It’s Tuesday 20 September – what will forever be now remembered as the last Carl Cox Music Is Revolution party – and Es Vedrà’s supposed ‘magnetic energy’ is being outshone by that created by excited Carl Cox fans. And with rumours flying about all day, who knows what to expect? Had people really been queuing outside Space since 5 PM? Were some tickets really being sold for 500€? The whole day was one mad rush – it was an historical day for the island and the tension was palpable.

As expected, queues to get in were mammoth, snaking all the way out of the Space car park. But the energy remained buoyant, because every patient raver knew they were about to witness something special. Upon arrival (a very early one at that), the Sunset Terrace resembled a hive – hundreds of buzzing youngsters bounced around the dance floor while the older generation grooved and reminisced about seeing Coxy back in the day. Everyone had their own important reason for being here – people had flown from all over the world to witness one of the most important nights in electronic music.

When the Disoteca’s doors opened, the rush began – the big man himself was playing and of course, we all wanted that all-important front row view. With bags of vinyl behind him, Coxy’s set-up took us back a few years while still maintaining a modern feel. Back in the day, Coxy was known as the three-deck wizard, and his set-up for the Final Chapter included three turntables, two CDJs and a laptop, all pulled into Richie Hawtin‘s new mixer – it’s safe to say Coxy hasn’t lost his touch despite it being 10 years since he’s played on vinyl. He started as he meant to go on with tracks from Danny Tenaglia and Davide Squillace – he was basically warming up for himself – then, just after the one hour and 20-minute mark, he dropped the first recognisable classic, Dimitri from Paris‘s edit of Stardust, Music Sounds Better With You‘. This really got the crowd going and 20 minutes later he dropped what you could call the first techno stomper of the night.

A few years back Dubfire‘s own rework of ‘Grindhouse‘ was huge on the island and has become one of the more recognisable anthems over the last few years. Coxy isn’t one of those DJs you can really put into a box. His sets vary in style and although he is at his best when he’s rocking the dance floor with high energy techno, he’s able to bring together genres with ease like no other selector on the circuit. How many other DJs are there out there who can drop Masters At Work‘s ‘Work‘, Jeff Mills’Bells‘, Green Velvet‘s ‘Shake & Pop‘, Guy Gerber’s ‘Stoppage Time‘ and Slam‘s ‘Bass Addiction‘ within the space of 45 minutes without losing the crowd and making it all seem so effortless?

Three hours in and Coxy was really cooking on gas. He would jump on the mic occasionally with an ‘oh yes oh yes’ or a ‘Space classic’ to make sure the crowd was still with him. Âme‘s ‘Rej’ was one of the more recent tracks in his set, that was later followed by Space anthem, Layo and Bushwacka‘s Space classic, ‘Love Story’.

I briefly tore myself away to check out the Terraza, where tINI was providing a more minimal side of the techno spectrum. Coxy carefully selected his fellow DJs to represent what Space meant to him, and tINI did the job by being her usual bouncy self and helping increasingly knackered dancers regain energy before catching the last of Coxy. Come morning, Space was, as expected, still packed, but the usual shoulder nudges went unnoticed – there was no time to do anything but grin from ear to ear. Coxy’s set was coming to an end and what better set of vocals to let people down slowly with than Jim Morrison’s – his voice bellowed through the Discoteca with cries of: “This is the end, my only friend, the end.” Things were starting to get emotional, and then we were all sent over the edge by the next voice to bellow out the mic.

“Thank you all so, so, so much. This breaks my fucking heart,” said Coxy. And so it was that the end of an era was signalled. Homemade Carl Cox flags flew higher than before and every worn out raver, from every nationality and age, embraced each other on the dance floor in appreciation of a man who’s given us 15 years of good times. This part of the chapter was done, but was it all over? Not quite…

The words ‘If you know, you know’ had been plastered across social media prior to the big night, and as Wednesday stretched out in front of us, a buzz was yet again, beginning to fill the air. The after party was on – we were all in for another dose of characteristic Cox charisma. The adventure continued at Benimussa Park, where one worker described the set up perfectly: “Today’s one of the first times of the season that every single player, worker and punter will come together in sexy matrimony, under one roof, albeit open-air.” The vibes were exceptional – easily matching the dizzying heights of the jubilant previous night. Coxy took the 8-10 PM slot and did what he does best, whipping the crowd into a big ball of bouncing excitement. Then Nic Fanciulli and Eats Everything took the reins, delivering what can only be described as one of the sets of the season – it might sound cheesy but there was love in the air and you could feel it.

