but I needed to get some on-stage experience alongside other people first. It began with over 2 years of street performances in Hasselt, just me and a friend who played the guitar. After spending some time performing like that, other booking enquiries started pouring in slowly. We mostly performed Amy Winehouse or Black Eyed Peas covers, and although I really enjoyed doing these, I knew I was set on bringing my own thing sooner than later. Being part of a band is great fun, but I was steadily forming my own vision, which strayed away in another direction.\"


And then you met Pieter-Jan from Hook Studio, who now produces the music for you. What made you guys hit it off?

\"I met him when we did a show in the small town he had just moved to – we were the opening act for Belle Perez. He had read about us in the local newspaper and wanted to see what we could bring. After the show he asked if I was interested in testing out a few tracks with him. At first, I was really sceptical, but I gave it a shot. It turned out we were both tuned in on the same frequency and he really believed in my potential. I didn’t want to make just ‘soul music’, because that’s what I had been doing mostly up until that point. I wanted to incorporate different influences, something a tad more extraordinary: combining a soul voice with electro-pop. Pieter-Jan nailed it every time, he always knows exactly what kind of instrumentals I want. We’re a great team!\"

"},{"image":{"orientation":"landscape","images":[{"url":"https://i.redbullelektropedia.be/4107294d89576725a983aff3b17ce46c-600x401.jpg","filename":"4107294d89576725a983aff3b17ce46c-600x401.jpg","type":"thumb"},{"url":"https://i.redbullelektropedia.be/4107294d89576725a983aff3b17ce46c-401x600.jpg","filename":"4107294d89576725a983aff3b17ce46c-401x600.jpg","type":"thumb-portrait"},{"url":"https://i.redbullelektropedia.be/4107294d89576725a983aff3b17ce46c-1200x802.jpg","filename":"4107294d89576725a983aff3b17ce46c-1200x802.jpg","type":"normal"},{"url":"https://i.redbullelektropedia.be/4107294d89576725a983aff3b17ce46c-802x1200.jpg","filename":"4107294d89576725a983aff3b17ce46c-802x1200.jpg","type":"normal-portrait"},{"url":"https://i.redbullelektropedia.be/4107294d89576725a983aff3b17ce46c-802x802.jpg","filename":"4107294d89576725a983aff3b17ce46c-802x802.jpg","type":"cover"},{"url":"https://i.redbullelektropedia.be/4107294d89576725a983aff3b17ce46c-2000x1336.jpg","filename":"4107294d89576725a983aff3b17ce46c-2000x1336.jpg","type":"big"},{"url":"https://i.redbullelektropedia.be/4107294d89576725a983aff3b17ce46c-1336x2000.jpg","filename":"4107294d89576725a983aff3b17ce46c-1336x2000.jpg","type":"big-portrait"}]},"type":"image","url":"","key":1544799180,"id":4},{"description":"

Tell us a little bit about the process of making the upcoming EP. How long did it take you to find what you were looking for?

\"All in all, we worked on the EP for over a year – with studio sessions every week. In my opinion that’s a little long because the songs themselves didn’t take that long. We just spend too much time finishing up the final touches. But I’m here to learn and now I know we’ll have to manage to be more efficient!\"


\"I actually wrote ‘Lipgloss’ on the train\"


How do you usually make a new song? What comes first: the instrumental or the lyrics?

\"Usually I have some ideas written down in the notes of my mobile phone – I actually wrote ‘Lipgloss’ on the train – and then I ask Pieter-Jan to send me a couple of his productions. Afterwards we spend weekends in the studio. After a back-and-forth feedback loop, a result we both like will always stick out.\"


Do you usually get inspired for lyrics by the music? Or do you have a subject in mind first for which you want to find the right track?

