Sexual harassment in dance music: five women tell their story (DJ MAG)

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Ever since the revelations in Hollywood about film producer Harvey Weinstein, and the subsequent #MeToo stories of sexual misconduct, the dance music world has been waiting for tales from our scene to come to light. And it seems that there are plenty. The following accounts are from women in our scene who have been harassed, abused or bullied by men taking liberties — without their consent. Names have been kept out of the accounts for obvious reasons. A helpline has been launched specifically for the electronic dance music industry, details are at the bottom of the page…


“To be honest, it’s easier to come up with a time something sexist DIDN’T happen. There are so many instances I don’t know where to start really. As well as the big ones that are nasty and dangerous, there is the constant small ones. Like a sort of background noise that is always there. Being quizzed all the time. Being talked over. Pressure to be glam. As if how you look has anything to do with what comes out of the speakers.

“There are different types of pressures for different jobs in the industry. I think female agents and managers have to be, like, ten times more aggressive and hard than men, and some have told me it is horrible for them ‘cos it isn’t really how they are. Or want to work, ideally. And of course if you are tough and a woman you are a ‘bitch’ — and worse. But if it is a man you are just good at your job. Look at “I will bite you” manager. Bet he got a pat on the back for all that.

“I once arrived at a gig and it was one of the early days in my career of air travel being a novelty, so also a little scary in itself. We don’t all get minders and tour managers. You are a long way from home, arriving in the middle of the night. So I got through customs and the promoter is there and he is really standing out in, like, sunglasses at midnight, and you can see before he even opens his trap that he loves himself. Some people only interact with you in ‘come-on’ mode. This was one. From the get-go he is turning on the charm. Clearly on drugs, too. And you know, it’s late and you’ve already done a thousand miles and a gig the night before…

“So in the car he is making loads of innuendo, and it is hard to know what to do cos if you are too cold men can get aggressive and it is even riskier to pretend to respond, so you are in this sort of limbo of ‘yes’ and ‘no’ answers and ‘uh-huh’ and ‘mmm’, and trying to sound like you are listening but also project disinterest. I think all women know what I am talking about. I won’t repeat what he was coming out with but it was not very nice. And it is scary on a motorway at night with no other cars about.

“By the time we get into town he keeps talking about what a good time I am going to have, and you just want to say, ‘Look, I’m here to work, mate’, and then he starts asking personal questions like if I am married and all that, and you are like, ‘Oh lord, he we go!’ So the first direct proposition is in the car. A really shit one too, like ‘How about it?’ and waggling eyebrows like he’s 15 or something. So you just laugh it off. What else can you do? This is the person who is supposed to be paying you, your ‘employer’.

“So instead of dropping me and picking me up, he is ‘helping me check-in’. As if any decent hotel doesn’t have multi-lingual staff. Then he’s ‘helping with the bags’. So then I get to the lift and it starts to get real. It’s a confined space and he is staring me out. Then he presses the emergency stop, and I just go rigid. I couldn’t even tell you what he was saying, I was so petrified, but it was a variation of the earlier come-on. I started pressing buttons on the lift and that seemed to break the tension, so he started it up again. In hindsight he knew them buttons too well. He’d done it before.

“Then he tried it on again outside the door. Saying how he’d booked me because he’d fallen in love with me. Basically, booking me because of photographs. I was in bits by this point. Couldn’t get in the room fast enough, and slammed the door in his face. Been propositioned three times before I’d even got in the hotel room. Had to be some sort of record. Can you imagine how you feel as a performer that you’ve basically just been told what you do is irrelevant, all that matters is what you look like?

“Luckily someone else came to pick me up. My confidence was shot by this point. I played like shit that night. What kind of professional hammers an artist’s confidence like that and then expects them to deliver? He ran the night with this business partner who did the journey to the gig from the hotel. I just said as diplomatically as I could, ‘I ain’t getting in a car with your mate again’, and he just laughed, like ‘Oh yeah, he is a bit of a lad that one’. This is the real problem right there. Acceptance.

“One last thing. I can’t stand ‘female DJ’ — we are just DJs thanks.”


