Name: Basement Leak New York With Shiba San and Guests
Start: 2022-08-19T17:00:00.000-04:00
End: 2022-08-19T22:00:00.000-04:00

Beyond the mainstage, Ultra Music Festival has a history of curating forward-thinking house and techno lineups that rival any of the downtown and South Beach antics during Miami Music Week. Returning to Bayfront Park Friday, March 24 - Sunday, March 26, Ultra's Resistance will host two stages of heart-stopping techno and groove-inducing house.




Most are fully aware of the iconic Megastructure with its hulking framework, astounding LED bars that rise and fall from the ceiling, and next-generation artistic design. However, Resistance Cove is where you want to be for outdoor intimacy, perfectly positioned for Miami's beautiful tropical weather. Isolated to the side of Bayfront Park Resistance Cove was designed to bring a tiny slice of the memorable Resistance Island concept to Bayfront Park. Set amidst a grove of palm trees, it offers storytelling views of Miami's skyline and Biscayne Bay.




The weekend features three full-day stage takeovers from some of the most respected brands in underground dance.




On Friday, Nicole Moudaber takes on an unexpected yet exciting new location bringing her Mood label family to the intimate side of Resistance. She'll light up the night with a jaw-dropping B2B with techno legend and CLR boss Chris Liebing. UK-born Maya Jane Coles and Swedish star Ida Engberg will bring their powerful female techno-magic to the stage. Luigi Madonna will perform alongside fellow Italian techno don Roberto Capuano reviving the intensity of their 2020 Drumcode collaboration Mad World. And rounding out the intense opening day is Aussie-born, London-based Juliet Fox, who will keep the energy high and fire off some tasteful tracks.

On Saturday, Joris Voorn will unleash his Spectrum project. Started to encompass his divergent duo of record labels in 2005, Spectrum has grown into a force of its own, encompassing a record label, events series, and radio show.




Voorn tells Gray Area, "This is an exciting moment for Spectrum. Hosting the Cove stage at Ultra in Miami with such an all-star lineup - it's going to be an amazing day." And we agree. Joris will continue a weekend of massive talent at The Cove. Heading things up with him are Iranian maestro Dubfire doing a b2b with Danish native Kölsch. Afterlife regulars Mind Against will bring their emotionally drenched melodic sounds to the stage. Fideles, known for their transcendental dreamscapes, will craft a caringly curated musical journey. And Franky Wah, who recently launched his new label SHÈN, is a must-see act as he always delivers and serves his crowd with an unworldly blend of euphoric breakbeat, techno, and house.

On Sunday, Dirtybird heads tap in! The dad West Coast house and leader of Dirtybird Records, Claude VonStroke, is pulling up with his wonky and fresh, out-of-the-box tech-house tunes. VonStroke tells Gray Area that the Dirtybird crew is "kicking off a new year of Dirtybird Players shows and festival appearances. This is our full-label tour in about four years, so everyone is excited about it."




Claude is bringing the finest members of the birdhouse to close out the festival: Rules Don't Apply founders and owners Walker & Royce, modular synth demon Lubelski, everyone's favorite sour and sweet tech house titan VNSSA, Basement Leak founder and producer of one of Dirtybird's most defining hits "OKAY" Shiba San, rising twin duo RaeCola, and Kyle Kinch who has recently begun to dominate the international circuit.

Everyone leaves Ultra with the sense that the Megastructure is one of the festival's crowning achievements. However, with a lineup like this, you'd be kicking yourself if you didn't spend a good amount of time at Resistance's small but mighty little sister. The Cove may be a smaller stage, but the acts are massive, and the music will be next-level.



























Resistance Cove is The Move for Underground House and Techno at Ultra Miami

When the French hip-hop producer formerly known as Cutee B launched his Shiba San alias in 2014, and shortly after released his breakthrough hit “OKAY,” it was arguably a matter of right place, right time.




“OKAY” achieved hit status as wider dance culture in the US approached a fork in the road. Several years after the massive embrace of the hyper-commercialized sounds of EDM saw the festival scene exploding to colossal popularity across the country, blasting out to huge, ecstatic crowds, the attention inevitably turned to the longtime marginalized history of dance music in the US.

In the midst of this, there was something about “OKAY” that struck a chord. Stealing the #1 spot on the Beatport House Chart and holding it for a formidable 82 days, the track stayed in the top 10 for more than 180 days in total. Further still, it remained a ubiquitous crowdpleaser on dancefloors in the years that followed as the US house renaissance bloomed, and imprints like San Francisco’s Dirtybird stepped into the spotlight.




With the warped vocal sample and cascading bassline of “OKAY,” it was a track that boasted a funky, driving energy, as well an unmistakable quirky weirdness that similarly characterized the output from stalwarts like Claude VonStroke and Justin Martin, who were ascending to new levels of success at the time (and who’d always been averse to taking themselves too seriously).




