That’s right folks, the industry revolution we’ve been hinting at here for months has arrived and launched at the start-up mecca, DEMOfall08. While we’re sure to have more detailed posts from MMM leaders Gavroche and others over the next few days, take a look at what CNET is saying now about this new and exciting music collaboration site.
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Doomtree
For anyone who hasn’t heard of Doomtree, they bring a variety of MCs and DJs to the table in what has become a comfortable and exciting collaboration of individuals exploring how to produce and expand new hip-hop while pulling from other musical genres and multiple rapping styles. Doomtree demonstrates the potential that is created when numerous artists, most from seemingly disparate backgrounds, get together to create something new and different. Last week I had the opportunity to chat with P.O.S. and Mike Mictlan of Doomtree about their style, the idea behind the group, and of course politics. Enjoy.
AC: Hey, this is POS and Mike on the line?
POS: Yea.
MM: This is Mike.
AC: How you guys doing? Where you at today?
POS: Minneapolis, 32nd right off of Hennepin
MM: Minneapolis, Minnesota, Park and Franklin.
AC: What’s the general hip-hop scene like in Minnesota? People are starting to hear the name Doomtree and before that Atmosphere was real big. What are some other artists?
POS: For the most part, as far as hip-hop, it’s very diverse and large scene aside from Atmosphere and Doomtree, we’ve got Brother Ali, Self Divine, Kill the Vultures on some avant hip-hop, it can go on and on. It’s one of those cities that no matter where you’re at, any night of the week you can find a hip-hop show, and chances are three out of four will be decent. What do you think Mike?
MM: I could go on and on with that list. I’ve got a lot of favorite rappers out here, the scene is very thick in terms of hip-hop and music in general. Not only can you find hip-hop three nights a week, but you can find a lot of genres.
POS: Any number of punk rock, metal, hardcore, indie rock, pop, anything you’re looking for.
AC: You guys are obviously MCs, but there’s a lot of other musical genres and tastes that you bring into it. Talk a bit about your influences and what kind of musical backgrounds you both have.
MM: I’ve chosen rap my designated favorite style of music since I was 4 years old. Aside from rapping on an independent rap label, I’m a connoisseur of gangsta rap and various other hip-hop genres. In terms of doing actual music, right now I just rap my ass off.
POS: As far as me, I came up more interested in punk and hardcore from a very young age, as soon as I heard it, that’s what grabbed my attention because of the energy of it. And then as I grew up I got more into the experimental areas of that stuff, like the Fugazis, as well as underground hip-hop, all the old Rhymesayers stuff. I currently make hip-hop and play guitar and sing in a hardcore band, not really hardcore anymore, but it’s something off the wall called Building Better Bombs, it’s like a dancey, hardcore screamy mess.
AC: What kind of things do you do in order to get ready for these very different shows? Between your more punk and hardcore shows, and then coming in to do a hip-hop show with Doomtree, do you use different methods of preparation?
POS: Not at all. It’s all the same to me. It’s different songs and setting, and hip-hop shows tend to have more people at them, but I’ve been making music since I was real young, and it’s always been about getting a chance to go out and perform it and have a good time, it’s one of my favorite things to do. Preparation is about the same for both, it’s just wait until you get to go do it, and then go do it.
AC: In terms of the group Doomtree, where did the name come from and how did you guys form up?
MM: I don’t think any of us really know where it came from.
POS: It was some non-sensical banter. Sometimes you get something stuck in your head and say it, and then when we were tossing around names for an early stage of it, it was just a production crew called Doomtree. Then that blossomed as we started playing more rap shows. How it came together was me, MK Larada, Bobby Gorgeous and Cecil Otter started doing some shows that I had booked, solo shows. Cecil would come out and do my back ups. He had songs, but he was nervous, but then as he got less nervous we started splitting the sets in half. Sam was somebody we went to high school with, Mike we met in high school, and from there it snowballed into a nice solid crew that we all felt good around.
MM: I met Stef (P.O.S.) when I was in high school, we’ve been wanting to rap together ever since…Doomtree’s a monster.
AC: Obviously we have you two on the line, but you’ve just dropped a lot of names for a lot of people in Doomtree, so for the people who don’t know the crew out there, why don’t you talk a little bit about what the other members bring to the table in terms of their styles and musical input, and how do they form the rest of the group?
MM: Well we’re talking about 9 people altogether.