“I used to go out alone in clubs for many years. I really like moving from club to club to hear some artists, and to be free if I decide to go home. My legendary frosty behaviour in clubs helps me a lot to feel safe, to always keep the control of some situations. Just in case. I always play it safe.

“I had to go to work in Lyon to take some pics (live and portraits) of a famous Brazilian DJ, who is part of a big record label. I missed this DJ two days before in Marseille, he was playing in a club where I knew the promoters. The deal was that he had to pay my train tickets and my hotel in Lyon.

“I met him then on a boat with his manager, he was running late and had to perform live 15 minutes after. In this boat I met some very nice people (boys and girls) from Lyon, who gave me their phone numbers if I wanted to join them in an after-party. After the live show, the promoter told us to leave the venue very quickly, and as there was no backstage area I couldn’t take my pics there. The DJ asked me to go with them to the hotel for some portrait shots instead.

“We arrived at the hotel, and despite the deal, they said that they wouldn’t pay for a room for me now. Also, the hotel was suddenly full. I was quite angry, then the DJ asked me to stay with his manager for half an hour in his room because he had to be alone to make a Skype call with his wife first, and after that he would find a solution.

“I shouldn’t have come to his room. I guess the actresses felt the same too for Weinstein. And that’s what people (other DJs) told me. Because yes, it’s ALWAYS our fault. But when you are here for WORK, and when the guys knew I’ve already taken some pics of other DJs from their label, how I could imagine that the manager would try to rape me?

“I was very lucky because the other rooms heard me screaming. Screaming ‘NO!’. A lot of times. ‘NO!’. ‘STOP!’.

“I thank all the other rooms who called reception. I thank the receptionist of the hotel to have called the room and taken action. And I thank the kind local man I met earlier on the boat to have come five minutes later after my call to bring me to a safe place. I was in shock, I cried and had an anxiety attack all night long.

“I’ve never published the pics of the gig. I don’t ever want to see them again.”


“I knew this DJ a while as he has been part of the scene since the start, as he likes to tell everyone at any opportunity. He was accused of rape formally and had a really awful rep before that too, but I just didn’t believe it — especially when he got off the charge. It’s easy with hindsight, but none of my friends or family liked him and I spent quite a bit of time with him until I finally stepped away. I paid for nearly everything when we were together. Something I hear happened to the others. I now know there are many others he abused like me.

“The police are almost powerless with ‘conjugal rape’. That is his thing. The others and myself were fooled into a relationship, and gradually the violence and perversity are upped and upped. I won’t go too much into the details of what he does, but suffice to say it is not consensual.

“I have made numerous complaints to the police regarding him. They have assured me if I made a complaint about his sexual preference they would take me seriously and investigate. I haven’t done this mainly as it means I will have to put myself through more trauma and I just want to forget I was even with him, to be honest. I am in a new relationship now and although my boyfriend has promised me if I want to he will support me, I am not sure I am able to handle the stress at the moment. After all, he got away with it before so often.

“We all have troubled relationships, but it is what happens after that makes it even worse. He has such a terrible reputation and is so paranoid that he spends most of his time stalking Facebook and Twitter to see what people are saying about him. His whole life is wrapped up in that keyboard — thinking everyone is out to get him. This was long before he crumbled and made everyone aware that he is very unhinged.

“He was always blaming the women before me — I was too blind to see the signs. When we were together he made me block my friends and people in the industry who were ‘against’ him. It was so embarrassing. They never asked me to work with them again, which was awful.

“He has had fake social media accounts and uses them to monitor and threaten people. He also has spent the last few years slagging me off and telling lies about me all over social media and to anyone who wanted to listen. He uses his dwindling fame and small gang of fans to outnumber and surround victims. Abusing his position. I worked in the biz myself a bit, but afterwards he blackened my name with anyone he could. In my normal job he got the police to call my work to give me a ‘harassment warning’. How he kept finding me I don’t know. But stalking is illegal. This is after police gave him a verbal warning about his abuse over social media regarding me.

“He is a manipulative narcissistic bully who has got away with it for too long. I’m doing this [speaking out] so one day others will know, and be able to steer clear of him.”


