Although the year is winding down and the pandemic persists, music festivals continue to surge as they make up for lost time from 2020. And in Austin, Texas — where warmer temperatures pervade, even in winter — concerts and live events are still going particularly strong. Seismic Dance Event, held November 12th through 14th at The Concourse Project music and event venue, proves as much.
The boutique music festival is curated specifically for house, techno, and underground heads. So you can imagine the kind of feel-good PLUR vibes that were pulsing through the air, complete with out-there rainbow outfits, flashing LED light fixtures, and bass-heavy beats. The lineup featured more than 50 global headlining artists across two main stages, with even more DJs playing at the nightly after-parties that raged late into each night. On top of the entertainment, there were art installations, food trucks, and plenty of room to dance across the seven acres of land at the venue.
Basically, Seismic Dance Event was a weekend to remember (or not), as these photos attest. To add some joy, glitter, and good vibes into your week, we’re sharing all the best photos from the weekend — sure to cure your winter blues in no time.
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Rolling Loud is known for bringing a huge cast of hip-hop acts from all over the world to one place so that music lovers can watch performances from their favorites and discover new artists in the process. In 2021, Rolling Loud has brought showcases to both Miami and New York with a third one planned for Los Angeles next month. Hip-hop’s biggest names which include J. Cole, Travis Scott, Bobby Shmurda, Roddy Ricch, Young Thug, Gunna, Lil Durk, Lil Uzi Vert, Playboi Cart, Lil Baby, and many more all performed at the festival this year.
With that being said, Rolling Loud also has room for R&B acts to bring their own unique energy to the festival. At last month’s New York festival, Kaash Paige and Abby Jasmine were two R&B singers who took the stage at the showcase and it comes after a strong period for them both. Paige shared her debut album Teenage Fever last year while Jasmine delivered a deluxe reissue for her album Who Cares? to close 2020. She also dropped her I Hate You 2 EP earlier this year.
We caught up with both singers at Rolling Loud to discuss their feelings towards returning to the big festival stage. We also discussed their growth as performers and what’s next for them in their respective careers.
I assume it’s been a while since you’ve performed at a festival this big, how did you enjoy your experience in returning to the big stage today?
Kaash Paige: Man, I’m just really appreciative of the moment. You’re right, during COVID we didn’t get to shine. A lot of the artists, like myself, I dropped my debut album during COVID and I didn’t get to perform how I wanted to. But this year, I got to tour, I got to be outside. I’m just grateful for everything and I’m just excited for next year.
Abby Jasmine: It was a crazy experience from start to finish. The anticipation leading up to it was crazy. You anticipate for weeks and weeks and weeks and weeks on a 15-minute moment. I was definitely on edge the entire time up until my performance. As soon as I got to the Rolling Loud, it was a little bit more real. That made me a bit more nervous, but as soon as I got on the stage, it was great. The crowd and dope, everybody came outside ready to have a good time. I’ve definitely done some shows where people just stand around, but the Rolling Loud crowd was dope.
What do you cherish the most about experiences like this?
KP: I think I cherish seeing every different section of the crowd, you see people that don’t mess with you, you see the people that mess with you, you see the n****s that’s like, “who is this?” You see motherf*ckers like, “Oh, I’m getting hip!” It’s really exciting because, in reality, it’s just work. I feel like this was probably the craziest Rolling Loud performance I’ve ever had, it was insane. I jumped in the crowd, they moshed everywhere, I didn’t expect the crowd to go that crazy. Yeah, I’m just in awe right now.
AJ: I think the biggest one for me is being able to share that experience with my friends, I consider them my chosen family. Sometimes I do shows out of state and they’re not able to make those performances. So being able to have all my friends in that one space and be able to turn up and look into the crowd and see my friends. Walking around backstage, I had my little Henny bottle, I was driving that thing around and we’re just having fun and doing sh*t that we do on a regular basis, but now we’re at Rolling Loud. It was just a really dope experience to be able to do that was my friends because we’re all from New York and we’d never been to a Rolling Loud.
You have both hip-hop and R&B in your discography, and being out here at a major rap festival, I wanted to ask: which one do you enjoy performing more?
KP: Nobody is really used to hearing an R&B singer at a festival for hip-hop. I think I just come out and let n****s know “I’m out here like God sent me.” I’m gonna sing these vocals, but I’m bout to turn up with y’all too. So I try to give them both of everything.
