Music venues and Theatres

Category Archives: Music venues and Theatres

Music venues and Theatres

The Music Fund for Cuba: Who we are

Who we are

The Music Fund for Cuba is the only UK registered charity which supports the development of music, arts and culture in Cuba.

Working with partner organisations on the island the Music Fund has already distributed tens of thousands of pounds worth of equipment to children and young people in music, arts, dance and special needs schools.It also raised £350,000 for the renovation of the Miramar Theatre in Havana.

The Music Fund for Cuba was established in 2001 in memory of British singer Kirsty MacColl who was inspired by Cuban music in her last album and loved the island, its culture, and its people.

Cuba is renowned for its cultural traditions. Its music, art, and dance are enjoyed by people around the world. Budding artistic talent is nurtured and encouraged within the country’s free music and arts schools which are open to all.

Sadly this heritage and the development of future talent are hindered by a lack of access to basic equipment and materials that we in richer countries often take for granted.

Violin strings, paper for music scores, reeds for woodwind instruments, ballet shoes, paints and other small but essential items are all in short supply. One of the  main reason for these shortages is the continuing economic blockade of the island by the United States.

The Music Fund for Cuba aims to help nurture new talent by providing much needed support and equipment for children and young musicians, dancers and artists throughout the island that may otherwise be denied.

By supporting  this vital work, you can help  to keep alive Cuba’s rich cultural heritage and nurture a new generation of talent.

Please make a donation today.

Music venues and Theatres

Joy Rose and the BQ Quartet

A night of serious groove from an amazing vocalist who has been ‘the voice’ of four Incognito albums, toured, recorded and collaborated with some of the biggest names in the industry (Sting, Brenda Russell, Chaka Khan, Herbie Hancock, Billy Ocean and Noel Gallagher) and who continues to deliver great soulful cuts in her own right.

“When Joy Rose joined Sting for a duet she sang with such power and conviction that one could wonder why she did not sing on Sting’s album instead of Mary J Blige. She knocked the audience dead and got a standing ovation”  The Current

“Joy Rose… is simply breathtaking”  SmoothJazzNow


Joy Rose’s remarkable vocal talents have been surfing the waves of the music industry for a number of years. Moving to London from Birmingham at the tender age of 16, Joy’s talent was immediately spotted by record producer Rod Gammon who recorded her first single “Gimme the Funk” for Savage Records. In 1990 Joy became the lead singer for the group Mocca Soul and was the featured singer on the album Persistence of Memory. In 1991 Joy signed her first major recording deal with Talkin Loud Records. The label released a series of singles ‘Feed the Feeling’, ‘Guilty’, ‘Take U Higher’ and ‘Serious Love’. Joy then went on to record two albums with renowned jazz pianist Jason Rebello – Make It Real and Last Dance.

Music venues and Theatres

The George Anderson Band with special guest Mary Pearce – Discount Ticket Offer!

Shakatak’s bass player George Anderson returns to the Hideaway for another evening of jazzfunk and soul, performing songs from his new album ‘Body & Soul’ with vocalists MARY PEARCE, DEBBY BRACKNELL & GEO GABRIEL and an all star band.


George Anderson

George is a solo artist in his own right, playing around the world notably in Cape Town South Africa, where his latest live CD “Cape Town To London” was recorded. George contributes to the songwriting in Shakatak having co- written their hit ‘Day By Day’ which features Grammy Award winner Al Jarreau.

He has now written and produced four critically acclaimed solo albums ‘Positivity’, ‘Expressions’, ‘Cape Town To London’ and now ‘Body & Soul’ which has gone straight in to no.21 on the Solar Radio Album Charts.

For this special night, George will be joined by Mary Pearce, Debby Bracknell and Geo Gabriel and his band to perform a mixture of new and old material, plus the music of George Duke, EWF Brothers Johnson, Crusaders, Prince and other Jazzfunksoul gems.

Definitely a ‘Night to remember’!