“These days I’m an artist manager in the electronic music scene, but I was 20 years old in 2001 when the incident took place in my hometown. At the time I was a raver and hung out with various people in the scene. I loved to go out, and I loved my music.

“The night in question was a week-night and I had a funeral to go to the next day, the funeral of a close family friend — and I got wasted. I had an aversion to funerals and was always good at missing them. I went out on a mission to get drunk. I was out with some friends in one of the local clubs, and I was sad but wild. I remember lining up shots and drinking at least four at a time for quite a while. When the club was closing he was there, and he asked a male friend and I back to his apartment. My friend changed his mind at the last minute and I went back.

“I’d met the perpetrator a handful of times before, and he was on the scene. He was a friend of a friend, about 15 years older than me, and I thought he was a regular nice guy. I wasn’t attracted to him and didn’t flirt or give any signals. I was out getting drunk with friends.

“I thought I was in safe hands when I went back with him. I just didn’t want to go home — as that meant the reality of the funeral in the morning would kick in — and we didn’t live that far apart. I trusted him.

“I remember listening to some music in the living room and feeling cold. He gave me a hoodie to keep warm and we were chatting away. I remember feeling tired and very, very drunk. He got out some Tamazepan, gave me a whole one to take, and that’s the last I remember.

“I will never forget how cold I felt when I opened my eyes in the morning. The light was creeping through the edge of the blinds, and I had no idea where I was. I didn’t know what had happened and I felt sick thinking about what could have happened — I felt ashamed. I was half-naked, and he was there next to me in his bed. I wish I could remember but I’m glad I wasn’t conscious — does that make sense? I had been sexually assaulted whilst unconscious by a man I thought I could trust.

“He hardly said a word to me in the morning — it was awful. He got up, got dressed, left the house and said I could let myself out. I didn’t even know where I was. I have always tried to forget what happened that night, and to some extent I did forget as it was easier that way.

“I like to think this experience had no impact on me because I spent so much time pretending it never happened. I went off the rails and drank a lot. I told some of my friends about it and they were great, they supported me, but it wasn’t the norm to report it or go to the police.

“My feelings turned to anger for a while when the guy turned up to a party at my house (my flatmate had unwittingly invited him) with his new girlfriend — the girlfriend who a few months later shouted at me because she said she knew that we had slept together! Six months or so later at a house party a mutual friend of ours made some joke about me and ‘him’. I flew off the handle and told everyone in the room what happened — they were shocked but the funny thing is nobody told me to report it, nobody called him out on it. In those days it wasn’t the done thing.

“Today I feel sad about it, and still a little ashamed. He’s now a tour manager for one of the UK’s most well-known DJs and from time to time I bump into him at gigs or events — the best you will get from me is an exchange of pleasantries. I hope that my silence all those years ago has not meant that others have suffered at his hands. I am talking about this today because it’s NOT OKAY for anybody to prey on the vulnerable and take advantage of somebody under the influence of alcohol or drugs.”


“I’m a photographer that has specialised in shooting electronic music for the past ten years. Most notably I worked in Fabric from 2006 until 2017. My experiences mainly fall under the dubstep genre.

“In 2013, when I first started working for the person who wronged me, it was great. I was quite proud to work for his label as I really believed in its ethos and the music it produced. Working with this man was fairly easy to start with.

“This artist is well known to be an extreme womaniser, although I didn’t know it at the time as I went into this scene totally blind. What you have to remember is that artists are in a different world, they are given everything they want. In some cases it doesn’t change a person, but others become entitled — and this also applies to the treatment of women.

“As a female that worked for him I got thrown into that mix, unfortunately. There is an expectation around women in the industry that we are available, because — let’s face it — some are. When you are used to women saying yes and believe that’s how it should go and you also manipulate women, that is misogyny and entitlement. So I would say yes, this artist had an assumption that you are there to cater to him by whatever means he sees fit — and he will do anything to get what he wants.