AJ: There’s a real big difference between R&B and rap crowds. There are certain songs I can play for R&B crowds that might not slide with the rap crowd because they’re there to turn up. They want to hear like, you know, lit sh*t. I feel like I do a really good job at trying to blend two as far as when I do sets. I always try to give the R&B crowds a little bit of some rap sh*t and I always tried to get the rap crowd a little bit of like R&B sh*t.
What song do you enjoy performing the most?
KP: I like singing “Love Songs” as my first song just because of course, people know me by that
AJ: I feel like the song that does well with both crowds is “Poland Spring.” That’s just a regular R&B joint, just a real feel-good song and it always does well with like crowds. So that’s one of my favorite ones to perform, and probably “On God” because every time I do that one, the crowd’s energy is crazy.
What do you think has made your onstage experience easier or more comfortable as you’ve grown as an artist?
KP: I just got off tour with Lil Tjay. Doing shows every single day just got me more comfortable to know that it’s gonna be tough crowds and it’s gonna be lit crowds. There’s gonna be moments where your mic’s not working or your sound’s not working. So it’s just being able to be prepared for those moments at all times.
AJ: To be very honest with you, live performances were not my strongest suit for a very long time because I felt like my priorities were always the music. Now I’m kind of seeing it for what it is. There are so many different elements to make music, like yes the music isn’t important, but live performances are something that I was really neglecting. I wasn’t paying much attention to it because I didn’t really have a lot of shows during the pandemic. So coming back, I got real humbled when I had a show and it was a sh*t show. I told myself, like, “Yo, this cannot happen at Rolling Loud. I need to be more prepared.” So I really went in on doing rehearsals and just all that type of stuff.
Did you check out other performances? Who did you enjoy the most? Who would’ve you like to see if you had the chance?
KP: I’m looking forward to seeing J. Cole. I need to hear that. It’s something about J. Cole’s aura that just draws me in. It’s not only the fact that he’s talking about real life, it’s the fact that I relate. He’s an artist that is [one of] the greatest of all time, but still tries to humble himself and put himself down. He be like, “Oh, I’m coming in third place” or I’m doing this or that, like n**** shutup. You’re the goat bro you know? I just relate because we’re all hard on ourselves, especially being artists.
AJ: Okay, so I only saw one performance and I’ll tell you why. The Hennessy caught up to me very early. I’m glad I wasn’t smoking because I would have been just passed out somewhere, probably. The Hennessy got to me real early. I remember very vividly, though, telling people to take me to go and see Asian Doll, I wanted to see Asian Doll so badly. They took me to see Asian Doll, I did go and see Asian Doll and I got to meet her afterwards, it was dope. Oh, I got to see a little bit of Kaash Paige’s set.
What’s the next chapter for you look like?
KP: The next chapter for Kaash Paige is let me finish these shows up this year, and top of the year, it’s my time and everybody’s gonna know Kaash Paige. It’ll be a lot of crazy music that’s dropping [at the] top of the year.
AJ: Well, right now I’m kind of on my little spiritual journey. This year’s been kind of rough. I thought last year was rough, but this year it’s definitely been a little rougher. [I’m] kind of on my spiritual journey, just trying to learn more about myself so I can put that into my music so that everything will keep being authentic. At the end of the day, I just want to be my most authentic self. I’m working on music, I should have something ready by the top of the year.
It was reported last week that Travis Scott and other co-defendants connected to the Astroworld tragedy were being sued by the family of a 9-year-old boy who was trampled at the festival. At the time, the lawsuit indicated that the boy, Ezra Blount, was “in an induced coma on life support and has severe liver, kidney, and brain damage.” Now, unfortunately, the worst possible outcome of this situation has been reached, as Blount has died, his family told Houston’s ABC13. Blount’s passing marks the tenth death connected with Astroworld.
Ezra’s family’s attorney, Ben Crump, said in a statement, “The Blount family is grieving the incomprehensible loss of their precious young son. This should not have been the outcome of taking their son to a concert, what should have been a joyful celebration. Ezra’s death is absolutely heartbreaking. We are committed to seeking answers and justice for the Blount family. But we stand in solidarity with the family, in grief, and in prayer.”
