#SFStreetArt for your Sunday ~ We're diggin' #RandyColosky's new piece down the street at 4th and Folsom http://t.co/saIjOZRJm5
Is @pcmus Pop Or Is It 'Pop'? @nprmusic found out w @voguemagazine Culture Editor - http://t.co/Ls6j9XcfEH http://t.co/qEZWUaZmHX
RT @KNCooper88: A few pics from last night's @1015sf @noisepop show w/ @SlowwwMagic @Lindsay_Lowend @wearemoors such an amazing night http:…
Get ready for some intense booty poppin' music w/ @bigfreedia for @RBMA's #UnitedStatesofBass next Friday - http://t.co/X8WeRc5dop
Sitting over here daydreaming... http://t.co/MM9vGAyCiO So excited for a huge night of house with @Secondcityuk on 3/19!
Doors are open @1015sf - Very limited amount of tickets at the door - @SlowwwMagic @Lindsay_Lowend @wearemoors @noisepop #NP15
Enter @Lindsay_Lowend's video game world of syncopated drum patterns & gritty bass lines... Tonight! #NP15 http://t.co/ogGtmuz2ow
  • Mar
    Red Bull Music Academy Radio & 1015 Folsom present UNITED STATES OF BASS
    BIG FREEDIA live

    L-VIS 1990 & KINGDOM
    Big Freedia (pronounced “FREE-da”), known as the Queen of Bounce, is at the forefront of the Bounce rap movement (a subgenre of hip-hop born out of New Orleans and known for its call and response style and lightening speed booty-shaking dance). Performing five out of seven nights in any given week with dancers she calls The Divas, Big Freedia’s show is nothing short of dazzling. She tours every city in America from New York to San Francisco and is always a favorite at festivals such as Electric Forest, Hangout Fest, FunFunFun Fest, SXSW, and Bonnaroo, among many others.

    Gay and proud, Big Freedia asserts that her (Freedia is a he but uses the feminine pronoun for her stage persona) sexuality has little to do with her music. "All types of people—gay, straight, rich, poor, black, white come to my shows. People just wanna get out and shake their azzzz and have a good time!”

    A product of the hip-hop generation, Freedia was rocking RUN DMC, Salt ‘n Pepa and Adidas Shell Tops as a teenager. One night in 1991 he heard "Where Dey At" by MC T Tucker, (what many believe to be the first recorded Bounce track) and he was transfixed. After starting as a back-up dancer for Katey Red, the original “Sissy Bounce” rapper, Freedia knew Bounce was his calling and eventually broke out on his own.
  • Mar
    DJ Dials, Modular, & 1015 Folsom present
    Following up the global success of a breakthrough track that’s had 22 million YouTube views might come with its own pressures, but Adrian Held and Tobias Rieser, the two laid-back, 25-year-old Austrians who make up Klangkarussell, have had worse jobs.

    Soon the pair were being asked to DJ at ever bigger and more high profile events, mixing up their own productions with selected tunes in a show that’s smashed everywhere from Pukkelpop in Belgium to the massive Street Parade in Zurich. Next came a call from Universal, and after wowing the major label with a private gig, they were signed up to create their debut album, due early next year.
  • Mar
    1015 Folsom presents
    ROUTE 94
    Since emerging with a clutch of much-played tracks a couple of years ago, Route 94 has quietly yet forcefully established himself as a distinctive young figure in the house music scene. His music – simmering, forceful and purpose crafted for late night dancefloors – speaks of long evenings spent locked deep into mesmerising four-to-the-floor grooves, so immersed that the surrounding world falls away.

    Remaining a low-key presence and allowing the music to take centre stage, Route 94’s tracks – propulsive, bass-heavy and with a keen ear for subtle melody – encode within them his many influences, drawing equally from the jacking momentum of Chicago and New York house and the sub-loaded sounds of his London home. It’s an approach that’s seen them become regular fixtures in the sets of DJs as varied as Skream, Richy Ahmed and Seth Troxler and has seen him tipped among London station Rinse FM’s artists to watch in 2014.

    If Route 94’s swift rise to wider attention might seem surprising for a relatively new artist, it belies the fact that he’s been making music for years. Growing up in London, he was exposed to all manner of musical styles played at home by his mother and developed a fascination with dance music from an early age. Once he acquired a copy of Cubase at the age of thirteen, that was the only cue he needed – he immediately began immersing himself in making music, toying with making beats and experimenting with producing everything from house to drum & bass and dubstep.

    His gradual focus towards a lean, stripped-back house sound came, he explains, as a result of becoming enamored with the atmosphere of house nights – the intoxicating mood of a crowd caught up in perpetual, pulsing momentum. His tracks, however, remain steeped in the dark, bass-led energy that characterises so much London-borne dance music – even at their most melodic and atmospheric they’re powered by serious low-end heft.

    It was those particular characteristics that caught the attention of his contemporaries after an initial clutch of Route 94 tracks found their way into the world in 2012, setting clubs ablaze in the hands of scene luminaries including Skream, Benga and New York Transit Authority. They were eventually released on 2013’s Fly 4 Life EP, which is set for a full re- release in early 2014.