“I very nearly fell for the manipulating — embarrassingly so, I might add. I was nearly played, and in the end I cut off contact. If you sleep with this guy, you will be left alone to progress in your career. As I did not and left the label, it became clear that that was expected of me — otherwise he wouldn’t have got so angry after I walked away, he just wouldn’t have cared.

“I wasn’t aware of anything afterwards for a long time and went about my business for a year or so, but then some odd things happened. I lost a large show with a well-known brand — in fact, they rarely employed me again after that. I was gaslighted by a lot of artists I had worked for in the years previously, as a lot of them never supported me ever again — some even ran away from me at events. I knew something was up, but it was so under the radar I couldn’t prove anything. There was a massive shift in the way I was treated by a whole group of people around this guy — maybe 15-20 people in total.

“Some people in the scene confirmed to me that this was the modus operandi of this artist. He was known to ostracise girls out of the whole scene by smearing their characters and reputation. Some people confirmed it did happen to me later on, which was devastating. Even though this was common knowledge and a regular pattern of behaviour for this guy, nobody helped me or even talked to me about it all. A few very good people did see what was happening and tried to fix it, but to no avail. It’s a very insidious form of bullying.

“His character assassination was severe, as people who had never even met me treated me in a cold way. I also sent a lot of emails to gain work but never received any answer back — it was clear I was being cold-shouldered. The shift of attitude between how welcoming people were before to after was massive.

“After I stopped working for him, he harassed me at a number of events. He chased me out of a tent at a festival in 2015, he got me removed from the pit at a festival in Croatia, and at another event he accused my boyfriend at the time — who was a sound engineer — of sabotaging his set. As far as the bullying goes, this kind of dynamic plays out in all workplaces across the world, but as music is unregulated nothing is done. This kind of bullying is called mobbing, it’s a very nasty business indeed.

“This artist smearing me has affected my work to a huge degree. It’s also rather scary when someone tries to intimidate you out of places where you are minding your own business. In the end, to actually speak up honestly about issues and how this industry works, I have had to step out of it. This is a ten-year career I just firebranded to speak the truth. So it’s pretty career-ending this kind of thing, very Weinstein-like.

“I have been accused of being a fantasist. The fact that a lot of my work is low-paid and I do it for the love of music has been mocked, and many artists who I respected and wanted to capture through my images have stabbed me in the back. This is all from one issue with one artist in over a decade of work. Yet this artist has a history of terrible behaviour and he is believed — it is, in reality, a cult-like dynamic.

“The treatment of women in this industry and society as a whole needs to be overhauled. The age of the boys club is over. We are going through a purge in the entertainment industry, and it needs to be done.

“I hope I get an apology, although I doubt that will come. The thing is, this artist is hugely talented and this kind of behaviour hurts himself. If you act out and treat people badly, this industry is small and word does get around. Music is teamwork. Men like him with narcissistic/sociopathic and ego-based traits do treat women like this — to them you are an object to serve. It’s toxic masculinity made worse by the excesses of drugs and the fame lifestyle, coupled with personality traits.”

If you have been affected by any of the issues raised in this article, a helpline number has been launched specifically for the electronic dance music industry. Funded by DJ Mag, the Association For Electronic Muisc (AFEM) and others, the helpline is being operated by workplace health organisation Health Assured and staffed by trained experts.
The number to call is 0800 030 5182.

Compiled by Tim Sheridan & Carl Loben



Ibiza businesses appeal to council against changes in noise pollution laws

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Ibiza business owners have gathered to speak out against San Antonio council’s decision to implement earlier closing times for clubs in the area.

The 60 gathered businessess have said that for the local council to enforce a law that see clubs closing several hours earlier than previously would be at the cost of jobs for many. As reported in Diario De Ibiza, club owners have said that such a law could be a “death sentence for many families and small businesses”.

They went on to say that “closure of businesses, the shortening of the tourist season to just one month and the direct loss of more than 300 jobs”. This new law would see outdoor terrace bars having to shut by 11pm and clubs in the area having to close by 3am as opposed to 5 or 6am in the summer.

The new regulation, is just one of the ways in which local Ibiza councils have aimed to reduce noise polution on the island, with decible restrictions being implemented in venues in San Antonio since last October.

