THP just got home from the Sweat Tour, and we left thinking of two things. One, that Charli xcx and Troye Sivan are our new favorite pop stars (duh), and two, Shygirl has unlocked new fans here in the hive and is officially on our ones-to-watch list. Shygirl is currently on tour, opening for Charli and Troye, hyping fans up with her intoxicating club and dance music. If you’re planning on attending the Sweat Tour, you can expect to hear Shygirl hits and favorites like ‘thicc,’ ‘SIREN,’ ‘Nike,’ and more!
Image Source: Courtesy of Orienteer
Her latest track, ‘Immaculate,’ was a hit among fans in the crowd, especially when collaborator Saweetie came out as a special guest. We were gagged, to say the least. To celebrate Shygirl’s ongoing success and new track, here are three reasons why we love Shygirl and why her discography is nothing but ‘Immaculate.’
Innovation And Experimentation
Shygirl’s music is innovative and exciting! She’s always experimenting with new songs and traditional club sounds that people know and love. What does it sound like when these two are merged? Take a listen to ‘Immaculate’ and hear it for yourselves.
Shygirl is, of course, always giving us innovative visualizers, which just makes the listening experience even better.
Performance And Look
One thing Shygirl can do is perform! We were lucky enough to see it for ourselves, but if you have yet to see Shygirl do her thing, check it out below 👇
She’s also got a stunning look that you just can’t look away from. If you aren’t entranced by her music, you’ll be easily entranced by her stage presence. When we saw her live, we couldn’t help but jump around and head-bang!
Confidence And Collaboration
Our two favorite “C” words? Confidence and collaboration! These are also two traits that make a great pop artist, and right now, Shygirl is taking the cake. She’s serving the hive the full fantasy that we know and love while still bringing competitive innovation to the industry. What’s next for Shygirl? We can’t wait to see!
We’re so excited about Shygirl’s success and her new song with Saweetie! Have you listened to it yet? Let us know what you thought of the song in the comments below or by buzzing with us on Twitter, Instagram, or Facebook 🐝
When we say we’ve been waiting for this collaboration, we mean we’ve been waiting. There’s truly nothing better than when a powerhouse vocalist and an EDM god team up to create the most insane song you’ve ever heard. Who better to accept the challenge than Swedish House Mafia and Alicia Keys?!
The dance music crossover you’ve been waiting for is ‘Finally’ here.
Image Source: Courtesy of Full Coverage Communications
The new track is Swedish House Mafia at their finest. Of course, all of their songs are amazing, but ‘Finally’ really stands out to us. We know the group for mega-hits like ‘Moth To A Flame’ and ‘Don’t You Worry Child,’ but ‘Finally’ creates a name all of its own. SHM is known for collaborating with big names like The Weeknd, but you can’t really get any more iconic than Alicia Keys. We’ve been listening to her since the early 2000s and each new release gets us more and more excited about being a fan!
After our first listen of ‘Finally’ we could see ourselves, and the rest of our buzzing hive, hitting the dance floor. We love dance music because it makes us forget about all our problems and lets us just live in the moment. What other collaborations would you like to see from SHM?
Swedish House Mafia On The Road
Hear ‘Finally’ plus all your other SHM favorites live this fall! The group is heading out on a short tour, and who knows, maybe Alicia herself will show up to a stop (or two?). Grab tickets – we’ll see you there!
Tour Dates
08.31.24 Las Vegas, NV at XS Nightclub 09.14.24 Las Vegas, NV at XS Nightclub 10.26.24 Chicago, IL at Wintrust Arena
Image Source: Courtesy of Full Coverage Communications
What did you think of the new SHM collaboration? Let us know all your thoughts in the comments below or find us on Twitter, Instagram, and Facebook 🐝
EDC is back this autumn and, indeed, bigger than ever
Organizers of gargantuan annual EDM fest Electric Daisy Carnival have announced the list of performers for this autumn’s event, and it features an eye-popping 100-plus performers.
This year’s lineup includes Diplo, Alesso, Eric Prydz, Kaskade, Tiësto, John Summit, Fisher, Alison Wonderland, Illenium, Mochakk, Slander, Oliver Heldens, Benny Benassi, Dimitri Vegas, Steve Aoki, Carl Cox, Vintage Culture, Jaden Thompson, Natalia Roth, Layla Benitez, Lost Frequencies, Odd Mob, Troyboi and Zeds Dead.
