United States

Las Vegas

Nevada

Danny is one of the few DJs on the scene today that truly has a style of his own. With his passion for music and infectious personality, Danny has created a unique, eclectic sound that has established him as one of the top DJs in the world.

Danny is one of the hardest working and most dedicated individuals in the business with over 14 years experience and a hectic touring schedule that constantly takes him around the world. He's DJ'd in the world's coolest clubs and held residencies at Arc, Twilo, Renaissance, Home, and Bedrock, so it's no coincidence that he's been placed in the upper region of DJ Magazine's top 100 DJs in the world for the last 7 years.

Danny has recently completed the latest in Azuli Records highly acclaimed Choice series, which is already receiving fantastic reviews worldwide, whilst last year he underwent an intense world tour to promote his recent addition to the long running Global Underground series, GU27 Miami - having already released a Nu-Breed and a 24/7 mix for the label, Danny was the obvious choice. This adds to Danny's continually growing back catalogue of mixes for labels such as Renaissance as well as his own Nocturnal Frequencies series.

It's not just as a DJ where Danny has made a name for himself, he's also an accomplished producer and remixer. Together with production partner Dick Trevor, the pair have been responsible for many stand out tracks, including the timeless 'Persuasion/Repercussion' on Bedrock Records, 'Breathe' on Renaissance Records (which was recently re-released on Cr2 with some killer new remixes) and 'Kinkyfunk' on Yoshitoshi Records. They also hit the charts in 2004 with their Miami hit 'Dusk till Dawn', which was released on Cr2 Records and featured the vocals of Erire. Danny has also had massive dance-floor success with Deep Dish as 'Size DDD' and the Eminem sampling 'Nobody listens to techno'. On the remix front Danny and Dick have recently remixed the Destiny's Child hit 'Soldier' as well as twiddling the knobs for the likes of Robbie Williams, David Morales, BT, Chakra and Ashtrax. Danny has come a long was since his early beginnings Djing at Bedrock in his hometown of Hastings, though his complete love of all music remains the same.

Danny is a DJ with a broad musical taste who likes anything from jazz to rock, to pop and anything a bit bizarre. He likes to champion his own special tracks and records that nobody else has latched on to and has a way of combining cutting edge grooves with crowd pleasing dynamics that enable him to connect with his audience making him one of the hottest DJs in the world.

Danny Howells

In the North River area, across from the enormous Sound-Bar is Chicago’s Spybar. At 4,200 square feet, Spybar’s provides a more intimate setting settled in a basement. The style inside is trendy, but subtle. There are oak floors with black walls and above you are exposed rafters. Spybar makes good use of glass and leather in other areas and some really nice indirect lighting.

Hip hop and underground music are played, but either as much as house music played by live DJs and blasted out by a state of the art sound system that will not take it easy on your ears.

The owners of Spy Bar take the place seriously enough that they spent $1 million dollars renovating it years ago. The investment paid off and Rolling Stone Magazine named it in the top ten of best dance clubs in America! Famous DJ and Producer, Seth Troxler, said Spy Bar is “Basically the only place I play in Chicago.”

Spybar doesn’t open till nine, there is usually a cover, but they also offer valet parking to help deal with the downtown location. If you’re in to house music and some EDM, the intimate feeling Spybar provides may be right up your alley.

In the North River area, across from the enormous Sound-Bar is Chicago’s Spybar. At 4,200 square feet, Spybar’s provides a more intimate setting settled in a basement. The style inside is trendy, but subtle. There are oak floors with black walls and above you are exposed rafters. Spybar makes good use of glass and leather in other areas and some really nice indirect lighting.

Spybar

River North

Station1640's is a future-forward versatile transformative space that is perfect to have your Special Event. We hold exquisite world-class audio/video and lighting technology. Live Broadcasting is available for all types of events. Catering is also available for all occasions- Birthdays, Sweet 16, Bachelorette Parties, Weddings, Bar/Bat Mitzvahs, Showers, Business Events and More!


