DJ Sadiq Gill - How To Tell An Extraordinary Wedding Disc Jockey From Someone Who Could Ruin Your Reception

Guest Blog post by Rob Alberti

You have your band (around your finger), now it's time to find your Wedding disc jockey. You search the internet for "Wedding disc jockey" and come up with a list of potential wedding disc jockey choices. Now, how do you wade through the rheteroric "Connecticut's Most Requested DJ", "The DJ of Choice", "CT DJ of the Year" and figure out who is going to make your reception a raving success v. a floundering mess.

Here are some things to keep in mind as you look for your Wedding disc jockey:

Check out their website. If it is poorly designed, lacks real information or just doesn't appeal to your style - then they are probably not the right choice as your Wedding disc jockey. You should discount any DJ that DOES NOT HAVE A WEBSITE. If they can't be bothered to setup a website, then they probably can't be bothered with the details of your wedding.

Look for pricing. If they do not list pricing on their website - they might be trying to hide something. Many Wedding disc jockeys will quote different pricing from one client to the next. This is a sign of a poorly run business or of hidden charges that might haunt you down the line. Your Wedding disc jockey should be upfront with their pricing and it should be printed/posted on their website and in the literature they mail you.

If you have specific music tastes - ask your Wedding disc jockey to show you a list with that style music on it. Too many Wedding disc jockeys have promised to cater to client's musical tastes and then showed up on the day of the wedding to just play the same tired wedding music that you hear at every Wedding reception.
Ask to see photo's of their equipment and setup. If they have large self-promoting signs as part of their setup - stay clear of this. What right does a Wedding disc jockey have in promoting themselves at YOUR wedding?

Ask your disc jockey how much money they have invested in the equipment that they bring and setup at a typical wedding. At a recent Connecticut bridal show, one Wedding disc jockey boasted about his new disc jockey setup. The main system was worth less than $500. A quality wireless microphone is worth more than $500 alone! If they have less than $5,000 in equipment (not including music value or backup equipment value) - they are entry level wedding entertainment at best. Quality Wedding disc jockey equipment comes at a cost. Many professional Wedding disc jockeys will have over $10,000 invested in their main system alone.

The bottom line - if your Wedding disc jockey choice gives you any concern with regards to their professionalism, they you should keep shopping for your Wedding disc jockey elsewhere. The difference between a $750 Wedding disc jockey and a quality $1500 Wedding disc jockey could mean the difference between guests gazing at their watches soon after dinner or your family & friends up and dancing the night away at your Wedding reception.

DJ Sadiq Gill - David Guetta

With 2009’s multi-platinum One Love, two-time-Grammy-winning artist/producer/DJ David Guetta cemented his status as a genre-busting hitmaker whose in-your-face Fusion of electro and hip-hop beautifully warps the pop landscape. Now, with his fifth studio album Nothing But The Beat, Guetta builds on that breakthrough momentum and takes his decades-spanning career to a frenetic new level marked by bigger hooks and more brain-bending beats. A star- packed powerhouse showcasing today’s hottest hip-hop and R&B artists, Nothing But The Beat backs up its high-gloss pop with ingenious electronic stylings that deftly flaunt Guetta’s DJ pedigree. In a nod to the driving force behind Guetta’s crossover success, the double album (due out August 29) also offers an all-instrumental disc designed to turn new listeners on to the hypnotic sound of house music.

One of the most wildly anticipated albums of the year, Nothing But The Beat comes hot on the heels of the rush release of its first smash single, “Where Them Girls At” (featuring Flo Rida & Nicki Minaj). Already his fasting selling single to reach gold status in the USA, the dizzying and deadly catchy “Where Them Girls At” marks a one-time return to the straight-up club-anthem sensibility of Guetta’s “Sexy Bitch” (the 2009 monster hit that moved 5 million units worldwide). “When I listen to the radio in the U.S., every song sounds like ‘Sexy Bitch,’” says Guetta. “The urban dance thing has become huge. Now I have to push it because my sound has become so popular. It’s a challenge, but I like that.”