Then the bells rang for midnight and it was all over – a two-day party that will remain forever engraved on the memory of everyone lucky enough to attend. Long live Carl Cox and the party that represents all that’s great about Ibiza. It may be over for now, but the legacy remains. Here’s looking forward to what comes next.


My university friends – who have impeccable taste, may I add – were raving about FUSE for months before I ever took myself to one of their parties. Having wound up at a Maceo Plex after party somewhere in the mountains the day of the last FUSE, I’d completely missed out and never heard the end of it. Turns out I deserved it. Last night was the penultimate HYTE of the season, and the last time the FUSE crew would take over the main room in 2016 – for me, it was truly a season highlight. I’m writing this impatiently before trying to get some sleep – covered in rainbow strings of foil, FUSE stickers clung to my face and excitement relentlessly scouring through my body. It was that good.

My introduction to the night was Enzo Siragusa x Seb Zito flavoured and it couldn’t have tasted better. The pair bounced off each other dangerously in Amnesia‘s main room – spinning the grooviest of grooves and breakiest of beats, jungle sounds popping left, right and centre. No Shazam gave me a taste of what actual tracks were being played, which was no surprise seeing as every record was probably found in the deep depths of funky, old school record shops with little to no label. The usual booth-hoggers that would do nothing but sip drinks were now doing nothing but dancing with the boys, simultaneous hand jives and rolling shoulders egged the crowd on, as we joined the DJs in one of the happiest sets the main room had seen.

In an industry drowned by over-the-top productions, it takes a lot of impress a crowd these days. Communities in the music world are now seen as more ‘underground’, meaning when you find yourself dancing among one, you never want to leave. The FUSE crew knew that simple is everything – streamers were set off by hand from the booth and artistic art films played in the background. The music was the most important factor of last night, which reminded me of my undying love for it.

The terrace was set up back to front with the booth near the main entrance – just another thing HYTE do to stay unique. The booth was now a social hang out and groovers high-fived the Pan-Pot duo as they completely took over the vast hall with Enrico Sangiuliano’s ‘Moon Rocks’.

Back in the main room, it was finally time to tick another must-see DJ off my long list – Archie Hamilton who was going B2B with Rossko in what can only be described as a match made in heaven. The pair connected with the crowd on such a level it was hard to not mouth ‘thank you’ at any point you caught their eyes. There was simply no room for improvement during this set, Prodigy-esque rhythms wrapped themselves around their own unique sound, disco samples were heard throughout, and there was simply no time to stand still. The boys orchestrated the crowd and gratitude shone throughout.

Rossko mastered the decks and Archie followed him pound for pound. At one point he started what was going to be an intense drop, which spun the crowd into a whistling, screaming frenzy. The pair high-fived at the height of the track, and every raver’s feet left the floor in sync – expressing themselves in ways only music could allow them to.

FUSE are the punks of electronic music. They don’t follow the crowd, they supply a family for every punter who has that need for adventurous musical epiphanies. There’s no hierarchy, no jumping frantically into limo scenes at the end of the night, no disinterest from the crowd – just pure, rare music and a vibe that’s so strong it has the potential to stay put even when times are hard in the music industry. It takes a ground-breaking gang to realise FUSE’s potential and who better to do that than HYTE. I’ll see you at the next party.



There’s one reason the team and I managed to go from 7 PM Sunday night (Space closing) until 1 AM Tuesday morning with only a few power naps, and that was the constant, contagious energy that flowed from soul to soul as we wandered amid various closing parties. And it was with Space exhilaration lingering strong, that we made our way to Amnesia on Monday night, ready to witness why Cocoon remains a highlight for so many people, each and every season.

