clubmaster

Knee deep in his second decade of dance, Yousef remains one of the globes most exciting talents in the realm of modern rave. His career has evolved and stayed true to the shifting sands of the game; he stood out when he arrived on the scene because of his jaw-dropping technical savvy and as the years have progressed he’s added the multi-faceted strings of club promoter, label owner, and deftly talented producer to his bow.

Bassic Boston (dubstep & future bass) presents Kode9, DJ Rashad, Wheez-ie Wednesday, Oct 2nd at Good Life, Boston 9:30 pm - 2 am $10 presale | $15 door | 21+ Purchase pre-sale tickets here: http://www.bassicboston.com/kode9-djrashad-wheez-ie/

Australia’s leading Electro/Dance outfit Vandalism has been enjoying success as one the most sought-after electro artists in the world. With the increasing demand for their distinctive live show, they have been touring across the globe with their ‘in-yer-face’ performances. They’ve performed alongside some of the world’s best DJs, including Eric Morillo, Steve Aoki, Prodigy, Boys Noize and many more.

Three crews have come together to celebrate Summer in San Francisco by assembling a myriad of our favorite djs and live acts for an extravaganza in dancing. We begin outside during the day and continue into the deepness of the night. Stay tuned as many more details are to come… Main Room SPEEDY J - (Electric Deluxe, Plus 8 - Holland) HENRIK SCHWARZ (Innervisions, Sonar Kollective - Germany) TIGER & WOODS - Live! (Running Back, Editainment) MIDLAND (Aus Music, Graded - UK) WOOLFY (Rong, DFA, Permanent Vacation - Los Angeles) Loft SOLAR | GALEN | RICH KORACH | MOSSMOSS | BELLS & WHISTLES | JASON KENDIG | CONOR Outdoor/Indoor

Ever since Eddie Elias played his first professional gig in 2000, the New Jersey-based, Dominican-born DJ has been wowing audiences in New York City and around the country with his unique sound and masterful mixing. Whether he's dramatically layering an improbable number of tracks during a peak hour performance before a crowd of thousands or working a single favorite record with focused precision at a more intimate after-hours, a night on his dance floor is one that won't soon be forgotten.

The live performance by My Magic Shoes, Urban Twang, Shakin Moneymakers and Dinosaur starts at 8:30pm. Doors open at 7pm

In the middle of a global explosion of Electronic Dance Music, a genre that thrives in the most exclusive nightclubs of the world’s cosmopolitan cities, a prodigious producer has emerged from the unlikeliest of places. The small seaport town of Mystic, Connecticut, has been the home of Audien (AKA Nate Rathbun) for his entire life, and it’s in a small apartment in Mystic where Audien began creating music in 2008. Using a very basic set up, and a secret cocktail of plug-ins, Audien worked diligently to hone his craft. By age 17, while his friends were either preparing college applications or teeing up jobs, Audien began to test the waters by sending his unsolicited music out to producers, labels & bloggers. Though confident in his sound, Audien carefully managed his expectations, suspecting it was unlikely that he’d hear back from a random demo submission. An enthusiastic response came, however, from Flashover Recordings, the trance label owned by beloved Dutch Producer/DJ Ferry Corsten. Audien’s single “Rise & Shine†was released, and soon thereafter he was off to the races. Over the next two years a slew of renowned labels came calling, gravitating to Audien’s stunning melodies & innovative sonic landscapes. Audien worked meticulously, but prolifically, churning out anthems & remixes for labels including Enhanced, Perceptive, Armada, Black Hole, Nervous, with tracks routinely charting on Beatport. Audien’s tracks also began to appear on compilations assembled by some of the genre’s giants, including Corsten’s Countdown, Tiesto’s Club Life, Above & Beyond’s Trance Around The World, and Armin Van Buuren’s A State of Trance. A particularly exciting opportunity presented itself in May of 2011, when Audien had the opportunity to open for Van Buuren at New York’s Roseland. In just 3 years, Audien had gone from idolizing Van Buuren to sharing a stage with him. As Audien has continued to release tracks into 2012, his music has evolved to include elements of Progressive House. The monster 2012 release These Are The Days was lauded by influential blog Dancing Astronaut as a “catchy summer anthem,†while The Top Sound noted “the combination of flawless evolution, beautiful piano chords, & trance-y plucks makes this an absolutely brilliant track.†Never straying far from his roots, Audien released his highly acclaimed songEventide on Anjunabeats in August of 2012. Audien’s relationship with Above & Beyond continued to blossom through the fall; in November, A&B premiered Audien’s track Wayfarer as the first ever song played on their new radio show, Above & Beyond Group Therapy. Elsewhere in November 2012, Audien released the incendiary progressive house track SUP, via Trice Recordings. SUP was featured by Dutch icon Hardwell on episode 87 of Hardwell On Air. Commenting on the track, Elektro magazine declared, “… this production takes its listeners on a roller coaster ride of uplifting synth progressions, chaotic builds, and hard, bouncing drops that holds the ability to move crowds wherever this banger is played.†Shortly after the track’s release, Audien joined Hardwell on tour for dates in New York & Boston. With his ability to create fresh tracks in auto-pilot, Audien has turned his attention to performing live, a craft he takes just a seriously as his production. Audien recently performed at some of the hottest clubs in the US including L.A.’s Exchange & Lure, San Francisco’s Ruby Skye & Harlot, New York’s Pacha, XS in Las Vegas, and Miami’s LIV. With more big shows forthcoming, Audien is ready to continue his rapid rise out of Mystic, and around the world. Terms and Conditions: This event is 18 and over. Any Ticket holder unable to present valid identification indicating that they are at least 18 years of age will not be admitted to this event, and will not be eligible for a refund. Support lineup subject to change. No refunds will be issued for lack of identification or invalid identification. Fashionable Attire is required, no sneakers, shorts, tank tops, baseball hats or gym clothes. By purchasing a ticket, you will also receive weekly email blasts from Ruby Skye about upcoming events, guest lists and more.

