Tag - big wild

Shaky Beats Drops 2019 Daily Lineup

Shaky Beats 2019 Lineup

Atlanta-based dance music festival, Shaky Beats, has dropped its 2019 daily lineup. The festival, which takes place May 10-11 in Atlanta Central Park, includes a Friday host of RÜFÜS DU SOL, Big Gigantic, San Holo, What So Not, Snakehips, Lane 8, Boogie T, Solardo, SNBRN, Dombresky, Moon Boots, Whipped Cream, GG Magree, Dirt Monkey, Win + Woo, Paz, Mantis, Eddie Gold, and Movin’ Keyz. Saturday, the festival will see the likes of Martin Garrix, Galantis, Fisher, Gryffin, Chris Lake, Big Wild, Ekali, Party Favor, CloZee, Vanic, Squnto, Ducky, Cray, Slumberjack, Midnight Kids, Zeke Beats, Xie, PLS&TY, The Funk Hunters, DJ Zoe Gray, and Airwolf.

GA, GA+, VIP, and Single Day tickets are available from the Shaky Beats ticketing website, with prices ranging from $95-412, depending on options. Additional festival information can be found on the Shaky Beats information page.

Camp Bisco 2018 Lineup

Camp Bisco 2018 Lineup

Camp Bisco has announced a jam-packed 2018 lineup for July 12-14, 2018, featuring many Camp Bisco alumni, as well as new-comers ranging from jam bands to dubstep and everything in between. Naturally, The Disco Biscuits are headlining with six sets all weekend. Other artists include Bassnectar, Excision, Tipper, Bonobo (Live Band), Illenium, Lotus, STS9, Big Wild, and many more.

Camp Bisco is three-day camping festival at Montage Mountain in Scranton, Pennsylvania. Camp Bisco does not offer car-side camping, so come prepared. They note:
“There is no car side camping at Camp Bisco. There is wagon service to get you from the camping parking lot/gear drop off area to the campgrounds and ability to have a vehicle drop your gear off as close as possible to your campsite. We provide a large number of shuttles, all-terrain golf carts and staff in order to make it the easiest camping experience possible on Montage Mountain. There is continuous, expeditious valet service throughout the weekend but we still encourage Camp Bisco campers to pack light and bring something with wheels to transport gear in (think utility cart, not a radio flyer).”

If you intend on camping, make sure to buy a camping bundle, as the default festival option is for the festival-only and does not grant access to the camping and RV grounds. Early-bird GA tickets are currently on sale for $169.50 for festival only or $209.50 with camping, taxes and fees not included. Early-bird VIP tickets are on sale for $399.50 for festival only or $439.50 with camping, taxes and fees not included. Additionally, there are also glamping options and a 3-installment plan available.

Live & Love Relentlessly at Decadence AZ 2017

DecadenceAZ 2017 Sunset

This past December 30-31, 2017, thousands of music enthusiasts took over the Rawhide Western Town & Event Center in Chandler, AZ, for Arizona’s biggest New Year’s Eve celebration, Decadence. Festival producers Relentless Beats and Global Dance pulled in 12,000 attendants per day, with a lineup that featured a cast of national acts including Armin van Buuren, Big Wild, Borgore, Boys Noize, Duke Dumont, Galantis, Justice, Louis the Child, Madeon, Oliver Heldens, What So Not, Zedd, Zeds Dead, Zhu, and many more. The two-day event featured two main indoor stages: The Diamond Atrium and Sapphire Ballroom, along with the outdoor Ruby Courtyard and carnival rides.

Big Wild at DecadenceAZ 2017

Big Wild performing in the Sapphire Ballroom. Photo by Victor Tranfield

With a number of destructive natural disasters and unusual political phenomena in the US, many would consider 2017 a wild and tumultuous year. Perhaps that’s why 2017 also seemed to be a big year for music and festivals, as people search for a means of community, especially in the festival realm: a place to escape the distractions of the world and find love and peace. On that note, we reached out to several artists and people in the industry to ask them:

“Can you recall a particular moment that stands out, which happened in 2017 that you think exemplifies the unifying power of music?” Here’s what they had to say:

Snails
“The power of music is crazy. People can just forget everything and be with their friends and just have fun. That’s what it’s all about. A very special moment for me this year was pressing play at my Sluggtopia Red Rocks show in front of 10k people and everyone coming together for the moment and forgetting about everything else. Can’t wait for 2018!”