It was only right the likes of Sonja Moonear and a live set from Henrik Schwarz warmed up for the one man that built the four-circled empire. Moonear brought her usual unique, floaty sound while Schwarz reminded us just how much talent is behind decent producing. Cocoon didn’t need to change its much-loved formular for the closing – quality tracks still pumped through the Amnesia walls, techno lovers came out in force and I left with at least 10 absolutely game-changing tracks. Job done so far. In the main room, Adam Beyer could have been the young grasshopper to Sven Väth. ‘Ghost‘ by Gardens of God was his chosen weapon as he went in full pelt with no nonsense techno, exactly the kind of tune Väth nurtured the Cocoon crowd with. Meanwhile on the terrace, Sven was showcasing his own track, ‘Robot‘, this time with a Kölsch remix twist – giving the crowd even more reason to chant his name.

Cocoon was out to prove that in this, its last session, of 2016, it remained top dog after 17 years in the business and remained impressive as ever. After a Sven-inspired sit down on the floor of the terrace, DJ Rolando‘s (AKA The Aztec Mystic) track ‘Jaguar‘ caused major uproar. It was a favourite that Sven hadn’t played in a long time, and successfully marched the crowd back to the late ’90s in just one swift swap of a record. It was never going to be a simple ending, pride was steaming from Väth’s entire aura, and with both hands in the air, Larry Heard Pres. Mr. White‘s ‘You Rock Me‘ finished the night. With a light-hearted feeling, a familiar pink teddy bear had been lifted above a certain head and the night ended with a sense of continuation in the air.

No Cocoon closing really ends when it’s supposed to – mysterious bands were handed out throughout the night that lead techno-craving ravers to the legendary Benimussa Park. So after a well-needed but brief rest it was straight back on the road for more action. On arrival, Väth was warming the crowd up with down-tempo, universal sounds, while sporting a multi-coloured, mirrored umbrella and white tribal face paint, and simulatenously holding none other than his son Tiga in his arms. “Today is about Africa”, Sven announced, a strong look of pride etched across his face. And he went on to bless our ears with sounds most of us never thought were possible.

There’s a touching story behind this African theme and it’s based on friendship. Sharing music is a vital part of Sven’s career and a friend of his provided him with some unique African disco records, making it one of the most standout afters to date. This was a historical moment, in which cultures combined and in the process created the perfect celebration. It was the 17th year of Cocoon Ibiza and every single person in that park was together – with Sven and his family, with people of every colour, with every individual sound. Techno has a fairly a serious label, so there was nothing better than seeing Sven rifle through what sounded like records he’d collected at a young age, from a record shack in the Sahara, while on acid. At the end, he delivered a heartfelt speech, jumped into the crowd, and surfed up and down the desperate hands of fans while his entire family beamed with joy.

“We share, we dance, we love together.”



The Wytches undoubtedly performed one of the hairiest, most denim gig since Motorhead at Download festival.

A wave of sweaty, scraggy hair took over what was a considerably calm crowd as soon as bassist Daniel Rumsey shattered the impatient atmosphere with his first chord. The mixture of indie teens and middle aged head-bangers quickly separated, leaving the front of the room with space for the topless youths to mosh until their hearts were content, the occasional apologizing girl made her way through the over 18s to the back with exhaustion.

The band seemed to cast a spell over the crowd as lead singer Kristian Bell opened with ‘Digsaw’ and the whole band seemed to play effortlessly and devotedly, which is no surprise. Even as the band faced technical difficulties, they came together and never showed what panic they may have felt, quickly getting back started to their unbelievably impressive set. Their most popular song ‘Wide At Midnight’ was played in an attempt to calm the fans, alongside a few unexpected jams, which allowed Rumsey to blow away the rest of the band with his psychedelic riffs and even drummer Gianni Honey joined in with a few solos.

Like a grungier Elastica/Nirvana mixed with The Doors, The Wytches gave an insight of what a small stage at a rockier Woodstock may have been. The performance of ‘Wire-Frame Mattress’ showed just how talented this three-piece band are – it was masterly played down to the last note, bringing out the groovy dancing even in the bar staff.

After having a conversation with drummer Honey before the gig about weirdly over-sized food in America, the impression was made that the band were a group of down-to-earth lads who live for making music. This gig proved it; the dripping fans left The Joiners with a buzz, expressing their excitement with cheers. One of the most original bands around at the moment, The Wytches promise good things for the future. This band seem to be getting more famous by the day and evidently so as fans clung onto Rumsey’s arm during a short break, collecting his sweat like a souvenir.