“i guess i just accept that the music business has fallen apart,†says moby, describing the unexpectedly fruitful environment that spawned his upcoming album,* innocents, set for release october [tk]. “that demise means that, as a 47-year-old musician, when i make a record, it’s simply because i love making records – i don’t expect commercial success. there’s no reason to second guess whether something’s going to sell well, or if a radio programmer is going to like it – so i can just make the record i want to make.†indeed, that’s exactly what* innocents *entails. moby’s 11 th *studio album to date proves an uncompromised, fully realized work from one of the most iconoclastic, innovative, individual forces in electronic music – or popular music, period. as such,* innocents *proves distinctively a piece with moby’s discography, while simultaneously pushing the artist born richard melville hall towards new challenges. “i finished touring for my last record [2011’s* destroyed ] about a year and a half ago, and pretty much immediately started working on this album,†moby recalls. “i was listening to a lot of* broken english -era marianne faithfull and ‘80s grace jones, and really wanted to make a grungy, lo-fi, electronic dance record; over time, it transformed into a lo-fi, idiosyncratic, emotional, melodic record instead. i’m most interested in exploring vulnerability and humanity in music, and with innocents *i made a conscious effort to keep things imperfect and, at times, even awkward. my criteria was, how does what i’m creating resonate emotionally, and what sense of space does it create?†to achieve that perfectly imperfect state, moby chose to work with an outside producer for the first time in his career: mark “spike†stent, whose grammy-studded résumé spans superstar pop (madonna, lady gaga, beyoncé), rock (u2, bruce springsteen, muse, yeah yeah yeahs) and the genre-defying vanguard (björk, massive attack, goldfrapp, m.i.a.). “spike’s role was unconventional – first and foremost, he was a friend, and simultaneously a consultant, a&r person, mixer, and, yes, producer,†moby explains. “we grew up listening to the same records: it’s nice to have that shared frame of reference where you can refer to a british electric foundation b-side or an early rocksteady single that would be obscure to most people, but seminal to us. and spike was the reason the album shifted from a dance record to a more personal one: what really connected with him was the emotional, personal music.†another first marked by *innocents *was moby’s unexpected choice of collaborators. working with outside vocalists and musicians isn’t a new thing for moby – “south side,†featuring vocals by gwen stefani, proved a top 20 hit upon release in 2000, and the likes of artists ranging from sinéad o'connor to angie stone have appeared on his tracks. on innocents,* however, the guests provided a distinct inspirational motif. “i like that the title describes a group of people, because it’s my most collaborative record,†moby says. “and if you look at the disparate random bunch of people i’ve collaborated with, a lot of them you wouldn’t think of as innocents.†among those seasoned voices are the sole male lead vocals to appear on a moby album, other than a couple of earlier collaborations with rappers, and moby’s own voice. “for the most part, i’ve only ever worked with female singers,†he says. “i can’t think of any exceptions other than samples – until this record, if there’s been a male voice on my record, it’s been me.â€* innocents *reverses this tradition via some of the most distinctive male vocalists in rock music. wayne coyne of the flaming lips duets memorably with moby on rousing first single “the perfect lifeâ€; alt-rock legend mark lanegan lends his dark croon to the lynchian electro-noir ballad “the lonely nightâ€; and* the shimmering “almost home†proves even more sublime thanks to the indie-folk eminence damien jurado’s empyreal tones. what appeared to be a major artistic shift, however, stemmed organically from how* innocents ’ songs were taking shape. “as i was writing ‘perfect life,’ i kept thinking of wayne singing it,†moby says. “his voice has such an interesting, vulnerable timbre. likewise, damien jurado and mark lanegan have such unique voices, i just fell in love with the way they sing.