Bernon Blount, Ezra’s grandfather, previously told Rolling Stone, “We have a lot of anger right now because someone is responsible for the condition of our grandson. For him to have the injuries he has, I can’t help picturing in my mind what he had to go through to get those injuries. Someone should be held responsible. He went there with his father to have a good time, not to be trampled halfway to… I don’t want to even say the word.”
Following the tragedy at Travis Scott’s Astroworld festival last weekend, news about deaths and injuries has surfaced. It was reported yesterday that Scott is being sued by the family of a 9-year-old who was trampled during the crowd crush. The boy is currently in a medically induced coma and he’s not the only Astroworld attendee in serious condition: It is now being reported that a 22-year old Texas A&M University student named Bharti Shahani has shown no brain activity since she was injured at Astroworld.
Houston’s ABC 13 reports that Shahani is in critical condition and is currently on a ventilator. Shahani attended the festival with her sister Namrata Shahani and her cousin Mohit Bellani, and Bellani described the scene, “Once one person fell, people started toppling like dominos. It was like a sinkhole. People were falling on top of each other. There were like layers of bodies on the ground, like two people thick. We were fighting to come up to the top and breathe to stay alive.”
As for Shahani’s prognosis, unfortunately, things aren’t looking good. Shahani’s father Sunny says, “The doctors, they say the chances of survival are nothing, which I have not even spoken to my wife until now. We keep saying we’ll pray. I request all of Houston to pray for her. Maybe the prayers might work as a miracle for her.”
The family has set up a GoFundMe campaign, which so far has raised about $45,000 of its $50,000 goal.
If you were to say at this time last year, that in less than a year, we’d be able to hold large-scale music festivals that wouldn’t be a COVID-19 super-spreader event, you might’ve sounded like a crazy person. But by and large, as we’ve learned how change our behavior to help stop the spread of COVID-19, festivals like Lollapalooza and Outside Lands were executed remarkably. Requiring proof of vaccination and implementing a system to verify said proof was a major key, and tens of thousands of people have been able to revel in the grandeur of live music outdoors once again.
On Halloween weekend at Outside Lands festival, over 70,000 people a day came out to San Francisco’s sweeping Golden Gate Park, for what was nothing short of one of the best concert weekends of the year. Fans emanated gratitude for the experience just as much as artists did.
The live music industry was hit hard and for artists, it bore a big weight not just on their livelihoods, but on their creativity as well. Things got pretty dark there for a year and a half. And now with live music and music festivals back in action, there’s a welcome freshness from musicians on stage; thriving once again and needed for so many reasons. We caught up with five performers at Outside Lands 2021 — Albert Hammond Jr., Bartees Strange, Mxmtoon, ZHU, and Rexx Life Raj — to talk about what it means to be playing live shows for massive crowds again. Tap in.
Albert Hammond Jr. – The Headliner
Adrian Spinelli
The Strokes took a solid victory lap around the festival circuit this year, playing III Points Fest in Miami, Atlanta’s Shaky Knees, and even making a headlining stop at The Forum in Los Angeles before the band’s Friday night closing set at Outside Lands. Albert Hammond Jr. has been behind some of the most iconic riffs of the past 20 years and he most recently put out his fourth solo album, Francis Trouble in 2018. But in San Francisco, he was here to put it down with The Strokes, all while relishing in the launch of his sneaky delightful wine seltzer, Jetway.
“Just gathering with people is very important to being a human being. But even besides me, where my career is playing live music and recording, I can see it in people that they want to be around other people. People want to f*ck, man! [laughs] I’m kidding obviously, but I mean that in how people want to interact… It’s a very human thing. And If we’re just home, things start to fall apart.”
Bartees Strange – A Big Realization
Adrian Spinelli
Washington D.C.-based indie rocker Bartees Strange’s career is on the up. His 2020 album Live Forever proved to be a critically-acclaimed breakout hit and its surging artists like him who relish in the number of people at a music festival who are witnessing him and his music for the first time. He delivered one of the most inspired and positively-charged performances of the weekend on the Sutro Stage, and being back out on stage and playing to big festival crowds helped him re-focus on why he makes music to begin with.
