Photo Credit: Sachin Soni
Su Real is the alter ego of Delhi-based Suhrid Manchanda. In the realm of dance floors, he rules supreme whenever he takes over the DJ console. Belting out song after song in his trademark bass-heavy style, his knack at recognizing and delivering what the audience wants is commendable. He released his debut EP ‘The Grind’ in 2013, and quickly followed it up with his first LP ‘Trapistan’ in 2014. Not restricting himself to any one genre, Su Real has explored multiple avenues in his songs, which lend a robust, no-nonsense, beat-driven feel to them. His most recent EP ‘Brown Folks’ released last month, and he is currently on tour promoting it. Read on to know how his sound has evolved in ‘Brown Folks’, how he transformed the sleepy Hauz Khas village into the party-goer’s destination, how he relaxes after a particularly tiring set and his thoughts on the perennial question of mainstream versus underground.
WTS: You are known on the clubbing circuit for playing really long, dynamic and diverse sets, that go down very well with the audience. How do you keep the party going?
Su Real: Wow, it’s nice to be known for something! Well, first and foremost, it pays to be prepared. I continue to be shocked by certain DJs who almost never rehearse or practice. It’s really like playing any live instrument and the art demands hours and hours of practice and preparation. Its like sure, anyone can pick up a guitar, learn 4 chords and get on stage – but if you want to do solos, write complex arrangements or just even be able to perform without making a single mistake, you have to practice!. If you look at my setlists or “crates”, by now I have over 100 sets organized by BPM, genre and theme – and I’m constantly practicing them and improving on them. That means that no matter what situation I’m put into, there’s a strong chance that I can adapt to the crowd’s needs at any time of the day or night. Secondly, it helps to be healthy! As a notoriously self-destructive personality, it’s been a long struggle to curtail my bad habits. But as I’m learning from friends like Reggae Rajahs who run and jump all over the stage, and also Nucleya who takes flying leaps from above the DJ console, being a live performer these days means more than just playing a song. If we look at a lot of the top DJs and pop stars – having super busy schedules and not being able to take time off for sickness or recuperation – they all have personal trainers who make sure they stay fit and healthy with a good diet and exercise routine. We are after all only human, and only when the body is operating at 100% can we deliver 100% to the audience and fans.
WTS: What’s your idea of unwinding after a gig?
Su Real: I might not be your typical DJ in this regard… Not too long ago, I started shunning the after-parties in favor of a quick shower (Su Real shows get hella sweaty & dirty!) followed by some nice food and watching cartoons. Maybe a couple of close friends will be around with me, but definitely not a crowd. Sometimes I’m so pumped from the gig that I dive right into producing music until I finally pass out around sunrise.
WTS: Your recently released EP ‘Brown Folks’ has a more catchy, pop vibe to it as compared to ‘Trapistan’. Was it a conscious decision to change your sound?
Su Real: Yes, absolutely, it was a very conscious decision. First of all, the line between what’s underground and what’s commercial has blurred so much that it’s almost disappeared. The common listener might not realize this, but as a music specialist in a way it’s my job to understand this. Many of the artists whose music I spin in my sets or whose sound my production style is similar to went from being underground to mainstream in the last couple of years – from Baauer’s “Harlem Shake” blowing up to Major Lazer, DJ Snake, Dillon Francis, etc. At the same time my sets are largely based in hip hop – and so I’m working with Grammy Award winning or nominated artists – Jay-Z, Kanye, Drake, Nicki Minaj, etc. Even pop stars like Madonna and Justin Bieber are working with underground producers! So, after being underground for pretty much my whole life, we’re at a great position now where it’s possible for underground genres to seek wider commercial acceptance, and even mass appeal. Especially here in India, where the underground is a tiny niche compared to the massive mainstream, any artist seeking a viable, sustainable career eventually comes to the same realization. But at the same time, here in India now, because so much of this scene is brand new and there are still so many young people being exposed to these sounds, genres and cultures for the first time – and there is a demand for it – it’s possible to be the gatekeeper that connects the dots for the Indian audience, helping them better appreciate and understand what they’re dancing to.
WTS: You were pivotal in the transformation of Hauz Khas Village from a sleepy avenue to a one-stop partying destination in Delhi. Tell us about the journey; everything from the concept nights you introduced, to your stint as the resident programmer/DJ at The Living Room.