POS: I don’t want to step on you Mike, but I just thought of a solid answer. It’s essentially 5 solo MCs, myself, Mike, Sims, Dessa, Cecil Otter and Turbo Nemesis is a DJ, Paper Tiger is a DJ and producer, MK Larada is a producer, Lazerbeak is a mega super producer. We essentially make solo songs, each bring our own style, I don’t want to go into everyone’s style, but everyone brings their own favorite elements of music into it and then we pile it on. Mike’s from LA, we all have our own sound, our own individual styles, and when we write songs together we try to balance everything out to make sure everyone gets the proper shine, everyone gets the proper words in to round out the song as well as flex their own personal style, from solid pattern rapping to as poetic as people want to write.
AC: It sounds like you have a great collaboration and you just released your first album. Talk about the tracks on this album and what the listeners can expect to hear.
MM: This album is a long time coming. There isn’t really any filler. We just had a lot of straightforward rap. When I listen to it, I may be biased, it doesn’t sound like everything else, but it fits right in. It doesn’t sound like the new, it doesn’t sound like the old, but it fits somewhere in there, at least to me when I step outside it as a listenter. We all have a solo track on there, and the other 18 songs are all of us together with different styles. I think a lot of it is straightforward.
POS: I think straightforward to us is a little different. I definitely agree with Mike that we don’t sound like new, we don’t sound like old, but we mix right in. We all bring elements of what you expect to hear from hip-hop, but we all also bring out own little flair. I think that’s an accident, being in the Midwest, and kinda being outsiders in the Minneapolis hip-hop scene for a really long time, we ended up playing a lot of shows with a lot of bands, a lot of rock bands, catering to different crowds than rap crowds until we could actually get outselves put on, so I think over the years our style just kinda developed in that way. It’s not like excessively rock music by any means, but the rules are cast aside in terms of how it’s supposed to go, the roots are in raw pattern hip-hop, and trying to be the best possible rappers we can be without having to talk about rap all the time. If people haven’t heard any of us before and they pick up the Doomtree record, they could and they should expect to hear quality hip-hop production, quality raps varied over 5 entirely different sounding MCs with 5 entirely different styles, but it’s all stuff that you’re used to if you’re a fan of rap. If you’re not a fan of rap, the beats can get aggressive or melodic enough to where you’re in, just one of those things where we don’t put on any kind of face for anybody, we just go do it.
MM: And that’s exactly what I meant by straight up.
AC: How would you view the traditional music industry with major labels and CD distribution, and where it’s intersecting now and clashing in some cases with the mp3 and download industry.
POS: That’s something we kept in mind when we went into this record coming out. A lot of these songs were done and started being written 2 years ago, and then the others are brand new, mega fresh. But a lot of that came from trying to find the right people to help us with the right deal and right situation. We ended up talking to some smaller majors, some moderately bigger majors and some indies and we ultimately wanted it by ourselves and looked into who we could talk to to help us do that. We ended up going alone because we didn’t want to give up our digital rights, and people are offering these ancient deals that just don’t make sense anymore. It’s the kind of thing where the artist has more control over the product than ever in the history of music. That’s a double-edged sword because there’s tried and true ways of getting it done out there and getting paid for it, and then there’s this whole experimental new world that we’re kinda just launching ourselves into. So I don’t really know how the music business is supposed to go, but when people say that they can’t do it the way that we want to, we just say sorry we’re going to go do it this way now.
AC: In terms of not giving up your digital rights, you look at Radiohead and NIN who recently had very well publicized free releases and downloads of albums. Do you think it’s beneficial to give parts of your songs to fans in remix contest format? Do you agree with putting your music out there to let the fans interact with your music?
MM: I’m totally into that. Two people I know, their next project is acapellas and instrumentals for free downloads on their Myspace. What it’s really all about is getting your music out there. Especially with CD sales, all that we have left is touring, playing shows and selling merchandise if we’re ever going to make money. So in my eyes, I see using your CDs and music as a tool to get people to your shows and stay current to what you’re making. With the digital insurgence, if you will, we’re definitely at a point where we need to put as much music out as possible, so if that makes people remix it and get it out even more, that’s where it’s at.
AC: That’s demonstrated by the fact that before I heard about you through your PR company, I checked the “Dots and Dashes” track off Indiefeed Hip-Hop. What kind of touring are you doing and where can people look out for you coming up?