Line up: George Anderson – Bass, Mary Pearce – Vocs, Debby Bracknell – Vocs, Geo Gabriel – Vocs, Dave Ital – Guitar, Raffy Bushman – Piano, Dimitris Dimopoulos – Keys, Aaron Liddard – Sax, John Fisher – Drums

Music venues and Theatres

Talent Music Summer Courses & Festival.

From the 1st of July to the 6th of August 2017, in the beautiful setting of the academy Talent Music Master Courses in Brescia, will take place the second edition of the Talent Music Summer Courses & Festival, a member of the Alink-Argerich Foundation.

Unchanged is the two-fold spirit: Academy and Festival. Students are offered teaching by world famous musicians and will have valuable opportunities for performances. The best students will have the opportunity to play in more than 20 concerts during the Talent Music Summer Courses & Festival.

The Festival of the Academy is very important because the teachers and especially the best students can perform in a very prestigious context.

Professors: Stefan Arnold, Yuri Bogdanov, Roberto Cappello, Ratko Delorko, Antonio Di Cristofano, Yuri Didenko, Svetlana Eganian, Sorin Enachescu, Janina Fialkowska, Andreas Frölich, Deniz Arman Gelenbe, Martin Hughes, Pasquale Iannone, Eugen Indjic, Hisako Kawamura, Matthias Kirschnereit, Juan Lago, Hui-Ying Liu Tawaststjerna, Leonel Morales, Maurizio Moretti, Lev Natochenny, Gerlinde Otto, Rolf Plagge, Philippe Raskin, Bruno Rigutto, Daniel Rivera, Vitaly Samoshko, Ilja Scheps, Henri Sigfridsson, Salvatore Spanò, Balàzs Szokolay, Gabriel Tacchino, Erik Tawaststjerna, Andreas Weber, Pierre van der Westhuizen, Arkadi Zenziper.

30th of May 2017: Application deadline

The Talent Music Summer Courses&Festival Rules and Application Form and complete details are available online at

We strongly encourage you to apply for this exciting event which can enhance your career in so many ways!

Please do not hesitate to contact us if you need any further information.

Kind regards,

Talent Music Summer Courses&Festival


Music venues and Theatres

Latest Music Opportunities: Apply to Play Festivals & Events Across the World

Stay up-to-date with the latest free music opportunities from around the world and apply to play festivals and events with our opportunities map, regularly updated with new gig opportunities and music competitions.

Find opportunities for unsigned bands, solo artists and DJ’s across the UK, USA, Australia and beyond. This map is frequently updated, so if you don’t find something that suits you today, check back tomorrow to see what’s new!



All opportunities we support are 100% free to apply and play


Apply to play music festivals & events across the world


Remember, before you apply to perform at any of these music festivals and events, be sure to read the application instructions and conditions carefully for the best chance of success. Some events may only accept submissions from artists of certain styles and genres, so make sure your act fits the bill before submitting your application.


Current UK & Europe opportunities


GB Rhythm & Blues Festival | 26-27 August | Colne, Lancashire | Apply here by 24 March 2017

Bushstock 2017 | 10 June 2017 | Shepherd’s Bush, London | Apply here by 31 March 2017

Future Music Forum | 13-15 September | Barcelona, Spain | Apply here ASAP

Blue Dot Festival | 7-9 July 2017 | Jodrell Bank, Cheshire | Apply here ASAP

2000 Trees Festival | 6-8 July 2017 | Shrewsbury, Shropshire | Apply here ASAP

Bloodstock | 10-13 August 2017 | Catton Park, Derbyshire | Apply here ASAP

LeeStock | 27-28 May 2017 | Melford Hall, Suffolk | Apply here ASAP

Sweden Rocks | 7-10 June 2017 | Sölvesborg, Sweden | Apply here ASAP

The Acoustic Festival of Britain | 2-4 June 2017 | Uttoxeter, Staffordshire | Apply here ASAP