Su Real: Wow, that was a relatively short journey actually, but what I have to say about it could fill up a book! I think the main thing at T.L.R. was to support the local creative arts communities. At the time T.L.R. opened in 2009, there was still almost nowhere for local bands and underground artists to perform. We became a de facto live music venue and hub for all kinds of creative types. Part of this success in my honest opinion was also the training of the staff to respect and appreciate the artists. Also, waiters were instructed that it was OK if some guest was only there enjoying the music and not ordering any food or drink. The reasoning was that that guest who enjoyed his T.L.R. experience would then tell their friends and come back – not just for more gigs but also to spend money on dinner, lunch, coffee, meetings, birthday parties, etc. Unfortunately these days a lot of bars and clubs are under such financial pressures that prices skyrocket and customers are pressured to spend, rather than enjoy themselves. Our philosophy at T.L.R. was always the opposite: create a welcoming, safe and yet exciting and dynamic environment to appreciate the finer things in life and commune with old friends while making new friends – and eventually the financial rewards will find their way to you. It was a long-term strategy and for a while it really paid off. We introduced concept nights for Halloween, Carnival, Christmas and other occasions to expand peoples’ mindset about what event curation could be, beyond the banal “happy hours” concept! We had a small space and small budget but I like to think we pulled off some grand feats! All with the support of friends, regular customers and extended T.L.R. family who all believed that we could do great things together. Unfortunately, all good things must eventually wind up, and for reasons too complicated to elaborate here, I decided to leave T.L.R. as simultaneously while people were recognizing Su Real as a DJ, unfortunately T.L.R. the venue was facing numerous authoritarian pressures – and also intense competition as the H.K.V. area exploded from 6 bars to 60 F&B outlets!
WTS: Artists these days stick to their own sound and refrain from experimenting with stuff that will please the audience. Do you think that affects their careers? More importantly, to what length should a musician be true to themselves? Is there a middle ground where both the artist and the audience can be happy?
Su Real: What a potent question. Whether you realize it or not, this question frames very accurately a debate I often have with my fellow musicians and music industry types. It’s a basic conundrum probably as old as civilization itself: as artists it’s our duty to create meaningful art, but as entertainers it’s our duty to please the crowd… Although it is usually en vogue to criticize and make fun of mainstream artists, I have often been critical of Indian musicians who veer too deep into the underground. Unfortunately, 99.9999% of Indian audiences are just not sophisticated enough to appreciate it. And worse, sometimes it discourages audiences who are genuinely interested in new experiences and sounds. Inspired by music from the West, too many “underground” music followers in India are often ignorant of the socio-economic circumstances there that leads to underground music. For example, the last time techno was underground in my opinion was when poor African-American youth in Detroit ghettos were messing around with stolen and borrowed equipment. When upper class Indian kids spend lakhs on computers and equipment to party in chi chi nightclubs in 5 star hotels with other upper class kids – I wouldn’t accurately call that underground anymore! But also, one must be aware that it’s a cycle: EDM was once underground (Dutch House), Rock n Roll was once underground (Chuck Berry, Link Wray, Isley Brothers), even Jazz was once considered a freaky new form of terrible music created by “outsiders”. There’s a cycle whereupon some underground music breaks through to the mainstream – but I don’t find that sufficient reason to start hating an entire genre of music or a single artist just because they’ve been exposed to the mainstream! Anyway, it’s important to remember these two extremes are not the only possibilities – there’s plenty of space to position oneself between staying true to yourself as an artist and yet adjusting yourself to market requirements in order to have a viable, sustainable music career. Everyone has to decide for themselves where they lie on that continuum. Personally, I believe that if you have truly developed your own style of songwriting and/or performance, you should be able to play any kind of music and yet listeners can still recognize that its undeniably you. It’s also possible these days to use pseudonyms for different projects – so you can have one project that’s all your underground, stay-true stuff, and then an alter-ego for more commercial stuff. But it’s a reality in the creative arts that any graphic designer or stage actor or performing dancer will be quick to inform stuck-up musicians: if you want to make a career out of this, you will have to adapt to a large degree to what the client or audience demands… the trick is to get them to demand YOU!