The Australian three-piece band DMA’S, now joined by an extra two backing guitarists, take to the legendary stage of The Joiners as if bumping into a rival gang. Wearing worn down caps with over sized cream Harrington jackets; it’s like looking at Oasis after arguing with their manager about wearing what they want.

A group of fans push to the front of the crowd as the band start with their song ‘Feels Like’, lead singer Tommy effortlessly encourages the crowd to sing every word back to the band.

The melodic song ‘Too Soon’ from their upcoming EP is played next, teasing the crowd of what’s to come in the near future. Their latest release ‘Lay Down’ gets the crowd geared up and Tommy experiments more with his tambourine.

DMA’S seem to be one of the nearest bands to a nineties Stone Roses around at the moment, the Ian Brown dancing combined with the Gallagher brothers sneering vocals give hope to all fans latching on to the Britpop era.

The band’s most sing-along song ‘Delete’ unites the (now quite drunk) crowd and as Johnny’s acoustic skills are shown off, it becomes apparent as to why this track was the one to land them a place with their label I Oh You.

It comes to a shock knowing that Tommy’s voice was accidently discovered during a rehearsal for Took and O’Dell’s first band “Underlights”, as he stands on stage singing with what appears to be not a twang of nervousness.

Last is another new song ‘Play It Out’, with loud riffs combined with the band’s passionate stage presence, it’s safe to say DMA’S have smashed their first gig of the UK tour and have gained a new set of fans. The band has brought their buzzing atmosphere all the way from Sydney and the UK is loving it.




Ever visited a Thai restaurant in the heart of Southampton city and danced to groovy-techno-disco-house? It’s an incredible experience to say the least.

The SMILEfest event Kitchen is a night set up by Solent students, with Enroute headlining, the upstairs is lit up with fairy lights, all signs of anything ‘restaurant’ has been hidden.

Junk resident DJ Carlington starts at 11pm, starting the night with laid back disco house, the crowd is just starting the warm up and the word has started to spread, “have you heard about the rave in Mango, yeah the Thai restaurant!” I hear from outside.

More people have started to dance, holding their fancy cocktails as the music starts to get more upbeat as Chris Golding starts to jump from tech-house to moody groove. The dancing gets more extravagant as he plays Swing It by Mar-T.

Headliner Enroute, well known for playing old school disco arrives at the decks and starts with the crowd pleaser Chic – I want Your Love -Todd Terje Remix. By now the cocktails have done the job and everyone in the room is swinging each other around the room.

Two-piece Junk resident DJs Moda Soul and DJ Mag writer finish off the set at 3am with Hanfry Martinez tunes, bringing back the disco that has been forgotten.




Stumbling upon the small stage in the legendary Southampton venue Lennon’s, came Leeds band – Eagulls. Infamous for their ‘opinionated and chaotic off stage experiences’, it came as no surprise that the band were seemingly, utterly plastered.

As drunk as front man George Mitchell appeared to be, he still brought an intense stage presence, turning a slightly impatient gathering into an intoxicated, attentive crowd. Their music unites a crowd with a rare, well sought after charm. Mitchell clung onto the microphone and contorted in an Ian Curtis-esque manner, opening with album track- Soulless Youth.

The crowd reacted spiritually to Eagulls, waving their hands and closing their eyes whilst shouting back the sometimes not-so-clear lyrics at the band. A strange stillness took hold of the venue, as the intriguing group of men cavorted around the stage.
Mitchell and guitarist Liam Mathews seemed to get drunker as the gig went on, their song Tough Luck came next, and although effortlessly sounding like the record itself, it was delivered with a bright and raging passion not heard on tape.

The highlight of the evening was no doubt Mitchell giving what could have be described as an inspiring speech, had it not come with a twist – almost inaudible, mumbled and although clearly meant with good intent, it only consisted of a slurred “JOHN LENNON, JOHN LENNON” chant. We’ll have to forever wonder exactly what he reckons to the Beatles frontman…



In the mist of sweat, warm Red Stripe and psychedelic riffs, Childhood graced the considerably small stage at The Joiners, Southampton, a venue known for winning NME’s Britain’s best small venue title in 2013. Childhood played what was described as ‘one of their best gigs they’ve ever played’ by a fan.