Station 1640

Hollywood

With stunningly glamorous interior décor and flawless specialized design work in all the details of the club, the Great Northern comes together to create a classy and sophisticated venue. The team that is behind Monarch Club weaves together an art deco inspired design with high tech sound and lighting, offering both the beauty from chandeliers and stained-glass windows to an out of this world DJ performance that is offset with giant LED projections and a restored classic Richard Long sound system. With an amazing array of cocktails and VIP bottle service, as well as the aerial acrobats performing as they dangle from the high beamed ceilings of the Great Northern, guests will be able to enjoy one of the most unique nightlife experiences in San Francisco. 

Great Northern

Mission District

Located on Hollywood Boulevard and Vine Street, Avalon is conveniently located in the middle of Hollywood’s tourist area. This historic venue first opened its doors in 1927 and has featured talented and famous entertainment for decades, from the Beatles playing their first West Coast performance to the present day transformation into LA's EDM mecca.

This historic nightclub was the first in Los Angeles to truly embrace dance music, even before the EDM craze.  What is unique about Avalon is that it is often open past 6 AM, making it the premier destination for people looking to extend their partying session or for night owls looking for an after-party location. Tickets or bottle service are highly recommended here, especially to see the popular DJs. 

Avalon Hollywood recently completed a million dollar renovation of the club which included brand new lighting and sound systems.


Located on Hollywood Boulevard and Vine Street, Avalon is conveniently located in the middle of Hollywood’s tourist area. This historic venue first opened its doors in 1927 and has featured talented and famous entertainment for decades, from the Beatles playing their first West Coast performance to the present day transformation into LA's EDM mecca.

Avalon

Black Box first opened its doors to the Denver public in 2016. Powered by a passion for music  that often elude the mainstream, the Black Box carves a home for underground sounds at the foundation of Denver's booming electronic music landscape offering a space that is a refuge from the everyday and a home for experimentation and heartfelt emotion. The venue lives by its motto “Moving People Through Sound, Not Hype” and strives to deliver an experience to its guests that mirrors its mission. When it comes to their approach for live events, their unwavering standard of quality coupled with dedication to dubstep's sub frequent tradition is more than evident. Denver's devoted home for underground music is designed to encompass the total sound system experience. The dual-room venue, which is 18+, is fully equipped with a powerful, state-of-the-art custom Othorn/Funktion-One/Tannoy combination system built by Basscouch. Black Box is a haven for artists, audiophiles, and party goers alike, and serves as the headquarters for Colorado's underground music community.


The Black Box

Capitol Hill

This snug, dimly-lit nightclub specializing in house music features guest DJs from around the world.

Do Not Sit On The Furniture

Miami Beach

The Warehouse Project is a series of club nights organised in Greater Manchester, England, since 2006. Unlike most other clubs, it has a limited seasonal approach rather than running all year. Each year's season runs from September through to New Years Day, plus occasional one off dates such as Bank Holiday weekends.

A disused railway depot abandoned since 1960, is being transformed into a one of a kind multi-facetted venue, marking a huge milestone for the city’s culture scene and simultaneously creating a cavernous new setting for The Warehouse Project to call home located directly facing Picadilly Train Station.

A disused railway depot abandoned since 1960, is being transformed into a one of a kind multi-facetted venue, marking a huge milestone for the city’s culture scene and simultaneously creating a cavernous new setting for The Warehouse Project to call home located directly facing Picadilly Train Station.



The Warehouse Project is a series of club nights organised in Greater Manchester, England, since 2006. Unlike most other clubs, it has a limited seasonal approach rather than running all year. Each year's season runs from September through to New Years Day, plus occasional one off dates such as Bank Holiday weekends.