For help in blowing up those musical boundaries, Guetta assembled an A-team of collaborators sure to thrill enthusiasts from all ends of the pop spectrum. Nothing But The Beat features no fewer than 17 guest artists, from hip-hop royalty (Snoop Dogg, Ludacris, Timbaland) and game-changing rappers (Minaj, Lil Wayne) to R&B superstars (Usher, Chris Brown, Akon) and breakout pop acts (Dev, Jessie J). Rounded out by Jennifer Hudson, Flo Rida, Taio Cruz, Sia, and Guetta’s “fellow mad scientist” Will.I.Am., that roster was carefully culled to guarantee a filler-free album destined to deliver hit after hit. “I produced about 40 songs to get these 13 records together,” Guetta explains. “I wanted every song to be huge, phenomenal.”

Not only boasting massive pop appeal, Nothing But The Beat bears a broad, adventurous scope of sound that reaffirms Guetta’s role as a pioneer of the electronica/urban music Hybrid. To start, the album blasts off with the dancefloor- ruling trinity of “Where Them Girls At,” “Little Bad Girl,” and “Turn Me On,” a triple threat that quickly proves Nothing But The Beat to be a high-energy hit machine. Riding off the feel-good frenzy of “Where Them Girls At,” “Little Bad Girl” pairs

Ludacris’s masterfully bombastic flow with the smooth, sexed-up vocals of singer/rapper Taio Cruz—all while repurposing classic house-music elements (lush synth loops, crisp beats) into a radio-ready knockout. On the glorious and gut-punching “Turn Me On,” meanwhile, Guetta grants Nicki Minaj her stunning debut as a full-fledged songbird. “Everyone knows she’s the best female rapper right now,” says Guetta. “I wanted to take her somewhere she’s never been.” The track brilliantly contrasts Minaj’s trademark madcap rapping with disarmingly tender vocal work, complementing her persona-switching performance with a slick barrage of erratic beats and spaced-out effects.

Ever experimental, Guetta transports his collaborators to previously unexplored sonic spaces all throughout Nothing But The Beat. On “Sweat,” for instance, Guetta remixes one of his most prized DJ records as a stark, synth-heavy electro-hop track that spotlights Snoop Dogg’s strikingly sleek vocals. Elsewhere on the album, guest artists match Guetta’s ingenuity with their own brand of beamed-in-from-another-dimension whimsy and weirdness. Just as “I Can Only Imagine” alternates shimmering, buoyant beats with wildly skidding synth, the track continually trades off Chris Brown’s warm melodies with the lyrical mischief- making of Lil Wayne (whom Guetta dubs “a big genius”). And on “I Just Wanna F,” Timbaland and Dev play a deliciously dirty version of the alphabet game while Guetta lays down a densely textured groove that makes this futuristic fever dream one of the album’s most irresistible moments.

At the heart of Nothing But The Beat is a selection of soul-stirring songs that reveal the spirit behind Guetta’s gorgeously crafted beats. With all the passion and power of an old-school dance anthem, “Night Of Your Life” shows off Jennifer Hudson’s heavenly voice and remarkable range. On the slow-building “Without You,” Usher opens with achingly vulnerable vocals that soon swell into a soaring, sweeping performance ultimately backed by delicate piano work. “It’s possibly the biggest track on the album,” says Guetta of “Without You.” “It’s a monster—so big, so emotional.” In a one-two punch, Guetta follows “Without You” with the equally wistful opening moments of “Nothing Really Matters”—then turns it all around and elevates the Will.I.Am-led track into an escapist party jam. “I love playing with both worlds,” says Guetta, noting the bold disparity between the “crazy electro-beat and the super-sophisticated string arrangement” on “Nothing Really Matters.” To close out Nothing But The Beat, Guetta taps into the otherworldly vocal prowess of Australian indie-pop star Sia. Ethereal yet anthemic, “Titanium” enchants the listener with Trance-inducing beats and a lyrical intensity unrivaled on the pop scene today.