Shambala Festival | 24-27 August 2017 | Northamptonshire | Apply here ASAP

Eden Festival | 8-11 June 2017 | Moffat, Scotland | Apply here ASAP

Wychwood Festival | 2-4 June 2017 | Cheltenham, Gloucestershire | Apply here ASAP

Sunflowerfest | 28-30 July 2017 | Hillsborough, N. Ireland | Apply here ASAP

Blackthorn Festival | 21-23 July 2017 | Manchester | Apply here ASAP

Kendal Calling | 27-30 July 2017 | Hackthorpe, Cumbria | Apply here ASAP


Current USA & Canada opportunities


Venice Beach Music Fest | August 2017 | Venice, California | Apply here by 31 March 2017

Fire & Water Fest | 4-6 August 2017 | Lac du Bonnet, Manitoba | Apply here by April 2017

Blue Ox Music Festival | 8-10 July 2017 | Eau Claire, Wisconsin | Apply here ASAP

Deutschtown Music Festival | 15-15 July 2017 | Pittsburgh, Pennsylvania | Apply here ASAP

Sacramento Music Festival | 26- 29 May 2017 | Sacramento, California | Apply here ASAP

Invermere Music Fest | August 2017 | Invermere, British Columbia | Apply here ASAP

Joshua Tree Music Festival | Spring/Fall Annually | Joshua Tree, California | Apply here ASAP


Music venues and Theatres


Tornados generally have a knack of leaving behind a trail of roof tiles and displaced livestock, but so far Australian producer Tornado Wallace has left behind one of the most varied back catalogues on labels like Beats in Space, LateNightTales, ESP Institute, Second Circle and, just weeks ago, delivered his brilliant first full length LP on Running Back. Originally from Melbourne and part of the Animals Dancing crew (makers of the best music T-shirts in the Southern Hemisphere, two years ago he made the move to Berlin.

Seeming to master any style he chooses, from chugging acid electro, stomping Aussie Bush techno or funk that could have been stolen straight from Prince’s vaults, we set out to find out how he does it. You can also sample some photos of his studio as you read the in-depth interview.

Tornado Wallace – Lonely Planet LP is out now on Running Back and available from Juno. Catch TW at Farr Festival 2017 (13th-15th July).


Hi Tornado, thanks for the photo of your studio. Let’s get straight to business – how do you do it? Talk us through what we can see.

Well this is my studio in Berlin that I share with Luca Lozano. I moved two years ago from Melbourne where I still have a lot of my favourite bits of gear, but I wanted to start fresh as I was finding myself too dependent on some certain sounds. So I have a motley crew of hardware that all has a particular role in doing the things that I want them to. Everything is wired up to the patch bay which I can then send through mixer channels and then into the RME UFX Fireface where I can have the various sounds coming through split channels in Ableton. All midi-synths are running through a MOTU midi-interface and I use the Sync-Gen to sync the drum boxes with the Ableton clock.

Where is your studio located? Do you go for the home studio, making tracks in your dressing gown over breakfast, or do you have your own separate space where you escape to create?

It’s in a separate space behind a bar about a five minute walk from where I live. There are some other studios in there too.

Have you made any special non-musical touches to make it feel like a productive workspace?

Yes my girlfriend and I found a cool fake plant store at this massive Vietnamese warehouse complex in Lichtenberg, so I bought up on the stuff to help create a vibe. There’s very little sunlight and Lucas and I travel a lot so we can’t be trusted to rear real plants. 


A lot of your music has an abundance of space, something not going short in Australia. How do you go about that? Is it samples, field recordings, or all original copyright T Wallace magic? 

It all comes down to the mix really. Making sure everything has some space to breathe. Sometimes it takes some discipline to keep something you think is really cool very low in the mix for the sake of the track’s sound. But yeah I’m not one to shy away from any audio resource available to me be it phone recordings, samples, EQing, reverbs/delays etc.