“For the last 15 years, I’ve just been playing music and playing shows. And then all of a sudden it just went away. But I kept writing… but then I kinda forgot why? I was like ‘No one is ever gonna hear this?!’ And then I had to remember that I was always writing for myself anyways. And I found a lot of peace in that. And now that I’ve come back out and I’m playing to bigger crowds, it’s exciting to watch everybody react to the music, and I feel really good about being happy with myself. It’s a beautiful thing to come to realize, at a point where I don’t think I would’ve ever had that realization if things wouldn’t have stopped. So it’s been really amazing to be in front of people and to be perceived, and I feel very solid, which is nice.”
Mxmtoon – From The Bedroom To The Big Stage… Finally
Adrian Spinelli
Mxmtoon not only built her music from her bedroom, but she also built a massive fanbase. The Oakland native has close to a billion Spotify streams across all of her quaint folk-pop songs and is a TikTok sensation with more than 2 million followers. She launched a pop culture-friendly history podcast called 365 days with Mxmtoon, where she’s had guests on like Carly Rae Jepsen, Jon Batiste, and Julien Baker. And this past September, she put out the True Colors EPin conjunction with the Life Is Strange adventure game series. Suffice it to say, the 21-year-old had a lot of material to share on stage and she said that being back at a festival in her backyard means “everything” to her.
“I started making music by myself in my room and I think to have an opportunity to bring the pieces of work that I’ve been making for the last three years really, to a live stage and just play it to an audience that’s so close to my heart in the Bay Area? It’s so cool and something I’ve been waiting to do for years at this point. And I can’t really believe that it’s actually happening, it feels really surreal. I can only hope to keep having experiences like this and hopefully for people to see that there is a light at the tunnel through all of this and that live shows are back and hopefully here to stay.”
Rexx Life Raj – The Hometown Rapper Back Where He Belongs
Philip Cosores
Few people made an entrance at Outside Lands quite like the gregarious and gigantic Rexx Life Raj. On Halloween afternoon, he came out mounting a literal T-Rex, clad in a Jurassic Park-style safari vest that his whole team on stage was also wearing. It was not only a testament to his larger-than-life persona, but also to the team mentality that Bay Area hip-hop is founded on. In true Bay Area fashion, the man knows how to relax, and after his set, sipped an Aperol Spritz (at the branded “Aperol Piazza,” of course) and reflected on not just being back on stage, but doing so to a hometown crowd.
“It literally feels insane, but insane in a good way. I knew I missed it, but I didn’t realize how much I missed it until I was on stage and was like, ‘This is where I’m supposed to be.’ And just being around this many people? I haven’t been around this many people in a year and a half, two years even. it just feels good to be at home here and see friends and family, and just to be able to perform is really tight.”
ZHU – The Electronic Music Heavyweight
Wilson Lee
Living in the shadows has always been a part of ZHU’s persona. The electronic producer and multi-instrumentalist initially came up as a mystical figure in EDM with an unknown identity. He’s since stepped out from behind the curtain to become one of the most crucial voices for Asian-Americans in electronic music, and released the excellent Dreamland 2021 this year. A San Francisco native, he headlined the Twin Peaks Stage on Saturday night following his fellow SF-er 24KGoldn’s performance. The pair would perform their hit “I Admit It” together at the festival and for someone who plays electronic festivals all over the world, a return to the normalcy of being back on the road and on stage was beginning to set in.
“I think that it was a transitional period for all of us. For me, it really didn’t hit until even last week when I was in Miami playing to 10,000+ kids and for the first time, I had the realization that we’re really back. It’s not a minimal capacity. People were ready and it’s great for the culture.”
Ever since the tragedy that took place at the Astroworld festival last weekend, Travis Scott has shared a couple of statements about what happened. In both of them, he understandably seemed to be in a down place emotionally. Now, Kim Kardashian, who is of course related to Kylie Jenner and therefore probably knows Scott better than most, has noted that Scott is indeed feeling some significant sadness right now.
In a pair of tweets, Kardashian wrote, “Absolutely heartbroken for the lives who were lost and anyone who was hurt at Astroworld. Just like all of you, our family is in shock by the tragedy. We are keeping all of the victims, families and loved ones impacted in our prayers for healing — as well as Travis who we know cares so much about his fans and is truly devastated.”