The US/Denmark-based global bass sensations Alo Wala have released their debut EP, the five-track Cityboy, and will embark on a mammoth seven-city tour of India beginning on the 23rd of November. Comprising Chicago-based rapper Shivani Ahlowalia and Denmark-based tropical bass pioneers Copia Doble Systema, Alo Wala have taken the world by storm with their incredibly dance floor-friendly yet universal, bass-heavy sound since forming the band only a little over a year ago. Earlier this year, Alo Wala teamed up with the Indian bass superstar Nucleya, to create a massive track, Little Lotto, which has since taken over dance floors across the country and beyond. It expertly couples Nucleyas unmistakable bass-heavy street sound, with some fantastic rapping by Ahlowalia and dancehall courtesy the Chicago-based MC Zulu. Alo Walas India tour will include stops in Pune, Delhi and Bangalore, as well as a set at Sunburn Festival in Goa.
Alo Wala released their debut five-track EP Cityboy, on the 10th of November for streaming on Soundcloud, as well as to purchase on all major digital stores. The album has been released on the record label Enchufada, which is also home to global bass giants Buraka Som Sistema.
A fantastic debut, Cityboy encompasses a variety of sounds, from the dance floor banger Ace of Space inspired by the Bollywood classic Eena Meena Deeka, to the dancehall inspired title track Cityboy, to the slower tempo Bend Yuh Backbone, to the Indian street music-inspired sound of Timbuktu.
Alo Wala have collaborated with various other producers and musicians for the album, including the New York-based producer Boody on the EP opener Badman Bible, dancehall producer Jahdan Blakkamoore on the title track and Italian producer The Clerk on the EP closer Timbuktu.
Date: 23rd November | Venue: NH7 Weekender
Date: 28th November | Venue: 25 Hours
Date: 29th November | Venue: NH7 Weekender
Date: 2nd December | Venue: Red Bull Tour Bus, IMT
Date: 4th December | Venue: Red Bull Tour Bus, JECRC
Date: 7th December | Venue: Red Bull Tour Bus, Sharda University
Date: 19th December | Venue: The Humming Tree
Date: 29th December | Venue: Sunburn Festival
Enchanted Valley Carnival, also known as EVC, returns this December on 19th, 20th and 21st of December 2014. The first day of EVC will be headlined by Grammy award-winning electro dance David Guetta on the 20th of December and trance warriors Ferry Corsten and Markus Schulz as New World Punx will perform on 21st December. Some of the foreign acts this year include include Aly and Fila, SolarStone and Aruna while the homegrown local acts include Alien Chutney (Vir Das), Anish Sood, Dualist Inquiry, Lost Stories, Nucleya, Ash Roy, Reggae Rajahs, Nawed Khan, Bullzeye, Clement, Praveen Achary, Quiver and Calm Chor.
Apart from the music festival, Twisted Entertainment is proud to present the Enchanted Village. The campsite received an overwhelming response last year with it all the tents sold out on the first day. This year Enchanted Village is back with double the capacity and plenty to do during on all the 3 days. The Village aims to accommodate 2,000 people daily with multiple camping options such as BYOT (bring your own tent), Classic tents and Club tents. Activities at the campsite include a series of silent parties, workshops, yoga sessions, outdoor sports, bon fires and lots more!
Shoven Shah, Founder, EVC and Director, Twisted Entertainment said, While the heart of all festivals revolves around music, the spirit of EVC is in the stages, the community, a campsite which will truly glorify the magic of nature and the environment. At EVC no detail will be spared ensuring every festival-goer feels that their experience was unique and their money well spent! EVC aspires to reinstate this spirit of community, connection and conversations in music that has been lacking in many music festivals conducted in the recent past. EVC will connect fans directly with the artists they love like David Guetta and New World Punx and become a sanctuary for forward-thinking music fans seeking life-affirming experiences.
Kartik Mohindra, Assistant Vice President, International Brands, Pernod Ricard India added, ABSOLUT globally has been associated with art and creativity. In India, music has always been a very popular art form which is witnessing a change in the last few years. This is where the festivals like EVC fit in and provides the new age music followers with a great setting to truly enjoy music. Such events are a perfect fit with the brand.
Mr. Vivek Kumar, CEO Aamby Valley City and Hotel Sahara Star said EVC is a festival in a category of its own. So working with EVC is a perfect fit, and connects us with the new generation of consumers around the world. EVC is truly a meeting place of music and fans at a one of its kind destination venue. The festival goers are in for a visual and acoustic treat with the headline line-ups having some world-class names that will breathe life into Indias music scene. We are sure that the line-up coupled with tremendous scale and grandiose of the event will leave everyone asking for more.