What’s your approach to working with samples? Do you build tracks around them, or add them as a garnish to an existing idea?

Yeah I’ll generally find a little something interesting in a record store or online – a little percussion loop or a pad or effect – and switch on the machines and jam over a four bar loop until there’s something worth expanding on. I’m a massive fan of sampling and usually find, ironically, that it’s the best way to make something sound unique. 

Speaking of samples, you were behind the sensational Aussie bush anthem ‘Kookaburra’. What’s the story behind that one?

I was working on a track with Tom Moore (the other half of Coober Pedy University Band) and it was really taking a lot of work and not really gelling together even though we’d spent hours and hours on it. We decided that it might be fun to try make a ‘tool’ version of the track, so we took out the best bits which was some afro percussion loops, a didgeridoo sample that we lifted off a German made Australian library record that I bought in Amsterdam, and then added a big 909 kick drum underneath it all. It was sounding OK but it was missing something so we thought we’d try add an Australian bird sound. Of course we went straight for the most famous Australian bird sound – the Kookaburra – which we ripped from a Youtube video. The idea was to put it low in the mix and have it be a subtle little addition, but when we dropped it into the project, Ableton had automatically tried to quantize it and it sat very up front in the mix. It was never the plan but it sounded great/stupid/ridiculous so we moved it around a bit and it turned out to be the cherry on the cake. From starting the new project to finishing it took about 2-3 hours.


You made the jump from Australia to Berlin in the last few years. Have the new surroundings affected the type of music you want to make?  

Only in a way that going through a bit of change like moving to the other side of the world has affected me in terms of personal development and maturity. But I don’t think that the specific surroundings in Berlin have had much of an influence on the sound of my music very much.

RA held an interesting round table about ‘Process vs inspiration’ – where does your inspiration come from in the studio? Do you have a process that you follow? And how do you go about balancing the two? 

I go through phases where I’m really influenced by something and for a few days or a week or something I’ll get really caught up in an idea and experiment with that sound and usually wind up with a few new tracks. But that doesn’t happen too often and usually I follow a loose process like the one I mentioned earlier about finding a weird sample and building ideas around it. It’s a nice way to create something unique when the inspiration just isn’t making itself too aware.

What was your original set up when you first made tracks? Were you a laptop only wizard, or did you go straight for hardware?

I was 15 and I used my school laptop with a demo copy of Fruityloops and Cool Edit Pro I got in a Computer Music magazine. I could move around pretty well on those programs but it wasn’t until years later when I added a bit of hardware that I started making music that I felt was good enough to be heard by other people.


What was the first serious piece of kit you bought?

I had bought guitars and drumkits and various percussion instruments and effects pedals throughout my teens but the first electronic piece of kit I bought was a microkorg.

Do you fetishise that old sound, or put your faith in new technology? What’s your current split like between software and hardware?

I like technology that has its limits. The problem with some newer technology is that there’s so much you can do with one machine, but it doesn’t necessarily do any one thing particularly well. Developers have realised this along the way though, which is why you now see the main manufacturers remaking older gear that have their limitations and their strengths. I have various bits and bobs in the studio that can do their one thing particularly well, whether it’s the Cruise for it’s strings, the Kurzweil K2000R for it’s digital pads/leads or the Chroma Polaris for analogue SFX and basslines. I use some software for effects but I don’t use VSTs, purely because I like generating sounds with a more tactile approach rather than a belief one sounds better than the other.

What kit do you think is a modern classic? 

I don’t have too many new bits in my studio nor have I played around with many new pieces so I don’t think I can think of one.

Are you always seeking to experiment and develop your studio? If money were no object what would you add?

Yes definitely, there’s always more money that can be spent, mostly on more cables and cv/midi converters and things that make the process a bit smoother rather than anything particularly interesting. But I’m pretty happy with the way things are at the moment. If money were no object I’d probably just get some things I still have in Australia sent over like my Prophet 5 or my Arp Odyssey.