Warehouse Project at Depot Mayfield

Dave Seaman is one of the original pioneers of house music. He has been DJing for over 25 years, was the first editor of the clubbers bible, Mixmag, and has remixed and produced for everybody from U2 to Kylie and David Bowie to the Pet Shop Boys. He has also done over 20 mix compilations for the likes of Global Underground and Renaissance, been the main man behind the independent dance music labels, Stress Records and Audio Therapy and still found time to model for Levi's in Japan, present TV programmes for the BBC and tour the world probably more than any other DJ.

"The maddest thing that’s happened to me was when I first went to Colombia and I was greeted by the national 7 o’clock news cameras as I came out of customs and had two armed guards accompanying me to the hotel. It just wasn't what I expected from my DJ career when I first started out at the school disco!” Indeed it is not. Despite having highfalutin notions of becoming a disc jockey from an early age, David Seaman’s achievements have surpassed his ambitions somewhere along the Acid House Superhighway that is his life today.

Dave Seaman is now entering his 20th year in the music industry having first joined DMC as a fresh-faced teenager from Leeds in October 1987. In the intervening years there’s not much he hasn’t done, from DJing at Stella McCartney’s birthday party to presenting programmes for the BBC and being profiled by Channel4 to featuring in a Levis’ ad campaign in Japan. He’s also released over 20 mix albums including the first legally licensed compilation ever (for Mixmag in 1991), 7 for Renaissance, 3 for Global Underground and 3 for his own Therapy Sessions brand. Plus, he was also the man who, as editor for 3 years from 1987 to 1991, turned Mixmag into the clubbers’ bible.

He is remixing royalty, as one half of Brothers in Rhythm (alongside Steve Anderson), having taken the faders for U2, Michael Jackson and David Bowie, and also produced the Pet Shop Boys and Kylie Minogue: “Confide In Me is the thing I’m most proud of,” states Dave. “To be working with Kylie, and to actually write, produce and remix it and see it go on to become an international hit was the most fulfilling thing I've ever worked on.” Brothers in Rhythm were also responsible for one of the first great British house records –Such A Good Feeling – a brash slice of piano heaven that lit up dancefloors and wound up in the Top 20.

Dave Seaman was born and raised in Leeds, leaving him with a solid base of common sense with which to negotiate the rocky waters of the music industry and an enduring affection (some might say affliction) for Leeds United FC. As an aspirant DJ and DMC member, Dave won a trip to New York, to the New Music Seminar, then the most important industry conference. Dave’s blagging abilities and Northern cheek impressed them mightily when he led his party past industry heavyweights queuing to get into Nell’s (he’d befriended the bouncer in the queue at MacDonalds!) and straight into the club. They offered him a job editing Mixmag on the spot. Dave’s contacts at Mixmag helped him secure his first DJ slot. When Mixmag photographer Gary McLarnan started a night in Longton, near Stoke called Shelley’s, Dave secured a monthly residency alongside a rising star from Wales called Sasha. Although Dave had been an aspiring DJ for several years already he had a small confession: “I’d never worked in a club in my life!”

“The first week was strange,” he explains. “There was a group of ravers all by the stage on the dancefloor and then by the bar were loads of Stoke City fans singing football songs with scarves on and shirts and everything. They were completely separate; and there can’t have been more than a couple of hundred in there. Within a month, all the crowd of Stoke City fans had gone and it was starting to grow; word got round.” Imbued with what Dave laughingly calls ‘artificial enthusiasm’ it was Shelley’s that inspired Such A Good Feeling, which directly led to working with the Pet Shop Boys (Chris Lowe named it his favourite track of the year) and subsequently Dave co-produced ‘Go West’ and ‘DJ Culture’ amongst others. His career duly took off.

