#Flume burning man series
Over the weekend, the former NASCAR star, 40, shared a series of Instagram photos that featured her partying with friends at the event, which took place from Aug. This meant not only the aforementioned pop music (usually a scarce resource on the playa) but the hip-hop sets booming from myriad art cars, the psychedelic rock being performed from the top of a bus on the esplanade Friday night - this six-person group’s cover of The Doors‘ “Break On Through (To the Other Side”) was particularly righteous - and the DJ and a very petite art car who fused tribal house with Dolly Parton’s “Jolene.” There was no lack of electronic music either, with legitimately excellent trance, house, bass, techno, progressive house and other genres booming from camps across the gathering.Danica Patrick danced her backside off at this year’s Burning Man festival, where she rocked a number of flashy, skin-baring looks. While it’s certainly possible to hear hip-hop, psych rock, soul, jazz and genres beyond dance/electronic at any given Burning Man, this year - with many of the usual suspects not present - space was opened for a greater diversity of sound.
#Flume burning man free
Has its prevalence become a bit tired? One could make that argument. But this year, with Free Burn creating so many switch-ups in terms of what artists and sound camps were there, the playa tech was much less abundant, clearing the desert airwaves for a greater diversity of sound. In the last decade, the prevailing genre of music at Burning Man has become a style of tech-house commonly referred to as “Playa Tech.” It’s ultra minimal, and it’s everywhere, from ad hoc deep playa stages to the biggest art cars to the vibiest sunrise sets, where the sound facilitates the opportunity to stand in place for upwards of six hours while nodding one’s head slightly with eyes closed. (Sound camps often post lineups on signs for passersby to see, although posting them online before Burning Man itself is typically frowned upon.) This year’s singular nature provided lesser-known artists a chance to shine and all of us who’d typically bike for miles in an effort to see the artists we see at most other major festivals anyways a more go-with-the-flow, discovery-style experience.Īrt Cars, Plug and Play & Playa Tech: How Electronic Music Culture Is Evolving at Burning Man It can also be time consuming, physically draining and a distraction from the many other lesser-known, massively talented DJs one might otherwise discover playing at a random art car or smaller camp.Ī few stars like Diplo and Lee Burridge did make the trek to Free Burn (respect), where they both played on the Robot Heart art car, (with Diplo leaning hard into his deep house-oriented Higher Ground output while playing tracks like the Angelos remix of his own “One By One”) beyond that, there were few big names and almost no official lineups.
Katie BainĬycling hurriedly across the playa to catch a set by Carl Cox, or Damian Lazarus, or Above & Beyond, or Diplo, or Flume, or Slander, or Skrillex or Rüfüs Du Sol or whatever other marquee act you heard is playing at whatever given stage or art car can be exciting, sure. Given the size of these stages, the quality of experience can also feel compromised, particularly when so many more intimately sized events are happening throughout Burning Man.įree Burn 2021 in Nevada's Black Rock Desert.
This clusterf- vibe is especially pronounced when hundreds of bikes are parked in front of these stages during a particularly popular set. While these stages are often beautifully designed and good hubs for seeing higher-profile artists, swarming to and around them in order to catch a set can create a sort of hectic, overcrowded feeling that’s out of sync with the generally more go-with-the-flow spirit of Burning Man.
Several sound camps on the esplanade - the inner ring of the giant circle at the center of Burning Man - have grown significantly in size during the past few years, with the biggest featuring setups comparable in scale to some of the bigger stages at Coachella. It looked like Burning Man it felt like Burning Man, but it many ways it did not sound like Burning Man, with the lack of centralized organization creating key differences in regards to musical offerings.īut the freewheeling nature of this year’s “non-event” did not make for a lesser sonic experience, and in ways, Free Burn actually offered a refreshingly voyage journey into sound.
This year, that was the same and also different, given that the official Burning Man was canceled and a “Free Burn” event drawing roughly 15,000 people happened in its place.
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