What impact have some recent changes made in your approach and sounds?

The patchbay is a new addition. And for the first time I can easily patch things through an FX chain without having to muck around for ages. So it’ll be nice to incorporate the Filterbank, Space Echo and DPX into the workflow more easily.

You must have a most treasured bit of equipment. If you had to keep just one piece, what would it be?

Maybe the Matrix 1000 or the 808. They’ve been with me the longest and I’ve used them the most so there’s that sentimentality value as well as both being badass.

The new album is a masterpiece, something not just inside the club walls. A first album is a big step for any artist, but it must be especially hard when it deviates from a club-centric sound you’ve made your name on. What were your sonic intentions with this album and what else were you listening to during its inception?

The LP is a product of several years of working on music for both listening at home and dancing to in a club. Along the way some of the tracks that I didn’t want to previously release started making sense together and the idea of making an album formed and then it was just a matter of finishing it with a couple of extra tracks and some mixing down. So along the way I was listening to lots of different music but I think the most influential on how it ended up were artists that I’ve been listening to over many years, like Dire Straits, Wally Badarou, Daft Punk, Sade, Boards Of Canada.


How involved was Gerd and Running Back in the creative direction of the album?

Gerd came in late in the picture actually. I had finished the album before I approached him. We had talked about doing things in the past but it hadn’t worked out so this time we were both keen and we had pretty much informally agreed to do the LP before he had listened to the tracks.

The guest vocal with Sui Zhen is a real highlight. Do you take a different approach working with a singer? And do you have more plans to go down that route?

I’ve never really worked with a singer before but I had an idea for this track to be like a wavey, 80s synth pop track, and to really bring that home I felt a vocal was needed. Sui Zhen is a very talented vocalist and can pretty much twist her voice to how it’s needed and for Today we felt like a Nina Hagen/Laurie Anderson sound would be cool. She got the vibe and we had a chat about how it should go with the track and she came up with a really cool lyrical direction and that was that. She recorded it with quite a few variations and I arranged it in the studio. I don’t think it would normally be that cool/easy working with someone, so I’m not in a hurry to try it again (unless is was Sui Zhen again). That and generally I have a habit of listening to mostly instrumental music.

Are you considering performing the album live? What would you bring from the studio to the live set up?

No I’ve got no plans to do a live show any time soon. I’ve heard too many horror stories from other artists. But I also love DJing and that makes more sense for me relating to an audience at the moment.

Beyond the album, what other plans are afoot for the rest of 2017?

Maybe a remix single from the album, and an EP for Animals Dancing, hopefully something from Coober Pedy University Band. Otherwise I’m going to keep the focus on DJing and traveling around with that for the year.

Music venues and Theatres

The Importance of Engaging the Fans

A musician’s sole purpose when they’re on stage is to please the fans they perform for. They accomplish this by playing their chosen instrument on a daily basis, by working hard to perfect their craft in all aspects of what they do musically.

One of the most important aspects of a musician’s job is how to engage the fans. Our band’s approach is to ask what their favorite music and/or band is, and we encourage them to come back next week, and we’ll know how to play whatever style it is they want to hear, or we’ll play a song they request by their favorite band. That is how my band works on engaging the fans.

That lets them know that we as musicians care enough to come off of that stage and ask what they want to hear, and that kind of courtesy leaves a lasting impression, whether you ever see them again or not. The fans are who ultimately pay the bills and are the reason we as musicians get on the stage and play our hearts out every weekend, and we would do it seven days a week if we could.

Just like always, if you practice and are dedicated to the music you play you can accomplish great things musically. Engaging the fans is a must in all genres of music you play regardless of the style. If we can leave our fans feeling like they are a part of our music, we have done right by them, and that is one of the many things that make us the kind of musicians we need to be. A musician’s fans are their livelihood, and without them we wouldn’t be anything more than a glorified garage band.

