Latest news with #TheNightBazaar
Scottish Sun
2 days ago
- Entertainment
- Scottish Sun
Multi-platinum selling DJ redefines the boundaries of pop music as he launches one of his most personal releases yet
POP IT Multi-platinum selling DJ redefines the boundaries of pop music as he launches one of his most personal releases yet FROM remixing the world's biggest pop stars to taking to the main stages at top festivals, R3HAB has spent the last decade redefining the boundaries of dance music. With reworks for the likes of Rihanna, Drake, Taylor Swift, and Calvin Harris under his belt, the multi-platinum selling Dutch Moroccan DJ and producer has become synonymous with transforming chart toppers into dancefloor weapons, always with his signature balance of emotion and euphoria. Sign up for the Entertainment newsletter Sign up 2 R3HAB has redefined the boundaries of dance music Credit: CYB3RPVNK R3HAB turns the page this summer with one of his most personal releases yet, All My Life. Out now on Polydor/Universal, the tune trades the peak time punch for something more introspective and cinematic. Written during a songwriting camp in Thailand, the track is a deep house journey laced with soft piano, shimmering synths and a soaring vocal. 'All My Life means a lot to me,' R3HAB tells us. 'The lyric 'Parachute when I free fall' came from a moment of complete surrender… that feeling when you let go, drift into the unknown and somehow feel safe in it.' It's a reminder of the power of dance music to lift us out of ourselves and that's exactly what R3HAB's exclusive playlist for The Night Bazaar delivers. Handpicked by the man himself, these ten tracks map out the energy and emotion that have fuelled his global journey and inspired his music, from the iconic remixes that made his name to his forward-thinking sound of today. With tracks from The Prodigy, Bodyrox, Avicii, Underworld and more, whether you're on the dancefloor or chasing your own version of escape, R3HAB's selection is the perfect soundtrack to let go, live fully and, as he puts it, 'forget about everything else for a while.' 2 He has now released one of his most personal tracks yet Credit: CYB3RPVNK The Prodigy - No Good (Start the Dance) This one hit deep. I remember seeing the music video as a little kid - black and white, raw, chaotic, magical. The breakdancing, the attitude, the sheer energy of the track. It didn't sound like anything else. It was fast, aggressive and rebellious but so danceable. It gave me chills back then - and honestly, it still does. "You're no good for me"... the way that vocal cuts through? Timeless. The Prodigy - Out Of Space "Take your brain to another dimension..." This wasn't just a song - it was a full-blown trip. The vocals, the dubby textures, the dynamic shifts, it was unlike anything I'd ever heard. It felt like getting abducted into another world where every sound hit a different nerve. There's something truly spiritual about how it all comes together. As a kid, it was one of the first records that made me realise music could be cinematic, psychedelic, and explosive all at once. Bodyrox - Yeah Yeah (D. Ramirez Instrumental Remix) I first heard this in a nightclub and thought, what the hell is that sound? It was sleek, sexy, futuristic - like techno and electro had a child and raised it in a neon-lit bunker. The production was so ahead of its time. Those stabbing synths, the groove, the attitude - you could feel it in your spine. It was one of those records that made me stop dancing just to listen closer and figure out how the hell someone even made that. Benny Benassi - Satisfaction Pure genius. The sidechain compression, the gritty robotic vocals, the hypnotic repetition - it was the blueprint for an entire era of electro-house. It's one of those rare tracks that sounds just as fresh today as it did back then. Play it in any club and watch the floor erupt. I always expected how clean and punchy the mix was. Even now, it's hard to match the raw power this track delivers. Faithless - Insomnia What a story this record tells. The tension, the poetic vocals, the way it just slowly builds like you're climbing some emotional mountain. It's more than a track - it's a cinematic journey. When that iconic drop finally hits, you feel like your soul lifts out of your body. "I can't get no sleep..." became a global mantra. This is dance music with narrative, drama, and real feeling. Chuckie - Let the Bass Kick The Dirty Dutch sound. I remember this one hitting the clubs