Working in tandem with DMC still, Dave’s next step was to incorporate Stress Records, with Mixmag deputy editor, Nick Gordon Brown, and over the best part of the next decade, they released tracks by Sasha, Full Intention, Danny Tenaglia, Andy Cato, Planet Funk and John Digweed. Stress Records was also home to Brothers In Rhythm’s underground offshoot Brothers Love Dubs which demonstrated Dave’s unique ability to skip gainfully between genres, one moment hitting hard with club tracks, the next producing gleaming pop gems for Kylie, but always with an eye on quality control. Despite being one of the most in-demand remixing partnerships, they sensibly turned down many more jobs than they were offered, selecting only songs they really loved; David Bowie, Placebo, U2, New Order, Blur and Sting were all touched with the BIR magic.

In the late ’90s Dave and cohorts finally struck out on their own with Therapy Music, a home for like-minded producers and DJs that has developed into a thriving business both as an underground label (with its eye on greater things), Audio Therapy, and as an agency. “After leaving DMC it was time to do something for ourselves, after being there a long time,” asserts Dave. “The main thing was to be able to start something small but, moreover, to have complete freedom and control.” Thanks to their longstanding links with the Australian scene they’ve helped develop DJs like Luke Chable and Phil K, acts like Infusion and Newcastle’s Lexicon Avenue and have also had played a substantial role in the careers of Slacker, Timo Maas, James Holden and Anthony Pappa.

The label has covered broad ranges of uptempo dance music, from electro to breakbeat to progressive and given starts to Ernest Saint-Laurent, Stel, Infusion and Habersham whilst releasing music from more established names such as Paul Jackson, Tone Depth, Killahurtz and Oliver Moldan. It is also the home to Dave Seaman’s latest studio project, Group Therapy, a collaboration with old friend Chad Jackson, former DMC world mixing champion and Audio Therapy artist, Stel. The project has so far yielded two singles My Own Worst Enemy and Faith Again, with another presently in the works and several remixes for the likes of Tears for Fears, Gabriel & Dresden, Starsailor, Bedrock and Hybrid. “The idea is to make it accessible to more than just the underground. If we can give things mass appeal, but with more depth when you look beneath the surface, that’s what excites me.”

Having worked with some of the best pop performers and played at some of the world’s most subterranean venues, Dave Seaman understands the tensions between underground and overground. It’s his experience with both that has enabled him to offer a slice of cool for pop acts while always having an ear for a winning hook on his club productions. “It’s about having fun, but understanding that the music has got depth as an art form,” states Dave. “Finding that balance. I try to put that ethos into the records that we make and into the DJing that I do, trying to give dance music an identity beyond the underground.”

Nowadays Dave Seaman is regarded as something of a veteran of the scene, a strange turn of affairs for someone with his cherubic features. He’s even recently started a family and is learning to incorporate his boundless enthusiasm for clubbing with the demands of raising children. “I've never been up at seven o'clock in the morning in my life unless I was getting in at that time,” he giggles. “But that's me during the week now: up at seven in the morning… and then weekends getting in at seven. Touring with the family throws up a new set of challenges but we love it. My little boy has already been round the world twice and he’s only one!”

Old stager or not, Seaman still retains that impish enthusiasm that has always been reflected in his DJ sets and even when discussing dance music’s travails of the past few years, manages to find the sun shining behind the gloomy rain clouds. “We’re entering a new phase,” claims Dave. “Dance music in the UK needed to implode – the great acid house detox. We shed all the dead wood and hangers on. But this is the circular nature of fashion. I feel like I’m starting again almost. It’s very exciting.” He grins, then laughs.

“Although I knew I wanted to DJ really early on, my biggest dream when I was in my early teens was to get a gig at Casanova's nightclub in Wakefield on a Friday or Saturday night,” chuckles Dave at the memory. “I'd never imagined in my wildest dreams that you could get to travel round the world doing this for the best part of twenty years. I remember saying to my careers officer at school that I wanted to be a DJ and he very kindly suggested, ‘well, I think you should have something as a back up’.” He’s still working on the back up.