\"I do have my mind set on a certain theme before I start writing. To me, the theme of a track in general is more important than the actual lyrics, which don’t need to be deep to be good. A theme allows you to use metaphors, analogies and pseudonyms as opposed to more hands-on lyrics which can be too taken a bit too seriously. So, yes, the stuff I write could sometimes be perceived as a little simple, but they always have a substantiated meaning to me.\"

","id":5,"key":1544857172,"text":"","type":"text"},{"image":{"orientation":"landscape","images":[{"url":"https://i.redbullelektropedia.be/900ee0b56ef34849b13a56fd6847cf0d-600x401.jpg","filename":"900ee0b56ef34849b13a56fd6847cf0d-600x401.jpg","type":"thumb"},{"url":"https://i.redbullelektropedia.be/900ee0b56ef34849b13a56fd6847cf0d-401x600.jpg","filename":"900ee0b56ef34849b13a56fd6847cf0d-401x600.jpg","type":"thumb-portrait"},{"url":"https://i.redbullelektropedia.be/900ee0b56ef34849b13a56fd6847cf0d-1200x802.jpg","filename":"900ee0b56ef34849b13a56fd6847cf0d-1200x802.jpg","type":"normal"},{"url":"https://i.redbullelektropedia.be/900ee0b56ef34849b13a56fd6847cf0d-802x1200.jpg","filename":"900ee0b56ef34849b13a56fd6847cf0d-802x1200.jpg","type":"normal-portrait"},{"url":"https://i.redbullelektropedia.be/900ee0b56ef34849b13a56fd6847cf0d-802x802.jpg","filename":"900ee0b56ef34849b13a56fd6847cf0d-802x802.jpg","type":"cover"},{"url":"https://i.redbullelektropedia.be/900ee0b56ef34849b13a56fd6847cf0d-2000x1336.jpg","filename":"900ee0b56ef34849b13a56fd6847cf0d-2000x1336.jpg","type":"big"},{"url":"https://i.redbullelektropedia.be/900ee0b56ef34849b13a56fd6847cf0d-1336x2000.jpg","filename":"900ee0b56ef34849b13a56fd6847cf0d-1336x2000.jpg","type":"big-portrait"}]},"id":6,"key":1544834155,"url":"","type":"image"},{"description":"

Visual art direction clearly is an important part of your plan too, right?

\"Artists that embrace a clear visual identity just have a bigger impact - it complements the music. The end result just looks a lot better that way. By developing this part of my act myself, people will know what to expect when come to see my show. Music videos are obviously very important here. Artists that have this in mind always leave a great impression on me.\"


Like who?

\"Kali Uchis or Charli XCX for example. Both have an incredibly loyal fanbase because of their strong artistic identities. It’s more about just the music with them: their lyrics, their videos, their productions, their artwork: everything fits together so well.\"


Is the music video of ‘Lipgloss’ a sneak peek of what we can expect from you in the future?

\"Yes, it is. Bente Pompen, the art director, only just graduated (I think this even was her very first job), but she did an amazing job. I already had a certain idea, but the whole concept of depicting this ‘Garden of Eden’ setting came from her. That said, I need to give a shout out to Karla Q Leon, who absolutely nailed the make-up. It was just a lot of fun to see all these young and motivated people working together on the same vision.\"


This video was your first real move in the music industry. How did people react?

\"I have to admit; it feels a little weird when people you don’t know share your video all over the place! But in a good way, of course. A lot of people around me knew I was making music, but they were surprised nonetheless when they saw this clip. I think because of the fact most people weren’t expecting this change of style, compared to what I was doing before. Maybe also because I was busy with my cover band, people didn’t expect me to be working on something other than that behind the scenes. I loved the surprise effect it had!\"


What kind of artistic career do you hope to accomplish one day?

\"In 10 years, I want to be able to show that I stayed true to my vision. Being able to play big shows and radio stations without making compromises really is the ultimate goal for me. I want this to be my career.\"

","id":7,"key":1544792811,"text":"","type":"text"},{"description":"

Follow Ruby Grace on Facebook and Instagram to remain up to date about the latest.