The vigorous energy from the crowd spurred the lead singer, Ben Hopcraft, to lead a stunning show, the sounds Hopcraft can produce from his voice alone, sent intense vibes out to the crowd, who with glitter painted on their faces, moshed about the room, grabbed each others arms and screamed the lyrics at each other, connecting over the stunning performance.

With their eyes rolling into the back of their heads, Hopcraft and bassist Daniel Salamons put their life and soul into thrashing their guitars around the stage, connecting with the crowd by dedicating songs to certain lucky fans. “This ones for you mate” Hopcraft pointed at a star struck fan who had just seconds a go crowd surfed across the fanatical crowd, which encouraged many of the other long-haired, head banging teens to do so, ending the show with one certain lad dressed in a Velvet Underground tee to theatrically dive off stage.

The sentence ‘you know it’s a 14 years and older gig when the crowd mosh to Childhood’ was thrown around the room several times, as Hopcraft ended his verses with expressive Kurt-Cobain-like screams.

I asked the band for a quick quote on how they thought the gig went: “we had the time of our lives. Sweat never tasted so good”

An all-inclusive remarkable gig, Childhood proved that their talent for making music isn’t just recorded, they can play fucking well live too.



In a small venue, hidden away in a shopping center in Islington, London, played a band with a well fitting name, Electric Six, the six piece band critically acclaimed band who performed what couLd be described as an lectric show.

Through the mist of hands throwing up the sign of the horns and splashes of warm beer being thrown from the balcony, Electric Six, wearing stylish suits and suave sunglasses maintained their reputation of throwing unforgettable gigs.

The mixed crowd consisting of over excited American fans, punks and men who look like they’ve just come from the work place, waited for the much anticipated song ‘Gay Bar’. As soon as guitarist ‘The White Wolf’ struck the first few chords of the legendary song, the crowd reacted as imagined, the whole room exploded.

Lead singer, Tyler Spencer played numerous songs from their new album, released in 2014, Human Zoo, including ‘It’s Horseshit’ and ‘Guns Rights’. Next came their song with more of a modern, techno feel, ‘Synthesizer’ off their most prominent album Fire, released in 2003. A phew moshpits unraveled and the crowd spilt into two, leaving the punks and drunks to mosh at the barriers, as Electric Six continued to play their most famous songs, including ‘Dance Commander’, ‘Dance Commander’ and ‘Nuclear War’.

Not long after playing ‘I Buy The Drugs’ and ‘Naked Pictures (Of Your Mother)’, came the highlight of the night, which included an Adam Levine impersonator, wearing nothing but shorts, a waistcoat and a head torch, adding to the theatrical stage presence and incredible vocals of Spencer.

Spencer never hesitated to appear controversial towards the venue, shouting “the venue want to kick us off, so we’re going to play as many songs as possible” and “we’ve been asked to play two songs in the encore, so we’re going to play three”.

A successful gig always ends with an encore, playing three songs including ‘(Who The Hell Just) Called My Phone’. The crowd left sweaty and fulfilled, with restored faith in ‘Garage, disco, punk rock, new wave, and metal’ bands.