Dave Seaman

Success came young to Darren Emerson - and liking what it saw, it asked for a cup of tea, put its feet up in front of the fire and pretty much decided it was there to stay. Even by the tender age of sixteen, in fact, Darren was already DJing in clubs, having got hold of his first pair of decks a couple of years earlier. Its safe to say that he was instantly gripped by the DJing bug, vinyl fever compelling him to make regular missions from his native Romford to the London record stores. Inspired by early techno DJs like Jazzy M and Colin Faver, Darren would think nothing of the two hour round trip on the train, so single-minded was his love of all things house and techno.

It wasn't long before his early dedication to DJing paid off. Soon, he was a regular at local clubs in Romford. And, as word spread about his DJing talent, the bookings kept on rolling in: Limelights, The Milk Bar (now The Project), Venus... all were graced by the teenage Emerson on the decks.

A wave of media attention followed, the press being naturally interested in the story of such a young DJ making waves in the dance music world, all the while working as a runner on the floor of the Stock Exchange by day! He was DJ of the Month in both i-D and The Face. At the time, the latter was at the very cutting edge of what was happening in British club culture, and it was influence was deservedly widespread. So following the glowing profile the magazine gave him, it was no surprise that Darren was inundated with bookings. Soon, he was DJing not only in his native Essex and London, but all over the UK and beyond. Things were so good that he even ditched the stockmarket job to take a crack at DJing full time.

As Darren got accustomed to the hectic round of gigs that has since gone on to be his career norm, a friend of his suggested he team up with his brother-in-law musician, a guy called Rick Smith. Rick, he told him, was part of a band called Underworld. Along with friend Karl Hyde, Rick had achieved some short-lived pop success, firstly as part of early 80s band Freur (who, apparently, were massive in Israel and Italy) and then with Underworld, at one point playing to 96,000 people at Toronto's Skydome (when supporting the Eurythmics in 1990). But disillusioned with the whole business after one album, the Underworld boys had decided to pack it in, with Karl relishing the relative normality of working as a file organiser for accountancy firm Cooper's & Lybrand.

Rick, however, remained convinced that all Underworld needed was a new direction to explore, perhaps utilising the talents of a DJ / Producer who understood what was happening to British dance music and the dynamics of the country's dancefloors. The introduction to Darren was made, Darren frankly telling Rick that the Underworld material heund'd heard wasn't up to much. But, he maintained there was still some hope for collaboration. A meeting with Karl soon followed and the new line-up was sealed. A fresh start was made. In fact, the only remnant of the old Underworld which the trio chose to retain was the name itself.

Holed up in a Romford studio, they got down to work on their new project in 1991. Soon, they'd come up with their first twelve-inch, flogging it to London record shops from the back of Rick's car. Only 500 copies of Hump b/w Mother Earth were pressed. Today, one of them will set you back a cool £50. That's if you can actually find one.

In 1992, while still hard at work on new material, Underworld set up The Experimental Sound Field at the Glastonbury Music Festival, playing on scaffolding in the middle of a field, flanked on each side by huge projection screens. Unexpectedly, it was one of the great successes of that year, a meeting point for like-minded souls in the days before Glastonbury got its own dance tent - Roni Size, for instance, met DJ Die and Krust there, all of whom went on to form Reprazent. And it was all good for the Underworld name - even though they'd yet to sign a recording contract for forthcoming releases.