†innocents ’ female contributors, meanwhile, prove nearly as surprising. the eerie apocalyptic ballad “the last day†features the enigmatic vocals and songwriting acumen of skylar grey – best known for co-writing and performing on eminem and rihanna’s “love the way you lieâ€; however, according to moby, the track* “doesn’t fit into the traditional pop/r&b canon, except that it’s really pretty. instead, it’s a weird lo-fi pop song that doesn’t have a bassline.†elsewhere, the defiant soul lament of “don’t love me†places the unforgettably brassy pipes of moby tour vocalist inyang bassey into a lush, retro-futuristic setting. “spike did this very smith and mighty, dub-inspired mix that evokes bristol, u.k. circa 1988,†moby says. “it has a very slinky, late-night quality: i imagine walking into a dark cabaret in leipzig, germany at 3:00 a.m. and hearing that song playing.†meanwhile, two songs – “a case for shame†and “tell me†– feature canadian singer-songwriter cold specks, whose debut album* i predict a graceful explosion* proved one of 2012’s most evocative debuts. “i was having lunch with [mute records founder] daniel miller, and i said, “daniel, i’m looking for interesting, beautiful vocals for my record,’†moby says. “he said, ‘oh, we just signed this woman cold specks.’ the moment i heard her voice, i was amazed by the challenging, idiosyncratic way that she approaches harmony, melody and phrasing. it’s like gothic blues, but combined with an avant-garde, intentional dissonance.†of course, moby has been retrofitting antiquated styles and archaic sounds to the electronic age since “natural blues†– one of many enduring hits off of his 1999, twelve-million-plus selling international smash album* play . as such, much of* innocents *recalls vintage moby in the best way. songs like “the last day†and “a long time†evoke* play ’s ingenious sampling of haunting spirituals over club grooves; as well, “saints†manipulates disembodied diva vocals, acid-house breakbeats, and orchestral synths into an uplifting yet melancholic anthem – much in the same way as did moby’s breakthrough hit, the rave classic “go,†which reached the u.k. top 10 following its 1990 release. meanwhile, the moody cinematic ambience of instrumentals “everything that rises†and “going wrong†suggests scores for films that don’t yet exist – reminding why moby remains the go-to source for soundtracks (moby’s song “extreme ways†appears over the credits in every* bourne identity *movie, his cover of joy division’s “new dawn fades†accompanies a key scene in michael mann’s* heat, and he gave the iconic james bond theme a techno makeover for* tomorrow never dies *– and those are just a few examples). “i approach things from a similar perspective as i was, say, fifteen years ago, because that’s what i love – when music has that ability to make your emotions swell,†moby says. “in my own small way, through my use of melody and strings, i’m trying to get to that.†innocents, however, carves out its own unique niche in moby’s discography. for one, it’s the first album he’s created since moving to los angeles from his longtime new york city home. “living in l.a. certainly inspired the making of this record and the music,†he says. “in new york, i’d work in my cloistered studio in a big apartment building, surrounded by thousands of other apartment buildings and people everywhere; in los angeles, meanwhile, you can be in the middle of an urban area of fifteen million people and still feel isolated, like you’re living in the country. my last album* destroyed *was all about the disassociation of constantly crossing time zones, living in hotel rooms and airports – these lifeless environments where you don’t even know what city you’re in.