Renick Bell is standing in front of his computer at a small table in the middle of the dance floor. The stoic, bespectacled musician types quickly and efficiently, his eyes locked to his computer screen. Around him in a wide circle, the crowd bobs to his music. Sputtering tom rolls, blobby techno synths, and crystalline cymbal taps blossom and spill out of the theater’s massive surround-sound system. All the lights are off, and the only illumination in the big room is the glow of Bell’s monitor, the soft red LED backlight on his mechanical gaming keyboard, and a live view of his PC monitor projected on a wall-sized screen.

Nearly every one of the hundred or so people in the room, myself included, is staring intently at the action playing out on the screen. But what’s being projected is not some psychedelic animation, alien landscape, or whatever other visuals you’d expect to see at an electronic music gig. What we’re watching is code. Lines and lines of it, filling up the black screen in a white monospace font.

We look on as Bell’s keystrokes call up a bank of sounds called atmo stab2, then another called ensOsakaArpAtmo14. Lovely synthesizer arpeggios start percolating in the mix. They’re untethered, a bit off-kilter. The effect is pleasing but edgy, like a warm wind that’s blowing a bit too hard. The snare drum sounds skitter around in the higher registers, but there isn’t much happening in the low end. Bell decides to fill in some of that space. He loads kitBleepFtech and gives it the command highGlobalDensity. A rush of kick drums bombards the speaker stacks, drowning the room in gigantic waves of jaw-rattling bass. The video projector starts vibrating violently from the onslaught, and the code on the screen melts into a smeary pink blur. The crowd whoops. Bell types out a message to the attendees, flooding the screen with one repeated line of text: The old patterns are dead.

Live-coding parties such as this—where revelers show up as much for the if-thens and variables as the beer and snacks—are a recent phenomenon in underground electronic music culture. And here in the Bay Area, where the Venn diagram of the Silicon Valley and DJ scenes finds its overlap, shows like Bell’s are right at home. Yet they’re not just more of the tech-meets-techno same. Whereas a traditional EDM show might feature a performer cueing up sounds or samples on a laptop, DJs at live-coding shows use computers to play music in a wholly different way, and to make all new sounds.

The code on display is used to control software algorithms. The musician synthesizes individual noises (snare hits, bass blobs) on their computer, then instructs the software to string those instrumental sounds together based on a set of predefined rules. What comes out bears the fingerprint of the artist but is shaped entirely by the algorithms. Run the same routine a second time and the song will sound familiar and contain all the same elements, but the composition will have a different structure. This is the apotheosis of electronic creation—half human, half machine. The events that have sprung up to celebrate this form of generative composition have already been given a delightful portmanteau: algoraves.

Computer World.
Renick Bell‘s performance was part of Algorithmic Art Assembly, a recent two-day festival in San Francisco dedicated to algorithmic music and art. The afternoons were filled with talks and demonstrations; the nights were filled with music.

Some of the talks were heavy on mathematics and computer science—music code on the screen is one thing, but Euclidean formulas are something else—but all of them were informative. Adam Florin, creator of the algorithmic audio plug-in Patter, traced the history of generative music from the middle ages, through John Cage and Iannis Xenakis in the mid-20th century, up to the software-dominated present. Musician Jules Litman-Cleper outlined the parallels between the patterns we see in nature and the patterns exhibited by computer systems. Producer Mark Fell, who along with artists like Oval released some pioneering algorithmic dance music in the 1990s, was brought on stage for a Q&A session.

Given the hacker-friendly nature of the algorave art form, home-built systems are common. Almost everyone uses some combination of open-source synthesis engines, compiled code, and downloaded libraries.

The visual arts were represented as well. Programmer Olivia Jack demonstrated Hydra, her live-coding system that generates trippy visuals in a web browser. Artist Chelly Sherman set up a demo of her VR “kinetic sound sculpture” Dispersion that played on a loop in the lobby. There was even an exercise for rules-based creation in the analog realm, as the artist Windy Chien handed out short pieces of rope and taught attendees how to tie a complex knot.

At night the seats were cleared out, the bar was stocked, and the algorave got underway. Some of the musicians performed with iOS apps and traditional gear like laptops and USB-powered controllers. Others, like Kindohm, DVO, Kit Clayton, and Algobabez performed using rules-based software systems like Max/MSP, SuperCollider, and TidalCycles. Given the hacker-friendly nature of the algorave art form, home-built systems are common. Almost everyone uses some combination of open-source synthesis engines, compiled code, and downloaded libraries. MacBook Pros abound, but some artists run customized hardware. Bell uses an Intel NUC mini PC loaded with Linux and a music program of his own creation called Conductive.