Absolutely heartbroken for the lives who were lost and anyone who was hurt at Astroworld. Just like all of you, our family is in shock by the tragedy.
We are keeping all of the victims, families and loved ones impacted in our prayers for healing – as well as Travis who we know cares so much about his fans and is truly devastated.
Meanwhile, Jenner gave a statement of her own, saying, “I want to make it clear we weren’t aware of any fatalities until the news came out after the show and in no world would have continued filming or performing. I am sending my deepest condolences to all the families during this difficult time and will be praying for the healing of everyone who has been impacted.”
The music world has now had a few days to react and grieve to the Astroworld festival tragedy that took place last weekend, which ended up with eight deaths and many more injuries. Travis Scott has made multiple statements about the situation, and now, Drake, who joined Scott during the performance when the fatal crowd crush happened, has shared his first words about what happened.
On Instagram, Drake wrote, “I’ve spent the past few days trying to wrap my mind around this devastating tragedy. I hate resorting to this platform to express an emotion as delicate as grief but this is where I find myself. My heart is broken for the families and friends of those who lost their lives and for anyone who is suffering. I will continue to pray for all of them, and will be of service in any way I can. May God be with you all.”
Scott currently faces multiple lawsuits over the festival and Drake is named as a co-defendant in at least one of them. A statement accompanying the lawsuit in which Drake is named reads, ““There is no excuse for the events that unfolded at NRG stadium on Friday night. There is every indication that the performers, organizers, and venue were not only aware of the hectic crowd but also that injuries and potential deaths may have occurred. Still, they decided to put profits over their attendees and allowed the deadly show to go on.”
Los Angeles isn’t exactly known as a hub for successful music festivals. Sure, there’s Coachella a solid two hours out of the city, but within the county lines (and neighboring Orange County), the reputation is a bit more scattershot. Events like FYF, Burgerama, and Beach Goth have all (rightfully) gone the way of the dodo after various levels of controversy, while fests like Made In America, Detour, and Festival Supreme couldn’t quite survive in the competitive atmosphere. Tyler The Creator’s Camp Flog Gnaw is the class of the town, and its producer Goldenvoice has been further dabbling into more niche events in the area of late. These can make you feel old (the aughts indie-celebrating Just Like Heaven), make you feel really old (the ’80s nostalgia brandishing Cruel World), or, as over the past weekend, make you feel like a part of something bigger than yourself, at 88 Rising’s Head In The Clouds festival.
Head In The Clouds debuted as a single-day event in 2018 and 2019 at Los Angeles Historic State Park, drawing more than 20,000 fans and necessitating this more fully-realized version. The ethos is pretty simple yet crucial: a celebration of Asian music and culture, both from the Asian continent and from Asian-Americans. Speaking with the LA Times earlier this year, 88 Rising (and festival) founder Sean Miyashiro said, “We just want the best of Asian music, so we can invite anyone. The last two fests were scrappy but monumental for us. This one is literally the live interpretation of everything we stand for.”
The resulting festival felt like a revelation. For cultures that often note that they feel invisible within American society, which was only underscored by the Covid crisis that saw them the subject of violence and scorn, this couldn’t be more important, especially as the event highlighted the depth and breadth of their influence. This could feel hyperlocal, like the San Gabriel Valley homage that was the 626 Night Market, to ocean-spanning, like a massive set from K-pop legend CL. During her sunset performance, rap star Saweetie highlighted her own heritage (Black, Filipino, and Chinese) while also shining a spotlight on the “Asian kings and queens” in the audience. If the audience didn’t feel seen in their day-to-day lives, Head In The Clouds was sure that Asian people wouldn’t feel that way on the festival grounds.
Philip Cosores
It’s a concept that makes more sense as the music world becomes more global. Festivals highlighting music from Africa and Latin America are becoming more common, while micro-festivals around specific cultures are beginning to leave the shadows for the mainstream. Diversity in the major music festivals is also more common, where occurrences like Blackpink’s appearing at Coachella and J Balvin’s dominance of the festival circuit are paving the way for more like them in the future, with international music treated like less like a curiosity and more like a pillar of popular music.