The performers will be sprawled over four stages: kineticFIELD, circuitGROUNDS, neonGARDEN and stereoBLOOM. Additionally, the Rynobus Art Car (is it a mobile stage? a “mutant vehicle”? both?) will give a daylong spotlight to Orlando’s infamous Florida breaks sound.
Electric Daisy Carnival happens Friday-Sunday, Nov. 8-10, at Tinker Field in downtown Orlando. Tickets and passes go on sale starting Thursday, June 27, through the festival’s website.
When R3HAB and Jason Derulo first stitched their music together on their first collab, they knew they had something special. Six years ago, two idols in their respective genres decided that not only could they make good music together with R3HAB’s remix of Derulo’s “Goodbye”…but they instantly understood this was the start of a lasting relationship where they’d create hit after hit for years.
Two years later in 2020, R3HAB hopped on Derulo’s “Take You Dancing” for another official remix…and then again in 2024, he hopped on “Spicy Margarita.” Now, we have the first official original release from Jason Derulo and R3HAB with their sexy pop-dance record, “Animal.”
“Animal” is the perfect song to dance to with your friends this summer. When you pair Jason Derulo’s dreamy vocals with R3HAB’s proven ability to create a hit house track, you know you have a masterpiece on your hands. You can listen to the track here:
For the past 15 years, R3HAB has honed his craft and seemingly perfected the art of the remix. He’s breathed new life into songs by the biggest artists in the world: Rihanna, Drake, Taylor Swift, Calvin Harris, Sia, and many, many more. And it’s not because of luck, R3HAB has spent years perfecting his style of progressive house music.
He has a discography that most artists can only dream of…and as time goes on, he shocks listeners with new production styles that will always be replay-worthy. His innovation in production and creating music is what makes him special, a highly revered DJ in the industry who can twist any old track into a club-worthy dance bop.
R3HAB’s accolades go far beyond his official remix stamps- he’s a dynamic live performer who plays some of the biggest festivals in the world to crowds of tens of thousands, he garnered 1 billion streams on Spotify in 2023 alone, and deservedly is #14 on DJ Mag’s Top 100 DJ List.
But the thing about R3HAB is that this isn’t the end of his career by any means. He continues to wow his audience with every new release, every live performance, and every remix. There’s no sign of stopping R3HAB.
After his release of “Animal,” I got the chance to speak with R3HAB about his iconic career and the creation of the track. Check it out below!
PD: Congratulations on “Animal” with Jason Derulo! This is your fourth collaboration together…how did you two start working together?
Jason and I have had a great run with remixes over the last six years, starting with “Goodbye” with David Guetta and Nicki Minaj. Our musical styles complement each other well, so we followed up with my remix of “Take You Dancing.” Since then, we’ve been trying to find the right record.
PD: “Animal” is the first new record you two have done together. How did you two end up making the record?
We tossed ideas back and forth for a long time until we landed on “Animal.” We instantly felt this song would be a perfect match for Jason’s pop style and my dance production.
PD: You’ve performed at some major festivals like Coachella and Tomorrowland. What are your favorite tracks to perform live?
I love to play unreleased music, there’s a special feeling about bringing a record fresh off the press after a long studio session and seeing the crowd react to it. Contrasting the new energy, I always enjoy including some R3HAB classics like “Karate”, “Flashlight” or “Tiger”.
PD: You’ve been massively successful in your remixes…with official mixes for Rihanna, Drake, Taylor Swift, and more. What’s your production process like when going into a remix?
Every song tells a different story and as a remixer my goal is to find a new way to tell it without ruining it (laughs). My production process relies on a selection of sounds from the original record and landing on the first idea, which is fundamental for the remix. I always make sure there’s a R3HAB electronic element attached to it.
PD: What’s one song you’d like to remix next or a collaboration you’d like to do?
I’ve been loving late 1990s / early 2000s records, and have a lot of fun incorporating them into current sonic ideas. Records like “All Around The World” and “Rock My Body” fit this concept. I love the way fans of the original song get to feel some nostalgia while making new memories.
PD: What’s next for you this year?
Festival season has just begun and I’m really hyped for the summer shows around the corner. I’ve been working on a lot of new music and can’t wait to share it in the coming months. Stay tuned!
