![]() His mastery of sound augmentation and his knack for selecting choice tunes is enough to make a tech house connoisseur’s radar read “tilt.”Īnd that’s just another day at the office for Lubelski. When Los Angeles-based audio engineer and multi-instrumentalist Jake Lubelski opened his late afternoon Friday set on The Woogie with Paul Woolford’s “Erotic Discourse,” strolls turned to sprints as the masses streamed onto the dancefloor. ![]() Later, he performed on the festival’s home to underground bass acts, The Stacks, with tracks like “Want It” from Wreckno, “Void If Detached” by LEET, and Atyya’s “Just Say.” While he drew crowds at both sets, the fact that he was able to crack open a can of mayhem on the dancefloor for Friday’s first set of the day - especially in the beating sun - speaks to his tenure and magnetism. Around 2,000 people turned out to see him play. Nevertheless, after almost eight years of sweating on the streets promoting events for Do LaB, he was invited to open LiB’s Thunder Stage on Friday, where all the fest’s most incendiary bass acts showcase their squishy, glitchy bravado. And partly as a result of his modesty, even most of his friends didn’t see it coming. When he co-founded the new, albeit meteorically successful, bass purveying crew Sound Experiment in Los Angeles, his presence hit the scene like a wrecking ball. When Shawn O’Looney - known onstage as O’SNAP - got into music festival production and promotion more than a decade ago, few could have imagined he’d be the soft-spoken operations wizard behind the curtain he’s evolved into. Through an onslaught of nostalgic throwback hooks from Sublime’s ‘92 reggae classic “Waiting For My Ruca,” Moby’s “Porcelain” and Foo Fighters’ “Everlong,” J.Gill’s set was a reminder to us all that sometimes the best moments at music festivals come from clever spins on familiar tunes we never expected to hear. He started his set 30 minutes earlier than his scheduled start time of Thursday at 3:00 p.m., but when that moment rolled around, the dancefloor was already packed and vibing. Those opportunities got him face time and a chance to share his music with festival producers around the country - and this year at LIB, that led to his debut performance on the renowned Woogie Stage, where the festival gathers its house and techno acts. ![]() Prior to the pandemic- he was valeting high dollar whips for tycoons of industry in Los Angeles, while co-producing an annual New Year’s desert rave called Coalesce and running the L.A.-based house music collective re|flections.īut, a few months into 2020, his mastery of streaming tech landed him back of house gigs managing Twitch feeds for DGTL LIB, Burning Man, and several other entities. Most music producers’ careers came to a grinding lull during the pandemic, but for Josh Gill, the moment was more like lift off on a trampoline. Afterward, he relished a few high-fives and went right back to work. The funny thing is, for this Pacific Northwest-based house workhorse, this set was just his lunch break. to 5:30 pm, when he effortlessly dropped ace tracks like Steve Cole’s “Groove Monster,” Denny’s extended “Radgie” mix, and Bontan’s “Stutterman” on the underground house and techno thumping Junkyard Stage, it was arguably a milestone in the festival’s history of supporting behind-the-scenes badasses. His massive breadth of experience around stages has sharpened his capabilities playing on them - and, on Friday from 4:00 p.m. Lumineers to Headline New BeachRanch Festival in SoCal ![]() 'I Cannot Take the Job Unless You Commit to Diversifying This Festival': Meet the Woman Helping Create the Do Lab's Most Diverse Lineups to Date For those who stumbled upon the diverse music selections across LiB’s six stages, 14 interactive areas, and “more art cars than ever before” (according to the festival guide), not getting drawn in several directions by the ears was like resisting a force of nature.ĭJ Minx's Movement Festival Playlist: 10 Essential Tracks Taking place on the outskirts of Bakersfield, Calif., the five day festival (May 25-29), drew roughly 25,000 attendees to its post-pandemic return.įrom their stage at Coachella to Lightning in a Bottle (often abbreviated as LiB), festival producer the Do Lab’s commitment to booking emerging talent is a distinction few fail to see. While not shocking considering the Do LaB’s tradition of introducing dance music that many attendees may have never heard before, this year was supercharged with pent-up energy after a two-year hiatus brought on by the pandemic. They say lightning never strikes twice, but this past weekend, Southern California’s lakeside Lightning in a Bottle made repeated hits with a perfect storm of electrifying dance music artists.
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