The devastating explosion that shook Beirut yesterday has “virtually wiped out” out the city’s nightclub district.
The Lebanese capital suffered a major blow on Tuesday, due to a huge ammonium nitrate explosion which left 5,000 people injured 135 dead. In addition, dozens of buildings, including shops, restaurants and other businesses, were severely damaged.
According to local reports, the blast hit dangerously close to the nightclub district, affecting nearby venues including The Gärten, The Ballroom Blitz, The Grand Factory, AHM and B018. Many of which have exposed the city to dance music.
Martin Chulov, an on-site journalist for The Guardian, revealed “whole nightclub district [has been] virtually wiped out.”
The Ballroom Blitz Moe Choucair explained to Mixmag: “We’ve stopped thinking as a club and started thinking as a team of individuals pooling ideas to try and help in the most efficient way we can think of. Our establishment is the least of our concern right now because of the huge impact and urgency to react to this catastrophe.”
This article was first published on Your EDM. Source: Beirut’s Nightclub District “Virtually Wiped Out” By Yesterday’s Explosion
The explosion that tore through Beirut’s port area on Tuesday, claiming more than 100 lives and wounding thousands, also reportedly destroyed the Lebanese capital’s nightclub district in its entirety.
A harrowing account of the devastation came from Guardian journalist Martin Chulov, who walked through the streets of the east Beirut suburbs towards the port. A warehouse at the port stored 2,700 tons of ammonium nitrate that was linked to the blast. Dozens of buildings were severely damaged and the area was left in “apocalyptic ruin,” Chulov wrote.
“A whole nightclub district was virtually wiped out,” he wrote. “Weeks of sustained artillery shelling had not caused the same amount of ruin, even during the peak of the civil war.”Iconic Nightclubs
Among the scores of nightclubs and bars that were situated near the location of the blast were The Ballroom Blitz, B018, AHM, The Gärten, and The Grand Factory.
The Ballroom Blitz’s co-founder Moe Choucair told Mixmag on Wednesday that “the nightclub district is indeed all along the port but the damage means nothing to our team in comparison to the apocalyptic disaster our country went through.”
It is loss not only for the people of Beirut, but for the global dance music community. A good number of the venues were the reason that dance music gained a presence and popularity in Lebanon’s capital. The Ballroom Blitz operated a “dynamic, transformative and diverse space,” Mixmag reported. Meanwhile, The Gärten was one of the first venues with a legitimate underground dance floor and table service.
B108, a war bunker nightclub established in 1998, was Beirut’s most famous underground nightclub and became an “iconic piece of Lebanon’s nightlife,” according to The961. Beirut “has long been home to the most epic nightlife in the region,” according to the outlet. Even Dubai began welcoming Lebanese nightclubs.
Beirut also was set to host an edition of Creamfields in 2013 before it was canceled due to security reasons.
The city suffered $3 billion to $5 billion in damages, Beirut’s Governor Marwan Abboud estimated. Rebuilding is not going to be easy, as the capital was experiencing an economic implosion prior to the blast. With nightclubs categorized as non-essential, their resurgence in will likely be difficult, if possible.
Every building even 4 kilometers away from the site of the explosion had windows blown out.
“We’re cursed,” a man in his early 20s with a glass cut told Chulov. “Even if this was an accident, it’s the last thing we could afford.”
Ways to help Beirut can be found here.
The post Beirut’s Epic Nightclubs ‘Virtually Wiped Out’ By Explosion appeared first on EDMTunes.
Drezza is a name you might not be familiar with, but he’s been putting out consistent fire recently. Today, he just dropped his latest remix for “Milky Way” by StarMonster, a space bass explosion if there ever was one.
Recently making waves with a few big releases on Wakaan, Circus, and Scapegoat Records, Drezza has adopted a super heavy, super wonky style of bass music that lends itself to creativity, intensity, and originality. This remix is no different, with plenty of spacey arpeggios and a deep, resonant bass that will make your skull ache… in a good way.