The term “ghetto-funk” was bandied about, and pointed to Shiba San’s background as a producer behind the scenes in the French hip-hop scene. It didn’t go unnoticed that he’d managed to smoothly infuse his hip-hop heritage into his newly-minted productions, gifting him with an edge as he built his name in the US house scene. It saw his music signed by the likes of Suara and Dirtybird, and eventually encouraged a relocation to Miami.




“OKAY” also arguably provided an early genesis for forming the somewhat controversial ‘Future House’ genre, which fused classic house music archetypes with a bouncier sound that was fashioned to work on the mainstages. However, Shiba San most definitely stood apart from rising ‘Future House’ stars like Oliver Heldens, who were embraced at EDM events, never giving up his underground grit and often speaking on the classic sounds of Chicago house as his defining musical influence.



In an early interview with VICE shortly after the release of “OKAY,” just after he embarked on his first tour of the US, Shiba revealed that Chicago house was actually his first true musical love, proving definitive when he was learning the ropes as a producer.

Watch at 39:17 to see how Shiba San's "OKAY" still hits.





“It’s such a mythic house city,” he says of Chicago. “I started listening to house music when I was really young with vinyl from the crates of Sounds of Chicago, that was really the start of my musical story.”




When “OKAY” dropped to much fanfare, Shiba San was surprised by its quick success and the warm reception he received in the clubs on his debut US tour.




“To be honest, I never realised that Americans had been waiting to see me and I never really expected that these many people were listening to my music out here. Every date has gone really well… and the crowds have been getting super into it.”




Speaking on the reception of “OKAY,” he told VICE that its release was a spontaneous affair, rather than anything he’d put too much thought into prior to throwing it out to the world.




“No, you never really know how well a song is going to do… you never really know when it’s going to hit like that. I mean, you know when you have a track like ‘Okay’ [that it features] a good bassline, but you have no idea if other DJs will like it. And even if they do like it, will the people listening like it? And from there, will it be a hit? If [you were able to guess] when something would be a hit, then it’d be too easy and that’s all we would do.”




That aside, once it started to get a proper rinsing from the likes of Claude VonStroke and Coyu, he knew he had a banger on his hands.




“It’s happened quite a bit, there are a lot of people I really respect that have played the track. I mean, there are BIG people from different genres outside classical house, even EDM, that love playing this song and they’ve made it something for themselves, which is really special. The first thing that was really shocking to me was that the track got signed to my favourite label. I’ve been a fan of Justin Martin and Claude VonStroke for a long time, and signing ‘Okay’ to Dirtybird was a huge rush.”

Shiba San ‘OKAY’: How a Song Defined an Era of Dance Music

When Shiba San first launched his Basement Leak imprint, he wasn’t exactly having trouble getting his records signed to the biggest labels in house music. In 2015 he was hot off the release of his definitive hit “OKAY,” which spent months at the top of the Beatport house charts and had featured in the record crates of everyone from Pete Tong to Claude VonStroke. Clearly, it wasn’t a one-off success either, as he followed it up with releases on Dirtybird, Suara, and Relief Records.




“In the beginning, it was just to release my own track ‘Burn Like Fire’,” he told Daily Beat, confirming the initial launch of Basement Leak in 2015 was a lowkey avenue for occasionally self-releasing music. However, it wasn’t long before demos started from aspiring producers began rolling in.




“I thought, okay, maybe I can sometimes do releases… but I wasn’t focused on that. I was focused on my own career and tracks, so I didn’t really work on it.”






A year later, he launched the label’s Various Leaks series, a four-track EP featuring one of his tracks alongside several handpicked selections from up-and-coming producers. When the sophomore installment of Various Leaks arrived a year later, Shiba San knew he needed some hired help.




“I decided to work on it more, so I hired a Label Manager and more people around me. Now I receive a lot of demos from people, usually unknown and I like that because I want to help people sign their music anywhere. In the beginning, it was just for my own music, but once I got demos I figured why not?”




Basement Leak has gradually ramped up its release schedule over the years, regularly dropping singles and EPs throughout the pandemic, plus two installments of Various Leaks in 2022 alone. However, this didn’t stop Shiba San from regularly dropping bangers with everyone from Defected to Toolroom.




“I like to have my tracks approved by other DJs,” he says. “I don’t want to just be by myself, only releasing on my [own] label, and playing on my stage, I’m not really for that. Maybe in a few years, but in the moment I need to sign on different labels because I love that. Like when I did the track with Green Velvet and signed on Relief, for me it was amazing.”