The music itself has a common aesthetic, a kind of shared language. Much of it leans toward the chaotic and aggressive style of electronica popularized by the Sheffield, UK, band Autechre, but artists veer in other directions too. Go to an algorave and you’ll hear ambient sets, dub explorations, and even some straightforward dance music. Just, you know, with live code projected onto the screen.

The Space Is the Place.
The venue for the conference, Gray Area, has emerged over the past five years as a hub for the tech-minded art and music community in San Francisco. It’s situated inside a renovated Mission District movie theater, which, in the decade before the current tech boom, had fallen into disrepair and was long occupied by a schlubby dollar store. Now, just in time to catch a boost from the Silicon Valley cash flooding the city, the Gray Area operators have transformed the old Grand into a comfortable and hip meeting place. In recent years, Gray Area has hosted everything from coding workshops and DIY seminars to quadraphonic synthesizer performances. During the two days of AAA, attendees (many of them Bay Area startup workers) filled the main hall and milled about the grounds, either on the couches in the lobby or on the sun-warmed benches out front. Apps were name-checked and SoundCloud links were exchanged over single-origin coffees and vape cartridges. It felt like a real happening, a gathering of a well-defined community.

The event was put together by Scottish musician and programmer Thorsten Sideb0ard, who first participated in algoraves in Sheffield and London. He came back to his adopted home of San Francisco and started putting together a bill of live-coding artists, and things bloomed from there.

“I figured if I’m already doing an algorave, I should just make it a whole weekend festival,” he says. He started booking the artists he had met at the UK algoraves, and they passed along more names. The lineup filled quickly. “I got kind of carried away with it. It’s like I get to assemble my own private concert of stuff I want to see, and everyone else gets to come along for the ride.”

And though the very first Algorithmic Art Assembly has wrapped, Sideb0ard says there will definitely be another one next year. “I’ve got a couple of people who want to play already. It’s been so much fun, I just have to do it again.”

H/T Wired.

Watch to more interviews on Apple Music’s Youtube channel here. Apple Music lets you listen to millions of songs, online or off, totally ad-free. Create and share your own playlists, get exclusive content and personalized recommendations, and listen to radio hosted by artists streaming live or on demand here.

Appple official: Apple Music | TikTok | Instagram | Facebook | X

H/T Apple Music.

Likewise, Sónar+D presented a successful new ‘morning’ format, attended by 3.500 professionals and experts, fomenting links between arts, science and technology, encouraging new networks, and with a particular focus on the challenges posed by Artificial Intelligence, among other issues.

The 30th anniversary celebrations will continue in September, with the festival curating the soundtrack for Barcelona’s iconic ‘Piromusical de La Mercé’. The next edition of Sónar Barcelona takes place on 13th, 14th, 15th June 2024.

More than 250 activities have taken place during Sónar 2023, including concerts, DJ sets, masterclasses, talks, panel discussions, open debates, installations and creative-technology showcases from more than 20 different countries.

The festival brought together more than 120,000 attendees, 51,000 at Sónar by Day and 69,000 at Sónar by Night. 68% of the audience was national, while the remaining 32% came from more than 100 different countries.

Sónar 2023 witnessed a spectacular, stunning return to the stage by Aphex Twin, the godfather of modern electronic music, as well as over huge live shows from BICEP live, Max Cooper 3D/AV live, Oneohtrix Point Never, Ryoji Ikeda, Eliza Rose, and Fever Ray, whose concert stole the hearts of the public at Sónar by Night. And of course, there was also Eric Prydz’s acclaimed immersive show HOLO; a hotly anticipated concert Bad Gyal, returning to Sónar as a global icon; a star turn from UK rapper Little Simz.

Sónar is already looking ahead to its 31st edition, which will take place on 13, 14 and 15 June 2024. A pre-sale of SonarPass and SonarPass+D (both standard and VIP) will be available this Tuesday 20th June at 12:00 noon. The public will be able to register for this pre-sale from tonight. More information at sonar.es and on the festival’s social media channels: @sonarfestival

Sónar 2023 presented epic sets by leading figures in contemporary dance music, both at Sónar by Day with Black Coffee and The Blessed Madonna, and at Sónar by Night, with Peggy Gou, Honey Dijon, and Solomun, joined by Saturday’s sets from Amelie Lens and Richie Hawtin, among others.