for the first time - it was like a punch in the face in the best way possible. Those screeching leads, the pounding rhythm, the sheer boldness of the sound. Chuckie was at the forefront of something new. The original and the remixes both hit - I even had the honor of remixing it myself, which was a huge proud moment. That groove was just undeniable. Underworld - Born Slippy (Nuxx) You can't talk about dance music history without this one. "Drive boy, dog boy, dirty numb angel boy..." - that vocal delivery still echoes in my mind. It's haunting, euphoric, manic. The way it builds and evolves is masterful. Watching Trainspotting and hearing this track felt like discovering a portal into another emotional universe. A record that proves dance music can be just as emotive as it is physical. Avicii - Levels A modern masterpiece. The melody, the vocal sample, the euphoric progression - it defined Progressive House for a generation. It was so catchy yet full of emotion. Avicii managed to take something vintage and flip it into a stadium anthem. You could feel the optimism and hope in it. "Oh, sometimes I get a good feeling..." That's not just a lyric. It's a state of mind this record puts you in. Showtek ft. We Are Loud & Sonny Wilson - Booyah This one just slaps. Absolute banger. One of my favorite peak-time records ever. Showtek brought that gritty, festival-ready energy that got people jumping out of their skin. The transitions, the drops, the build-ups - everything was explosive. These guys have always been legendary producers, and "Booyah" cemented that. A track made for massive crowds and big sound systems. Major Lazer - Pon De Floor (Afrojack Radio Mix) Now, this one? Revolutionary. The rhythmic innovation, the use of vocal chops as instruments, the percussive madness - it felt like the future. Afrojack's punch and Major Lazer's swagger - together, they created something completely genre-defying. The beats were tribal, electronic, and raw all at once. It broke the rules and set trends. Every producer after tried to recreate that magic.
The Irish Sun
2 days ago
- Entertainment
- The Irish Sun
Multi-platinum selling DJ redefines the boundaries of pop music as he launches one of his most personal releases yet
FROM remixing the world's biggest pop stars to taking to the main stages at top festivals, R3HAB has spent the last decade redefining the boundaries of dance music. With reworks for the likes of Rihanna, Drake, Taylor Swift, and Calvin Harris under his belt, the multi-platinum selling Dutch Moroccan DJ and producer has become synonymous with transforming chart toppers into dancefloor weapons, always with his signature balance of emotion and euphoria. Advertisement 2 R3HAB has redefined the boundaries of dance music Credit: CYB3RPVNK R3HAB turns the page this summer with one of his most personal releases yet, All My Life. Out now on Polydor/Universal, the tune trades the peak time punch for something more introspective and cinematic. Written during a songwriting camp in Thailand, the track is a deep house journey laced with soft piano, shimmering synths and a soaring vocal. 'All My Life means a lot to me,' R3HAB tells us. 'The lyric 'Parachute when I free fall' came from a moment of complete surrender… that feeling when you let go, drift into the unknown and somehow feel safe in it.' Advertisement It's a reminder of the power of dance music to lift us out of ourselves and that's exactly what R3HAB's exclusive playlist for The Night Bazaar delivers. Handpicked by the man himself, these ten tracks map out the energy and emotion that have fuelled his global journey and inspired his music, from the iconic remixes that made his name to his forward-thinking sound of today. With tracks from The Prodigy, Bodyrox, Avicii, Underworld and more, whether you're on the dancefloor or chasing your own version of escape, R3HAB's selection is the perfect soundtrack to let go, live fully and, as he puts it, 'forget about everything else for a while.' 