My advice for any musician would be to engage their fans, to strive to keep them happy, and to keep yourselves playing music regardless of what genre you play.

As a musician myself I do my very best to play it all. That way I keep both the fans and myself happy. I’m doing everything I can do to show them I am a caring musician who puts their needs before my own, and that is the way it should be.

Any musician will wind up doing well if they know how to engage the fans!!

Music venues and Theatres


It’s Friday night and we’ve been invited down to Electric in Brixton, to witness German Duo Tube & Berger, open up for tropical house favourite Bakermat.

Bakermat is essentially accessible deep house music for the masses, and what Tube & Berger manage to provide, (without alienating the otherwise commercial audience), is a more underground deep house and techno set, which goes down an absolute storm.

Ahead of their eagerly anticipated second album, ‘We Are All Stars’ which drops sometime in May, Tube & Berger include a live element to their show with vocal PA, Richard Judge. His soulful voice and energetic enthusiasm pump up the fans and connect Tube & Berger to the crowd on a whole other level. Richard sings along to their collaborative singles; ‘Ruckas’, ‘Set Free’ and ‘Disarray’. This makes it fairly clear to see who is in fact here to see Tube & Berger, with a number of sing-a-longs now erupting from the audience.

Source: Gemma Bell

Tube & Berger may not be the headlining act tonight, but their rare London appearance has brought out of the woodwork their own mega fans, as Kitball t-shirts and banners appear waving in the front row!

Amongst their own productions which span across deep house, and a darker more progressive house, they dropped classic tune Mylo’s; ‘Drop the Pressure’, Green Velvet, Pork & Fitch’s; ‘Sheeple’ and this years’ Ibiza dance anthem, Raffa FL; ‘How We Do’.

Also making a debut appearance was the new single, also named ‘We Are All Stars’. It was one of the more radio friendly tracks of their set, but in this setting, with this kind of audience, it was an absolute highlight! Signed to label Embassy One, which is also home to Booka Shade, Röyksopp, Robyn, Moby and Björk. You can hear it here first; We Are All Stars

I’m told there will be more live elements added to their already stellar performance, so keep an eye on their Facebook page for the latest news and tour dates; Tube & Berger Facebook

Music venues and Theatres


Source: Gemma Bell

Printworks London, surely now needing no introduction from us, played host to the pre-party for Junction 2 festival which is fast approaching, this coming June, where we were treated to a momentous 8-hour marathon set from Drumcode label boss, Adam Beyer.

Having never witnessed a bad set from Adam, I knew this was going to be something truly special. Adam didn’t only play an incredible set, he really took the crowd on a journey, ploughing through an impressive selection of the best house and techno, as you would come to expect, but also introducing some key classics; which was unexpected and not something I’ve seen him do before.

Dropping some absolute bombs such as Prodigy’s ‘Outer Space’, and Faithless’ ‘We Come One’, it was a welcome surprise and obviously went down an absolute storm. To see a techno heavy crowd sing the lyrics to Prodigy’s ‘Outer Space’ in a space like Printworks is something I don’t think I will ever witness again. This was definitely one of those ‘I Was There’ moments. Hearing the buzz amongst the crowd throughout the day, and as they filtered out of the exit, “One Of The Best Sets Ever” seemed to be a fairly accurate statement. Ending the day on an absolute high, he clocks out on The Stone Roses ‘Fools Gold’. We salute you Adam, you absolutely smashed it!

Source: Gemma Bell

Often with an extended set, it’s not uncommon for there to be that slow middle hour or two where you find yourself visiting the bar or smoking area. That certainly wasn’t the case here with the dance floor constantly packed out with no one wanting to miss a single moment.

Speaking to Adam directly after his performance, he said: “I Put A Lot Of Heart And Soul Into It”. Which was clearly obvious. He really gave everything he had and carried that room through an energetic and memorable ride.