In their statement, businesses who will affected by the new closure times said that this law can only be a “temporary solution” and is not a realistic fix to any problem. “[This law] has no precedent in similar tourist zones in Spain,” they said. “Not even orders approved by the local governments of Manuela Carmena (Madrid council) or Ada Colau (Barcelona council) are this strict.. once our businesses are shut for the night, will force the party to move down to the beaches or to nearby streets. The problem will only be displaced, not properly dealt with.”

Along wth their statement, the business owners (who not only include club owners but also owners of bars and shops) suggested alternative measures that would help combat noise pollution, inclunding increasing security and more stricty adhereing to soundproofing standards previously imposed by the council.

This is by no means the first action to be taken by Ibiza councils in wake of challenges brought by the island’s huge tourist sector. For instance, short term accommodation through platforms like Airbnb will be severely restricted in Ibiza this year. One law implemented last year sought to limit the number of tourists that visit the island altogether while, on the positive side, disposable plastics will be completely banned  from the island’s beaches from 2020.


There’s a fake fabric operating in China and it sounds and looks awful

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Clearly, the concept of copyright doesn’t really exist in China as a nightclub sporting the same name and logo as famed London nightclub fabric has been spotted operating in the country.

The club was spotted by a Dutch DJ and promoter Bram van Ravenhorst who runs Chongqing club Echo Bay and took some pictures of the club’s exterior, sporting fabric’s iconic logo, which have since gone viral.

The club is located in the Beibin Lu area of downtown Chongqing and clearly is trying to cash in on fabric’s world-renowned brand.

It gets worse though — the club was recently reviewed by Time Out China and received a less-than-glowing review due to the fact it mainly plays EDM and features scantily clad dancers, both of which you don’t get at the real Fabric.

Whilst imitation is the highest form of flattery, it’s clear that London’s fabric probably won’t be too happy about its unofficial Chinese doppelgänger and will most likely be exploring ways to get the club to change its name and stop using their logo and branding.

Last week, the real fabric launched a new fortnightly event series in early 2018 dubbed Forms, with Skream headlining the series’ debut party on 19th January.


Apple Music reportedly overtakes Spotify in the US

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The streaming wars are warming up with the revelation that Apple Music has overtaken Spotify in the US, the biggest music streaming market in the world.

But don’t be fooled though, Spotify still has almost double the number of subscribers and is still the leading streaming service in several other major regions, including Europe.

According to the WSJ, Apple Music — which only launched a couple of years ago — has seen a huge increase in users, partly due to the fact it’s been preloaded on every iPhone sold since Apple bought Beats from Dr Dre for $3 billion.

It’s far from game over for Spotify, the ability to have the Swedish streaming service on a myriad of TVs, wireless speakers, game consoles and Android phones is still a major reason why many music fans choose it over Apple Music — and that’s not going to change anytime soon.

Apple does hope that with the release of its heavily delayed HomePod speaker range next week it will strengthen its streaming offering in this department.


Sasha & John Digweed locked for headline show in Belfast

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Sasha & John Digweed have announced that they will headline a show in Belfast’s Custom House Square on August 18th as part of their RESISTANCE world tour.

The widely respected progressive house duo will be joined by and Nic Fanciulli and Psycatron on the night. The pair reunited at The Social Festival 2016 after a six year break during which they persued solo work. Since, they have been as in-demand and as innovative as ever. In 2017, they had their own RESISTANCE residency in the iconic Privilege venue in Ibiza. The former DJ Mag Ibiza cover stars also embarked on their RESISTANCE world tour with Ultra last year, playing at festivals like Glastonbury, Kappa Futur Festival (Turin) and Veld Music Festival (Toronto).

Tickets for their show in Belfast will go on sale this Friday February 9th at 9am GMT via Ticketmaster.

It’s shaping up to be a pretty amazing summer for dance music in Belfast with AVA festival and conference’s line-up for June also looking superb.

To give yourself an idea of just how special a gig this will be, read our 11 moments that defined Sasha & John Digweed here.

Watch Sasha DJ at the DJ Mag Last Night On Earth takeover 2014 below.