","id":8,"key":1544812765,"text":"","type":"text"}],"type":"freshonthescene","locale":"en","categories":[],"id":"5c137aba9ad24929595816c1"},{"owner":"56b061b019a9982120da2c8d","client":"563fa1fd1b73f17f676b8201","author":{"name":"Jules Thys","url":""},"i18n":{"en":"5bfe53f5cafbf3396b21ac84"},"title":"Nachtschaduw","photographer":{"name":"Nachtschaduw (Header by Fille Roelants)","url":""},"slug":"prepare-the-flash-nachtschaduw","i18nSlug":{"en":"prepare-the-flash-nachtschaduw"},"excerpt":"Prepare The Flash shines a light on folks that shine a light themselves. The people behind the camera, taking pictures of the artists we all love. Let's take a look behind the scenes of some of Belgium’s most infamous clickers. ","updatedAt":"2018-11-28T10:20:24.976Z","createdAt":"2018-11-28T08:38:13.831Z","recordStores":[],"related":[],"publishedAt":"2018-11-28T08:32:00.000Z","images":[{"type":"thumb","filename":"8caed0223949e568c4934203ecea90c1-600x401.jpg","url":"https://i.redbullelektropedia.be/8caed0223949e568c4934203ecea90c1-600x401.jpg"},{"type":"thumb-portrait","filename":"8caed0223949e568c4934203ecea90c1-401x600.jpg","url":"https://i.redbullelektropedia.be/8caed0223949e568c4934203ecea90c1-401x600.jpg"},{"type":"normal","filename":"8caed0223949e568c4934203ecea90c1-1200x802.jpg","url":"https://i.redbullelektropedia.be/8caed0223949e568c4934203ecea90c1-1200x802.jpg"},{"type":"normal-portrait","filename":"8caed0223949e568c4934203ecea90c1-802x1200.jpg","url":"https://i.redbullelektropedia.be/8caed0223949e568c4934203ecea90c1-802x1200.jpg"},{"type":"cover","filename":"8caed0223949e568c4934203ecea90c1-802x802.jpg","url":"https://i.redbullelektropedia.be/8caed0223949e568c4934203ecea90c1-802x802.jpg"},{"type":"big","filename":"8caed0223949e568c4934203ecea90c1-2000x1336.jpg","url":"https://i.redbullelektropedia.be/8caed0223949e568c4934203ecea90c1-2000x1336.jpg"},{"type":"big-portrait","filename":"8caed0223949e568c4934203ecea90c1-1336x2000.jpg","url":"https://i.redbullelektropedia.be/8caed0223949e568c4934203ecea90c1-1336x2000.jpg"}],"isHome":true,"isVisible":true,"isSticky":true,"tags":[],"body":[{"type":"text","text":"","key":1543422138,"id":0,"description":"

Prepare The Flash shines a light on folks that shine a light themselves. The people behind the camera, taking pictures of the artists we all love. Let's take a look behind the scenes of some of Belgium’s most infamous clickers. For this edition we sat down with the winner of the 2 last Best Nightlife Photographer Awards at the Red Bull Elektropedia Awards (2017 & 2018): Nachtschaduw!

"},{"id":1,"key":1543422996,"url":"","type":"image","image":{"images":[{"type":"thumb","filename":"4559ffb29c7f82fa1ea211d8f829d465-600x401.jpg","url":"https://i.redbullelektropedia.be/4559ffb29c7f82fa1ea211d8f829d465-600x401.jpg"},{"type":"thumb-portrait","filename":"4559ffb29c7f82fa1ea211d8f829d465-401x600.jpg","url":"https://i.redbullelektropedia.be/4559ffb29c7f82fa1ea211d8f829d465-401x600.jpg"},{"type":"normal","filename":"4559ffb29c7f82fa1ea211d8f829d465-1200x802.jpg","url":"https://i.redbullelektropedia.be/4559ffb29c7f82fa1ea211d8f829d465-1200x802.jpg"},{"type":"normal-portrait","filename":"4559ffb29c7f82fa1ea211d8f829d465-802x1200.jpg","url":"https://i.redbullelektropedia.be/4559ffb29c7f82fa1ea211d8f829d465-802x1200.jpg"},{"type":"cover","filename":"4559ffb29c7f82fa1ea211d8f829d465-802x802.jpg","url":"https://i.redbullelektropedia.be/4559ffb29c7f82fa1ea211d8f829d465-802x802.jpg"},{"type":"big","filename":"4559ffb29c7f82fa1ea211d8f829d465-2000x1336.jpg","url":"https://i.redbullelektropedia.be/4559ffb29c7f82fa1ea211d8f829d465-2000x1336.jpg"},{"type":"big-portrait","filename":"4559ffb29c7f82fa1ea211d8f829d465-1336x2000.jpg","url":"https://i.redbullelektropedia.be/4559ffb29c7f82fa1ea211d8f829d465-1336x2000.jpg"}],"orientation":"landscape"}},{"type":"text","text":"","key":1543463125,"id":2,"description":"

First off: congratulations on winning the award for the second time in a row! How does that feel?