Switching gears for the 10-track accompanying disc, Guetta reconnects with his electro roots and primary fan base. “I didn’t want people who’ve been following me for years to feel left out,” says Guetta. “I feel like if I lose my original fans, it’s over. Without those people that inspire me, I’m just another pop producer.” From tripped-out techno to drum-driven dubstep experiments to raw and riotous dirty house, the instrumental element of Nothing But The Beat illuminates Guetta’s virtuosity as a DJ—an art he continues to hone and expand even as he racks up chart-topping records. That evidence of Guetta’s remaining firmly rooted in club culture will no doubt satisfy longtime electronica devotees, while at the same time ushering a whole new audience into the dance-music underground. “Because I’m a DJ first, I wanted to use my success to introduce newer fans to what my culture is about and where my inspiration comes from,” Guetta notes.

That sizable success isn’t nearly limited to Guetta’s work as a recording artist and DJ. In addition to selling more than 5 million albums worldwide since his 2001 debut, Guetta acted as producer on the Black Eyed Peas' “I Gotta Feeling” (the highest-selling digital release in music history). Along with his two Grammys (one for his remix of Madonna's “Revolver” in 2011, the other for his remix of One Love’s “When Love Takes Over), Guetta took home the Best DJ, Best Producer, and Best-Selling French Artist prizes at the 2010 World Music Awards. And having kicked off his DJ career as a teenager in his native France, Guetta also partners with his wife Cathy on promoting duties for the legendary F*** Me I’m Famous dance parties (held in locations like Ibiza, Miami, New York, and Las Vegas since 1995). “It doesn’t matter if I make a beat that’s going to be a song on the radio, or if I make a record that’s meant to please DJs,” Guetta says of continuing to bridge the gap between electronic and pop on Nothing But The Beat. “I always just think of making people dance—that’s my first priority.”

DJ Sadiq Gill - John Digweed

The word “Bedrock” holds two connotations. Literally, it is a solid mass of rock that lies underneath layers of loose, unconsolidated soil. Figuratively speaking, it refers to a basic principle, an irrefutable, fundamental idea upon which other thoughts and movements are derived. Whichever definition you apply, British DJ-producer John Digweed and his 10 year-old Bedrock club event have lived up to its implications.

While lesser DJs bow to the whims of clubland fad and fashion, Digweed continues to stand as a reliable, steadfast pillar of dance floor excellence. He brings the same douse of driving enthusiasm and inspiring innovation to his two-and-a-half year old residency at Manhattan superclub Twilo (where he reigns with Sasha) as he did to his first Bedrock events in Hastings more than 10-years ago, where he emerged as a fresh, young talent who mesmerized faithful audiences with his soul-stirring progressive dance tunes.

His resume of accomplishments makes his proteges swoon and his contemporaries nervous. He served as a resident at the northern club Renaissance during its early-to-mid nineties heyday. He was the first U.K. DJ (with Sasha) to hold a club residency in the U.S. He’ consistently voted one of the top 10 international DJs in prestigious club culture publications such as DJ Magazine and Muzik. He’ a talent whose appearances in locales such as Australia, Africa, and Asia are met with the same fervor and excitement they receive in Europe and America. And this DJ superstar continues to stay on the rise.

It’ perfection he takes to his Bedrock club event, which celebrated one year of holding court at London’ famed club Heaven in October 1999. It, like Digweed himself, has stood time’ grueling test, graduating from its role as a humble hangout for punters looking for an excuse to party on a weekday night to become a globally-revered, outrageously respected club event whose rotation of world-class DJ talents and back-to-basics mentality prompted Muzik to list it in the top 10 of its “21 Clubs For The 21st Century.” Of Bedrock’ 1998 Premier at Heaven, Time Out magazine said, “There haven’t been too many things to salivate over in London club land recently, but the prospect of (Bedrock), the new John Digweed monthly residency at Heaven, has left the cognoscente positively drooling.” One year later, the sentiment remains true, as Bedrock has seen the talents of Sasha, Carl Cox, Paul Van Dyk, Basement Jaxx, Grooverider, Adam Freeland, Hybrid, The Light, Slacker, and countless other walk through its doors and bring the most enthralling dance sounds to appreciative crowds every other Thursday evening for a measly 5 pounds a head.