2 He has now released one of his most personal tracks yet Credit: CYB3RPVNK Advertisement Most read in Showbiz Exclusive This one hit deep. I remember seeing the music video as a little kid - black and white, raw, chaotic, magical. The breakdancing, the attitude, the sheer energy of the track. It didn't sound like anything else. It was fast, aggressive and rebellious but so danceable. It gave me chills back then - and honestly, it still does. "You're no good for me"... the way that vocal cuts through? Timeless. "Take your brain to another dimension..." This wasn't just a song - it was a full-blown trip. The vocals, the dubby textures, the dynamic shifts, it was unlike anything I'd ever heard. It felt like getting abducted into another world where every sound hit a different nerve. There's something truly spiritual about how it all comes together. As a kid, it was one of the first records that made me realise music could be cinematic, psychedelic, and explosive all at once. Advertisement I first heard this in a nightclub and thought, what the hell is that sound? It was sleek, sexy, futuristic - like techno and electro had a child and raised it in a neon-lit bunker. The production was so ahead of its time. Those stabbing synths, the groove, the attitude - you could feel it in your spine. It was one of those records that made me stop dancing just to listen closer and figure out how the hell someone even made that. Pure genius. The sidechain compression, the gritty robotic vocals, the hypnotic repetition - it was the blueprint for an entire era of electro-house. It's one of those rare tracks that sounds just as fresh today as it did back then. Play it in any club and watch the floor erupt. I always expected how clean and punchy the mix was. Even now, it's hard to match the raw power this track delivers. Advertisement What a story this record tells. The tension, the poetic vocals, the way it just slowly builds like you're climbing some emotional mountain. It's more than a track - it's a cinematic journey. When that iconic drop finally hits, you feel like your soul lifts out of your body. "I can't get no sleep..." became a global mantra. This is dance music with narrative, drama, and real feeling. The Dirty Dutch sound. I remember this one hitting the clubs for the first time - it was like a punch in the face in the best way possible. Those screeching leads, the pounding rhythm, the sheer boldness of the sound. Chuckie was at the forefront of something new. The original and the remixes both hit - I even had the honor of remixing it myself, which was a huge proud moment. That groove was just undeniable. Advertisement You can't talk about dance music history without this one. "Drive boy, dog boy, dirty numb angel boy..." - that vocal delivery still echoes in my mind. It's haunting, euphoric, manic. The way it builds and evolves is masterful. Watching Trainspotting and hearing this track felt like discovering a portal into another emotional universe. A record that proves dance music can be just as emotive as it is physical. A modern masterpiece. The melody, the vocal sample, the euphoric progression - it defined Progressive House for a generation. It was so catchy yet full of emotion. Avicii managed to take something vintage and flip it into a stadium anthem. You could feel the optimism and hope in it. "Oh, sometimes I get a good feeling..." That's not just a lyric. It's a state of mind this record puts you in. Advertisement This one just slaps. Absolute banger. One of my favorite peak-time records ever. Showtek brought that gritty, festival-ready energy that got people jumping out of their skin. The transitions, the drops, the build-ups - everything was explosive. These guys have always been legendary producers, and "Booyah" cemented that. A track made for massive crowds and big sound systems. Read more on the Irish Sun Now, this one? Revolutionary. The rhythmic innovation, the use of vocal chops as instruments, the percussive madness - it felt like the future. Afrojack's punch and Major Lazer's swagger - together, they created something completely genre-defying. The beats were tribal, electronic, and raw all at once. It broke the rules and set trends. Every producer after tried to recreate that magic. Advertisement
The Sun
24-04-2025
- Entertainment
- The Sun
Audiojack land at Hastings' Blackbox for a special three-hour set to support small clubs