Check out Drezza’s remix of “Milky Way” below now!
This article was first published on Your EDM. Source: Your EDM Premiere: StarMonster – Milky Way [Drezza Remix]
Today, Facebook-owned Instagram released its new service, Reels, in the United States and dozens of other countries. Designed to be a TikTok killer, the app lets users make and watch short-form videos — just like TikTok.
In light of President Trump’s insistence toward a TikTok ban in the US (and despite Microsoft’s attempt to purchase the US arm of TikTok to avoid that), Instagram’s product chief, Vishal Shah, says the timing of the launch is coincidental. He also denied directly copying TikTok, stating “[it] did not invent the short-form video market.”
“Inspiration for products comes from everywhere,” he said. “We’ve been very clear in products in the past that were inspired by other companies, too.”
As Washington Post points out, “Instagram and its parent, Facebook, have a long history of successfully remaking products introduced by others, tweaking them and releasing them to great popularity. Facebook’s On This Day feature is reminiscent of one first launched by TimeHop. The company’s Messenger Rooms video chat feels like a cross of Zoom and HouseParty. Most notably, Instagram Stories debuted in 2016 as a virtual mirror of rival Snapchat’s stories feature.”
Reels’ direct connection to Instagram and the larger Facebook ecosystem could give it a major leg up on TikTok since users don’t have to grow an entirely new social media channel from scratch. Though, diversification is still always key.
You can read all about Reels and how to use it on Instagram’s blog here.
This article was first published on Your EDM. Source: Facebook Officially Launches TikTok Killer ‘Reels’ On Instagram
Although Creamfields is unable to take place in its routine, in-person format at the end of August, the UK festival revealed that a virtual substitute would be held across part of its original dates. Recruiting a tally of nearly 40 headliners for the August 29 – 30 digital event, Creamfields coordinators have officially revealed the lineup for the online alternative. The virtual affair will see coordinators dive into the Creamfields set library for a weekend of nostalgia, featuring live sets from previous years and never-before-seen footage.
Past appearances from Hardwell, Axwell Λ Ingrosso, Carl Cox, deadmau5, Armin van Buuren, Tchami, Tiësto, and Jamie Jones back-to-back Green Velvet back-to-back Patrick Topping, among countless others, comprise the two-day schedule. Organizers have yet to disclose from which year of the festival each performance will derive, but Creamfields has unsurprisingly delivered a star-studded roster as the countdown to the UK’s bank holiday weekend continues. Creamfields will additionally collect donations during the event for Mind Charity, a mental health awareness organization.
— Creamfields (@Creamfields) August 5, 2020
Featured image: Creamfields
The owners of the Liberty Belle have been arrested for violating New York City's social distancing provisions and ban on large gatherings.
The owners of the Liberty Belle, a boat that hosted an illicit nautical party on August 2nd, 2020, have been arrested for violating New York City's social distancing provisions and ban on large gatherings in light of COVID-19.
Following a tip-off to police, the "floating nightclub," a four-level, 600-capacity vessel which contained 172 partygoers, was seized roughly two hours after it embarked from Pier 36 in Lower Manhattan.
The boat’s owners, Ronny Vargas and Alex Suazo, have been arrested for organizing the illegal event and running a bar without a liquor license. "I want the business in New York to do well,” said Gale A. Brewer, the Manhattan borough president, in a quote provided to the New York Times. "But you have to follow the rules in terms of safety and health." Brewer had alerted police after receiving a complaint about the boat from local residents.
You can view photos of the unauthorized party below.
The news of Vargas and Suazo's arrests arrives as the state of New York continues its stringent crackdown on illicit raves and large gatherings. One day prior to the Liberty Belle event, an illegal rave took place under Brooklyn's Kosciuszko Bridge in which social distancing ordinances were largely ignored.