\"Thank you so much! It felt very overwhelming. To be rewarded for the countless hours of work I’ve put into my passion is the biggest honor I can receive. I got very emotional when I was walking to the stage, I have never taken any photography or post-processing lessons, I just started using my camera and was fortunate enough to build a career out of this. The other thing is that I’m visually impaired. In my case this means that my eyes are not able to process light like 99% of the people, resulting in severe night-blindness. I turned my weakness into a strength and I’m really proud of this and also very thankful for everyone that has supported me over the years!\"


You were definitely the most flashy person on stage again, please tell us about your outfits.

\"My first visit to Berghain impacted me greatly. In Berlin club culture you can wear as much or as little as you want. You’re accepted and even rewarded for being able to express yourself and your sexual identity! This inspired me to build the confidence to express myself as an artist through my clothes. Sometimes I like to shock with BDSM accessories, sometimes I like to sparkle with a lot of sequins, sometimes I’m more casual. It varies from time to time and I’ve noticed that people really appreciate this. For the 2018 RBEA, I was wearing a white sateen, in lace and sequin embellished tuxedo and a hand-made leather harness. This was very symbolical to me, as this is something that most men wear at underground gay parties. This year two queer parties (Spek & Gay Haze) were nominated and Thierry from La Démence was awarded with a Lifetime Achievement Award. With this I wanted to make a statement and show my support to the LGBTQ-community. I feel that the Belgian nightlife scene can be a lot more open-minded and queer.\"


Take us back to your story. When did you start photographing and how did it evolve to where you’re at now?

\"I started doing nightlife photography almost six years ago when I was studying at the University of Bruges. I saw a local student café post that they were in need of a photographer. I don’t exactly know why but I immediately responded to their post. Back then I had a semi-professional camera and I wanted to try taking pictures in a bar. It was extremely difficult though: dancing people, smoke, lasers, lights moving like crazy... When I look back at the photos I start laughing at how bad they are, but for some reason I still got noticed. The word spread and local bar/club owners were requesting me as a photographer for their events. That was the start of a hobby that would eventually run out of control.\"

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A very similar start to a lot of your colleagues. And right after that things really started going for you!

\"At that time I started working for more mainstream EDM clubs and festivals which I look back at as a good thing, as this was the base of my current style. They taught me how to take the hero (overview) shots and that’s one of my specialties regarding nightlife photography. As time went on I started to feel more uncomfortable with the m’as tu vu-attitude and vip-culture. It got a little bit too much for me. During the summer of 2015, I got a call from Fuse, asking if I was still available for one of their Fuse on the beach parties. Fuse started booking me more frequently and I fell in love with Techno music. I was happy to set my first steps in underground music, that’s when Nachtschaduw was really born! Thanks to Fuse I could work with legendary dj’s Ben Klock, Len Faki, Joseph Capriati, Chris Liebing, Adam Beyer, Marcel Dettmann and more. Because of those pictures, Café d’Anvers & Labyrinth Club started booking me. Shooting at CDA taught me how to capture a very energetic moment into a picture.

Internationally, Time Warp festival contacted me and Labyrinth introduced me to elrow. Those were my first international experiences and from there it only went upwards. My first time in Kompass Klub was during their first Fuse-Off party with Pan-Pot and Amelie Lens in 2016. That party was the beginning of a beautiful journey for me. The Kompass warehouse in Ghent is a venue where I now shoot weekly or bi-weekly. It became my playground where I can experiment with the energy of the rave and crowd. I’m incredibly proud and thankful that I get to work with such a great team every week.\"

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A lot of people start in nightlife and then leave it for different styles, but you’ve been around for a while. Why is that? And do you see a problem with people moving on from nightlife?

\"Nightlife is physically and mentally very demanding. It’s an industry that requires an insane amount of dedication. Sleep deprivation is the most normal thing as in most cases there’s no separation between day and night, summer or winter, weekend or weekday. In nightlife photography it’s a continuous coming and going of visual artists. Most people do it for two to three years, there are exceptions, but there aren’t many.