All-male three-piece Bear’s Den stand humbly on stage, looking out nervously to the anticipating crowd who are instantly stunned into silence as the combination of Andrew Davie, Kev Jones, and Joey Haynes begin to play their first song of the night, ‘Elysium’. The band play a mixture of guitars and banjos perfectly in-sync, as Davie’s voice echoes beautifully through the venue.
The light show is already promising breathtaking things, highlighting singer Davie as he announces that this is their biggest headline show ever, which seems hard to believe after the band travelled across the United States in Volkswagen Campervans with Ben Howard, Nathaniel Rateliff and The Staves back in 2012, however the band could not seem more appreciative.
‘Mother’ is played next as the band is joined by a number of musicians, playing banjos and a number of different guitars and tambourines, emphasising Bears Den’s incredible rhythm. The band are immensely connected with their fans as next songs ‘Don’t Let The Sun Steal You Away’ and ‘Magdalene’ are played.
Suddenly the band decide they no longer need microphones, and the whole theatre goes silent as Jones tells us how happy he is to be playing at O2 Shepherd’s Bush Empire. Bear’s Den start to play ‘Above The Clouds Of Pompeii’ and the crowd stand perfectly still, clinging onto every word the members sing, projecting their voices effortlessly.
Bear’s Den continue to play most of their set without microphones, enhancing their acoustic skills with the crowd joining in by clapping, as if one big community. The band sadly finish their set, ending with ‘Agape’ from their newest album. However the audience demand more from the Ben Howard-influenced band, they continue to chant until Bear’s Den arrive for an encore where they play ‘Bad Blood’ and a beautiful Rose Cousins’ cover of ‘All The Time It Takes To Wait’.
The band give Shepherd’s Bush something to remember with their grand finale. With the incredible brass section behind them, Bear’s Den are joined by support acts Alex Vargas and Rukhsana Merise, as well as Christof, Paul Trith (The Sea And I), Jessica Stavely-Taylor (The Staves), India Bourne (Ben Howard), Ben Lovett and Winston Marshall (Mumford And Sons), Phil Renna (Cherbourg), Jack Garratt, Kris Harris (Storybooks) and Harry Cargill (FKA Tundra), to create one of the most breath-taking end to a concert the venue has ever seen.




The Bournemouth International Centre contains nearly 4,100 seats, and every single chair is filled with grown up hippies. It’s rare for a tribute band to fill such a vast venue, however The Australian Pink Floyd have played to over 3 million fans before, including Pink Floyd’s very own David Gilmour, so this is not new to them.
The band enters the stage, the main seven members taking their places and handling their instruments with care, three guitars, one keyboard, one set of drums, one keyboard, and a main vocalist at the ready. As expected, the light show inspires gasps from the crowd, spotlighting lead bassist David Domminney Fowler as he strikes the first few chords of ‘Astronomy Domine’ from one of Pink Floyd’s earliest albums, The Piper At The Gates Of Dawn.
The band start off shaky, with not much of a response from the audience and the vocals not quite loud enough, however things take a drastic change as they start to play ‘Shine On You Crazy Diamond’ parts 1-5. One of Floyd’s most recognisable 11-minute songs, keyboardist Jason Sawford plays exquisitely along with a solo guitar riff played by Colin Wilson, and strobe lights take over the venue as the crowd watch in awe.
The band start to play their way through Floyd’s album Wish You Were Here, joined by three backing vocalists and Mike Kidson with his saxophone, who adds more extreme similarity between the tribute band and the real Pink Floyd. Next comes ‘Welcome To The Machine’, Have A Cigar’, ‘Wish You Were Here ‘ and of course, ‘Shine On You Crazy Diamond’.
A screen is broadcasting memorable photos and videos of Floyd and Syd Barrett, as if a tribute or a timeline. Animations of controversial scenes start to play, and the X-Factor and Spotify logo are shown during ‘Welcome To The Machine’, expressing the song’s real meaning and negative feelings on the modern day music industry.
“We’ve got one last song to play before we have a break, it’s about kids and teachers,” the band announces. Suddenly an array of multi-colored strobe lights show a gigantic blow up teacher, which has been transformed to look slightly alien like, as the band plays ‘Another Brick In The Wall’ perfectly.

The Australian Pink Floyd smash through ‘In The Flesh’ before playing a few songs from The Dark Side Of The Moon, and they have never sounded more like Pink Floyd as they play ‘Money’. You can almost sense the hairs on the audience’s arms stand up as they play ending song, ‘Comfortably Numb’.
Of course the band are forced to appear back on stage for an encore, and not only has every band member returned to stage, but so has an enormous blow up bouncing rabbit. The psychedelic band perform ‘Louder Than Words’ from Pink Floyd’s newest album The Endless River beautifully.

The whole venue is told to stand up by vocalist Alex McNamara, and the aisles fill with fans as they stomp along to one of Pink Floyd’s most controversial rock songs, ‘Run Like Hell’. An astonishing light show mixed with impeccable vocals and instrumentals combine to create one of the most successful tribute bands and shows in existence.