David Guetta said, Im excited to be coming back to India and headlining the second edition of EVC Festival in Aamby Valley this December. All my fans from Mumbai and Pune should watch this space for more!
New World Punx said, Hey India! We are ready for EVC 2014! This will be the first time for New World Punx to play in India, and to top it off we’ll finally get to meet all our fans at Aamby Valley City, Festival Arena. We’re so excited; you warriors are in for a treat See you this December!”
Multi genre music along with and some of the most sort after live headliners in the game will be spread across EVCs many stages with longer DJ sets and a host of curated arenas. The highlight of the event will be the specially created ABSOLUT zones, which will integrate an exclusive brand experience.
6 years of consistently bringing to us the best EDM acts from all over the world has turned Sunburn into the most-awaited music festival of the year. And from what we hear, Sunburn Goa has just turned 10 times bigger than last year.
Vagator is the new home for Sunburn this year – spread over 500,000 sq.m of exotic festival area, Sunburn Goa is going to be the biggest electronic music festival of Asia till date with 7 massive stages where more than 120 artists will be performing for over a span of 3 days.
Sunburn Goa is serving a varied palette of genres this year including Trance, House, Electro, Techno, Drum & Bass, Psy-trance and Experimental. Global superstars like Axwell, Afrojack, Markus Schulz, Pete Tong, Mark Knight, Andrew Rayel, Quintino, James Zabiela, Ummet Ozcan, flanked by the best Indian talents like Dualist Inquiry, (S)haan, Lost Stories, Anish Sood, Kohra, Jayant, Nucleya, are all set to bring the house down at this edition of Sunburn Goa. Three very special stages are also going to be showcased Jacked! presented by Afrojack, Toolroom Knights by Mark Knight, and the All Gone Pete Tong stage presented by Pete Tong.
With elaborate food courts and onsite camping, unlimited parking and after-parties, Sunburn Goa is brimming with the possibility of bringing newer and better experiences. A totally redesigned flea market, a book library, circus tents, and an open air movie theatre, an above sea-level psy stage, a kite festival, a ferris wheel, a huge sports village and a Sunburn cruise on the Arabian Sea is whats in store for those who want to take a small break from the music!
Percept seems to have left no stone unturned in making sure that this festival is the biggest in Asia – with 120+ artists and 200 hours of electronic music, Sunburn Goa will also see Asias largest single stage set in a natural amphitheatre. Cubezoid had been the audience favourite for the last two years and this year Darkroom, from the UK has re-designed the stage is a bigger and better way. Excited yet? We are too. It’s time to get Sunburnt!
After the mega-success that was the NH7 Weekender Bangalore last year, this years event was a must-see music festival for the music lovers of Bangalore. In a city that sees at least one grand music concert and dozens of smaller gigs every month, one would think that there wouldnt be enough Bangaloreans interested in NH7 weekender to fill the grounds of the Embassy Riding School. On the contrary, after having waited for over a year for the next installment, music lovers in the city braved the harshest weather to be at the event. The experience last time left the audience in awe of how smoothly everything went and how well planned out the event was. What could possibly go wrong this time?
So Day 1 (November 23rd) came by. I remember walking up to the pick-up point with a spring in my step. The sun was out with a smattering of clouds in the sky. If only we knew what nature had in store for us! By the time we got to the outskirts of the city, there was a light drizzle. We Bangaloreans are used to unpredictable weather and the rains in fact, we love the rains! Well this was put to the test, when a torrential downpour surprised us all about thirty minutes after we walked into the arena. People were swaying and grooving to Bala Subramanyam a.k.a Dakta Dubs reggae-infused beats at the Breezer Dub Station when the drizzle turned into a full blown storm. Most hadnt prepared for the rains, including the organizers, and there were very few tents to take shelter under. The attendees took the rains in their stride and just danced in the rain. A perfect opener for the festival, Dakta Dub stuck to slow and hypnotic mixes that was perfect to set people into the mood as they trickled in. Even people with two left feet were unable to stop shuffling around and dancing to his mix of hip-hop, jazz, trip-hop and reggae, made even more irresistible with big beats and deep bass.