Carl Cox announces fundraiser for his Burning Man stage

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Carl Cox will be playing at San Francisco’s Midway on 30th March in order to raise funds for his annual Playground camp at this year’s Burning Man festival.

Coxy has been playing the iconic festival for over a decade and along with his own rise in popularity, his Playground camp has quickly become one of the festival’s many highlights.

For his fundraising show in San Francisco, Coxy will be performing alongside Joseph Capriati, Syd Gris, Brennen Grey, Rooz, Kramer, Tamo and Paul Skinback.

According to the press release, Burning Man represents a special place for the former Space resident and he hopes that with the money raised he’ll be able to create an incredible stage production for this year’s Burn.

“Carl started his Playground camp as a way to celebrate all that Burning Man is and as a way to give back to a culture that he loves,” the press release reads. “It started small and most who landed in the camp that first year were those just passing by to get someplace else, but the music and vibe pulled them in.

“From that humble start, it has steadily grown over the years and in a very organic way because the energy, music and people are what makes Playground so special.”

In other Burning Man news, the festival’s organisers have warned fans to be wary of a ticket scam which has targeted Fyre Festival attendees who, let’s face it, have suffered enough.


Calvin Harris: “I haven’t done any meaningful festivals for years”

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Calvin Harris was interviewed by Zane Lowe for Beats 1 Radio on Thursday 8th February. In his second candid interview of the week after an equally revealing one with Annie Mac on BBC1, the Scottish star producer further discussed his complicated relationship with EDM, preferring his Las Vegas shows to festivals, money being “the root of all evil” and collaborating with Canadian artist PartyNextDoor.

Yesterday, Harris dropped his new single feat. PartyNextDoor ‘Nuh Ready, Nuh Ready’, a smooth, dancehall number that finds the producer working his way gradually back into the dancier moods that he consciously stepped away from in 2017.

When he released ‘Funk Wav Bounces’, it felt like Harris was done with EDM altogether – he told Annie Mac that when he released ‘My Way’ in December 2016 he had “never felt so unexcited by what I was putting out in my life”. However, after releasing an album that moved entirely away from EDM and which featured the likes of Frank Ocean, Travis Scott and Nicki Minaj, it seems he has since reconciled his relationship with the genre.

“I basically took a year off dance music when I did all the Funk stuff,” he said. “I thought I didn’t like it anymore…I was like wait, wait, wait. So actually some of the best producers in the world are EDM producers, even though they got shit on by everybody, the critics and cool music lovers. I’m sorry, but some of the best producers in the world are EDM and some of the best producers are Dutch.”

That being said, in his interview with Mac, Harris appeared ultimately concerned with making the music he wants to make and using the money he makes from his Las Vegas residency to collaborate with the artists he wants to work with, whether it’s “commercially viable” or not, saying, “I’m just going to out out tunes that I love”.

Speaking to Zane Lowe, Harris also talked about how much he is enjoying his residency in Las Vegas compared to playing larger festivals.

“All that stuff got a little bit too impersonal,” he told Lowe. “Standing up there and it’s the fireworks and all that stuff, but you’ve got no connection with anyone. And that’s why I actually love playing Vegas at the moment because I get to see people’s faces and get to see people enjoy their night. Those big festival shows which I wasn’t getting into personally other than a bit of money and money is, you know, the root of all evil.”

He went on to discuss how he prefers working and collaborating in the studio more than anything though. “I want to spend more time in studio and it’s been that way for a couple of years,” he explained. “I haven’t done any meaningful festivals for years. Almost did one but I didn’t announce it because that’s the sort of guy I am. And also because I really might want to go back.”

In discussing his collaboration with PartyNextDoor, he said, “I thought he was a genius for a few years. The thing is, I feel now more than ever, if you don’t come out acting like a genius then you don’t get called a genius. And because he’s to the outside a very reserved and very like just off limits, you don’t know what he is; you don’t know what he’s like.”

In his interview with Annie Mac, he talked about wanting to highlight his love of other styles of music that people wouldn’t necessarily know he’s into…

“I wanted to do something with skippy drums,” he said. “People don’t know that I love that stuff. Unless they know me they don’t know that I’m obsessed with speed garage. I want people to know.”