In late July, New York Governor Andrew Cuomo announced that the state's Department of Health would conduct an investigation into "Safe & Sound," a concert in the Hamptons headlined by The Chainsmokers that was ubiquitously panned for its purported lack of social distancing enforcement after its initial promotion as a drive-in event. "We have no tolerance for the illegal & reckless endangerment of public health," Cuomo said.
Over the past few weeks, electronic artists have celebrated the musical contributions of black artists by compiling ORBIT: AMPLIFY playlists. The playlists have succinctly spotlit productions from black artists and artists of color that have influenced these artists’ careers, and on a simpler level, kept them moving and grooving.
Following respective ORBIT: AMPLIFY playlists from Cuppy, CeCe Rogers, Martin Badder, Loud Luxury, Akira Akira, Anabel Englund, Brando, and Major Lazer‘s Walshy Fire, Whethan curates Dancing Astronaut’s ORBIT: AMPLIFY Playlist for the week of August 3. Speaking on his hand-selected collection of cuts, Whethan said,
“This is a collection of songs that I’ve curated to showcase some of my favorite black artists. Some of the songs are newer, and some are songs that first inspired me to try to make my own music. Kanye was a really important artist to include because he helped me discover dance music through his song ‘Stronger.’ I owe so much of my inspiration to black artists and this playlist is a small taste of some of the artists who inspire me.”
Among Kanye‘s “Good Life” is an expanse of music from musicians such as Toro y Moi, Playboi Carti, Channel Tres, Travis Scott, Thundercat, and Frank Ocean. The diverse assortion also features originals from Tyler, The Creator, and Earth, Wind & Fire, among other artists.
Make no mistake—dance music is born from black culture. Without black creators, innovators, selectors, and communities, the electronic dance music we hold so dear would simply not exist. In short, dance music is deeply indebted to the global black community and we need to be doing more. Black artists and artists of color have played a profound role in shaping the sound and culture of dance music and now more than ever, it is necessary for everyone in the music community to stand up for the people that have given us so much. Dancing Astronaut pledges to make every effort to be a better ally, a stronger resource, and a more accountable member of the global dance music community. Black Lives Matter—get involved here:
ZHU‘s majestic performance from Virtual Lollapalooza 2020 just hit the internet — and it’s hands down one of the best things we’ve witnessed throughout quarantine.
Live from the Coral Pink Sand Dunes in Utah, ZHU ditches flashy visuals and stage design for a serene landscape. The live set, known as ZHU presents Coral.PINK, is 50 min of straight up desert soul.
In this moment, in this setting, songs like “Desert Woman” and “Desire” with Bob Moses sound so right. ZHU also works in a couple of IDs and tops off the performance with an outstanding cover of JAY-Z & Kanye West’s Watch The Throne cut, “No Church In The Wild” featuring Frank Ocean.
Days before the live set, ZHU shared via social media, “desert always provides for the music.” Playing this back, it’s hard to disagree.
Nobody does it quite like ZHU — watch, and be amazed.ZHU presents Coral.PINK (Virtual Lollapalooza 2020)
This article was first published on Your EDM. Source: ZHU presents Coral.PINK for Virtual Lollapalooza 2020 [MUST WATCH]
Stream Tomorrowland Around The World sets from Armin van Buuren, Afrojack, and more.
Starting today, August 5th, 2020, Apple Music subscribers can listen to DJ sets from the first-ever (and hopefully last) digital version of the venerated Belgian festival, which amassed a staggering 1 million viewers. Tomorrowland organizers erected 4 elaborate green screen studios for its performers in Belgium (Boom), the US (Los Angeles), Brazil (São Paulo), and Australia (Sydney), which were fitted with a cutting edge DJ booth and a centrifuge of polychromatic LEDs.
Apple Music subscribers can now immerse themselves in full Tomorrowland DJ sets Charlotte De Witte, Tiësto's alias VER:WEST, Amelie Lens, Dimitri Vegas & Like Mike, David Guetta's alias Jack Back, Robin Schulz, Gryffin, Lost Frequencies, Alan Walker, Claptone, Armin Van Buuren, NGHTMRE, Oliver Heldens, NERVO, Yellow Claw, Afrojack, Steve Aoki, and many more.