Maybe I stay in nightlife because I don’t take it too serious or maybe because I just really love what I do. I love working with artists, pr-managers and marketeers, I love raving and I love music. There are obviously days when I think to myself, why am I still doing this, but for me nightlife photography is an outlet. It’s something where I can release all my creativity and emotions, have fun and be together with old and new friends.

I think it’s very important, if you want to keep up with the rhythm that nightlife demands of you, to listen to your body and to focus on a healthy work-life balance. Me, however, I’m no expert or example as I still struggle with this sometimes. The night can be quite addictive and dangerous, and if you go out ‘till 10 o'clock in the morning when you were supposed to have a good night of rest, you’re going to get in trouble at some point. I’m very strict with my sleeping pattern, I need at least 9 hours of sleep per day during the week, to have the possibility to tour around for photoshoots during the weekends.

Another problem is the fact that nightlife photography doesn’t pay correctly for the hours and amount of work you put in. A-list artists earn thousands of euros for a two hour set, whilst photographers are there for at least a six hours during the night and more or less an extra 6 hours whilst working on post-processing and earn way less. We may not create music or be the headliner of the night, but at least we make sure that the night is documented properly and that the world can see what goes on in our venues. Some can accept this but most don’t and they leave nightlife to explore other fields of photography, such as wedding photography and portrait photography. I think it’s a shame because Belgium always had a really good reputation on nightlife photography in the international market and through this we’re losing a lot of talent.\"

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What do you think distinguishes you as a photographer? And what are some good tips on keeping nightlife pictures interesting?

\"I think my cinematographic style is what distinguishes me from my colleagues. My albums show a more general viewpoint of a night. No filters, nothing artificial and nothing too artistic, just photography that shows a realistic and energetic image of the night. It’s a style that all kinds of clubs or festivals or event firms can use to promote their business. I also adapt my style of photography to each club individually. Every album contains the same type of photographs. Going from overview to architecture and design and from fashion shots to portraits. Each picture is individually color graded. I don’t use presets and I don’t manipulate pictures in Photoshop.

The other thing is also that I try to go incognito. I hide myself in the crowd, hence the outfit which makes me look like a real raver, and dance a little so that everyone around me feels comfortable. I’m continuously observing and when I see a nice composition or action, I try to capture that moment. Having fun whilst shooting pictures is key. I hate perfectionism and I also try to enjoy the night.

Constantly evolving is what ensures that your nightlife pictures stay interesting. I have phases throughout the year where I feel that overviews are more important and I also have phases where I feel that people shots are most important. If you’re successful at capturing the unique identity of each single night, you’ll automatically create the effect that every album is different and unique, and therefore your work in general will remain interesting to watch and follow.\"

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You travelled around Europe for Elrow and even lived in Barcelona for a while. Can you tell us more about that?

\"Elrow has been an important chapter in my life. I was given the opportunity to do an internship in their office in Barcelona, right before they expanded globally. During this internship I had the possibility to travel to their shows all around europe and capture the essence of their brand. Eventually they asked me to continue working there. As soon as I had finished the semester, I started working full-time as their in-house photographer. I was constantly traveling around Europe, to Ibiza and to their parties in Barcelona. Working at elrow taught me how to merge different kinds of shots and create a storyline in an album, and how to deliver and approach high quality albums. I worked with them for about ten intense months until I decided to return to my Belgian roots and expand my work at Kompass Klub.\"


What are you working on right now?

\"90% of my available time is spent on Nachtschaduw, the other 10% I invest in Dark Entities. This is a experimental project where I work together with Malika Maria At Work. We merge photography and videography during our high-end photoshoots on different locations with inexperienced models. We focus on combining erotic art and fashion, but we also want to portray the inner darkness in people. We want to shock and remove boundaries on topics such as LGBTQ, bdsm, bondage, drag, pornography, ... The photos will be used for an exposition in the future, the videos will be shown during one of her live VJ-sessions. I’m really excited about this project as our ultimate goal is to be published in an x-rated Berlin magazine called Pornceptual. Dark Entities both gives us the freedom to experiment with our own boundaries, but also to play with the boundaries of the subjects we work with. Besides this we have the possibility to determine our own art direction and develop our own visual style.