Building a Brand: Shiba San's Basement Leak

When France’s Shiba San broke through nearly a decade ago with his ubiquitous smash “OKAY” – an unprecedented hit that held the #1 spot in the Beatport house charts for 82 days, proving a definitive anthem as house music enjoyed a renaissance throughout the US in the years that followed – it appeared almost as if this impressive success had bloomed out of nowhere. However, when Shiba San eventually broke his silence following the release of “OKAY,” he revealed that his effortless knack for US-flavored house music actually followed nearly 15 years as a producer behind the scenes in the French hip-hop scene.




When VICE spoke to Shiba San in 2014 while he was underway with his debut US tour, he emphasized that his recent success was the output of a honed craftsman. Previously known as the producer and DJ Cutee B, he’d been a key player in the French music industry for well over a decade, albeit largely behind the scenes as a producer for hire.






“I’ve had a couple international tracks before, but you’re right in the sense that I was always behind the scenes as the producer of someone else’s song,” he said, confirming that prior to the release of “OKAY,” and the subsequent launch of his Basement Leak imprint, he’d produced music solely for the French market.




“Even though it wasn’t my name, it was my music, and it wasn’t ever really important for me to be famous as long as I was making the music and it was making other people happy.”




However, he revealed that one of his first true musical loves was the legendary sounds that emerged from the Chicago house scene, which proved definitive when he was learning the ropes as a producer.






“It’s such a mythic house city,” he says of Chicago. “I started listening to house music when I was really young with vinyl from the crates of Sounds of Chicago, that was really the start of my musical story.”




He explains that his love of US house was so ingrained in his musical identity that his transition from French hip-hop felt natural and intuitive. It didn’t go unnoticed that he’d managed to smoothly infuse his hip-hop heritage into his newly-minted productions, quickly leading to releases on leading imprints like Suara and Dirtybird alongside the swift success of Basement Leak.




“Now my joy comes from being able to make the exact kind of music I want to make and to have no one telling me to change this or that,” he told VICE. “Not to mention, the ability to tour and play shows with your own music is something pretty amazing. What’s cool is how quickly it all came about. I never really tried to do this…. I mean, what else could I ask for?”



How Shiba San Transitioned from French Hip-Hop to House Music Innovator

Any list of movers and shakers in present-day dance music would be incomplete without Shiba San. The Parisian producer has been behind some of dance music’s most defining sounds. Who could ever forget the iconic bass line of his breakout hit, “Okay?” He’s built the Basement Leak record label into a hub for some of the finest tech house in the game. And recently, the Beatport chart-topper took a moment from a full summer schedule to officially drop his first new track of 2022, “I Wanna.”



Addictive bass lines have always been the calling card for Shiba San. His taste for the infectious is at an all-time high on this latest offering as skittering drums pound out an undeniable pulse for the cheeky dance of atmospheric fills and pining vocals. But no Shiba San track would be complete without an irresistible low end, and this bouncing bi-tonal bass is no different. This undulating treat is unflinchingly sensual and ready to inspire all the proper movement on the dance floor.



“I Wanna” is Basement Leak’s third release of the year, following the Pass That EP by Get Bad and “Listen” by Tim Baresko, Trallez, Shiba San, and Millad. Keep an eye out for more from the tastemaker imprint by following them on Facebook, Twitter, and Instagram.



Follow Shiba San on Facebook | Twitter | Instagram.

Shiba San Turns Up The Heat For His First Release Of 2022, 'I Wanna'

United States

Gettoblaster

Paul and Zach of Gettoblaster came up in the late 90s/early 2000s rave scene as a DJ and promoter respectively. “We stayed in touch and one weekend we were in Miami together… I got booked for a party eleven eleven with 12th Planet and I ahd agreed to play a trap set. When I arrived I knew it wasn’t for me. I said watch me fuck these people up. I played ‘The Percolator’ and looked at Zach and said this is what we have to do together. We started Gettoblaster from there.” 

Given their lengthy history in the scene, Paul and Zach have a unique perspective of the modern house and techno scene. Coming off of a massive performance at The Brooklyn Mirage supporting Chris Lake, Gettoblaster reflected extensively on the things they love about the scene now, and how the scene has grown and changed in the last 20+ years.

“It’s all about the vibe. At Mirage it was amazing in the rain, everyone was just getting down.... Nowadays we notice that the crowd has to be vibing and you have to work harder to keep them engaged. In the 90s it was America’s first chance at hearing dance music, people were really listening. But at the best parties now, it’s incredible. Every movement we did at the mirage opening for Chris Lake, the crowd reacted.” 

While Gettoblaster are now used to play massive venues week in and week out with incredible production and stage design, they sowed their roots in a much different way. Coming up in the warehouse rave scene meant they started their careers working underground parties. While they reflect positively on those days, there is a sentiment that the way we party now is safer and more responsible.