WASHINGTON—Touting the renovation as a long-overdue effort to bring the U.S. government’s command and control hub into the 21st century, the White House announced Friday that it had rebranded the Situation Room as a dark, moody drum-and-bass-oriented dance lounge known as Club Situation. “Thanks to these recent updates, there’s now no hotter place for those with top secret clearance and an urge to cut loose during a national security crisis than Club Situation,” said club manager Jake Sullivan, describing other additions allowed by their $50 million development budget such as a black light-illuminated dance floor, extrajudicial detainees writhing in cages, bottle service to celebrate successful drone strikes, and tropical house and hyperpop-inflected tracks spun by DJ Jeff Zients. “We were also able to construct a vitally needed VIP area where the president can receive a glass of Courvoisier and classified intelligence about the hottest ladies out there tonight. Yes, there’s a bit of a wait to get in, but once you’re there, everyone who’s anyone is back there. You just have to leave your phone at the door, because shit gets crazy fast.” At press time, Vice President Kamala Harris was spotted outside Club Situation telling the skeptical bouncer she knew someone in there and begging to be let inside.
Disco producer Denis LePage had a knack for drawing revellers to the dance floor, and in the heart of Montreal’s pumping 1980s nightlife, the musician’s hitmaking skills were unmistakable.
With a stream of Billboard chart hits, LePage helped define an era of Canada’s discotheques as part of the duo Lime.
LePage, who identified as non-binary and later took the name Nini Nobless, died Monday of cancer at age 74, said former manager Yvon Lafrance.
While not exactly a household name, LePage’s infectious synthesizer hooks made Lime’s songs favourites at dance clubs around the world.
“He was a genius,” explained Claude Chalifoux, who co-owned Lime Light, the bustling Montreal dance club that regularly spun Lime’s dance tracks.
“All of the music that Denis did was a smash hit. People went crazy when they’d play Your Love, You’re My Magician and Guilty.”
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Years before those electronic disco favourites, LePage was already chasing a music career.
As a teenager, they performed in the band the Persuaders, and by the mid-1970s had formed the jazz-fusion act Le Pouls with then-wife Denyse LePage, a singer-songwriter in her own right.
A few years later LePage secured their first hit with the funky 1979 single The Break, released under the name Kat Mandu. The cowbell-fuelled song peaked at No. 3 on Billboard’s U.S. disco chart.
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The success put some wind into the sails of LePage’s second project with Denyse, which caught the wave of the synthesizer revolution sweeping through the industry.
Inspired by the sounds of Giorgio Moroder and Kraftwerk, the LePage duo had recorded an electro-disco project together. But they hadn’t settled on the title of their new act the night they walked into the Lime Light with a promotional copy of their first vinyl, said Chalifoux.
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Lime Light, a downtown Montreal discotheque that welcomed gay and straight clubgoers alike, proved a fruitful inspiration in more ways than one. Opened in 1973, the venue began hosting an exclusive, fashion-forward patronage four years before New York’s Studio 54 would cater to a similar crowd.
When in-house DJ Michel Simard played Lime’s 1981 debut single Your Love on the turntables for the first time, he was instantly convinced they had a hit on their hands, remembered Chalifoux.
As the disco pair chatted with Simard, it became clear they were somehow connected to the venue in a special way.
“When the people came to the Lime Light … a lot of (them) said, ‘We’re going to the Lime tonight,’” added Chalifoux.
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And so a shortened version of the club’s name stuck to the couple.
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A night at the Lime Light soon became synonymous with hearing Lime’s hits over the sound systems on one of the venue’s two levels of dance floors.
By the end of 1981, Your Love had spread beyond Canada’s borders, landing atop the U.S. Billboard Hot Dance Club Play chart for one week.
Lime delivered another floor filler with 1982’s mirrorball booty shaker Babe, We’re Gonna Love Tonight, which peaked at No. 6 on the dance chart.
Denis and Denyse also found success outside Lime when they wrote Dancin’ the Night Away for the duo Voggue. The 1981 single held at No. 1 on the Billboard dance chart for three weeks.
They also continued making music as Lime into the 1990s, though friends say financial problems led LePage to sell music copyrights to Unidisc, a Montreal record label that specializes in sounds of the era.
“My parents’ relationship was not easy,” said Claudine LePage, the couple’s child. “They continued making music together … and then my dad continued producing music but used other singers. Or my mom would sing by herself on songs with other artists. The goal was just to continue making music.”
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Around the early 2010s, LePage began to publicly identify as a woman, taking the name Nini Nobless and recording new material. The music struggled to find an audience for a variety of reasons.
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“I felt that the people didn’t like that Denis went from a man to a lady,” said Chalifoux. “His music was good, he had the same voice as when he was singing with Lime, it was only a physical change … (but) the sound was too much from the ’80s.”