Besides Dark Entities, I’m currently negotiating with a few partners to start organizing my own parties. I have a concept in mind, but I can’t announce the details yet as we want to keep things secret for now. More information will be shared on my social channels in the near future. Parallel with my own nightlife concept would be an exposition featuring some of my best work.

Last but not least, I’m also experimenting with a vinyl-only project. I’m constantly surrounded by sound and I feel that music can be an extra way for me to express myself. I’ve been collecting unique techno and industrial records for a few months now. I’m not looking for a professional career as a DJ, but to be able to express myself beyond the visual spectrum, once in awhile, would be really nice.\"

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What are your plans for next year? How will you try to get your third award?

\"I have a lot of Kompass events on my planning and together with my booking agents and team, we’re currently working on my itinerary for the 2019 festival season. I’m hoping to do a few more international festivals next summer and to return to the festivals and clubs I’ve worked at past summer. I’m also hoping to do some more editorial work in 2019. But we’ll see what time brings. In the meantime, I’m simply planning to just keep on being myself, enjoy what I do and surprise everyone with beautiful photographs taken in legendary clubs in belgium and beyond.\"

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With a buzzing show in the iconic Flagey building in Brussels, the eighth edition of the Red Bull Elektropedia Awards was one for the history books. A whopping 31.884 electronic music fans casted their votes - a new record - and decided who took home the coveted laurels in 21 categories. The ever-smiling pop sensation Angèle topped a truly massive year with no less than 3 admirable first places: Artist Of The Year, Best Song (with ‘Je Veux Tes Yeux’) and Breakthrough Artist/DJ/Producer. Her brother Roméo Elvis - with Le Motel ofcourse - took the gold in Best Live Act. Another Brussels icon, Damso, triumphed in the Best Album category for his hugely popular ‘Lithopedion’. In the DJ Top 100, the first spot was reclaimed by 2manydjs after they last topped the list in 2015. Techno ambassadors Charlotte de Witte and Amelie Lens landed on the second and third place respectively. Traditionally, the stakes are high in the Club Top 30. After a countdown that felt like an eternity, Ghent’s beloved Kompass came out on top. This at the expense of Brussels’ own C12 and Fuse. The former of these two did take the first spot in the Best Breakthrough Party/Festival/Club category.

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Just like in 2016, the globetrotting Lefto got rewarded for his weekly show at Studio Brussel in the Best Radio category. The house and disco lads from Vice City prevailed as Best Party, while the Ghent crew from All Eyes On Hip Hop did the same in the Best Really Big Party division. For the second time in a row, Nachtschaduw claimed the top spot as Best Nightlife photographer. Dour Festival doubled up on that feat: they took away the gold medal in the Best Festival category for a fourth time in a row, ahead of Tomorrowland and Couleur Café.

The Chase Award is reserved for the best urban act on the verge of a breakthrough. The voters decided that Blu Samu deserves her time in the spotlights, with Glints and Moka Boka following closely as second and third. After winning last year’s Best Label, Soulwax’ DEEWEE had to make peace with a runners-up position, making way for Top Notch Belgium’s very first award. Our colleagues at Vice Belgium pulled the same trick in the Best Media division. Meanwhile, Roméo Elvis’ companion Le Motel excelled in the Best Producer league.

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Stromae’s music videos have won several Awards in the past - and this year, the pop star is victorious once again with the video for ‘Défiler’, made by Luc Junior Tam and Sascha Wiernik. Guillaume Kayacan’s design for JeanJass & Caballero’s ‘Double Hélice 3’ claimed the Marc Meulemans Award for best artwork, while Danga’s reshuffle of Kendrick Lamar’s ‘Big Shot’ struck gold as Best Remix.

Two weeks ago, we already announced Susobrino, Cellini and Sylvie Kreusch as this year’s Most Promising Artist. Tonight, they were invited to collect their awards on stage. The charming Sylvie Kreusch delivered with a thunderous live performance. Last but not least, the Lifetime Achievement Awards applaud some of the very best contributors to the Belgian nightlife scene over the past decades. Thierry Coppens, instigator of the incredibly long-running La Demence parties and co-founder of Fuse was praised for his rich career, just like  Bart and Yves De Kegel, the two brothers behind Decadance - the legendary Ghent nightlife institution that had to close its doors the other week.    

Visit this link to scroll through the full list of RBEA18 results.

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