BIJOU
“For me that moment was EDC Las Vegas. This year has been an extremely difficult for many around the world. To have the opportunity to play on that size of a stage and watch every single person out there forget about all their problems and issues is truly empowering. It was a moment I’ll never forget and a moment that the music really brought everyone together as a whole. It’s really a beautiful thing that I feel like only music can do for such an audience.”

BIJOU DecadenceAZ 2017

BIJOU performing at the Diamond Atrium. Photo by Phil MacDonald

Thomas Turner of Relentless Beats
“When we announced Goldrush many were concerned overlapping fan bases might lead to an environment different than the one we have built in our electronic music scene. To witness it in fact be a cohesive event with many musical tastes coming together was such an amazing feeling. Arizona is really special place.”

Black Tiger Sex Machine
“It’s tough to single out a specific moment, so we are just going to choose our entire Midnight Terror Tour in 2017. We had the chance to play across all of North America in the span of a few weeks and it was our biggest tour yet. We always expect the smaller intimate shows to have a real unifying vibe, but we were so amazed to see these larger crowds coming together and enjoying themselves in such a positive way. And it wasn’t just one specific area. People all over are in tune with this idea of community and spreading positivity. It makes us really hopeful about the future, in spite of all the craziness that can happen in the world.

Music won’t hate. Music won’t judge. Music is here to stay. Music is our religion.”

While artists had the chance to reflect on the previous year, we spoke to festival attendants to ask the oft repeated New Year’s question: “what is your new years resolution?” While the festival’s name might betray a sense of extravagance, luxury, or self-indulgence, a fitting theme for an atmosphere of celebration, the reality is the responses were far humbler. In fact, festival owner Thomas Turner commented that Decadence was really about giving “our fans the most elaborate and immersive experience yet. Think of it as a ’Thank You’ for a great 2017 and a toast to an even bigger new year.” In other words, Decadence is less focused on self-indulgence and more of an unrestrained thank-you to the music community.

When festivalgoers were asked about their New Year’s resolutions, the responses resoundingly revolved around several key themes: self-improvement, self-love, helping those less fortunate, being more accepting, and being more environmentally conscious. When questioned, one festival attendant responded: “After 2017, I think we could all use a little more love.”

As thousands of people at Decadence danced, laughed, and celebrated the beginning of 2018 together, with a raucous celebration to end 2017, positivity was in the air; music enthusiasts radiated with a bright outlook entering the new year. Decadence Arizona 2017 was a magical weekend; take that magic that brings people together, share it with the world, and live and love relentlessly in 2018. Welcome to the future!

Editor’s Note: This was a collaborative article by Phil MacDonald and Victor Tranfield, with a special thank you to Caren West PR for assisting with artist relations.

DecadenceAZ 2017 Unicorns

Festivals: where magical things happen, like unicorns riding unicorns. Photo by Victor Tranfield

Okeechobee Music Festival 2018 Lineup

Okeechobee Music Festival 2018 Lineup

Okeechobee Music & Arts Festival returns to Sunshine Grove in Okeechobee, Florida for its third year this March 1-5, 2018. The star-studded lineup includes headliners Arcade Fire, Bassnectar (two sets with a special full moon beach set), Halsey, and Travis Scott, as well as Khalid, Foster the People, Leon Bridges, The Flaming Lips, Zeds Dead, Slightly Stoopid, Tipper, Big Gigantic, STS9, Local Natives, Gramatik, Illenium, Blackbear, Thievery Corporation, Tycho, Sylvan Esso, Judah & The Lion, Kyle, Misterwives, Sofi Tukker, Magic!, Lettuce, Billie Eilish, Ganja White Night (Live Set) B2B Boogie T and Dirt Monkey, Jai Wolf, G Jones, Big Wild, Denzel Curry, Pouya, Quinn XCII, Allah-Las, Nightmares on Wax (Live Band), Twiddle, and many more. As usual, Okeechobee will feature a PoWoW! Superstar Mashup set, consisting of many of the aforementioned artists. This is just the first phase of artist announcements, so expect more artists to be announced in the coming months. A range of ticket options are currently available for purchase from the ticketing website.

Gem & Jam Announces Phase 2 Lineup

Gem & Jam Phase 2 2018

After dropping a first phase lineup which boasted two nights of STS9, two nights of Lettuce and nearly 40 additional artists, Gem & Jam continues to surpass the lofty levels set last year. Returning to Pima County Fairgrounds for a second straight year- January 25 – 28, 2018, the four-day music and camping festival keeps the momentum going with a mix of fan favorites, including: Big Wild; Papadosio; Sunsquabi; Head for the Hills; Earthcry (of Papadosio); Dynohunter; Templo; Lapa (of Emancipator); Smash & Grab; Little John; Minions of the Moon; Bird Foot; Tony Inorbit; The Party People; Soul Catalyst; and Deadset. Additional artists will be added in the coming months.

