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admin | Category: Ed 1000 Treatment In Australia | 28.06.2016
Share on Facebook Share on Twitter Reddit SubscribeJoin our listSubscribe to our mailing list and get interesting stuff and updates to your email inbox. During his set at Tomorrowland, the Dutch DJ and producer Oliver Heldens revealed his highly anticipated collaboration with Knife Party. From the looks of the daily lineup, day 1 of Escapade will feature a tech house stage along with the main stage, while on Sunday the secondary stage will be turned into a bass stage.
The commonalities between jam bands like the Grateful Dead and EDM artists are what result in cult like followings of fans that line up at the gates to melt their faces off and download anything they can find.
The Grateful Dead are notorious for their religiously dedicated group of fans dubbed "Dead Heads" that have surrounded the iconic, original jam band since the 1960s and followed the band across the country to see their extended jams performed live. Over the past decade, we have all witnessed the explosion of EDM into the mainstream with fans that travel to and from all corners of the world to dance all night long at some of the most extravagant music festivals in history. The fans of both jam bands and EDM artists exhibit the same type of devotion and just can't seem to get enough.
As long as you make great music, it is more important to spread that music to as many ears as possible to truly build a real fan base organically that is as passionate about your music as you are.
They've mastered how to truly nurture a growing fanbase, paying attention to their most loyal fans first over begging new fans to hear them, and letting their music spread naturally by providing it to the masses.
Note: There is a great book called, Marketing Lessons from the Grateful Dead by David Meerman Scott that has deeper insight into the business practices of the Grateful Dead. Flying back to New York from Miami’s Ultra Music Festival last week, I mainly spent my time saying goodbye to my flip-flops. Let me explain by comparing the offline, physical experience of the festival with the online, socially connected universe that has settled around it. The element I missed the most was the red thread that connects it all – the ‘party-cipation’ story. What truly surprised me about Ultra is not the offline experience it offers, but the online universe it has designed, which in my opinion has blown this 3-day event out of the water in terms of global impact.

Social calendars: the app features ‘Most liked’ and ‘Most scheduled’ DJ sets, which can help to find best performances after the event, but also to make decisions on what to attend at the festival. External app integration: nothing is more annoying than missing out on unforgettable moments just because you’re busy juggling your status updates, tweets and Instagrams. The light effects on every stage seamlessly flowed into an ocean of lit-up screens hovering over the dancing crowd. Ultra was prepared for the frustrated outcry of those not lucky enough to attend the festival in real life. Ultra’s performances have already left their fluorescent traces on every music app and video platform out there and attendees have barely had the chance to catch up on sleep. Born in 1999, Ultra is the brainchild of local entrepreneur Russell Faibisch, who dedicated the past 15 years of his life to turning this crown of Miami nightlife into a global EDM sensation.
This truly international identity is most likely what gave Ultra the head start in levering the power of social connectedness. How can the ‘party-cipation’ feeling be strengthened in the future, in order to bring offline on par with online? I’m curious to see what other festivals will bring to the table of social trends over the course of 2014. They didn't focus on restricting the access to their music to protect their potential revenues.
As I was grudgingly untangling my scarf I couldn’t help but relive this last episode in my track record as an EDM festival enthusiast. But the Ultra service went one step further by adding 2 very useful elements: social calendars and external app integration. The Ultra app not only offers an integrated news & social feed (#ultra2014), it also includes a GroupMe login directly on the platform.
A live streaming page was set up – but beyond that, it was also advertised in advance.

This year, Ultra also set up a dedicated soundcloud account currently featuring about 40 live sets.
Today, it spans the globe with 11 yearly editions in Asia, Africa, Europe and the Americas. I wonder, however, whether this identity is also what caused the sensation of anonymity and disconnectedness I experienced. While the general consensus suggests the 2014 US EDM festival season is off to a rocky start, my personal Ultra Music Festival experience has been one of contrasts and surprises.
But beyond that, it creates an atmosphere of immersion, togetherness and friendship that I truly missed in my Ultra experience. Personally, I appreciate this effort at making people feel part of the experience even from far away.
The top six sets have already racked up more plays than the number of actual festival visitors (roughly 180K vs.
When two Swedish girls approached our group, timidly asking for a drink (they were badged as 21+ but looked a little battered and declared themselves broke), we didn’t blink and all went for a beer together.
Tomorrowland’s brand message was successfully translated to the Tomorrowworld edition introduced in Atlanta last year.
But I have never seen so many people staring back from the screens: there were Skype calls and Facetime sessions everywhere I looked. How much can you possibly regret taking a few bucks out of your budget for someone you don’t know?
On the contrary – meeting new people over a refreshing beverage has always been a great way to kick off lasting festival friendships for our group.

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