Nevertheless, it was clear by now that Darren and the Underworld crew were on the up and up. Their Tomato multimedia group had been set up, soundtracking their first advert for Adidas and to this day, working on a vast host of TV and multimedia projects. Meanwhile, Underworld's success as an act owed much to the connections Darren had forged via his DJing. Through him, they met Junior Boys Own label owner, Steve Hall, releasing two twelves - Dirty / Minneapolis and Eclipse / Big Mouth - under the Lemon Interrupt alias. Big Mouth went on to become something of a progressive house anthem, leading to what is now regarded as their first single proper, the awesome Mmm...Skyscraper I Love You. Combining elements of bouncy techno, ambient, drifting space-rock and a dubby downtempo coda, all topped with its plaintive 30,000 feet above the earth / It's a beautiful thing, and you're a beautiful thing vocal, Skyscraper was simply unlike anything anyone had ever heard before. The hugely acclaimed debut LP and all-round mouthful Dubnobasswithmyheadman followed in January '94 - again like nothing anyone had ever heard before. There was the masturbation-phone sex-religious guilt anthem (!) of Dirty Epic, the drifting guitar-led atmospherics of Tongue, the driving, incessant rhythms of Cowgirl - a vocalized version of the Rez single. Dubnobass.. as an instant classic, with the band fêted in not only the dance music press but in traditional indie-music papers Melody Maker and NME.

From here on in even those with merely a passing interest in dance music know the story. There were the two extraordinary albums Second Toughest In The Infants and last year's awesome Beaucoup Fish, and in between the re-release of Born Slippy, the anthem whose success second time around owed much o its use in Danny Boyle's film Trainspotting. Indeed, on the back of Trainspotting, despite initial resistance to its re-release on the part of Underworld themselves, Born Slippy made it to number 2 in the UK charts, taking the Underworld name to an even wider audience and contributing to album sales that have exceeded the million mark worldwide.

To some extent, the awesome success of Underworld as both a live and recorded act, has seen the DJing appearances of Darren diminish. But in quieter periods for Underworld, as the band re-group and recuperate between albums, you can still catch him all over the UK and beyond, delighting dancefloors with his own brand of deep house and funky techno, still displaying the versatility which made him the name DJ he is today. Meanwhile, he even found time to start up his own small underground label Underwater Records, whose new band Meeker are already making waves in both the dance and rock music worlds. Now who does that remind you of?

Darren began to DJ at clubs at the tender age of 16, after buying his first set of decks at 14. Inspired by DJs like Jazzy M, Darren would travel 2 hours on a train to visit record stores across London for the latest vinyl. Although local clubs in Romford, now the home of the Underworld studio's were his first gigs, Darren soon went on to play the now legendary parties at Limelights, The Milk Bar and Venus. After being sited as DJ of the Month in the Face and i.D Magazine bookings from across the UK and beyond followed. Darren soon chose to ditch his job on the stock market and take on the dance music world full time.

Shortly after that, when he just turned 18, a friend introduced him to Rick Smith and Karl Hyde and Underworld was born. They were in a band together for several years and needed a new injection from a DJ/Producer and the rest is history. Signed to JBO, who Darren was already producing for, the band released three albums and have sold over a million albums world wide. Their hits included Cowgirl, Rez, Born Slippy and Dark and Long, still DJ classics and remixes included Massive Attack.The year 2000 saw Darren depart from the band. Although Underworld had been his passion for 10 years, he wanted to branch out, expanding DJ'ing and working with producers he was meeting on his travels across the world.And where better to start than Oxford! The first collaboration saw Darren and DJ superstar, Sasha produce an Ibiza classic "Scorchio" that was almost made for Space on Sundays! Remixes for Fat Boy Slim, Space Invaders (Defected) and self signed band Meeker followed. Underwater Records is taking on new form with Meeker's second single Mountains out in Jan 2001 and regular releases planned throughout the year. To back this up, a residency @ the End in 2001 will see Darren's DJ'ing reach another high with long, exclusive sets and a host of guests DJs and producers from all musical levels joining him in a series of 6 Underwater Parties, with a one-off show planned for the Miami Winter Music Conference. As if this wasn't enough, monthly US tours and solo material are on the agenda for 2001 and a huge Ibiza season with Underwater going on the road!
And at some point he sleeps!!