* innocents *still has that strangeness and dislocation: it’s just more about being at home in a new city that isn’t really a city.†despite its l.a. origins, moby insists* innocents *“doesn’t sound like sunshine and the beach – it’s not l.a. pastoral like, say, a csny or eagles record.†instead, the album captures the atmospheric anomie of being caught between eras – its sound and vision balancing today’s high-speed digitalism with the discarded, obsolete technology of an earlier machine age. on one level, this sensation is achieved sonically. “spike and i put everything through old, broken down analog equipment: tape machines with tons of hiss, old reverb units that barely work, drum machines where the timing is off,†moby notes. “my favorite records – the first suicide album, old r&b, ‘80s dance records, jimi hendrix, cream, the doors, early daf, black flag – they’re all really messy. so, in making music now, i try to do everything to make the whole process idiosyncratic: we let that weirdness and imperfection become an inherent part of the record.â€* that duality extends to the messages submerged within the songs, where the frequently stirring, uplifiting sounds are subtly contradicted by shadow in the words. the madchester singalong groove of “the perfect life,†for example, belies “lyrics so dark i’m hesitant to say what they’re really about,†moby says. “it sounds like the happiest song on the album, but really it’s the darkest.†elsewhere, “the last day†pays doleful tribute to end times (“i’ve only just discovered the sun on the last day†goes a key line), while album closer “the dogs†(the only song on the album fully sung by moby himself) balances mournful synth-pop melodies with a eerily sinister refrain: “this is where it died/like the dogs left outside.†“i like dark, twisted lyrics,†moby admits with a laugh. “my perspective is kind of skewed! when i look at the music i’m most influenced by, it’s all informed by this idea that the world in which we live is crumbling and dystopian, but we can be celebratory within that.†as such, nothing is business as usual about the* innocents *experience – down to the album’s idiosyncratic promotion strategy: instead of the usual continent-spanning world tour, moby will only be playing three shows in los angeles. “my criteria was, ‘it has to be a venue i like, and i have to be able to walk there from my house,’†moby explains. “so for three consecutive days in october after the album comes out, i’ll walk down the hill and play a show. i just don’t like the touring lifestyle: i never wanted to be that haggard musician in my 40s looking beaten down and unhealthy in an airport, and that’s what i became. so why not just stay home and see what it’s like developing friendships, a home life, and maybe get a dog?â€* art imitates life, and vice versa: that oft-frustrated desire for human connection ultimately proves* innocents ’ resonant theme. “it sounds like something you’d read on the side of a teabag, but there’s a quality of innocence that resonates in all of us,†moby says. “i have yet to meet a human – even the most hardened criminal, or the nastiest, toughest rapper – who isn’t scared and insecure. i always think, “at one point, you were a little kid who was scared in the middle of the night. you’re going to get older and look in the mirror and wonder what happened to your youth; you’re going to be alone, and afraid, and get sick, lonely, and all the things that affect us by virtue of being human. in my music, i try to evoke the emotional response to that – joy, longing, fear, anger: these very human responses to living a material existence for a brief moment in our vast, strange universe. i always think of samuel barber’s ‘adagio for strings’: when it builds to a crescendo, unless you’re a sociopath, you have an emotional reaction to it. in my music, i try to give myself that same feeling – and if i’m lucky, someone else who’s listening to it will have a similar reaction.†~AXS