MM: After we put the crew record out on July 29th, one of the big reasons we didn’t go with any of the labels is that we wanted a very rigorous release schedule. With the finishing of our crew record, we had almost everybody finishing solo projects. On the 26th of August we had Cecil Otter drop his solo record. Me and Lazerbeak are putting out a collaboration out at the end of this month, September 23rd, and then we hope to have something coming from our camp at least every month until the summer. We just got off a tour with the Flobots, and I believe we’ll probably be going out with POS for his solo record coming out.
AC: You’re up in Minnesota right now and the Republican National Convention is taking place. What’s the atmosphere up there like, and where does Doomtree stand, if anywhere, politically?
MM: We’re all pretty incredibly liberal people.
POS: We’re on the left, like in the corner, talking to ourselves. The atmosphere out here is crazy. We’re in Minneapolis the conventions in St. Paul, but you can still see like 6 police helicopters flying over Minneapolis two days before.
MM: I’ve seen unmarked vans with the doors open with guys in SWAT gear just waiting to pull up, I thought it was a drive by.
POS: Today was the first day of the convention and there was a cop car that got destroyed and a bunch of people got maced. There’s 72 hour holding cells for people if you don’t have a permit to demonstrate. Seems like a total headache nightmare…I’ll probably head down there tomorrow.
MM: There was a raid the night before last. Like 150 people got arrested.
POS: They weren’t arrested…they just busted into peoples’ houses got information and left. It’s bad news bears, but it’s to be expected, it’s the Republican National Convention. They definitely took down anything that isn’t bolted down. They were knocking down stuff 6 miles out from where the convention is, taking down lightposts just in case.
AC: That’s all the questions I’ve got for you guys today. Do you two want to plug anything, talk about any albums coming out, go for it.
POS: I just want to pump Doomtree.net and myspace.com/doomtree. People can go there and figure out whatever’s going on without having to think, they can just go there and look.
AC: I certainly appreciate you taking the time to talking to us at Evolving Music today.
MM: I appreciate you having us.
POS: Thanks man.
For July’s update, click here.
So, while this post comes early September, make no mistake, this is the breakdown of the August playlists. It was a fine update, featuring 13 artists (not including Indiefeed Hip-Hop artists, thanks to Dirty Dutch, good look on the playing) from several continents and a slightly ridiculous 249 songs. That being said, a lot of the music was looking backwards, a hip-hop retrospective spurred by the stellar line-up unleashed at Rock the Bells at Shoreline. So I’m not going to break down old favorites like De La Soul, Nas and Rakim other than to say if the names sound new to you or you haven’t heard the old albums, it’s time to do some crate digging. This update did some traveling in both time and distance, but also had some brand new things from right here at home. That being said, enjoy.
Amadou Balaké, Señor Ecléctico: This 2008 re-issue of this African born singer’s earlier work is a raw and beautiful collection of 70’s recordings displaying a wide range of musical styles and explorations. The album moves along at a very pleasant pace and features an undiluted exuberance and musical and vocal harmony fusing summery world music that can at times sound too pre-packaged in today’s world releases. Lilting guitars, solid horns, funky bass and solid drumming all share the stage. Some tribal, some soul, some funk and some reggae all permeate here in equal parts to make for a fantastic mixmatch of sounds that is often enhanced by the lo-fi quality. Don’t Sleep On: “Djeli Fama,” “Mousso Be Torola,” and “Kambele Ba.”
Black Kids, Partie Traumatic: If you haven’t heard of this group yet, you’ve missed this summer’s indie media darling. This Florida spun band featuring a brother and sister revels in the punk pop and retro synth movement with solid walls of guitar and a mixture of male and female leads. While they originated right here, they recorded and broke out across the pond and opened for another artist we dig over here, Cut Copy. While some of their pop tricks fit perfectly in songs that go great on repeat, others stretch to points of annoyance including a chant straight out of Wizard of Oz. All in all though, the album brings the mesh together and produces several dance and bursting with excitement tracks that have trouble staying contained in the speaker. Don’t Sleep On: “Hit the Heartbrakes,” “Hurricane Jane,” and the vibrant and danceable “I’m Not Gonna Teach Your Boyfriend How to Dance With You (The Twelves Remix).”
Buika, Niña de Fuego: The raspy voice of this Latin Jazz chantreuse takes on 13 tracks of various tempo and emotion, all to incredible results. Soft spoken bass parts, muted drums, delicate guitars and understated piano provide beautiful backdrops over which Buika’s voice soars, painting a variety of musically engaging pieces. Even though I can’t understand a word she’s saying, and therefore probably lose much of the poetry offered on this album, the range from smoky romantic tunes to unrestrained and energetic tracks aid a variety of places and moods. Don’t Sleep On: “Culpa Mia,” “Arboles de Agua,” and “Mentirosa.”