You can stream the DJ sets on Apple Music here.
In the previous weeks, Florida has shown some of the highest coronavirus cases in the country. While recent testing shows a drop in daily cases, Orlando Mayor Buddy Dyer suggested that bars would not reopen until there is a vaccine. Back in June, bars were ordered to temporarily stop service until further notice. As a result, many owners are struggling to make it financially. Some establishments have not been so fortunate and were forced to shut down for good.
“So I just don’t know how, until probably we have a vaccine, I’m not sure how we bring the bars back.”
The closure of bars has not only effected customers but also employees trying to pay bills. While the decision was made for the health and safety of all, business owners are frustrated. Aaron Dudek, owner of several establishments told WFTV Orlando that, “If the bars aren’t in downtown Orlando, there’s nothing happening”. Dudek stated that without bars, there’s nothing else to do. Dudek did agree with Mayor Dyer that bars should at least remain closed until cases decrease.
Back in June, Florida’s Department of Business and Professional Regulation (DBPR), set up a web page for anyone to report concerns regarding establishments breaking health guidelines. People were able to submit their concerns anonymously and the DBPR would investigate. Altogether, several establishments were given warnings while some were falsely accused of violating certain rules. In all, it’s reported that every business who received a warning, did make the right changes.Agree or Disagree?
Waiting months for bars to reopen would be catastrophic to business owners, along with the entertainment industry in the area. It’s very likely that we would see even more establishments shut down for good. Unfortunately, no one really knows how long it will take everyone to receive a vaccine once it’s available. Let us know if you agree with Mayor Dyer and think bars should hold off on reopening until a vaccine is here.
The post Florida Mayor Suggests Bars Remain Closed Until Vaccine appeared first on EDMTunes.
"Nothing can replace the euphoric feeling of live entertainment."
This is an opinion column. The thoughts and viewpoints expressed are those of the author, Gabriel Mattachione. Mattachione is the president of Beyond Oz Productions.
Earlier this year, what feels like a lifetime ago, the entire event space experienced an armageddon-type situation with COVID-19, one which hurt the scene, but impacted festivals, organizations, and groups differently. Running Ever After Music Festival in Kitchener, ON, we experienced things through an independent lens.What does it mean to be an independent festival?
Being an independent festival is both creatively satisfying and corporately frustrating. The independence you carry when choosing not to involve big corporations or blockbuster sponsors is what can give life to an event or festival. It allows us as organizers to truly listen to fan feedback and make changes however minor or major so the festival can be more enjoyable for its fanbase.
When corporations or money shelling sponsors begin to try monetizing their investments into a product, the flexibility to react gets taken away from us. This is the beautiful part about being independent—we can make our festivals and events whatever the people want them to be. Didn’t like something? We as a team can listen to these concerns and make the appropriate adjustments for the following year, ultimately giving everyone something to look forward to.
The frustrations occur when unforeseen circumstances come into play. We do not have the backing of corporations that can help us adjust through these circumstances. A sponsor can be looked at as a backstop, an "out" if you will. With these products, ticket money is no longer a lifeline but solely a silo of revenue, whether that revenue is enough to carry you to the event or not. As an independent, that ticket money is what makes the festival feasible and possible. It is what allows us to continue to do what we do and love, and that’s producing amazing events with creative freedom.
When large sponsors are involved, the festival can quickly turn into a by-product of something that said sponsor can monetize throughout the year from obtaining your information through ticket purchase or buying patterns while on the grounds. Essentially, while you’re having the time of your life, the festival is a living, breathing billboard that is learning your habits to sell you something at a later date. Choosing not to go this route is a difficult decision for a promoter to make, but it is one that should show how much they value their customers and their wants and needs.