Previously announced artists include: STS9; Lettuce; Greensky Bluegrass; Railroad Earth; Emancipator; Breaking Biscuits; Thriftworks; The Russ Liquid Test; Masego; Random Rab; Michal Menert; Flamingosis; John Kadlecik’s Fellowship of the Wing; Govinda; Jade Cicada; Maddy O’Neal; Saqi; Ill Esha; Charlesthefirst; Modern Measure; Bass Physics; Marvel Years; Zoogma; Blunt Force; Safis Lab; Flying Skulls; Skydyed; Kyma; Adem Joel; Electric Feel; Smokovich; Endoplasmic; The Bennu; Neon Prophet Band; Jahmontee; SuDs; M/Q; Truth Cartel and GonzoFuZe.

Located on 640 acres and just 20 miles south of downtown Tucson, the Pima County Fairgrounds is surrounded by nature and resides in a desert environment, creating an expansive setting perfect for Gem & Jam. The multi-stage music and arts festival will be offering increased capacity and camping options, including: onsite RV camping with hookups, boutique camping, car camping and walk-in camping. Additionally, Gem & Jam will be expanding on its experience with world-class visuals, unique stage designs, artist galleries, live paintings, experiential installations, daytime workshops, gem and mineral vendors and much more.

General Admission tickets are on sale now for $199, plus fees. Camping options will be available starting at $55, plus fees. Included in these options are: Deluxe RV Camping, Standard RV Camping, Car Camping, Walk-In Camping and Ready, Set, Camp. Tickets are available online at www.gemandjam.com Gem & Jam Festival is an all ages event.

Gem & Jam is produced by Infinite Music Productions, Euphonic Conceptions, and Challenger Presents. Visit www.gemandjam.com for the most up-to-date information. Stay connected on Facebook at www.facebook.com/GemAndJam, Twitter at www.twitter.com/GemJamFestival and on Instagram at www.instagram.com/GemAndJamFestival.

Decadence AZ 2017 Initial Lineup

Decadence Arizona 2017

Relentless Beats has announced phase one of their lineup for Decadence NYE, Arizona’s largest music festival – a two-day New Year’s Eve celebration taking place at Rawhide Event Center in Chandler, Arizona on December 30 and 31, 2017. Presented by Relentless Beats and Global Dance, the fourth annual festival will include two main stages, with some of electronic dance music’s biggest and most buzz-worthy artists, including: in the Diamond Atrium: Armin Van Buuren (AZ festival debut); Black Tiger Sex Machine; Borgore; Crywolf; Galantis; Louis the Child; Medasin (AZ debut); What So Not; Zedd and Zed’s Dead and in the Sapphire Ballroom: Big Wild; Destructo; Justice (dj set/AZ debut); Petit Biscuit; Tchami; Tokimonsta and ZHU, with many more to be announced in the coming weeks.

“This has been by far the biggest year in Relentless Beat’s history,” says Relentless Beats founder Thomas Turner. “It is pretty remarkable that we get to cap it off with our biggest lineup of 2017- setting the bar for an even bigger year next year.”

Rawhide Event Center is situated on the Gila River Indian Community and is Arizona’s largest 1880s western-themed entertainment venue. Located just south of Phoenix, the venue is just 20 minutes from the Phoenix Sky Harbor International Airport in Chandler, AZ. Relentless Beats will be transforming Rawhide’s Frontier Hall into the Arizona’s biggest super-club for a decadent two nights. Guests are invited to indulge and live lavishly one last time, as they say good-bye to 2017 and prepare to welcome the fresh beginnings of a new year.

General Admission tickets go on-sale Friday, August 25, 2017 at 10 a.m. for $149, plus fees for a 2-day pass. VIP passes, with separate VIP entrance, two (2) complimentary drink tickets, a catered spread, massive VIP deck with assorted seating, two preferred main stage viewing areas, passed hors d’oeuvres, New Year’s Eve champagne toast, commemorative lanyard, and VIP restrooms will be available. Table service will be available at both main stages. VIP Platinum options are also available. For full details and all ticket options, visit www.decadencearizona.com. VIP is reserved for 21+. Decadence Arizona is an ages 18 and over event.