    In the time since then, his name has been steadily on the rise. He’s had tracks and guest mixes regularly featured on Radio 1 and Rinse FM, while 2013 and 2014 has also seen DJ bookings across the globe, including a 2013 Australian tour with Breach and sets at festivals including Glastonbury, Outlook and Snowbombing. 2014 is set to be a landmark year. As well as producing a track for Katy B’s eagerly awaited second album Little Red, he’s acquired a reputation as a formidable remixer, and his slow-burning vocal anthem ‘My Love’, featuring Jess Glynne, will be released via Rinse.
  • Mar
    Stamina XL, Hospital Records​, & 1015 Folsom present
    Tom Mundell a.k.a Metrik is a London based DJ / producer who has been blowing the scene to pieces with his euphoric, rave-inspired productions. Already clocking up a sizeable back catalogue of releases on labels such as Viper Recordings, Spearhead and Shogun Audio, he signed exclusively to Hospital Records in October 2012.

    Known for impressing crowds across the UK, Europe and across the world with his peaktime dancefloor tunes featuring big hooks and catchy melodies, Metrik has certainly captured the imagination of many fans already and will undoubtedly continue to do so in the coming months and years. With diverse tastes ranging from Pryda to Incubus, Pink Floyd to The Prodigy, Metrik’s love of music doesn’t stop there. An avid fan of 80s music, film music as well as dance music across the board, his influences span house, techno, trance, rock, soul and classical.

    Metrik’s first big break was in 2008, when he debuted with Your World (Instrinsic) which became an overnight liquid funk anthem although it wasn’t until the next release that he was catapulted into the spotlight when his track “Technicolour” gained Radio One support from Annie Mac and Zane Lowe and was also used as a sound bed for Barack Obama’s victory speech on Radio One. Following this came a slew of singles and EPs with notable releases including the sci-fi inspired “Between Worlds EP” (Viper, 2011) and notably the smash hit “Freefall” (Viper, 2012) as well as remixes of Prydz, John B, Camo & Krooked, Ayah Marar, Rockwell, DJ Fresh, Dirtyphonics and many more.

    2013 was literally a non-stop year for Metrik with worldwide tours and the release of his self titled debut EP. This went on to be heavily supported by key players of the scene including Sub Focus, Mistajam, High Contrast & DJ Hype. The success of the EP led to great radio opportunities as he was asked to do the prestigious Radio One Essential Mix as part of the "future stars" series, took on a BBC Radio 1Xtra residency, covered for Crissy Criss and joined the BBC Introducing projects at Maida Vale studios.

    Metrik's debut album 'Universal Language' is available now from The Hospital Shop, iTunes and all other good stores.
  • Mar
    1015 Folsom presents
    Kristian Nairn is a Northern Irish actor and musician. He is a successful DJ and has performed globally alongside acts such as the Scissor Sisters.

    Nairn's first major acting role was playing the recurring role of Hodor in HBO’s juggernaut series Game of Thrones. Initially appearing as a guest star in the first season, Kristian returned in this role for the second, third and fourth seasons.

    Game of Thrones has obtained an exceptionally broad and active international fan base. It received widespread acclaim by critics, and the series has won numerous awards and nominations — including two Primetime Emmy Award nominations for Outstanding Drama Series, a Golden Globe Award nomination for Best Television Series – Drama, a Hugo Award for Best Dramatic Presentation in Long Form, and a Peabody Award. Among the ensemble cast, Peter Dinklage won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series and the Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film for his role as Tyrion Lannister.
  • Mar
    DJ Dials & 1015 Folsom present
    While PC Music constitutes a largely self-contained universe, SOPHIE has travelled a parallel path, appearing first on singles for Huntleys & Palmers and then Glasgow's Numbers label. Though not technically under the PC Music umbrella, his affiliation with the label recently solidified though a high-profile collaboration with A.G. Cook on a project called QT. It was briefly rumored that SOPHIE and Cook were, in fact, one and the same, but a photo of the pair on stage at SXSW suggested otherwise.

    Listening to SOPHIE's music, you're tempted to wonder, how could anything so breezy be so dense? Every cubic centimeter of his constructions is packed with detail—helium-huffing voices, tea kettle squeals, Skittle-hued synth leads, plasticized foley effects, beats that careen like weaponized Slinkies—but it's also shot through with an aching sense of emptiness, as though every sound were cushioned in the dread that it might be the last sound you ever hear. Then, after each heart-in-mouth moment of silence, there's that reassuring cartoon zing! and we're zapped back to life, back to (hyper-)reality. I can't help but think of SOPHIE's chain-reaction beats in relation to the spectacular explosions of Alfonso Cuaron's Gravity, and perhaps that's because collision plays such a key role in his music. The two opposed forces are, primarily, pop and anti-pop—the catchy and the cacophonous, the deft and the garish. Like the J-pop artist Kyary Pamyu Pamyu, whom SOPHIE interviewed for Dazed magazine, and with whom he's apparently collaborating, SOPHIE seems fascinated by the juxtaposition of the cute and the grotesque—or, more precisely, in the point where one becomes the other.