The astounding diversity of styles and perspectives in the national scene has been front and center at this year’s anniversary. From the premiere of Merca Bae’s live show ‘2048’, the debut ensemble of Kitty110 / LaBlackie / L’Beel or KYNE performing their recently released album to the sophisticated concepts of MANS O, the pairings of Carles Viarnès & Alba G. Corral and Santiago Latorre & Colin Self and CLARAGUILAR taking another leap forward in her career. Tonight sees more talent with brand new shows from La Zowi and Samantha Hudson, plus other Gen Z icons such as Oro Jondo, Rusowsky, Orslok and Parkineos.

The impact of Artificial Intelligence in the arts, especially on music and AV, has been the central topic of conversation during the three days of Sónar+D. MIT Media Lab researcher Kate Darling, the world’s leading robot ethics gave us a glimpse into the future of human-robot relations in her talk presented by SEIDOR, while CJ Carr, one of the foremost experts on AI in music, explained how he uses AI as a compositional tool. Across both days, the AI & Web3 Creatives Summit, co-organised by Sónar+D and UPF Ventures examined the role of AI in music and film, as well as the role of Web3 in the creative and media sectors. The UB (University of Barcelona) closed its International Symposium on Soundscape, Advanced Music and AI by presenting a study on LEÏTI’s work with soundscapes. Meanwhile, the SonarMies activity ‘Reprocessing… Piano + AI’ turned the Mies van der Rohe Pavilion into an open laboratory in a project co-created by Sónar and the UPC (Universitat Politècnica de Catalunya).

With more than 80 creative-technological projects from more than 20 countries, the new Project Area allowed for discovery of local and international talents as well as becoming a meeting place and agora for Sónar by Day, with the general festival audience able to play listen and interact with video games, new musical tools and various prototypes.

Sónar’s 30th anniversary celebrations will continue on September, when the festival curates the soundtrack for Barcelona’s iconic Piromusical de La Mercè. In 2024, Sónar will again take place in Barcelona on 13, 14 and 15 June, following 3rd edition of Sónar Lisboa (22, 23 and 24 March) and the 8th edition of Sónar Istanbul (26 and 27 April).

H/T Sónar festival.

NFT-TiX technology uses highly advanced algorithms that make it possible for anyone to buy and sell tickets without the need for prior experience of the blockchain. It is secure, cost effective and already in use by the iconic EXIT Festival in Serbia, which was the first major European music event to embrace blockchain technology to allow tickets to be bought on a decentralised ticketing platform.

EXIT Festival runs 6 – 9 July in the famous Petrovaradin Fortress, Serbia, and will be headlined by the likes of The Prodigy, Wu-Tang Clan, Skrillex, Viagra Boys, the Keinemusik collective, CamelPhat, Hot Since 82, Vintage Culture and Indira Paganotto amongst tens more.

This $10,690 ticket is the most experience to have ever been bought on the platform and includes a whole host of perks and extras as part of the NFT. These include Exit’s Beyond Infinite Experience, a personal host, four nights accommodation in the onsite Leopold Hotel, transfers, a separate VIP entrance and VIP backstage access as well as onstage and lounge access amongst much more.

EXIT Beyond Infinite NFT Ticket.

• Personal Host
• Four nights accommodation at Leopold Hotel
• Return transfers from Nikola Tesla airport to Novi Sad
• VIP Main Stage areas
• VIP Dance Arena areas
• Separate VIP entrance and ticket exchange point access
• Dance Arena on-stage access
• Infinite Dance Arena lounge access
• VIP Diamond Dane Arena access
• Phone assistance

NFT-TIX official: Website | Twitter

H/T C.A.

Starting May 5th, 12:00 noon European Central Standard Time, NFT-TiX will kick off ticket sales for the upcoming Unum Festival, set to take place from June 1st to June 6th in the breathtaking coastal town of Shengjin, Albania. This partnership promises a seamless and secure ticketing experience, empowering festival-goers with the ability to purchase tickets at face value, free from additional fees.

Unum Festival, known for its unparalleled dedication to innovation and creativity, has taken the lead in adopting the state-of-the-art blockchain ticketing solution provided by NFT-TiX. This groundbreaking approach to ticketing not only ensures a transparent and secure transaction process, but also eliminates ticket scalping and fraud, paving the way for a fair and hassle-free experience for all festival attendees.

By leveraging the power of blockchain technology, NFT-TiX is transforming the ticketing landscape by offering a decentralized, secure, and transparent platform for both event organizers and attendees. This pioneering partnership with Unum Festival is a testament to their commitment to enhancing the live event experience and setting a new standard for the industry.

“We are incredibly excited to partner with Unum Festival and bring the benefits of NFT-TiX’s blockchain ticketing innovation to their fans,” said Emil R. Ljesnjanin, CEO of NFT-TiX. “By offering tickets at face value with no additional fees, we are breaking down barriers and making live events more accessible to fans from all walks of life.”