ON Saturday 3rd May, Audiojack land at Hastings' Blackbox for a special three-hour set to launch The Night Bazaar's monthly takeover. Supported by the Night Time Industries Association, we're shining a spotlight on the crucial role of small clubs and live venues still feeling the pinch post-pandemic. 4 Expect a deep dive into house music as Audiojack (Richard Burkinshaw & James Rial) take control, dropping big tracks from their own back catalogue alongside sets from myself, Jim Rivers, and Mark Dickson. The Night Bazaar presents… BLACKBOX – For more information click HERE. Blackbox in Hastings isn't just another venue. It's a reminder of what dance culture was built on: an intimate room, a powerful sound and a space where the DJ is close enough to feel the crowd, and the crowd is free enough to lose themselves in the music. These are the rooms that shaped artists like Audiojack and they're the places where, even two decades into their career, they still find their most meaningful moments behind the decks. Ahead of their set, we caught up with the duo to talk about the role of grassroots venues in today's scene, the tension between authenticity and algorithms, and why 2025 might mark a turning point for them as touring artists. 'Small venues like Blackbox have always played a vital role in our journey,' they reflect. 'In the early days, it was in these kinds of spaces that we first felt the magic, connecting with the crowd, feeling their response, letting it guide the music. That unspoken conversation between DJ and dancefloor is something you just can't replicate in a giant arena.' Like many aspiring DJs, they once chased the big bookings. But over time, the allure faded. 'Big venues are impressive, no doubt, but they often feel more like concerts than clubs. Everyone's facing the DJ. It's less about dancing with each other, more about watching a show. In places like Blackbox, it's still about community. The party is the people.' That distinction, the gig vs the show, is one Audiojack feel strongly about. 'We play gigs, not shows. There's no pyrotechnics, no theatrical build-ups—just music. The entertainment is in the groove, not the gimmick.' But as nightlife culture becomes more focused on shareable content than shared experience, those kinds of nights are getting harder to find. 'Most grassroots venues are struggling. Back in 2005, there were over 3000 nightclubs in the UK. Now there's under 700, and it's dropping fast.' The result? A fragmented scene, with fewer places for new artists to emerge and for real club culture to flourish. 'We've lost those regular, local events that once made the UK scene so unique. What's replaced them feels more polished, but less alive.' 4 4 Despite their international touring schedule, Audiojack's favourite memories still stem from the underground. From Back to Basics at Stinky's Peephouse in Leeds to Revolver in Melbourne and Smartbar in Chicago, it's always been about the vibe, not the size. 'It's the local community that brings these places to life. That can't be manufactured.' Their approach in clubs versus festivals reflects this ethos. 'At a big event, we'll go more dramatic, a higher energy, more drops. But in clubs, we can take people on a journey. We can dip the energy, build it back up, go deeper. Places like Stereo in Montreal really encourage that. Six-hour sets aren't unusual there.' Recently, the pair hinted that 2025 might be their last year touring as a duo. It's not a retirement, far from it, but a realistic shift. 'The cost of touring with two people has become too high, especially with everything happening in the world right now. From wars to inflation, the climate crisis to celebrity culture, it's a lot. We're lifelong DJs, and we're not stopping. But the format may need to change.' Their future lies in more studio work, self-releases, and a greater focus on royalties and licensing. 'Whether it's one of us or both behind the decks, it's still 70% Audiojack music. Same record box. Same vibe.' Off the dancefloor, Audiojack are also lending their voice to the 'Make It Fair' campaign, a response to proposed UK legislation that would allow AI companies to scrape copyrighted music without consent. They contributed to the silent protest album Is This What We Want, which features recordings of empty studios and spaces. 'This isn't just about copyright; it's about the future of creativity. AI has its place, but not if it's replacing artists without permission. That's theft. Plain and simple.' They're open to using AI as a studio tool, but only within ethical boundaries. 'Use it to clean your house or track your sleep, not to remix human creativity and call it your own.' So, what's in store for the Hastings crowd at Blackbox? 'A three-hour ride through groovy, dancefloor-focused house music. Most of it made by us, some of it unreleased, with a few private edits for good measure. All mixed live, no pre-sets, no automation, just two ears, four decks, and a whole lot of feeling.' At Blackbox, it's not about putting on a show. It's about sharing a night. And in Audiojack's world, that's exactly how it should be. 4