Decadence Arizona is produced by Relentless Beats and Global Dance. Visit www.relentlessbeats.com for the most up-to-date information on all Relentless Beats events. Stay connected on Twitter at www.twitter.com/RelentlessBeats and on Facebook at www.facebook.com/RelentlessBeats.

BUKU Music + Art Project 2017

BUKU Music + Art 2017 Lineup

BUKU Music + Art Project returns for the 6th time to Mardi Gras World in New Orleans, LA. The two-day event takes place March 10-11, 2017 and features a variety of music and visual artists. This year’s event includes artists like deadmau5, Grizmatik (Griz and Gramatik), Travis Scott, Run the Jewels, Zeds Dead, Tycho, Zhu, Jauz, Lil Dicky, Cashmere Cat, Malaa, Rezz, Big Wild,  San Holo, Lane 8, and more.

BUKU is held on the New Orleans riverfront, within walking distance of the Warehouse District and the French Quarter. In addition to musical performances, BUKU will feature art installations from local and national artists. Tier 3 General Admission passes are on sale for $189.99 (taxes and fees not included). GA Plus tickets are on sale for $289.99, while VIP tickets are on sale for $419.99. For a list of all ticket options, check the ticket website. If you’re attending the festival, make sure to check out the FAQs, travel information, lodging information, and safety information.

Bassnectar Bucks the Trend with Basslanta

Bassnectar in Atlanta

It seems that lately the general trend with music festivals has been: bigger, flashier, more lights, flames, fireworks, costumes, dancers, confetti, lasers, LED panels, etc. Often times it feels like the main attraction has changed focus from the music to the stages, marketing, and overall spectacle of the event. All those aspects certainly hold an appropriate place in the live music world; they serve as a useful tool to transport fans into another universe and provide extra visual stimulation to complement the music. But at what point does it all become too much? Can you really have too many lights, lasers, and the like? Bassnectar’s two-night “gathering” in Atlanta, GA earlier this month seems to confirm that, yes, there is such a thing as too many visuals at live music events.

Bassnectar announced the Atlanta gathering earlier this year, in April. The Bassnectar team tried to maintain as much secrecy about the event as possible, revealing only a GPS drop pin on a map, and a short description about how the event would differ from other music events: “We are going back to our roots – the underground parties of the 1990s: one room, one floor, no seats, sweat dripping from the ceiling, secret location…” The goal was to put the focus on the music and the people, and remove attention from the artists and the stage.

Just days after Labor Day, thousands of Bassheads descended upon the secret location in Atlanta for the two-night gathering with Bassnectar, Hudson Mohawke, Lunice, Truth, Big Wild, Atliens, and Hustle Up. Although the event was not held in an actual warehouse (in 2016, the logistics of having an officially sanctioned event of this magnitude would make that quite difficult), it was clear that Bassnectar was trying to recreate the warehouse vibe of the old days.

As fans arrived at the location, they traveled down to the bottom floor of a dimly lit, wide open space. There were no gimmicks. No fireworks, costumes, dancers, or flames. Sure, there were lasers, lights, LED panels, and confetti, but all were used sparingly. Indeed, on the first night, Bassnectar played several songs with hardly any lighting at all for large swaths of time, occasionally illuminating a small array of lights to set the mood. At many points, there wasn’t much to see at all, but you could feel everything. With the focus on the environment and not the artist, the surroundings felt barebones and minimalistic, allowing the music to do the talking. A normal festival or concert is often tight and packed. This event felt looser; an emphasis on negative space with large open areas that echoed music off the walls and through your ears. The goal of the event was not to have a large group of people packed around a stage, but instead, a large group of people letting their senses run wild, roaming the dark space both physically and mentally—a paracosm.

Bassnectar is incredibly talented at creating a unique atmosphere for his events. It’s one of the reasons his fans remain so loyal and attend countless Bassnectar events across the country: each one is uniquely different. Much of this can be attributed to his obsession with sounds, samples, set and setting. He [thankfully] doesn’t spend much time on the mic, but when he does, Bassnectar is cool, calm, and collected. A stark difference from the crowd in front of him that is visibly going apeshit crazy for his performance. Basslanta is a quintessential example of Bassnectar’s passion for music, his fans, and being unique. It was a gathering that bucked the trend of bigger and flashier, and instead was an exhibit of how a properly balanced artistic event can foster a much more memorable experience.

Note: One of Bassnectar’s goals with this event was to maintain a sense of mystery, paying homage to the old days of underground parties that were secretive and revolved around the music, rather than the marketing. In writing this article, I wanted to highlight some of the positive aspects of the event, without revealing too much of the mystery. For the full experience, you should check out a Bassnectar event for yourself, if you haven’t already.