“You wouldn’t know where the party was. You would have to drive around and just listen for the music… We’d be in the warehouse with 7000 people and there’d be one disco ball. People would have a heart attack in the 90s if they saw the kind of production we have now… Venues back then would shut the water off in the bathrooms so that people would have to buy water instead of refilling. I’d been at parties where I’m DJing and the sound goes out and then all of a sudden there’s guns in your face cause the Feds are there… It’s definitely different now.”

After that fateful weekend in Miami where Gettoblaster was conceived, Paul and Zach began to crank out tracks in the studio together. When they started, Zach was living in Michigan and Paul was in Colorado. They would send tracks back and forth over the internet, visiting one another every now and then just to get some facetime in. As they’ve progressed over time, they have found inspiration from other artists comes constantly. “There’s so many amazing artists now. Back in the record store day there were 10 new artists every week… Now, the level of talent coming up is amazing.”

Paul and Zach put a tremendous amount of music in the first few years of their project together. While they achieved commercial success, their first true break out came in 2018 with the release of ‘Future Funk.’ Although it is now their most known track and a secret weapon for DJs across the world, it took a long time for it to gain any traction. “DJ Pierre helped us release it. We got a huge banner on Beatport but it did nothing. It would crush in our sets but it just didn’t sell at all. A year and a half later I get a message on our fan page from someone in Tel Aviv with a video of a massive crowd losing their shit to this track being played out by Solomun… It went to top 10 on Beatport immediately and had 30,000 Shazam's overnight.”

The success story of ‘Future Funk’ is somewhat indicative of the response that Gettoblaster finds to a lot of their music. Over the years they have noticed a tangible difference in how their tracks are received in Europe versus the states. “We get reactions in Europe first… out of the ten that get reactions, the biggest one will play here. This is why we interject actual lyrics into our tracks. The Europeans hate it when we add lyrics. We always get an email from the Euro DJs asking for a version with no words. It works better here with lyrics because of hip-hop and pop culture. We give out instrumentals for our European friends.”

Paul and Zach made the most of their time in lockdown, creating over 100 tracks and releasing 20+ this year alone. Despite their massive output, the guys are looking to have a more direct creative strategy around their releases going forward. “We’re slowing down our releases a bit and putting more emphasis on the tracks with vocals. We’re focused on creating music videos, finding sync licensing opportunities… and playing as many shows as we can to test out every new record.” They just dropped an EP with DJ Deeon and are playing shows all over the country. 




France

Shiba San

Born Dirty

 returns to New York for an intimate gathering on the roof of Superior Ingredients. Ever since he released his iconic rubbery bassline-fueled 2014 hit "Okay," he's continued to slay the house music game with wonky tech house bangers like "Let's Go Dancing" and "All I Need" that dominate the Beatport charts and leave dancefloors in awe around the globe.

He'll be fresh off his appearance at Green Velvet's La La Land show in Los Angeles, and stopping in to get the weekend started as the sun sets over New York. The Parisian-born, Miami-based producer's sets are always a marvel. With almost three decades of experience behind the decks, he's a singular force who unleashes track after track of dancefloor gold. 

Shiba​ San | Beatport presents: Repopulate Mars | @Beatport Live

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Shiba San at the Sagamore Hotel, South Beach during Miami Music Week 2022 for our Repopulate Mars showcase.

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Shiba​ San | Beatport presents: Repopulate Mars | @beatport Live

His Basement Leak imprint is one of the foremost tech house labels and a fertile proving ground for homegrown talent. Releases from 

, Tim Baresko, Luke Andy, and Will Clark are heavily supported by the industry's biggest names. Shiba will be bringing some of his label mates to set the party off, so don't sleep on your chance to catch the labels' one and only showcase in New York this year. 

Basement Leak New York With Shiba San and Guests

French-born house music producer Shiba San returns to New York for an intimate gathering on the roof of Superior Ingredients. Ever since he released his iconic rubbery bassline-fueled 2014 hit "Okay," he's continued to slay the house music game with wonky tech house bangers like "Let's Go Dancing" and "All I Need" that dominate the Beatport charts and leave dancefloors in awe around the globe.



He'll be fresh off his appearance at Green Velvet's La La Land show in Los Angeles, and stopping in to get the weekend started as the sun sets over New York. The Parisian-born, Miami-based producer's sets are always a marvel. With almost three decades of experience behind the decks, he's a singular force who unleashes track after track of dancefloor gold. 



His Basement Leak imprint is one of the foremost tech house labels and a fertile proving ground for homegrown talent. Releases from Gettoblaster, Tim Baresko, Luke Andy, and Will Clark are heavily supported by the industry's biggest names. Shiba will be bringing some of his label mates to set the party off, so don't sleep on your chance to catch the labels' one and only showcase in New York this year. 







Basement Leak New York With Shiba San and Guests

Lineup