Unum Festival has consistently set itself apart with its commitment to curating unforgettable experiences for its attendees. By embracing NFT-TiX’s revolutionary ticketing solution, they continue to push the boundaries of what a music festival can achieve. Get ready to immerse yourself in the magical atmosphere of Unum Festival, where the power of music and cutting-edge technology come together to create an unparalleled experience.

We are thrilled about the partnership established between Unum Festival and NFT-TiX to sell tickets and bring the benefits of blockchain technology to our festival fans,” said Kushtrim Sahiti, CEO of Unum Festival. “For the first time, we will also be offering VIP table tickets in addition to our regular tickets, which will only be available on the NFT-TiX platform. With NFT-TiX’s secure and transparent ticketing system, fans can enjoy an easier ticketing experience while also owning a unique piece of Unum Festival history. Our partnership with NFT-TiX allows us to offer our fans a truly unique festival experience.

Don’t miss your chance to be a part of history! Secure your NFT ticket for Unum Festival starting May 5th, 12:00 noon European Central Standard Time, exclusively through the NFT-TiX platform.

For more information about NFT-TiX and the Unum Festival partnership, visit nft-tix.com or follow NFT-TiX and Unum Festival on social media.

About NFT-TiX.
NFT-TiX is a pioneering blockchain-based ticketing platform that offers a decentralized, secure, and transparent solution for event organizers and attendees. By leveraging the power of blockchain technology and non-fungible tokens (NFTs), NFT-TiX aims to revolutionize the ticketing industry, putting an end to ticket scalping and fraud while providing a seamless and hassle-free experience for all. nft-tix.com

About Unum Festival.
Unum Festival is a premier music event held annually in Shengjin, Albania. Known for its breathtaking location and eclectic lineup, Unum Festival brings together the best artists in electronic and dance music from around the world. With a focus on innovation and creativity, Unum Festival has become a must-attend event for music enthusiasts worldwide.
unumfestival.com

H/T L.C.

Volta will be delivering 3D, live audio-generated visual worlds during Richie Hawtin and supporting artists’ live-streams. During the live shows, the live audio will be fed into the Volta worlds and streamed on Twitch to Richie’s audience across the globe. They won’t just passively experience it, fans will co-create the live-streams using Volta’s audience interaction features that they are debuting for the tour, creating a unique one-of-a-kind live-stream on select nights of the tour. Audiences will be able to impact the performance via Twitch in real time. The world’s themselves will evolve through the course of the night via audiences’ collective impact.

The in-venue tour will be in a series of warehouses, dedicated to the development of local electronic music scenes. The parallel streamed part of the tour will feature audio-reactive, audience-interactive transforming worlds. 

The tour coincides with the release of Volta’s new performance and audience interaction app. The Volta play packs (multiple 3D, audio-reactive worlds in Volta) used during the gigs will be available in Volta when the new version is released toward the end of the tour.

Says Hawtin, “The From Our Minds – To Be Announced tour is the next step to support the grass roots development of electronic music. As the scene’s evolution increasingly occurs in virtual spaces, we have partnered with Volta to offer a unique online experience to reach beyond the boundaries of the tour’s physical locations. Volta will generate parallel audio-reactive performances in virtual worlds and debut new methods for global audience interaction, all in real time. Anyone watching will be able to contribute and transform the online experience, blurring the lines between the physical, virtual, performer and audience!”

These shows are on a mission to develop and increase awareness amongst the younger generation and are an exciting opportunity for Volta to empower artists at every level to create the highest-production 3D visuals and XR performances, matching the level of Richie Hawtin’s artistry. 

Richie Hawtin aka Plastikman has long been synonymous with cutting-edge technological advancements in the world of music. He is a world-renowned pioneer when it comes to new DJ technology, leading the shift of DJing from physical to digital, and six years ago created his own DJ instrument, the MODEL 1 mixer by PLAYdifferently. He is one of the first artists to work in surround sound, has done immersive live events using highly advanced communications devices that respond to the presence of humans and now recognises the endless possibilities that free, self-service XR creation platform Volta offers his live performances. 

Volta joins Richie Hawtin in Las Vegas, Phoenix, LA and San Diego.

Tour dates and line-ups (in order of appearance).