The majority of the big acts at Head In The Clouds wouldn’t feel out of place at a Coachella of Lollapalooza, like Japanese Breakfast, whose “banger after banger” performance proved why Michelle Zauner is one more music’s most exciting personalities, and Saturday headliner Rich Brian, whose earnest bars come across even better live than they do on record. But for someone like CL, who despite a new album that saw a big Rolling Stone feature and an appearance on Lil Dickey’s Dave remains unknown to many outside of Asian circles, the festival provided an argument for why that needed to change asap. The training that went into her K-pop career as a member of 2NE1 was on display as she danced, sang, rapped, and gave her all in such a manner that should put all American pop stars on notice that they need to up their game, immediately.
Philip Cosores
Taking place just a day after the tragedy at Astroworld in Houston, there was a clear reaction from the festival, with waters being distributed at a frantic rate and security responding to calls for help with prompt and thorough assistance. But still, the events of the day before hung heavily on Head In The Clouds, and I imagine it will over festivals for a long time. But Head In The Clouds was a reminder that this kind of event can be so much more than the party atmosphere that many are reduced to. Festivals can be meaningful celebrations, and here’s to hoping that Head In The Clouds keeps growing and assuming its place as Los Angeles’ next great music festival.
Check out some more photos from the event below.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Saweetie
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CL
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Japanese Breakfast
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Rich Brian
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This past weekend was supposed to be a highlight of the year for Travis Scott, but instead, it became one of the biggest tragedies of his life. At his Astroworld festival, eight people died and many more were injured due to a crowd surge during Scott’s set. The rapper was supposed to be a headliner at this upcoming weekend’s Day N Vegas festival, but understandably, it looks like he will not be performing as planned.
Variety reports that Scott has backed out of the performance because he is “too distraught to play,” according to the publication’s source. As of this post, Day N Vegas organizers have yet to announce any lineup changes related to Scott.
Indeed, Scott seemed deeply bothered by what happened in the statements he shared. His first public response was a written statement in which he said, “I’m absolutely devastated by what took place last night. My prayers go out to the families and all those impacted by what happened at Astroworld Festival.” He reiterated that in a video he later shared, saying, “My fans really mean the world to me. I always just really want to leave them with a positive experience. […] I’m honestly just devastated. I could never imagine anything like this happening.”
Furthermore, Variety also reports that Scott intends to provide full refunds to all Astroworld ticketholders.
What was supposed to be a joyous event turned into a tragedy over the weekend as eight people died during a crowd surge at Travis Scott’s Astroworld festival on Friday, November 5. Now, Scott is facing multiple lawsuits over the event and Drake is a defendant in one of them.
As previously reported, Astroworld attendee Manuel Souza is suing Scott, Live Nation, and organizer ScoreMore. The lawsuit claims the incident was the result of “a motivation for profit at the expense of concertgoers’ health and safety” and the “encouragement of violence.” It also calls the situation a “predictable and preventable tragedy.”
Souza’s attorney, Steve Kherkher of Kherkher Garcia LLP, wrote, “Defendants failed to properly plan and conduct the concert in a safe manner. Instead, they consciously ignored the extreme risks of harm to concertgoers, and, in some cases actively encouraged and fomented dangerous behaviors.”
Furthermore, NME reports that another suit was filed by Texas-based attorney Thomas J. Henry, on behalf of an unnamed Astroworld attendee. Listed as co-defendants are Scott, Drake, Live Nation, and NRG Stadium, and a press release from Henry’s law firm alleges the surge happened when Drake made a surprise appearance on stage.
“There is no excuse for the events that unfolded at NRG stadium on Friday night,” Henry said in a statement. “There is every indication that the performers, organizers, and venue were not only aware of the hectic crowd but also that injuries and potential deaths may have occurred. Still, they decided to put profits over their attendees and allowed the deadly show to go on.”
Beyond that, there’s yet another lawsuit, filed by civil rights and personal injury attorney Ben Crump on behalf of Astroworld attendee Noah Gutierrez, who claims to have offered assistance to crowd members in need in the VIP section.
Crump wrote in a statement, “We are hearing horrific accounts of the terror and helplessness people experienced — the horror of a crushing crowd and the awful trauma of watching people die while trying unsuccessfully to save them. We will be pursuing justice for all our clients who were harmed in this tragic and preventable event.”
The statement also notes that Crump expects to file more lawsuits on behalf of other victims in the coming days, so it appears Scott’s plate is full when it comes to legal trouble.