Now let’s not confuse having product sponsors and one of these product sponsors being a major funding factor. Ever After, for example, allows sponsors, though none to the tune of controlling how the event is operated or showcased. The downfall of this is less monetary gain from the deal itself, yet the upside is complete freedom and the ability to bring our vision to life.How has COVID-19 directly impacted independent festivals?
When something like COVID-19 happens—a completely unforeseen pandemic that almost feels as if it hit not only the industry but also the entire world overnight—it greatly affects how independent festivals can react to these circumstances and limits viable options for resolution.
Blanket refunds are something we would have loved to have been able to offer our ticket buyers, however, given our independent status, the ticket money becomes your cash flow, the thing that secures artists, production equipment, venue space, and so many of the things that create what your experience will be, come the dates of the festival. The scenario we have with COVID-19 is what can be defined as an unforeseen circumstance, which does not allow us to offer these blanket refunds, as the funds must be used throughout the campaign and planning process. In what may seem like a perfect world, no one would receive a deposit or payment until the festival is over and reconciled. This way, the ticket money is always protected whether something dramatic happens or not, right? The problem with this model is that it opens the doors for tremendous fraud potential and the possibility of the event never actually happening, or never even intending to happen.
So, how does an independent festival deal with the circumstances at hand? For one, we must be creative and carefully take all aspects into consideration. First and foremost, a loyal and understanding audience and fanbase gives independent promoters and festivals a one-step advantage when attempting to navigate these situations. This is where Ever After’s repurposing option was born, giving patrons that no longer wanted to attend a valid option at obtaining their money back.
We use our marketing efforts and dollars to promote and facilitate the resale of your ticket. Though this may not be a perfect solution, it is the only solution we have at the moment. In what we once called normal times, we would never do this once a ticket is purchased, but under the current world climate, we knew we had to think of something that we could provide our fans. We also provided the options of perks for those who wanted to roll their ticket over into two of the following years in attempts to encourage the ticket holders to stand by us and support us through these difficult times. In the end, those who choose to keep their tickets will get the experience they paid for.What does the future of industry life look like, and how will things change?
Things will inevitably change, and we are preparing for it. Though hard to accept, we know that we must shift with the times to bring Ever After to life in 2021. A closer look at the health and safety guidelines is something all promoters are prepared for. What this means, no one truly knows yet, but we need to come together to establish some common ground to ensure we keep attendees healthy and happy.
I believe this pandemic does allow some positive change to the industry as well, specifically within the promoter, artist, and agent relationship. In the old festival climate, there was no real onus on the artists to make sure the festival succeeded. The objective was for agents to get the best possible billing for the most amount of reward. This sometimes caused bidding wars between promoters, which created more of a distraction than a positive impact in the industry. I believe COVID-19 has shown not only the agencies, but also the artists themselves how important promoters and venues truly are to their personal successes. So, sharing some of this risk and truly diving deep into the promotions of every bill they are paid to be on is something we can’t wait to see take shape. It makes our already amazing teams that much more amazing when you have every artist on your bill rowing in the same direction you are going over and above to ensure there is success in every edition, whether big or small.How does social distancing impact festival life?
Social distancing has been an imperative function in the fight against COVID-19, but how does this look at a festival, and is this even possible? Our job as promoters is (or was) to bring as many people as possible together in one space to create unimaginable energy and an unforgettable experience. This is inherently the opposite of social distancing. So again, can this work?
I believe the true answer will come down to what the patrons will deem acceptable. Part of the festival experience is being able to interact and socialize with new people, all while making new friends, and I am not sure that will be possible with social distancing rules. I believe there is going to have to be a lot of collaborative work between not only promoters and city stakeholders, but also with the fans as well. Through this, I know our industry can come to a conclusive middle ground that cities and fans can be happy with.How do virtual events factor into the scene moving forward?