It’ the same strive towards excellence he brings to his work as a musician. His tracks, recorded with partner Nick Muir under, you guessed it, the moniker Bedrock, are bona fide classics, meshing the deep, luxurious hues of house with the atmospheric rush of trance in Digweed’ characteristic style. 1993’ “For What You Dream Of,” the quintessential Bedrock tune, found its way from the Renaissance dance floor into the film adaptation of Irvine Welsh’ Trainspotting in 1996. “Heaven Scent,” the latest opus, has been embraced by every important DJ with a clue. And his most recent reconfigurations of cuts by Satoshi Tomiie featuring Kelly Ali from Sneaker Pimps, Danny Tenaglia, and DJs Heller and Farley, plus others have made him one of the most respected and in-demand remixers of the year.

And it’ the same distinctive flair and unrelenting passion with which he has delivered the first Bedrock mix CD, released in the U.S. on Ultra Records. Following on the heels of his and Sasha’ groundbreaking Northern Exposure DJ mix series — the third volume, Expeditions, was released in the spring of 1999 to overwhelmingly positive response on both continents, Bedrock is a two-disc set that truly captures John Digweed at his best, and represents his unique signature style that’ driven with his sexy and dark-funky twisted house to his relentless, hypnotic progressive trance. A journey that highlights talents from both sides of the pond, including tracks by up-and-coming U.S. producers — POB & Taylor, Sandra Collins, Tiny Trendies, BPT Feat. Danny Morales, Morel and others — as well as the latest Bedrock smash. A course that demonstrates the global character of club culture as it moves into the next millennium by creating an artistic bridge that between East and West, London and New York, trance and house. An offering that, like none other before it, reflects Digweed’ tri-fold personae as visionary club promoter, forward-thinking producer and exalted DJ.

A strong, steadfast foundation on which the ever-expanding global club culture continues to lean. A standard by which all other promoters, producers and DJs can be measured. With the talent and ambition that has a way of separating the diamonds from the rough, John Digweed’ Bedrock is set to move you in more ways than you can imagine.

DJ Sadiq Gill - Paul Oakenfold

By DJ Sadiq Gill

When it comes to a career the magnitude of Paul Oakenfold it’s hard to encompass one of the true legends of electronic music into just words. For over 3 decades he has elevated and shaped an entire genre and remains one of the leading forces in the global music scene today.

His most recent works have taken him from the DJ booth of the worlds hottest nightspots and festivals to the studio producing soundtracks for Hollywood blockbuster movies. His diversity in artistry and ability has earned him accolades from critics and fans alike. Garnering him not 2 but 3 Grammy Nominations for his works.

But lets take a step back. The son of a musician, Paul came up as a young DJ in the late 70s spinning Funk in Covent Garden. Not what some might have expected from one of Trances preeminent masters. But he knew then music would be his life. In the 80’s 2 life-changing trips took place. The first in 1984 where he spent several months living in New York City working as A&R man for the famed Champion Records signing DJ Jazzy Jeff and the Fresh Prince, as well as Salt-n-Pepa. He also became promoter and British agent for the Beastie Boys and Run-D.M.C.

The second trip and more contemporary influence was in 1987 which brought Paul to the White Isle of Ibiza.
Here he discovered the Balearic sound that flowed through the Ibiza air at clubs such as Amnesia. Inspired, he took the music and experiences back to the UK and became its ambassador. Paul returned often holding residencies at Amnesia and Pacha in Ibiza. Around the same time Ministry Of Sound in London was opening and tauted Paul as their first resident. However it was his famed residency at UK super-club Cream in Liverpool that brought Paul global respect as a master of his art. It was some say the catalyst to what has made him a touring legend.