Harris seems to be set for another big year in 2018 (and beyond) with his Las Vegas residency being extended to 2020 and being worth £200 million. In January he purchased Steve Angello’s LA mansion while last October he donated his booking fee for nightclub Omnia to the victims of the Las Vegas shooting.

You can listen to ‘Nuh Ready, Nuh Ready’ below. Listen to the interview with Zane Lowe here Annie Mac here.

Festivals Music News

Faithless to join Tiësto and Steve Angello for UK show in May

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Faithless have been announced for a DJ set at Creamfields Steel Yard London weekender on Sunday 27th May.

The iconic UK electronica outfit will join headliners Tiësto and Steve Angello in Finsbury Park as part of the Steel Yard’s second London edition. Tchami and Malaa have also announced the UK debut of their new ‘No Redemption’ live show for the Sunday.

Last year, during the superstrucutre’s innaugeral London outing, 15,000 people attended each day. Trance legends Above & Beyond will open the weekend’s proceedings on Saturday 26th in what will be their biggest UK show to date. You can watch our rcent in-depth interview with them here. 

While the Steel Yard itself was initially built to be an exclusive fixture of Creamfields Fsetival, it has since gone on to host massive events in Liverpool and London. Faithless reformed after a four year hiatus in 2015. Yesterday it was announced that they would DJ alongside Basement Jaxx at Aberdeen’s Enjoy Music festival in June.

You can buy tickets for Steel Yard London here.


A 60-strong group has called on San Antonio council to rethink the proposed changes to noise pollution laws.

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Around 60 business owners in Ibiza’s popular tourist zone the West End have spoken out against plans to implement earlier closing times, calling them a “death sentence for many families and small businesses.”

In a statement seen by Diario De Ibiza, the group has called on San Antonio council to rethink the proposed laws, which would reduce closing times for outdoor bar terraces to 11 PM, and for bars, restaurants and clubs to 3 AM. They say the changes could result in the “closure of businesses, the shortening of the tourist season to just one month and the direct loss of more than 300 jobs.”

The statement goes on to say that the law “has no precedent in similar tourist zones in Spain. Not even orders approved by the local governments of Manuela Carmena (Madrid council) or Ada Colau (Barcelona council) are this strict. Let’s be clear that this is nothing more than a temporary solution, which, once our businesses are shut for the night, will force the party to move down to the beaches or to nearby streets. The problem will only be displaced, not properly dealt with.”

In an attempt to further convince San Antonio council, the group outlined a series of measures they’d enact to help combat noise pollution, including stepping up security in the area and fully complying with the soundproofing rules imposed by the council.

Reducing closing times is just one of the changes proposed by the new laws, which will go to a vote before the municipal plenary this month. If ratified, the area that’s home to the West End will officially become a Special Acoustic Protection Zone (ZPAE).

Music News

Jean-Michel Jarre urges European Parliament to close loopholes in copyright law

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The current proposals have been called “the most important copyright reforms of the last 20 years in Europe.”

Jean-Michel Jarre has signed an open letter to European Parliament backing amendments to copyright law.

Jarre is the president of CISAC, an international conglomerate of performing rights organisations aiming to close copyright loopholes in a directive currently being drafted by the European Parliament. The aim is to strengthen the position of copyright holders negotiating licensing deals with large-scale digital platforms like YouTube and Spotify. The current law allows streaming services to pay lower royalties in the EU than other territories, which the CISAC has called “a major problem… holding back our sector and jeopardising future sustainability.”

The open letter deems the current proposals “the most important copyright reforms of the last 20 years in Europe.” The letter continues: “Europe now has a chance to address the ‘transfer of value’ or ‘value gap’ which is caused by loopholes in the law allowing some of the world’s largest digital platforms to deny fair remuneration to millions of creators. To do this effectively, it is essential for the legislation to ensure fair remuneration by user uploaded content platforms such as YouTube. EU law should not be a shield to allow such platforms to make vast revenues from creative works while not fairly rewarding the creators.”