Darren Emerson

Ask any fan of dance music who their favourite male vocalist is and nine times out of ten Robert Owens name will come back. Sure, there are other great male house vocalists out there, but with more than twenty years as a gifted singer, songwriter, producer and DJ under his belt, Robert has not so much embellished house music as played a large part in defining it. 'Tears', 'I'll Be Your Friend' and 'Ordinary People' are just some of the tunes that have borne his black velvet voice and gone on to become truly classic dance records. Finally, 2008 will see the release of Robert Owens first artist album in 10 years - 'Night-time Stories'.

Like many other great vocalists, Robert Owens began his career singing in church gospel choirs. Growing up in the poor areas of Chicago and L.A., where gang related shootings were part of day-to-day life, music proved to be his inspiration and determination to get out of those sad circumstances. Entry into the nascent world of house music came not through Robert’s singing but his skills as a DJ. By the time people like Ron Hardy and Frankie Knuckles were designing house music’s blueprint on the dancefloors of legendary venues like the Warehouse and the Music Box, Robert was DJing at block parties and smaller clubs in Chicago.

In 1985 Robert met pioneering Chicago producer Larry Heard, who invited him into his studio. Together they formed Fingers Inc with Ron Wilson and released a series of excellent singles such as 'Mysteries Of Love' or the instantly recognisable house standard 'Can You Feel It'. This cooperation culminated in one of house music’s first full-length albums 'Another Side' in 1988, after which the group amicably disbanded to follow their individual solo careers.

Following the call of Frankie Knuckles, Robert went to New York in 1989 to record a track with the Def Mix posse – consisting of David Morales, Satoshi Tomiie and Frankie himself. This tune, so casually constructed, was to become one of clubland’s most emotive and defining moments: the sublime 'Tears'. That song all about his life and struggles was the ignition of Roberts successful career as a solo artist. Signing with 4th & Broadway in 1990 he showcased his beautiful church-honed vocals and heartfelt lyrical style on the album 'Rhythms In Me', completely produced by the Def Mix crew. His 1991 single 'I’ll Be Your Friend' finally gave Robert the overground success he so obviously deserved, climbing the charts to 1 all over the world!

Leaving New York behind, Robert relocated to London in 1993 where he founded his own label imprint Musical Directions and started assembling his own studio. He continued composing and singing on a series of dance classics such as 'Love Will Find Its Way' or 'Ordinary People' and collaborated with a remarkable list of influencial artists like Sandy Rivera and Photek (on his smash hit 'Mine to Give'), and more recently with Ron Trent and Coldcut (on the stunning 'Walk a Mile in my Shoes' single).

But Robert also stayed true to his records spinning club roots. As an innovative and globally in-demand DJ he is still dazzling crowds across the UK, Europe, Japan and America with his special blend of the deepest house and electronica. He also established two successful London club residencies – Journeys at Egg and 2 Feet Deep at The Key.
Which brings us to “Night-Time Stories”. Robert’s latest musical offering is an incredibly cohesive collection of collaborations with some of contemporary house music’s biggest and most respected names. Producers like Wahoo, Jimpster, Atjazz, Charles Webster, Simbad, Marc Romboy, Kid Massive, Kirk Degiorgio and Ian Pooley all demonstrate their talents, which combined with Robert’s famous voice, make this one of the most exciting and anticipated dance records of 2008!

On the eleven tracks Robert takes you on an agitating and haunting journey inside his highly emotional world, living up to his reputation as man who breathed life and soul into house music. It’s just him expressing different feelings ranging from happiness to being chained: “My work is about being aware of all the different facets and feelings in life. Much of it is driven by pain, but that’s just an emotion too. I can’t stand there and be like a pop star because I need to be real – and a real person gives from their soul and won’t let anyone taint that.” (Robert Owens)

The first single release 'Merging' (produced by Dutch duo TJ Kong & Nuno Dos Santos) is already raising the roof worldwide getting love and massive support from key players like Osunlade, Frank Roger, Fred Everything, Marcus Worgul, King Britt, Jimpster, Ashley Beedle, Peter Kruder… This overwhelming response is heralding a shift in the state of the art: people are getting weary of minimalistic tracks – they want some vocals back in – and they want some soul back in!