This residency was celebrated through the Grammy nominated 2004 compilation ‘Creamfields’ (Paul went on to receive a second Grammy nomination in 2007 with his artist album, “A Lively Mind” and then again in 2009 for his production work with Madonna).

Oakenfold’s stature as a DJ and entertainer has taken him Beyond the normal club and festival circuit, playing landmark gigs that have changed the face of electronic music. Highlights include three worldwide tours warming up for Madonna and U2 (with both artists insisting on a DJ set from Paul instead of a support band); performing physically on the Great Wall of China and two sold out dates playing to 30,000 people at the Hollywood Bowl in California.

A year after that first visit to Ibiza, Perfecto was born. Founded in 1988, Oakenfold’s groundbreaking Perfecto record label played an integral role in the birth of trance music, with Paul at the helm producing massive international hits such as “Not Over Yet”, “Bullet In The Gun” and “Southern Sun”. With countless high profile releases and remixes in its path, Perfecto Records is still the benchmark to which so many labels measure themselves. 20+ years later, Perfecto remains as cutting edge and popular as ever, even resurrecting its Perfecto Fluoro sublabel in 2011. Probably Perfecto’s most notable release was the recent double album “Perfecto Las Vegas” which held the #1 spot on the US iTunes dance chart for several weeks. This release solidified Paul’s stronghold as an International DJ power player achieving the highest selling DJ compilation ever released in US history – with over half a million sales.

Paul has produced for megastars such as U2, Madonna (including her latest release “Celebration”) and The Happy Mondays. As well as three acclaimed artist albums under his own name. He has remixed Michael Jackson, The Rolling Stones and Justin Timberlake and released over 20 DJ mix compilations. In recent years Paul has also been responsible for creating some of the most breathtaking film scores and cues for a long list of Hollywood blockbusters – including The Bourne Identity, Matrix Reloaded, Shrek 2, Swordfish and Collateral. But his most anticipated release is yet to come. Paul Oakenfold’s newest artist album ‘Pop Killer’ is scheduled for imminent release featuring The Red Hot Chilli Peppers, Gnarls Barkley, OneRepublic and B.O.B.

Astonishingly, despite all his success in the worlds of chart music and film, Oakenfold has found time to keep in touch with his roots as a club DJ. Over the past 3 years he has held a weekly residency at the legendary Rain nightclub in The Palms, Las Vegas. Planet Perfecto is a fully produced show with 75 circus performers, cutting edge visuals and special effects – giving the 3,000-strong crowd a truly unique experience.

Whether you are listening to a CD, watching a commercial, going to a club or playing a video game; Paul’s omnimedia presence is felt everywhere. Paul Oakenfold is the sovereign of DJ culture and is its most recognizable icon.

Paul Oakenfold’s: Perfecto On Tour radio show airs weekly on Sirius XM Satellite Radio’s – Electric Area Channels Saturdays at 8pm EST and rebroadcasts Wednesdays at 12 noon EST.

DJ Sadiq Gill - Nicole Moudaber

A true force to be reckoned with as a DJ and producer, Nicole Moudaber rise through the ranks of the DJ elite has been swift, purposeful and striking.

Propelled by her flawlessly executed, sleazy, edgy house and tough, soulful techno sound, she picked up no less than Carl Cox and Steve Lawler as early fans.

Carl snapped up her early tracks for INTEC and Steve featured her music on VIVa & iVAV.

Since then she supplied killer tracks for labels like 8Sided Dice, Kling Klong, Monique Musique and Waveform Recordings, while remixing names including Santos, Martin Eyer, Mauro Picotto and Fergie.

Pretty much a perfect start to an artist career that began relatively recently.

Hitting New York after a youth spent in Africa and the Middle East, Nicole initially explored her passion for electronic music as a promoter, bringing the NYC style parties she loved to Beirut for the first time, then booking huge acts for her Soundworx nights at London's legendary Turnmills club and running Southeast Recordings.

But it was the decision to dive in and start to DJ and make music herself that was proven the most important.