Cao Fang: While I only went for some singles from this Chinese pixie popster that made the leap into US consciousness on the back of a GE commercial, many people will go in for the full albums, of which she has two. Sharing our friend Scott’s enjoyment of the Melodica, Fang brings an airy and light voice to pleasant and soothing melodies. Don’t Sleep On: “Scarecrow in the City,” “Icy is a Gentlewoman,” and “Orange Juice.”
Hanggai, Introducing Hanggai: I first heard about this group reviving parts of Mongolian folk music and mixing it with rock and pop influences from Pitchfork. But while I got to read about them in July, for some reason iTunes didn’t have them for me until August….they were worth the wait. The use of throat singers, lute player and fiddle (horse-hair mind you!) creates an album that is at times a bit unaccessible for some, but at others an extremely enjoyable ride. Don’t Sleep On: “My Banjo and I,” “Flowers,” and the next big bar “Drinking Song.”
Murs and 9th Wonder, Sweet Lord: Little Brother alum and star in his own right 9th Wonder uses his signature soulful and retro hip-hop beats to collaborate once more with Murs of Living Legends. What’s more intriguing about this one is the tie to other Internet freebie releases from Radiohead and Nine Inch Nails, what was termed a gift to their fans. The album rips, Murs spitting incessantly over beats that never fail to engage. But don’t take my word for it. Go download it for free!
We’ve mentioned previously that there is an emerging trend of partnerships in the music industry, with bands and brands joining forces to explore new ways of reaching consumers and cultivating common passions. We witnessed more of this trend while attending the Virgin Mobile Festival in Baltimore. One attraction at the Virgin Festival that seemed to draw a ton of people in was the Dell Dome.
The dome is part of the Dell Summer Rocks tour. They are road tripping to all the summer’s hottest music festivals and the tent adds to the sensory experience of the weekend by offering a combination of technology, art and music for visitors to show off their individual style. Festival goers can meet urban artist Mike Ming, or personalize their own digital mix tape, rock ‘n’ roll hairstyle and airbrush tattoo. Also, media are invited to ask questions of any of the performers lined up for interviews inside the Dome. A pretty cool way of promoting the new (very colorful) studio laptops (check out their creative Towel Drop promo).
Dell is working with festival promoters to include the brand where it can be experienced by this passionate community of people who align themselves with a lifestyle of self expression. They are giving them an interactive experience. Here we see yet another trend that is hard to ignore: music fans are craving interaction with the music and musicians they like more and more. The days of sitting around listening to music passively are fading.
In addition to the hands-on experience Dell offers in their dome, they have been chatting with artists at the festivals and posting video interviews. As our readers know, we here at Evolving Music love interviews. The Dell Lounge interviews are a great way to get to know some up-and-coming artists and see them kickin back in a casual festival setting. As of today, the Dell Summer Rocks tour is halfway through their road trip.
Starting at Lollapalooza, they snagged interviews (check any of them out here) with the likes of Bang Camaro, Cadence Weapon, beautiful Swedish crooner Sofia Talvik, and The Whigs.
Click around in the Virgin interview section to hear from Soulwax (one of our favorites from the DJ tent), Taking Back Sunday, and Deadmau5 among others. I had never heard of Deadmau5 before Virgin, but am definitely a fan now.
Outside Lands, which was in our own backyard, of course had all the big headliners like Jack Johnson, Tom Petty, and Radiohead (who kicked ass but dealt with some unexpected technical difficulties) to please the masses. But let’s not forget about some of the lesser known acts that rock as well. Dell caught some of these kids on tape here. Don’t miss the Howlin Rain interview. It takes place during a ping pong game.
Lastly, check out the class=”xLink”Bumbershoot Festival interviews from Seattle here for a personal look at Tapes ‘n Tapes (they opened for the Black Keys, who we like, earlier this year), Shim, and many more. I like the dude from Shim with the crazy mutton chops. He’s goofy.
So there you have it. A personal look at some of the artists from this summer’s festival season and the interactive experience offered to festival goes in the Dell Summer Rocks tent. When it comes to the intersection of technology, art, and music, you know where it’s at: interaction, personalization, and self-expression.