Virtual events served as a great band-aid in the beginning, but can they really be a substitute for live events? My answer is definitely not. There are important aspects of live events you just cannot get through a screen, no matter how amazing your at-home tech may be. The interaction, the energy, the feeling of walking through those gates, and just feeling at home with a bunch of other people who share the same general likes and interests you do—none of that lives through your screen in your living room. Nothing can replace the euphoric feeling of live entertainment.How will COVID affect the demand for the live event industry post-lockdown?
In many cases, I believe the demand won’t change much. I think what will change is the product offerings, which in turn may make promoters feel as though the demand increased. COVID-19 is a terrible thing that not only happened to mankind as a whole, but also to businesses. When you take away the ability for an organization to generate revenue in the short windows we do have, it can certainly cause a collapse.
I believe a lot of festivals and events, especially on the independent side, will not be able to survive. We’ve been left off of many relief plans, and obtaining any type of monetary assistance for an industry that is still so undefined post-COVID-19 is slim to none, as banks and lenders have no security or comfort with what the future could bring for their investment. Inevitably, the sad truth is that some will go bankrupt and some of these festivals we know and love won’t have the means to return. With fewer products and the same customer base, demand may feel as though it has increased.
In an interview with ITV conducted the week of August 3, Eavis addressed how restrictions on event capacity and other related limitations would affect how Glastonbury could operate for future iterations, but remained hopeful that the current impediments are just that—impediments, not permanent obstructions. Eavis said,
“I’m still hoping to be running [Glastonbury] next year and I’m going to be moving heaven and earth to make sure that we do, but that doesn’t mean it will necessarily happen. That is just wishful thinking really.”
Although this isn’t the news that fans were hoping for, Eavis also noted his earnest belief that the festival will persist despite current hardships, a shift from July’s chilling statement that Glastonbury might not make it through 2021. He added,
“I do not worry at all, I am so confident that it will survive. The only certainty I think is the year after, 2022, to be perfectly candid. We might have to wait two-years [to host the event].”
The cancellation of Glastonbury’s 50th Anniversary was a blow to would-be attendees from around the globe, but by hunkering down and following country, state, and county provisions, fans will be able to scratch that summer festival itch in no time.
Featured image: James Hines
KSHMR has been busy in 2020, releasing a number of singles and doing a couple live streams here and there. Now, it’s been revealed what he’s been working on during his (forced) time off from touring — a new alias called Dreamz.
In the teaser for the new alias, he calls it “a place for songs that reflect a different side of me.” The music still sounds KSHMR-ish but with a bit of a different vibe. It’s a bit tough to tell with just the short teaser he’s shared, but thankfully, we get the first single from the new project this Friday, August 7.
Check out the teaser below and stay tuned for Friday!View this post on Instagram
A post shared by ᏦᏚᎻᎷᎡ (@kshmr) on Aug 4, 2020 at 1:34pm PDT
Photo via Rukes.com
They also shared one of the project's remixes from MadReckless.
Excision and Wooli released their collaborative Evolution EP back in September 2019, dropping a 4-track bass bomb on their loyal fanbases. The record tied a bow on months of anticipation following the record's teasing in many of their live shows.
The dubstep dynamos have now announced a remix pack for Evolution, and Excision took to Instagram to rhapsodize about the project. "Headbangers! [Wooli] & I are dropping Evolution EP: The Remixes on Aug 18th!!" he wrote.
The bundle, which is slated for an August 18th release, features two free bonus reworks in addition to the currently unannounced official remixes. One of those free downloads, a screeching dubstep rendition of Evolution cut "Lockdown" by young gun MadReckless, was unveiled yesterday. Excision and Wooli fans may recognize the explosive edit from the former's "Evolution" tour.
You can listen to the MadReckless remix of "Lockdown" below ahead of the release of the full remix pack.View the original article to see embedded media.FOLLOW EXCISION:
Tchami, the French producer whose name has become synonymous with the future house subgenre, lends his trademark rhythmic, pounding bass line to Justin Martin‘s “Stay.” While the wait ensues for his debut album, YEAR ZERO, Tchami is relaunching his remix efforts with an echoing, hypnotic take on the original.