Once she unleashed her creativity, everything simply went boom.

Carl Cox identified her as exactly the kind of fresh talent he wanted to playing at his weekly nights at Space in Ibiza, where Nicole has since DJed regularly alongside him for the last 3 seasons.

Requests for guest mixes on both Carl and John Digweed's internationally syndicated radio shows followed, as did the endorsement of Pete Tong, who named Nicole a rising star on BBC Radio 1's Essential Selection.

Her tracks picked up the support of yet more DJ royalty like Richie Hawtin, Adam Beyer, Loco Dice and Danny Tenaglia, who was so impressed when he DJed with Nicole that the two of them have been working together both in the studio and on throwing an incredible outdoor party at Ushuaia in Ibiza.

With further residencies in Ibiza – the place she now calls home - and Cologne, plus recent high profile gigs at Ministry of Sound and the SW4 festival in London plus the Dance.Here.Now Festival in New York, her reputation for groovy main room mastery has really taken hold.

Meanwhile plans for a launching a label of her own, plus a mix and tour for the hugely influential Global Underground series are all under way.

DJ Sadiq Gill - Knife Party

Knife Party were the single biggest breakthrough headline act of 2012, having rocketed from an unknown entity, to one of the most renowned dance acts in the world with a barely a moment to catch their breath. With just a few releases to their name to date, the duo’s list of achievements is phenomenal. They have racked up over 500,000 downloads of their first EP ‘100% No Modern Talking’ and seen their second EP, ‘Rage Valley’ achieve top 10 in the UK, USA, Canada and Australia iTunes charts and debut at No.1 and No.2 in both the Beatport and Trackitdown dubstep charts. They have over 800,000 Facebook fans, have had 7 million plays of ‘Internet Friends’ on YouTube alone, and have headlined shows and festivals to tens of thousands of fans the world over. Remixing Porter Robinson, Labrinth and Nero to name a few, Knife Party also collaborated with Swedish House Mafia on the phenomenal 2012 worldwide smash ‘Antidote’. From curating their own Earstorm stage at Future Music Festival, to playing the main stage at Ultra in Miami, touring their Haunted House show to sold out Arenas in the US, to festival sets across the globe this Summer, the Knife Party movement is both viral and global and this will come as no surprise to anyone that has witnessed their performances or heard the music!

DJ Sadiq Gill - Above and Beyond

Connection.
If one word sums up the phenomenon of Above & Beyond then that is surely it. Whether it’s the thousands of A&B fans singing their lyrics back at them at gigs from Beirut to Brixton, or the millions that tune in for their weekly Group Therapy radio show, connection – real human connection – is at the heart of all things that define Above & Beyond.

Much like acts like The Smiths or Joy Division before them, Above & Beyond find themselves embedded at the heart of their fans’ lives. Some walk down the wedding aisle to their songs, others ink their bodies with their lyrics, often a proud couple will choose to get engaged at one of their gigs. All that pledge their loyalty to them are moved in a way that goes beyond most electronic music out there.

Above & Beyond is Jono Grant, Tony Mcguinness and Paavo Siljamaki and their story is one of constant movement. From their early days as hotly tipped producers to their current global standing, Jono, Tony and Paavo have remained as down-to-earth and determined as ever – always focused on the next goal. Over their 13-year history, this dedication has continually paid off.

The only dance act in history to win Essential Mix Of The Year twice (in 2004 and 2011), the London-based trio have remixed greats like Radiohead and Madonna, played to one million people on Barra Beach in Rio de Janeiro (New Year’s Eve in 2007) and even had their track “Buzz” chosen to soundtrack the launch of Richard Branson’s Virgin Galactic SpaceShipTwo in the Mojave desert. And as these landmarks rack up the non-stop pulse of their global touring keeps them connected to their growing international fanbase. Each week brings another crowd, another country and often another continent, while their weekly Group Therapy radio show now reaches over 30 million people worldwide.