It’s been a couple weeks but… it took that long to recoup. On 8/9/08 and 8/10/08 Virgin Mobile and the concert wizards of I.M.P. put on a mammoth music festival called the Virgin Mobile Festival in Baltimore, MD at Pimlico Race Track (home of The Preakness). MixMatchMusic was on site in full force to participate and add to the festivities. The lineup had a wide range of talent from different genres and generations of music. While traveling stage to stage, “v-festers” could run into a number of odd characters. Everything from circus freaks to wandering people dressed as trees and gnomes roamed the festival grounds ensuring an experience hard to forget.
photo by Kenneth Gary
photo by Kenneth Gary
photo by Kenneth Gary
photo by Kenneth Gary
photo by Kenneth Gary
Check out the line-up: HERE
LG‘s Recap: Saturday started off with some hefty chick rock. Cat Power, KT Tunstall and Duffy came in wailing their pipes and warming up the crowd. I heard really good things about Gogol Bordello. Very mad I missed that one. Apparently they put on an amazing live show. I was running around most of the day but caught Bloc Party. AWESOME! They sound great live and the singer was wearing a sweet t-shirt with King Koopa on it.
I made my way over through the crowd of mellow college kids, hippie chicks, and hippies in training to catch a great show by Citizen Cope. Just as I was in earshot, I caught the tail end of “Bullet and a Target” coming from the stage, and I knew the show was going to be one of the better ones I had seen. Cope, who hails from Philly, just a hop skip and a jump away from Baltimore, put on a great set, giving the crowd exactly what they were looking for… a charming stage presence and his greatest hits (predominantly from The Clarence Greenwood Recordings and his self-titled album). Some of my favorites included “All Dressed Up”, “Contact”, and “107 degrees”, but really it all was great. The crowd wailed as soon as girlfriend Alice Smith (back up singer) took center stage to sing one of her own tunes. The couple made a great duo on stage, and Cope left the stage with the crowd wanting more of their favorites which just never seem to run out.
photo by Kenneth Gary
I must admit, although a tough decision being that there were so many ridiculous bands on site, Stone Temple Pilots definitely won my vote as best band performance at Virgin Fest. We all made the Scott Weiland jokes before hand that he would probably pass out on stage on top of drummer Eric Kretz thus solidifying this as his last performance for certain. But in secret, we all really wished that it would be an amazing show…and our wish came true.
Weiland played to the audience’s every whim, feeding off the feigning crowd, giving us exactly what we were anxiously awaiting. Just as the opening chords of “Vaseline” struck, we all knew what the rest of the show was going to be, and for the next 45 minutes, nothing else mattered except for STP’s reunion.
All of the hits were played, predominantly from Core, including “Wicked Garden”, “Plush”, and “Sex Type Thing.” The crowd’s lips moved with every lyric, and we all rejoiced in what was one of the greatest flashbacks we all have had in a long time. Weiland’s bullhorn was in full effect, there was a wardrobe change that included white boots and many neck ties. Also, the old school ’90s STP logo that looks like it belongs on a gas station jacket was plastered on Eric’s bass drum. My rock fist pumped the air more than ever. They looked and sounded perfect… just like it was the ’90s again.
photo by Kenneth Gary
And just when we were feeling like we couldn’t get any more ’90s nostalgia in our veins (no pun intended on Scott) Nine Inch Nails slapped us across the face with their industrial electro rock opening of 999,999 and 1,000,000 and followed up strong with Letting You and Discipline.
Trent Reznor, one of the most reknowned ’90s frontmen, hit the stage running, and didn’t give it up for a second during the set. The 43 year old proved he was nothing less than a ’90s rock legend and fed the crowd hit singles mixed with computer-generated jam out sessions.
The background effects were mesmerizing to say the least, and helped create an intensity in the crowd that was unmatched by any other performer. Fists pumped the air like it was 1999, and mosh pits formed left and right. The performance ended the festival just as it should have…with heart throbbing music and big flashing lights.
The worst act all weekend was Lil’ Wayne. Basically, he sucked. First of all, he was 45 minutes late on stage. Second, he sucked. Third, he has no talent what-so-ever. Fourth, he sucked. Some bands that stuck out, didn’t suck and deserve recognition: Lupe Fiasco, Black Rebel Motor Cycle Club, The Go! Team, Soulwax, The Black Keys and of course… the slightly scary yet highly entertaining… Iggy and the Stooges. I conclude my recap with this tragically ridiculous photo. Iggy, rock on.
photo by Kenneth Gary
Gavroche‘s Recap: What a weekend this was! Between manning the MixMatchMusic tent and meeting the wonderful people of Bal’more, I managed to slip away to catch some of the music at Vfest. For me, there were several bands that clearly separated themselves from the clutter.