Still, Lime’s sound has reverberated in contemporary circles with the help of Unidisc. The company’s ownership of Lime’s catalogue meant the label could reissue and rework past recordings.
In recent years, that included recruiting Canadian dance producers Jacques Greene and Tiga to produce remixes of the duo’s classic singles.
Francis Cucuzzella, who manages artist relations at Unidisc, said there was a documentary on Lime being made in cooperation with the late LePage. While the project is now in limbo, he hopes it will one day be completed and released.
A funeral is planned in Montreal for Sept. 4.
Editors’ note: The Canadian Press consulted family and friends of Denis LePage, who also went by Nini Nobless, to determine which names and pronouns they believe they would have preferred for this story. The musician used their names and pronouns interchangeably in their later years.
Last month, Donna Missal released her third studio album, Revel. Coming in at just over 31 minutes, there’s no filler. Each track builds on the momentum of the last. It sounds like an artist with the freedom to do what they want.
The opener “Flicker” is a skittering dance song with late night synths. The single “God Complex” has Missal experimenting with different vocal effects. Near the end of the album, the acoustic “Paranoia,” acts as a break from the waves of creative percussion.
Jordan Edwards/Popdust
What keeps Revel cohesive are the revealing lyrics and ethereal vocals. You believe these are her actual thoughts, and she’s having a great time expressing herself. New listeners will love the energy, while longtime fans will feel satisfied.
In this episode of The Demi Ramos Show, Missal talks about the making of the album and creating the visuals that go with it.
For more from Donna Missal, follow her on Instagram and TikTok.
I moved to the New York City area last August, and one of the first venues I heard of was the elusive Brooklyn Mirage. It’s a live music venue located in the heart of Brooklyn, New York where any DJ whose anybody plays night after night in the summer. It draws huge crowds, fans of EDM and people who just like dance music come together in this courtyard-esque venue.
So when I finally got the chance to go see the legendary David Guetta, who has won two Grammy awards and been gracing us with our favorite radio hits for decades now, I couldn’t pass it up. Whether I knew it or not, I had been listening to David Guetta’s music for years. Hits like “Who’s That Chick (feat. Rihanna)”, “Titanium (feat. Sia)”, and “I’m Good (Blue) (feat. Bebe Rexha)” are chart-dominating tracks that Guetta has released.
There’s nothing like watching someone who has made such an impact on the music industry and world of EDM. I’ve frequented a few EDM shows in my time, so I knew the energy would be high. But I was curious to experience a show by such a legend and witness how the crowd would respond to songs they grew up listening to versus new remixes and original beats.
What I find unique about EDM shows is the range in which the show can possess. You can switch up vibes from upbeat to slow in less than one minute, you can control the crowd’s energy through beats alone. You can do cover after cover, remix after remix, and it can be different each time.
Which is exactly how David Guetta’s show was. He opened strong, with his classic, “Titanium” and most recent hit “I’m Good (Blue)”, which has topped charts and was nominated for a Grammy this year. It’s probably the most-played song at clubs and bars near you. And it’s a great way to get the crowd moving early on. Especially when it’s your song.
It can be hard to capture the audience’s attention when you’re not out there fully able to talk to the crowd and stop the sound whenever you want. However, David Guetta had no problem. With a laser light show spanning across the Mirage and enough graphics to sync up with every beat, there wasn’t a shortage of things to look at and enrapture you.
From my view over the crowd, I was able to see that the place was filled to the brim. Sure, that made getting drinks a bit of a hassle. (It’s a cashless and cardless event, anyway. You sync your card to your wristband before entering the event itself — and I wouldn’t expect anything less from one of NYC’s hottest venues.) But no one seemed to mind once the music started.
He played a crazy range of his catalog. He had old hits like “Where Them Girls At (feat. Flo Rida)” and “Hey Mama (feat. Nicki Minaj, Bebe Rexha, and Afrojack)” that everyone could sing along to. But that wasn’t all, original mixes, remixes of classic songs and trending club hits, and mixes of older hits like Fleetwood Mac’s “Dreams.”
It’s a show that you don’t want to miss if you have the opportunity. David Guetta has made a plethora of our favorite tracks, and his impact on the music industry isn’t underrated. He’s an icon for a reason, and his live shows prove just that.
Despite the large number of people dancing along in the GA section, it didn’t matter if there were 100,000 people. They just cared about the music.