As a true testament to how much the people loved music, no one even thought of leaving and going back. In the muck and the mess, I made my way to the Bacardi Rock Arena where Bevar Sea had already got the crowd in a mosh-pit. The rain had by now soaked right through my bones and showed no signs of yielding. In a bid to keep the chill at bay, I took shelter under a flimsy awning and out in the distance I could see black tees pushing each other into the mud and flipping their hair trying to head bang.
Not wanting to get caught in a mosh-pit, I trudged back to the Breezer Dub Station only because it was the closest one. I stepped into the stage just as Pippin was laying down some trippy, pop, hip-hop and trip-hop tunes. As the evening set in, the relaxed and groovy mix that he played allowed everyone to wind down and lean back on their red bean-bags and chill. An interesting observation was that only the Breezer Dub Station had a full line-up or a full set of artists throughout the day with artists coming on stage back to back. So there was always some good music to dance to if you happened to walk into that arena. I decided to stay back at the Breezer Dub Station as I didnt think it was wise to walk in many inches of mud without proper footwear.
Well, I seemed to have made the right choice as Dualist Inquiry, or rather, Sahej Bakshi came out on stage to play his solo DJ set. He was scheduled to play with his band on the Red Bull Tour Bus later on but I couldnt figure out how that would be possible without accidental electrocution of the band members due to the rain. He definitely knew how to get the crowd going. After the laidback tunes from Pippin and Dakta Dub, Sahej got the crowd bouncing with a sick remix of Unchained (The Payback/Untouchable) by 2Pac and James Brown, which was featured in Django Unchained, and the Super Mario Bros. theme. He quickly followed this with a very fun remix of the Ghostbusters theme and got the whole crowd to sing along to it. From Hip-Hop to Pop, he then moved into the realm of jazz by playing Catgroove by Parov Stelar. For his first solo DJ set, he managed to get the biggest crowd reaction, no surprise, for Get Lucky by Daft Punk. He ended his hugely popular set with some groovy swing tunes.
Next came DJ Uri veteran and legendary DJ who was one of the few who still played on vinyl. A quiet and reserved man, his music was enough to get the crowd hyped-up. We were all left gobsmacked with his turntable tricks and scratch effects a completely new sound from that of the previous artists on stage. He transformed Adele, Eminem and Snoop songs into slick mixes.
Over at the Eristoff Wolves Den, people gathered to listen to Shaair + Func. As Monica Dogras sublime form took to the stage, the crowd yelled lustily for some of their most popular songs. They opened with massively popular tracks like Shine and My Roots. Monicas vocals were pitch-perfect and the band was cohesive but at times Randolph Correias guitars did overpower the vocals. One gripe with the performance was that it did become quite monotonous after a while as the band insisted on playing many of their old hits.
The Shaair + Func performance took place under the heaviest rainfall of the night but the crowd didnt care and sang along to Every Time Youre Around and Everybody wants to go to heaven, but nobody wants to die. They stayed away from Oops and instead played some new catchier tunes like Poker with the President. Of course, people loved Monicas stage antics and the fact that she interacted with the crowd as always. As it continued to pour, we walked back to and loitered around the Dub Station as many artists had their performance cancelled that night. Most notably, due to the dangers posed by the rain, TesseracTs show was cancelled leaving many metal heads disappointed. The F-16s and the Dualist Inquiry Band, whose performances I was looking forward to, were also cancelled.
On the way back we were informed that we had actually danced through Cyclone Helen. Day 1 was a near-miraculous one considering that most of the performances went smoothly despite all the water. Unfortunately, members of And So I Watch you From Afar did get electrocuted during their performance and were forced to play through the rain. Although I felt the mud added a very Glastonbury-esque feel, some women foolishly chose to wear high heels and to no ones surprise, were stuck in the muck.
The clouds parted and the sun came out on Day 2 and we were all blessed with quintessential Bangalore weather on Sunday. An update about the change in the line-up was posted too late on the NH7 Weekender Facebook page and many missed most of Parvaazs set. Like me, many of their fans trickled in at 4 p.m. as they hadnt seen the revised schedule either and got to listen to only about 15 mins of their set. I only got to hear Ab Ki Yeh Subah before they cleared the stage and made way for Dry the River.