Nine Inch Nails killed. Frankly, I’m still thinking about it…it was that intense. Trent Reznors’ voice was prestine yet edgy, as he perfectly hit every note in his emo-soul-industrial sorta way. The instrumental parts were precise and experimentally layered (in the good way). Their performance was full of energy, regardless of whether the song was mellow or driving. And the visual production was better than anything I’ve ever seen – various layers of trippy screens and lights that matched the beat of the songs.
Next on my list is Soulwax. I was expecting to see a DJ set, as I know these guys primarily for their works as 2 Many DJs. But, out comes a full band in white tuxedos, with drums, bass, vocals, and plenty of fun little synths and effects. Their style is a dirtier, more industrial, daft punk. They had the entire DJ tent moving to their beats in this mid-afternoon dance party, including a bunch of 16 year olds jumping up and down (this made me feel real old). Later on that evening, Underworld took over the dance tent with their fast, hard, and ambient grooves. I had waited years to see them, and 4 computers, a singer, and trippy lights = me dancing.
Gogol Bordello was just as much of a party, in their own gypsy punk kinda way. Their violinist and accordian player brought a very eclectic sound, and the singer/guitar player is a total rock star. Wilco definitely did not disappoint, although I wish they’d played more from Yankee Hotel Foxtrot. Their chops were on and I felt like I was watching new classic rock.
LJ‘s Recap: This was my first time doing any crowd promotion and my first time behind the scenes at a concert. It was a trip to show up on Friday the 8th and see the entire race track being set up, and having free rein to wander where I pleased. We had planned our tech setup very well, so it went very quickly the next morning, and we were free to promote, and of course, see shows. LG and Gavroche covered plenty, so here’s my quick recap of what they missed: the Offspring was amazing – they played very little of their new stuff (always a good strategy IMO for bands with classic hits) and rocked the stage with their original stuff. Dexter’s voice still sounds awesome.
On Sunday, the day started with the “Book the Band” winner, Hollywood Undead. Usually “local” bands at concerts are underwhelming since they have little experience playing to large crowds and dealing with professional sound systems (in other words, they turn up all their instruments too loud so you can’t hear the singer). However, I was quite impressed – very ska-ish.
Next I went up close to see Paramore. Hayley Williams is really hot, and chick rock or no, I’m a huge fan of their music. The show was great, a lot of energy. They assumed people knew their lyrics a bit too much, but once they got past that, it went very well.
Taking Back Sunday, who is great on the radio, made that rookie sound system mistake I mentioned; their songs were harsh and you couldn’t understand the words – a shame. I did get a chance to meet the backup vocalist, Matt Fazzi, and handed him a business card – we’ll see if he wants to engage his fans in new ways over the internet :-).
One of the best non-music-related ideas I saw was the TRASHed recycling store. You brought them empty cans or bottles, and they gave you points towards schwag. Next year, they should have a trash store, where for every pound of trash you bring you get points too. There were kids running around cleaning up the concert all weekend.
All in all, it was an amazing weekend full of awesome shows and AMAZING weather.
Sandra‘s recap: As anyone who has been to a big, hot, dusty music festival before knows, there are a lot of factors other than the line-up that contribute to a successful event. One of my particular favorites at Virgin was the Oxygen Bar!
Other places to recharge included the many Kyocera tents which had such cool amenities as free massage, recharging of cell phones powered by stationary bikes, and one rain forest-like tent full of plants, mist, and showers. This was a very well put together event to say the least. There was even a half pipe.
Musically speaking, if I had to choose, the general vibe and ambiance of the DJ tent was my favorite. I think DJ Tony Z of NetMix captured the enthusiasm of the crowd and the electricity and magic in the air in there well in his photos below:
photo by Tony Zeoli
photo by Tony Zeoli
Large scale music festivals like this one reinforce how universal of a language music really is. The stunning diversity one comes across just walking from one stage to another proves that regardless of age, gender, ethnicity, income, culture, or style people can find common ground when it comes to sharing a love of music. And the planning, technology, and collaboration that go into (successfully) producing this kind of event are not to be sneezed at.
MixMatchMusic was thrilled to not only be able to attend Virgin, but also be a part of it.