Voted one of the Top 10 DJ’s in America the past 3 years by DJ Times Magazine and “Best House DJ†in Las Vegas 2010 & 2011, DJ Scotty Boy has been rocking dance floors across the country for over 20 years. Free Guestlist before 11pm with RSVP // Advanced tickets $10 // $20-30 on door Guestlist and tickets available http://www.vesselsf.com/ For Table Service, Birthday's, Bachelorette Parties or Large Groups please contact: reservations@vesselsf.com

Friday, October 4th 2013Concord presents...MORGAN Page Presents :: Project 46 ::[ www.project46.com ]:: Walden ::[ www.facebook.com/waldenofficial ]A MPP3D Visual ExperienceHeadlining set by..:: Morgan Page ::[ www.morgan-page.com ] Tickets>> http://bit.ly/186jgNgConcord Music Hall2047 N Milwaukee AveChicago IL 6064710 pm Doors 18+ with state issued ID773-570-4000Connect with us ::www.concordmusichall.comwww.facebook.com/concordmusichallwww.twitter.com/concord_hall

Featuring an ultra lounge with vodka bar, two spacious dance floors, table service, VIP lounge, plush couches, and some of Boston’s best nightlife events, PRIME'S third, fourth and fifth floors are a world class club catering to 21+ clientele. As a premiere nightlife destination every Saturday night, the nightclub presents internationally famed DJs spinning a mix of House, Top 40’s and Mashup every Saturday. Voted Boston's Best Dance Club by Citysearch.com. flavormediagroup@gmail.com

VIP ACCESS Saturdays at The Estate are the undisputed hottest club night in Boston. Estate was named "Best Dance Club" by Improper Bostonian in 2009 & 2011 Classy, trendy dress.Collared shirts & dress shoes required for men. Doors open at 10pm. Enter through the ISIS door not the main door (across from Liquor Store and next to Sweetwater Tavern) Text 617.905.1821 for guestlist and tables reservation Estate Nightclub - 1 Boylston Place, Boston MA 02115

The El Rey is a general admission, standing room venue, unless stated otherwise in specific show details. view details

The experience of Eric Prydz In Concert can only be described with one word, and that word is EPIC. Prepare your body and mind for a journey most vivid as Eric Prydz revamps EPIC to bring you EPIC version 2.0! A tantalizing visit to beautiful 3D-rendered worlds awaits as the visuals breathe you in and the audio encapsulates your very being. Witness the master combine his flawless mixes with non-stop eye candy to create the EPIC experience of Eric Prydz In Concert!

Three crews have come together to celebrate Summer in San Francisco by assembling a myriad of our favorite djs and live acts for an extravaganza in dancing. We begin outside during the day and continue into the deepness of the night. Stay tuned as many more details are to come... Sunset Sound System, As You Like It, & Public Works Present: INDIAN SUMMER BLOCK PARTY! Saturday - September 28th, 2013

Mat Zo performing at Ruby Skye as part of his Damage Control Tour.

When Revolvr pulls the trigger, you feel it. Whether it's through an irresistible house music hook or propulsive progressive production, the Las Vegas-based artist and producer specializes in igniting emotions. Hands go up in the air and bodies shake when his fusion of styles pipes through the speakers. Locked and loaded with numerous tricks up his sleeve, Revolvr has arrived on the scene with a big bang.

“When the electronic composer Morton Subotnick released Silver Apples of the Moon, he seemed to be exploring a limitless world.†—The New York Times Electronic music legend Morton Subotnick performs his seminal work Silver Apples of the Moon (1967), the first album of all-electronic music featuring exotic timbres and dance-inspiring rhythms. Subotnick performs this piece accompanied by his frequent collaborator, video artist Lillevan, along with another groundbreaking work, A Sky of Cloudless SulphurIV (1977), a playful piece made with a mix of Buchla synthesizers and tape recorders. More than a generation ago Subotnick helped to create a new music genre, one that still resonates with contemporary audiences. Seeming simultaneously composed and spontaneously improvised, this immersive performance wraps audiences in a sonic swell of surprising distortions, energetic rhythms and moving meditations.