Their blend of folk-rock and country wasnt very interesting and the MTS Other Stage had a very screechy band with a horrendous lead singer on stage so I walked over to the Eristoff Wolves Den where Randolph Correia a.k.a Func was churning out some excellent electronic and dubstep tracks for the small but lively crowd that had gathered. Even though he was without his more famous collaborator this time, a seasoned artist like him managed to get the crowd excited and dancing.
After this, it was time for me to watch Prateek Kuhad at the MTS Other Stage having heard his E.P. earlier this year. Although the crowd was intimate, he had the loudest groupies of all the artists I had seen so far. He stood alone with a guitar and belted out some amazing acoustic tunes that were perfect for the lazy Sunday evening. He played some of his most popular songs – Yeh Pal, Be Surprised and Be at Ease to a crowd that was slowly falling in love with his honest, heart-felt lyrics and soft, breathy vocals. The barebones arrangement and minimalist musical style surely won him a lot of fans that evening. After a lot of pleading from his groupies, he finally played his most famous track Ab Hoga Kya, an upbeat and romantic track. Prateek Kuhad switched effortlessly between English and Hindi tracks and was keen to please his fans. After his dreamy set ended, it was back to the Wolves Den for Nucleya.
His set consisted mainly of material from his latest album Koocha Monster EP. Although Dualist Inquiry or Sahej Bakshi came in to hype up the crowd for Nucleya, it wasnt needed. The massive bass and cheeky interludes were enough to get the crowd going crazy. His new material has a lot of Indian street music but at certain times, it did sound too much like an Indian wedding band. Meanwhile, the Reggae Rajahs were bringing the love over at the Dub Station to a frenzied crowd.
Next came KRUNK All-Stars a collection of some of the best DJs in the country, promoted by management agency KRUNK. The collective consisted of OX7GEN, EZ Riser, Sandunes, Tarqueeb and SICKFLIP. EZ Riser had played a fantastic set the day before and Sandunes was scheduled with play with the Dualist Inquiry Band. The first half saw Sandunes on the effects and synths, EZ Riser on the decks and QX7GEN on drums playing in an all-live format. Brad Tellis joined in on the guitar after a while and the second half was basically EZ Riser, Tarqeeb and SICKFLIP strutting their stuff. Their set was mellower and much more toned down after the explosive bass from Nucleya. Their music was innovative and appreciated but, I would have liked to see more energy from the All-Stars. They were looking into their computer screens so intently without so much as a glance at the crowd, it seemed like they were all reading a novel on their computers.
After a long pause for much needed nourishment, I went to watch British-Indian DJ extraordinaire Bobby Friction. He managed to draw a large crowd to the Dub Station even though the more popular Noisia was playing at the Wolves Den. Looking flamboyant in a large feathered outfit, his fashion sense matched his music loud, often brash and definitely in-your-face!
Now it was time for the most buzzed about act of the whole festival Karsh Kale Collective + The NH7 All Stars, where legendary percussionist Karsh Kale would be joined by all the artists who had performed over the last two days. People who waited at the arena beforehand were handed snazzy graphic novels features Karsh Kale! The first artist to join Karsh Kale was singer Benny Dayal, who enthralled the audience with his energetic and powerful vocals. Songstress Apeksha Dandekar came on next. Her restrained yet sultry singing style floored the audience. She was probably one of the best vocalists at the festival apart from Khalid Ahmed from Parvaaz.
Vishwesh K from Scribe joined in too, with some creative and mile-a-minute rapping allowing the eastern and western musical styles to merge smoothly. Alas, before Randolph Correia and Dualist Inquiry could take to the stage, I had to leave the venue. With a sad heart and weary legs, I ambled out of the venue just as the Karsh Kale Collective were playing their rendition of Ustaad Fateh Ali Khans Tere Bin Nahi Lagda. Over 4000 people were packed into the Bacardi Arena as all the other stages were mandatorily shut down for this event. Yet, at the end of the day, the hodgepodge of so many different artists felt like too many cooks in the kitchen and the overall performance did fall short.
There is no other musical event quite like the NH7 Weekender. Once you attend one, it spoils you for every other music concert. It is the happiest music festival and even welcomes you a Hic Habitat Felicitas sign as you enter. I even appreciated the fact that there were so many EDM artists this time compared to last year it gave people an opportunity to dance throughout the day. Moreover, the Bacardi NH7 Weekender has something going for it that no other music festival has it attracts the most ardent fans of the Indian music scene, whom even the stormiest weather cant scare away. Even though there were a lot of problems with the set-up and sound, the artists were overwhelmed with the loyalty of their fans and the rain just helped people let loose much faster. Well, now I have to wait a whole another year to experience it again!