Big Wild Shares Inspiration in Exclusive Interview

Big Wild Performs at Okeechobee

In the days leading up to Okeechobee Music Festival, Dancebreak put together a list of artists that we were most excited to see, which included Jackson Stell, also known as Big Wild. Big Wild performed Thursday night at Aquachobee Beach, the night before the majority of campers arrived at the campgrounds. In spite of this, Big Wild still drew a large and enthusiastic crowd and put on a performance that got patrons ready for an unforgettable weekend. When he took the stage, he addressed the crowd with a tone that was giddy with excitement. As he jumped between instruments during his performance, it became clear that Big Wild is someone who is appreciative of the opportunity to share his talents with the world. After his show, we had the opportunity to sit down with Jackson and discuss his upcoming spring tour, his inspiration, his background, and what we can expect from Big Wild in the future.

Dancebreak commentary is in italics, while commentary from Big Wild is in normal text.

Welcome back to Florida. Thanks for taking the time to chat with me. It seems like you’re in a really exciting point in your career. To start, the name Big Wild, where did that come from?

It kind of originated during my first trip to California. It was maybe three years ago now. I went to Big Sur and camped there for a couple of nights and I was just really surprised by the landscape and the natural beauty of the whole area and it kind of, for whatever reason, gave me insight as to where I wanted to take my electronic sound from there. Because up to that point, I had kind of been shooting in the dark with what I wanted my sound to be. I decided from there that I wanted to be adventurous and blend electronic and acoustic elements. That name just came about naturally.

You said that you’re originally from Lancaster, MA, right? And you’ve since moved out to Venice Beach. When did that happen?

Well I lived in San Francisco for five months. I moved out there in April 2014, and after that I moved to LA. I’ve been there ever since.

Was that primarily because you wanted to focus on music?

Well I got kicked out of my apartment, because they were jacking up the rent. There was a lot of drama. But also because of the music scene, and my girlfriend was going to UCLA, so there were all these things telling me to move there.

You’ve previously supported Gramatik, Odesza, GRiZ, and others on tour. This month you’re embarking on your own headlining tour, two of the shows are already sold out. Congratulations on that. What’s different about your headlining Spring Tour? How does your preparation for headlining shows differ from supporting acts?

It’s tough for me to say, because I’ve never really headlined. Actually I’ve headlined one show so far. It was just a random charity show I did in Austin. But I think what’s going to be really cool now is I feel like I have more freedom to carry out my full vision of what I see myself doing on stage and performing. I’m going to be using more new music that I’ve been producing lately and this is kind of going to be an exposé for all of that. I’m going to be able to control the visuals and everything. It’s awesome to fully use your vision. Whereas when you’re support or direct support for an opener, you kind of have to fit in the mold of whoever is the headliner. Because it’s their show. But now I have that privilege of being the headliner. That’s the best part of it.

It sounds pretty exciting. Are there any specific locations that you’re excited to play at, or are you going into this kind of blind?

I’m definitely going into it blind. I’m really excited to do the San Francisco show. It was the first one to sell out and it’s at a venue called The Independent, which I really like. I’m really excited to perform there because I have a really solid fan base there. Whenever I play in San Francisco, they really vibe with my music. That being said, I’m really excited to perform pretty much everywhere. I’m just excited to tour the country and play my music.

Before you started producing music, were you ever a patron at The Independent?

I did play there once. I opened up for this group called Digitalism and then I also saw a show there, Slow Magic, which was really fun.

I asked you a little bit about your preparation, what kind of equipment do you typically use for live shows? What instruments are you normally playing?

I have my drum pad, my piano, a Cajón, which is kind of a wooden box, percussion instrument. Then I have a MIDI interface where I trigger things off my computer. I have a mic for whistling. And that’s pretty much it. It’s kind of like a small one-man band.

Big Wild Performs on Cajón

Big Wild performs using a Cajón

What kind of software are you using?

I use Ableton. And I use Kontakt to trigger my drum sounds off the drum pad.

What about in the studio? I previously read that you started out making hip-hop beats using FL Studio. Are you still using that?

I used that for a while. I switched over to Ableton about three years ago. That’s what I’ve been using ever since.

Has that affected your creative process at all?

I think a little bit. I think for me, warping samples and sampling in general is a little easier in Ableton. So it’s gotten me a little more into that world compared to when I was using FL Studio. Overall, it hasn’t changed my perception of music. My work flow is a little different, but not crazy different. I think at the end of the day a lot of it is very similar.