Notably, the rework holds true to Martin’s characteristic emphasis on a prominent bass line. In both iterations of the track, lilting, sylphine vocals from singer Dalilah materialize, blending with the instrumentation so seamlessly that it’s difficult to pinpoint where the bass line ends and the vocals begin. Originally issued in April, “Stay” is Martin’s second-ever release from his newly-established What to Do imprint.
Stream “Stay (Tchami Remix)” below.
Featured image: Rukes
Lebanese authorities have declared Beirut a "disaster city."
Following the devastating explosion in Lebanon's capital yesterday, August 4th, Lebanese authorities declared Beirut a "disaster city" as the death roll rose to 113.
Lebanon's prime minister revealed that an investigation has been launched into the cause of the blast, which is most likely due to an estimated 2,750 metric tons of explosive ammonium nitrate stored at a Beirut warehouse. The Guardian journalist Martin Chulov, who was reporting at the scene of the explosion, stated that the "whole nightclub district [was] virtually wiped out."
According to Mixmag, a bevy of nightclubs and music venues were located close to the site of the explosion, including The Gärten, The Ballroom Blitz, The Grand Factory, AHM, and B018, among others. Moe Choucair, co-founder of The Ballroom Blitz, told Mixmag, "The nightclub district is indeed all along the port but the damage means nothing to our team in comparison to the apocalyptic disaster our country went through."
Lebanese authorities have placed numerous Beirut port officials, who were responsible for storage and security, under house arrest in connection to the deadly blast.
You can find a list of relief initiatives here.
CBS News obtained a video of the moment the explosion took place, which you can watch below.
"Covid-19 has been a massive kick in the teeth for everyone."
Citing the impact of COVID-19, the operators of fabled Liverpool venue Zanzibar have announced its impending permanent closure.
"Covid-19 has been a massive kick in the teeth for everyone," said Scott Burgess, director of Zanzibar, in a statement shared on Facebook. "There has been a tragic amount of lost lives. Peoples hopes, dreams and livelihoods completely destroyed."
Zanzibar has been a staple of Liverpool's live music for over 30 years and was a local favorite for its patented club nights, such as "The Bandwagon" and "Valhalla." Many iconic musicians have graced the venue's stage, including Oasis frontman Noel Gallagher, who recently tweeted that the UK live music industry "needs urgent support."
"The entertainment and music industry has had the roughest ride of all," Burgess continued. "With business restrictions and lack of proper guidance, music venues will be among the last ones to reopen. The Zanzibar Club has been a true survivor over the past 30 years, but with the current climate of uncertainty and the probability of remaining closed for a year, we have had to make the heart-breaking decision to permanently close our venue.
With very limited time left on our lease and too many years of wear and tear on our building structure puts us in a financially unattainable position to reopen."
You can read Burgess' statement in full in below.View the original article to see embedded media.
When the performative reigns rest in ZHU‘s hands, transfixion is sure to ensure. The storied producer, never one to disappoint when it comes to live mystique, was one of the main attractions of Lollapalooza‘s recent virtual replacement, Lolla2020. Those who tuned in wouldn’t find ZHU throwing down from his living room or another space in his home. In line with his highly-stylized live approach, ZHU gathered his saxophonist and guitarist and set up shop in the California sand dunes. In a desolate yet placid setting, the three-piece outfit played ZHU’s live Lolla2020 set, and now, the endeavor is available to relive or experience anew.
Dubbed “Coral.PINK,” the appearance features live instrumental renditions of several of ZHU’s staples, including his recent collaboration with Bob Moses, “Desire,” and the crowd-celebrated “Desert Woman,” of 2018’s RINGOS DESERT. Assuredly and unsurprisingly ambient, the performance can be streamed in full below.
Featured image: ZHU/Instagram