Silver Wrapper & React Present ::*PRETTY LIGHTS*:: [*www.prettylightsmusic.com*] Night 1: ::*BLOOD DIAMONDS*:: [*www.facebook.com/blooddiamondsmusic*] ::*PAUL BASIC*:: [*www.paulbasic.com*] Tickets >>> http://www.clubtix.com/pretty-lights-aragon-night-1-tickets-224116 Night 2: ::*SUPERVISION*:: [*www.thatsupervision.com*] Tickets >>> http://www.clubtix.com/pretty-lights-aragon-night-1-tickets-224116 Doors:*7:30pm Show:*8:30pm Ages:*18+ w/ govt issued ID Tickets:*$36.50 adv / $42.00 do

Jesse Rose was raised on Motown soul, jazz and eighties funk in London, moving to Bristol to begin throwing club nights with old friend Jamie Anderson at the beginning of the nineties. Releasing his first mix CD ‘Tec-House Living’ on the Subversive label under his Deeper Sound Of Bristol moniker before founding Front Room Recordings with Chris Belsey in 2001. Jesse also owns Front Room Recordings and the ‘Made to Play’ imprint.

Hailing from Hungary, Myon & Shane 54 have achieved extraordinary success in the international dance music scene, having established a solid reputation for themselves with notable releases including numerous Beatport number ones and consistent rankings among DJ Mag’s Top 100 DJs. They produce for some of the biggest names in music, are constant fixtures in set lists of some of world’s best known DJs, and regularly feature in a multitude of EDM radio show playlists. Myon & Shane 54 also host their own weekly radio show “International Departuresâ€, frequently one of the most popular music podcasts around due in large part to their shameless, all-encompassing approach to mash-ups. In addition, their extensive tour diary “International Departures TV†provides an in depth view of life on the road for the well-traveled duo. Terms and Conditions: This event is 18 and over. Any Ticket holder unable to present valid identification indicating that they are at least 18 years of age will not be admitted to this event, and will not be eligible for a refund. Support lineup subject to change. No refunds will be issued for lack of identification or invalid identification. Fashionable Attire is required, no sneakers, shorts, tank tops, baseball hats or gym clothes. By purchasing a ticket, you will also receive weekly email blasts from Ruby Skye about upcoming events, guest lists and more.

Every Saint has a past, and every Sinner has their future! Halloween at W SF THURSDAY, OCtober 31st 2013 Embrace your alter ego, don your most stylish costume and head to W San Francisco’s “sinister chic†Halloween Happening. VISIT OUR FACEBOOK PAGE FOR ALL THE PHOTOS FROM OUR PAST W SF EVENTS https://www.facebook.com/SanFranNightlife ::| All Sales are final. Must be 21+ to attend. No refunds or exchanges. Prices are subject to change while supplies last ||::

Composer and technologist BT is one of the most cutting-edge artists and producers for a dizzying array of musical styles. Whether composing intricate scores for blockbuster films such as Fast and Furious, and the Oscar winning Monster; writing and producing for Sting, David Bowie, Peter Gabriel and Madonna to creating cutting edge proprietary software tools from scratch to make it happen - BT is at the heart of it all. Juxtaposing memorable songwriting with sonic innovation and hand- designed technologies, BT crafts classically influenced, electronic overtures, ringing with living textures that are an industry source book of new and highly copied signature techniques and ideas.