If you did happen to miss out, thankfully Mixmag was on hand to record and live stream a select three hours. You can watch this back here; Mixmag Live

Source: Gemma Bell

Adam Beyer is not only a firm fan of the calibre of events that LWE orchestrate, but he is also an active partner within Junction 2 festival. And if this ‘pre-party’ set was anything to go by, then Junction 2 looks like it’s going to be another unmissable event. Again!

Adam will be playing alongside a long list of techno giants and emerging talent. Check out the full line up and the stage splits which have just been announced today!

Source: Promo

Spanning across 5 separate stages and bespoke spaces, Junction 2 will keep the focus on quality music and unparalleled production and sound quality. Hosted at Boston Manor Park, under the M4 motorway, it will be transformed into a unique and industrial utopia. For anyone looking for that next level festival experience, this one is for you.

The stages will be hosted by, Drumcode, SONUS, The Hydra, LWE Warehouse (In Association With Relentless), and Into The Woods (In Association With Frontier). Each one designed to offer an exclusive and amazing experience.

The LWE team speak ahead of this much-anticipated event;

“When We First Found The Junction 2 Site Last Year, We Sensed We Were Onto Something Special. And Looking At That Extraordinary Space Under The M4 And The Parkland Surrounding It, We Just Knew That An Incredible Crowd And Heavyweight Sound Levels Could Create Something Truly Amazing.

The Only Thing Making Us Nervous About Junction 2 In 2017 Is Living Up To The Expectations Set By 2016. We’ve Been Thinking Hard About How To Replicate That Atmosphere, And The Overriding Conclusion We Came To Was That The Magic Ingredient Was The Crowd. Yes, You Lovely People Who Trusted Us, Had Faith And Came And Danced With Us At Junction 2.”

If you need any further persuading, watch Junction 2’s 2016 goosebump-inducing after movie here; Junction 2 2016 After Movie

Tier 1 and 2 tickets have now sold out, with Tier 3 now on sale. You can buy them directly through Ticket Tannoy here; Junction 2 Tickets

Junction 2 takes place on Saturday 10th June at Boston Manor Park.

Check out the gallery below for pictures from the pre-party warm-up at Printworks.

Music venues and Theatres


Easter weekend is fast approaching, and it’s widely known as one of the biggest party weekends of the year, which will undoubtedly offer an absolute plethora of amazing events, gigs and club nights.

To start the extended weekend’s festivities, we are going to focus on ANTS. Born out of Ibiza in 2013, ANTS is fast becoming one of the islands most essential parties. Known for their next level production, stand out marketing, and underground line-ups. They draw upon the islands clubbing cognoscenti and even the most discerning ravers worldwide.

Despite having hosted a number of nights across the country in the last couple of years, this will be their biggest party off of the island, to date. And this is all happening right here in London, on Thursday 13th April at Brixton Academy.

Heading up the bill is Bristol’s best, Eats Everything. Known for his light-hearted attitude, and energetic enthusiasm, that never fails to engage the crowd. Eats Everything is a firm favourite on the ANTS residents list, during the Ibiza residency at Ushuaia hotel.

Joining him will be dance music legends, Groove Armada. Being firm staples within electronic music’s seminal moments, Groove Armada will grace this iconic stage again, having last played here as a live act in 2010. This will obviously be a special event for the Groove Armada boys, and any fans that revelled in the crowd in those last live performances. I know we’re all itching for them to reform as a live act, but for now seeing them on this stage smashing out a fantastic DJ set will surely suffice!

Source: Promo

Listen to a live stream of Groove Armada, playing from ANTS at Ushuaia last summer.

This headlining team will clearly make for a memorable evening, playing the best house and techno amidst the towering and prodigious production from ANTS.

If that’s not enough, Ibiza resident Andrea Oliva and Waze & Odyssey have just been added to this heavyweight bill. Proving that ANTS’ latest UK takeover will be their biggest yet – and paves the way for another huge season in Ibiza this summer.

Third tier tickets are still available and can be bought here ANTS Tickets.

Source: Promo