What were you doing before you started producing? What’s your background? Did you play traditional instruments growing up?

I played piano for about two years, then I played trumpet for six years. But it really wasn’t until I started to produce music, when I was in 8th grade, when I really started to get in to music. Before, I enjoyed it, but I wasn’t really all about it. It wasn’t until I started to song-write and produce where I was like “this is what I want to do.”

You seem to occupy this really cool place in music where there’s a fusion of modern electronics and technology with traditional instruments. It seems like these days the definition of a musician is a lot more fluid as a result of that. Would you say it’s an accurate assessment to call you an instrumentalist, a producer, and a DJ?

I think at the end of the day, the most accurate thing to call me would be a songwriter, because, while I am producing, I’m making music in a program, I’m writing the melodies and writing the drumlines. I’m basically crafting a song. For me, that’s my greatest skill. That’s what first got me into music. Then once I started to play more live, that’s when I was like “ok let’s start to work on my instrument performance ability.” That’s when I started to go back and re-learn all these instruments again. I would say that the labels you gave me are fair, but like you said, there’s a lot of gray area in terms of what qualifies as being a DJ and what qualifies as being a producer. I think a songwriter and a musician is the most barebones definition of what I am. Then you can kind of expand it to more modern names like DJ and producer.

Similar to how you have sub-genres of music?

Exactly.

How do these different skillsets affect your music persona? It sounded like you started out doing songwriting and then moved more into live shows. Did that retroactively effect how you were crafting music?

Definitely. You definitely get a different perception of how people listen and understand your music when you play it out live. Especially—you have to do a lot of different scenarios. You have to be able to play at festivals, small gigs, big gigs, and tours, to really understand how people understand your music. When I’m behind the computer, making music, sharing it on the internet, I can never really get that perspective. Ever since I started to tour a lot more, I’ve really been able to basically understand how people—when I make something, I have a better idea of how people are going to understand it and how they’re going to hear it, as opposed to before, I feel like I was just kind of guessing.

I previously read that you used to focus on music that just sounded good, but now you want to make music that inspires people. Is there a track of yours that you find particularly inspiring?

I think that’s been one of my goals for almost every song I’ve made under the name “Big Wild.” I produced a lot of beats before that, but I think just by trying to make something different that people can still relate to, it’s kind of a key to making someone inspired. It’s easy to bite a trend or get involved with what’s current and I think that’s fine, but I think it’s really important to do it with your own style. That’s kind of what I wanted to inspire with other people—to have your own perspective, have your own individual style, and to bring them another world and show people.

What other non-music related people, places, or ideas influence your music?

I’m really big into—I used to hike all the time growing up and I reflect on those times when I was hiking in the mountains a lot. There are these very peaceful memories that I have. For the songs that are more serene that I make, that are less dancey, that’s where I try to go to. I base it off of feeling, usually I reference how certain moments in the past made me feel and represent that in the song I’m making and channel that. I do that all the time. It usually comes down to times when I was outside and important conversations that I have with people that made me feel a certain way, like really big events in my life. If you can distill that moment to a specific feeling and then if you can capture that feeling in a song, everybody that you play that to can feel something off of that. That’s what I’m trying to do.

I can relate to that. There have certainly been songs of yours that kind of felt outdoorsy to me. I know that’s a weird label to use for music, but the whole persona of it would bring up memories of going out hiking and exploring nature. I’d say you’ve been successful in that regard. That’s all I had for questions for you. Is there anything else you would like to add?

I’m working on a lot of original music right now. I plan on releasing it all throughout the year. There’s a lot of big things to come. I think people are really going to like it because I’m taking a slightly different approach than what I’ve done in the past. I’m working with more vocalists. I’m trying to create a really good mold of my production, with a vocalist, like a more well-rounded song I would say. I’ve been working a lot on that recently, because I haven’t put out too much recently. I’ve spent more time working in the studio, working on music. I would like people to know that I’m working on a lot of music to be released throughout the year.

So you’re bringing in external people to do vocals?

Ya, it’s kind of like expanding this project of Big Wild beyond just me. I don’t want it to just be about me. I just want to make great music. I think I’m finding the right people to make that happen.

When you look around and see the artists that are really successful, it’s usually the ones that have cultivated a certain culture around what they’re doing, as opposed to just making it about themselves.

Right, and that’s what I’m trying to build right now

Thanks so much for your time. Good luck with the rest of your tour.