Cedric Gervais has had an extraordinary life. As a young teenager, Cedric, who is originally from Marseilles, headed to St Tropez. There he got a summer residency at the famed Papa Gaio club. He was only 14 years old, not even legally old enough to party with the people he played for. This quickly turned into a residency at Paris’ Queen club. Knowing the only path for him was music, Cedric pleaded with his father to take him out of school so he could concentrate on DJing. His father agreed, and, as is customary in France, went to the local courts to put Cedric’s case forward. Then at just 15 years old and not speaking any English he decided Paris wasn’t challenging him enough musically so he packed up and moved to Miami. This was at a time when an exciting movement within the club scene was happening in Miami; Big clubs were opening, the power of residencies were becoming ever more evident, Cedric saw this opportunity and jumped in. He secured residencies at the best clubs and parties Miami had to offer – Living Room, Nikki Beach, Crobar and Space. During this time it wasn’t just his DJing that excelled but his studio output too. His first big break came in the form of ‘Spirit of my Life’ in 2006; Pete Tong made it an Essential New Tune on his BBC Radio 1 show. Cedric followed with a string of high profile remixes for the likes of Dubfire and more ‘Essential New Tunes’ followed – namely in the form of 2009’s ‘Mauri’s Dream’ and most recently ‘Molly’, of which Madonna is a fan, more on that later. Three of Cedric’s most high profile club-residencies have been Liv (Miami), Marquee (Las Vegas) and the newest addition of XS (Las Vegas). He has hosted his infamous S~~TSHOW!!! parties, as well as his more recent residency addition of ‘Le Show’ at XS in Vegas. The infamous S~~TSHOW!!! events started at Liv and have grown to become a next-level clubbing experience. The ethos is simple, the production and level of effort put into making these parties happen is anything but. Put simply, anything goes at the S~~TSHOW!!! events, there is no judgment or rules, only crazy clothes, lights, décor and one of the most up-for-it crowds found in any club globally. Cedric plays all night and the success of these events has meant it has expanded from it’s original home in Miami to incorporate parties in Las Vegas at both The Marquee and XS and who knows where else it will head this year… So onto 2012 and Cedric had his biggest smash yet. His huge hit ‘Molly’ is a love story about a girl in the form of a club-smash. Madonna announced the track on stage at Ultra Festival and it became the soundtrack to 2012 WMC, Pete Tong loved it so much he played it 5 times consecutively on air making it his Essential new tune, it then became Radio One’s Scott Mills Record of the week and stayed on its playlist for weeks. It was the Buzz and Cool Cuts Chart Number 1 and entered the UK charts at Number 26. The track has continued to get more and more attention with top radio play and club spins each week all around the world. The later part of 2012 saw Cedric’s status grow further, with his infectious single ‘Cedanie’ continuing the growing excitement surrounding him. Furthermore, his remixes of Katy Perry, Borgore and Willy Moon also proved to be huge successes and allowed Cedric to exemplify his remixing skills whilst simultaneously reaching a diverse and extensive range of listeners, helping build his ever-growing fan base. 2013 has already been an incredible year for Cedric. His remix of Lana Del Rey’s ‘Summertime Sadness’ reached No.1 on Beatport and managed to stay there for an unbelievable 2 weeks. His pounding, club version of the original track has continued to receive an amazing response far and wide and has fast become one of the most talked about tracks in dance music of 2013 so far. It doesn’t stop there for Cedric though, on March 23rd he unleashed his 2nd Essential Mix for BBC Radio One which showcased 2 hours of non-stop, jaw-dropping dance music, which highlighted why he is at the forefront of the freshest and finest dance music around at the moment. In addition to this, his collaboration track with Borgore ‘Deception’ was released on March 18th via Spinnin Records. The track received much deserved recognition and hype for both artists. Cedric continues to maintain a busy schedule, considering offers from Hollywood movie directors, touring the planet, planning his S~~TSHOW!!! parties and preparing for one-epic summer season of gigs… Terms and Conditions: This event is 21 and over. Any Ticket holder unable to present valid identification indicating that they are at least 21 years of age will not be admitted to this event, and will not be eligible for a refund. Support lineup subject to change. No refunds will be issued for lack of identification or invalid identification. Fashionable Attire is required, no sneakers, shorts, tank tops, baseball hats or gym clothes. By purchasing a ticket, you will also receive weekly email blasts from Ruby Skye about upcoming events, guest lists and more.

Some people call Sander a technical & musical genius. And who can deny it? He has cranked out more dance floor destroyers, sold-out gigs, number one records, and awards than most artists do in a lifetime. With the help of classics like Grasshopper, Punk’d and Riff, recent hits like Love is Darkness and ofcourse massive collabs and remixes of The Killers (Spaceman), Sia (The Girl You Lost To Cocaine), Robbie Williams (Close My Eyes) and Depeche Mode (Peace) Sander shrugged off the confines of genre typecasting long ago and created something he preferres to call 'SvD-style'. Besides his busy production schedule, Sander has worked tirelessly to bring his radioshow 'Identity' and his clubbing concept, Dusk till Doorn to fruition. And if this mountain of accomplishments were not enough, he somehow makes time to produce his quarterly ‘how-to’ show called ‘Studio Sessions’ on his YouTube channel (SanderVanDoornTV). With a tour diary that sees the superstar play to more than a million fans each year, there’s no doubt that Sander van Doorn is one of dance music’s favorite sons. Within just a few years, Sander has blasted his way to the top. And this is only the beginning.