You are sure to get the full load of soul when Robert is performing with his Live Band. To fuse house music with real instrumentation has been a dream of Roberts for a long time. His album 'Journeys' which was released in Japan only in 1997 already highlighted this new new musical routes. Together with his band – which features Dan Berkson (Poker Flat) on keys and a guitarist and percussionist – he performs what is essentially live house with a jazz flavour. The tracklist is a mix of Roberts classics and new album material. To many people the amazing show was the highlight of Big Chill Festival.

So there you have it. From the gritty but sublime Trax of yesteryear to the forward-looking projects of today, Robert Owens is one of dance music's true legends, a man who has his roots in the future and his feet planted firmly on the earth - and a man who has never been afraid of sharing himself with others.

Robert Owens

Known Love

Players EP

Players

The Juan Maclean

DJ-KiCKS (Juan MacLean) [DJ Mix]

Laid Out (Fully Horizontal Mix) - Mixed

Dick Trevor

Dusk Till Dawn

Dusk Till Dawn - Club Mix

DJ, PRODUCER, LABEL OWNER, AND ADMITTED HOUSE MUSIC PURIST DANIEL DUBB HAS RISEN TO PROMINENCE THROUGH A TIRELESS WORK ETHIC AND A KEEN UNDERSTANDING OF WHAT HAS MADE HOUSE MUSIC A CONSTANT ON DANCE FLOORS FOR DECADES.

Through a commitment to quality and a thirst for success Daniel has gone about mastering his craft in the club as well as the studio. His gritty Tech and Deep House records quickly caught the attention of underground label main stays such as Rejected, Saved, 8Bit, Viva, Plastic City, Toolroom, and many more labels who echo his commitment to quality music that works in the club. It’s not just the labels that have taken notice of his gritty and infectiously danceable sets and productions. Daniel has caught the ear of a who’s who of Underground Dance Music, with the likes of Steve Lawler, Joris voorn, Danny Howells, Nic Fanciulli and Lee Burridge as noted fans of his productions and DJ sets. Having played alongside these legends of their craft Daniel Dubb has shown dance floors all over the world that the universal language of the dance floor is one that he speaks well and with which he can hold a conversation with the best of them.

While labels and fellow DJ’s continue to take notice, Daniel has shown the world that gritty underground records can also produce impressive sales numbers. His collaborative remix of Nina Simone’s Sinnerman was the highest selling number one record on Beatport in 2011, and occupied the top spot for longer than any other release that year. The success of this record echoed through the EDM scene with its crossover appeal highlighted by its inclusion on numerous compilations including one by mainstream heavyweight David Guetta. After numerous successful releases on other labels, 2012 saw Daniel launched his own record label DV8. The world quickly took notice and by its fifth release, DV8 hit the Beatport top 10 with Daniel Dubb’s rework of Luniz’s “I Got 5 on It”. His understanding of what works on the dance floor was once again demonstrated with the release supported by DJ’s from across the EDM spectrum from Deep House sensation Maya Jane Coles to the more Big Room appeal of the group Nervo. Whether spinning sets to packed clubs or producing chart topping records Daniel Dubb has shown that the Underground EDM scene is alive, well and in good hands.

Best Danny Howells Songs of All Time - Top 10 Tracks

Best Danny Howells Songs of All Time - Top 10 Tracks

Upcoming Events

1. Known Love

2. Players

3. Laid Out (Fully Horizontal Mix) - Mixed

4. Dusk Till Dawn - Club Mix

5. Bring 'Em Back - Gorge Remix

6. Whiterock

7. Earthlings X

8. Isolar - Edit

9. Dusk Till Dawn - Radio Edit

10. On The Moon

Danny Howells Details