Date: Oct 18-20
Venue: Laxmi Lawns, Next to Magarpatta City
Ankur Tewari, BLOT vs. Kohra, Blackstratblues, Chase & Status DJ Set, Devoid, Donn Bhat + Passenger Revelator, Dualist Inquiry, Indian Ocean, Karsh Kale Collective + NH7 All Stars, Krunk All-Stars, Maati Baani, Midival Punditz (Live), Nischay Parekh, Nucleya, Papon & The East India Company, Parvaaz, Pentagram, Prateek Kuhad Collective, Scribe, Shankar Tucker, Simian Mobile Disco, Skindred, Sky Rabbit, Slow Club, Suman Sridhar feat. Jiver, Textures, The Raghu Dixit Project, Vachan Chinappa, Vir Das’ Alien Chutney, Your Chin
Date: Nov 23, 24
Venue: Embassy International Riding School
Dry the River, Kailasa, Lucky Ali, Mekaal Hasan Band, The Manganiyar Seduction by Roysten Abel, The Raghu Dixit Project, Krunk All-Stars, Noisia, Nucleya, Rob Garza (Thievery Corporation) Solo DJ set, Shaa’ir + Func, And So I Watch You from Afar, Bevar Sea, Inner Sanctum, Karsh Kale Collective + NH7 All Stars, TesseracT, The Fender Benders, Nischay Parekh, Prateek Kuhad, Sulk Station, Zervas & Pepper, Bobby Friction, Cali P & Chiqui Dubs, Dakta Dub, DJ Uri, EZ Riser, Low Rhyderz, Pippin, Poirier, Reggae Rajahs, Sound Avtar, _RHL
Date: Nov 30, Dec 1
Venue: Buddh International Circuit, Greater Noida
Chic feat. Nile Rodgers, Dry the River, Faridkot, Kailasa, Lucky Ali, Mekaal Hasan Band, Noori, Benga, Kill Paris, Michal Menert, Nucleya, Sandunes, Shiva Soundsystem, And So I Watch You from Afar, J.Viewz, Karsh Kale Collective + NH7 All Stars, Meshuggah, MUTEMATH, Scribe, SundogProject, The Ska Vengers, Arooj Aftab, Dhruv Visvanath, Nischay Parekh, Prateek Kuhad Collective, Rajasthan Roots, Zervas & Pepper, Baba Jas, Dubtron, Frame/Frame, Moniker, Soundclash, Swaggamuffin, Tarqeeb, The Grind, The Heatwave, YT, Ziggy the Blunt
Date: Dec 14,15
Venue: Ibiza Resort, Merlin Greens
Indian Ocean, Kailasa, Papon & The East India Company, PINKNOISE, Soulmate, Swarathma, The Raghu Dixit Project, Arjun Vagale presents Re:Focus, Bay Beat Collective, BLOT vs. Kohra, Dualist Inquiry Band, Michal Menert, Nucleya, The Ska Vengers, Demonic Resurrection, Digital Suicide, Ganesh Talkies, Karsh Kale Collective + NH7 All Stars, Parikrama, Pentagram, Textures, Undying Inc, Zero, Girish Pradhan, Nischay Parekh, Prateek Kuhad, Tajdar Junaid, Vir Das’ Alien Chutney, AlgoRhythm, BASSFoundation, David Boomah, Delhi Sultanate and Begum X, DJ Uri, EZ Riser, Reggae Rajahs, Sandunes, Smoke Signal, Sound Avtar, Yidam
Community Ticket: Rs 3000 The Community ticket is a three-day ticket available to anyone who has purchased tickets to any of our festivals (Bacardi NH7 Weekender, A Summer’s Day or Invasion), or is a registered user on NH7.in
Regular Ticket: Rs 3750 Valid for all three days
Under-21 Ticket: Rs 1750 (You qualify if you were born after Oct 1, 1992)
BACARDI NH7 WEEKENDER WARRIOR
Pune + Bangalore : Rs 4500
Pune + Delhi : Rs 4500
Pune + Kolkata : Rs 4500
All Four Cities: Rs 6000. Buy tickets for 3 cities and get the 4th free. Not transferable.