A band first and foremost, Above & Beyond are songwriters as much as they are DJs and their second album “Group Therapy” has taken their sound to new heights. The follow-up to 2006’s widely acclaimed debut “Tri-State”, the album draws on musical reference points as diverse as French cosmic pop heroes Air, American singer-songwriter Jeff Buckley and soundtrack master Hans Zimmer. “We are always looking to explore new territory but try to operate in our own way rather than just trying to follow trends,” explains Jono. The combined result on “Group Therapy” was unmistakably Above & Beyond – a cohesive album that was described by Mixmag as “the artist album of the year”.

At the heart of the album’s allure, of course, were songs of loves lost, confused and found. “Songs have an impact which is quite unparalleled in art,” believes Tony. “Poetry can be powerful, great literature is another great informer and educator, but few of us can remember any significant words from the great books or poems we read. But something amazing happens when you put words to music.”

Featuring two BBC Radio 1 playlisted singles (“Sun & Moon” and “Thing Called Love”) and a Sirius BPM Chart #1, the album’s many songs have connected in a way that so few dance tracks – vocal or otherwise – ever manage. “Since releasing our Group Therapy Album in 2011, it’s brought us even closer to our audience around the world,” explains Paavo. “The one thing I didn’t expect to happen on the scale it has, is how people from around the world have shared their stories with us as they go through amazingly positive or incredibly difficult times in their lives. It’s really touched us all and feels like a driving force for new creativity.”
Since the release of Group Therapy, the intense atmosphere at Above & Beyond’s increasingly ambitious live performances has redrawn the parameters of the DJ set. While so many superstar DJs place themselves at the centre of the show, Above & Beyond’s focus is always on getting closer to their crowd and making them part of the action. Whether that is by bringing fans up on stage to press the play button on their CDJs or communicating with the fans via their visual screens, the effect is to make everyone in the room feel like they are part of an experience that is at once epic, immersive and interactive.

“Some time ago we realised that on the best nights we have it’s always a three way thing: us, the music and the people, and we see improving the communication between all three as helping a good party turn incredible“ explains Paavo. “The soundsystem, lights and visuals are all there to help people connect to the music, with each other and with us, better. A Group Therapy experience, ideally, is positive, uniting and life-affirming for all involved.”

Having celebrated TATW milestones in Moscow, Miami and Beirut, 2012 saw Above & Beyond call time on Trance Around The World, as they launched their new radio show Group Therapy at a spectacular live broadcast event at Jayamahal Palace in Bangalore, India. Evolving from the foundation built by TATW, Group Therapy is broadcast weekly to 30 million people worldwide, and features guest mixes from the biggest names in electronic music. This year Above & Beyond celebrate the 50th instalment of Group Therapy Radio with their biggest ever UK show at the historic home of broadcasting, Alexandra Palace.
In the summer of 2013 Jono, Tony & Paavo launched another bold musical project, Above & Beyond Acoustic. Rewriting a selection of their back catalogue for a 15 piece ensemble, complete with a full string section, a harp and even a broom, they sold out three intimate shows at the impressive Porchester Hall in London, and in October 2013 will bring Above & Beyond Acoustic to Los Angeles.

Throughout this process, Above & Beyond have continued to release forward-thinking instrumental club music – such as their own tech-fused rollercoaster “Walter White” – on their renowned Anjunabeats label. An essential part of their story, the label is now in its 13th year and has helped to nurture artists like the London-based innovator Mat Zo, the eclectic genius Andrew Bayer and Russian star Arty. Independently spirited but run with ambitious vision, the label has grown like a family.“Dance music tends to be very short term, but we aim to release records that will leave a lasting impression on people and are listened to in years to come” explains Jono. “We try to operate in our own way rather than trying to follow trends.”

Like just about everything they turn their attentions to, it is a labour of love as well as a collaboration of the trio’s energies. De La Soul weren’t wrong. Three really is the magic number: and in Above & Beyond’s case the magic is spreading faster than ever before.

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More info: http://thedjlist.com/djs/ABOVE_&_BEYOND/bio/