Friday March 17 – Phoenix, AZ
Barbosa
Declan James
Decoder
Henry Brooks
Jay York
Michelle Sparks
Richie Hawtin

Saturday March 18 – Los Angeles, CA
Barbosa
JIA
Lindsey Herbert
Richie Hawtin

Sunday March 19 – San Diego, CA
Barbosa b2b Jay York
Frame (Decoder + Declan James) Henry Brooks
Lindsey Herbert
Michelle Sparks
Richie Hawtin

http://www.twitch.tv/richiehawtin

H/T J.M.

Marking Beatport’s first permanent home in the Web3 space, this platform will enable record labels and artists to create and sell unique digital assets while generating greater fan engagement. It will allow artists, producers, and record labels to enjoy the benefits of Web3, while also giving music fans an opportunity to explore the value of digital collectibles and deepen their connection to their favorite artists and DJs.

Ed Hill, SVP of Beatport’s Media Group, said: “The electronic music community has always been at the forefront of cultural shifts and their early embrace of Web3 and all the promise it offers is no different. To usher in a new era for the electronic music space, we felt it was important to join forces with a trusted, long-time leader in the blockchain space. Polkadot’s open and interoperable ecosystem enables us to seamlessly tap into Web3 and celebrate electronic music by connecting fans with their favorite artists in unique and powerful new ways.”

Björn Wagner, CEO of Parity Technologies, a leading contributor to the Polkadot network, said: “Many in the music industry are keen to discover ways in which Web3 can better support them. This initiative with Beatport and Aventus is a perfect example of the potential for Web3 to elevate the craft of artists. We’re excited to see this application of Polkadot’s technology to better connect artists directly with their fans and reignite the collectible aspect of music fandom that has largely been lost in the age of digital media.”

These digital collectibles will also in some cases become a fan engagement tool for artists and labels by providing early access to bonus features such as unreleased tracks, discounted tickets, and access to global events and interactive experiences. On a technical level, the NFTs will be distributed via Aventus, a blockchain built on Polkadot that helps established enterprises deliver Web3 use cases from their wide suite of modular and composable products.

Alan Vey, Founder & CEO of Aventus, the Polkadot parachain on which the NFT marketplace will be built, added: “The Web3 revolution has created incredible new avenues for artists to regain autonomy and engage their fans. There is immense opportunity in this market to provide fans access to a variety of new content streams, creating communities with loyalty unlike anything we’ve seen before, and for the artists to reap the majority of the return. We’re thrilled to be a part of this important endeavor for the music industry.”

In addition to launching Beatport.io, Beatport and Polkadot will also collaborate on 10 major events over the next 18 months. Each event will celebrate the launch of a new NFT collection accessible via Polkadot-integrated wallets. The events will be produced by Beatport and will take place alongside major music and Web3 events.

For almost two decades, The Beatport Group has been at the center of DJ culture. With catalogs comprising more than 16 million tracks and existing relationships with over 91,000 record labels, the company is a household name for anyone who knows electronic music.

To register your interest today, visit Beatport.io

H/T C.A.

Explains Enrico Lionello: “The aim of our new concept is to be the point of reference for all the lovers of dance music world and also for those who are curious to see how to enjoy the dance music scene worldwide. We want Enjoy Television to be the platform that leads its visitors to discover how to enjoy in the 4 corners of the planet with a click.”

Cristiana Elli adds: “It’s exciting to launch the new version of Enjoy Television and it reflects exactly the name it has. Enjoy. The world is so big, we always talk about huge differences between people, but watching Enjoy Television you realize that dance music has an incredible power, it unites everyone. It doesn’t matter where you are in the world, you can be in Asia, in Australia, on the most remote islands in the world but the effect that dance music can create is the same everywhere, simply magical. I love seeing people having fun, I love feeling the emotions that audiences and artists exchange and the fact that I can collect and share this material through Enjoy Television is an immense pleasure for me.”

Thanks to new technologies Enjoy Television becomes a multimedia library, and an archive of videos, aftermovies, video clips and DJ sets of events and protagonists who have made the world of dance music the main hub of entertainment worldwide. There will also be a space dedicated to video clips of new tracks releases without forgetting the crowd, ravers and clubbers, plus a section dedicated to the videos they made during the events to show the clubbers’ point of view.

The platform has already generated a huge amount of interest within the electronic music industry community with many artists, labels and events already sharing content including; Afrojack, Alok, Armin Van Buuren, Armada Music, Defected Records, Fatboy Slim, Toolroom, Ultra Music, Electric love, Sonar, Street Parade, Timewarp, Tomorrowland, Untold, Hi and Ushuaia Ibiza to name a few.

Enjoy Television is visible worldwide on all Smart TVs, Android / IOS / Huawei smartphones and on the website www.enjoytelevision.com

H/T N.M.

While playing in Party Mode, you are your fellow DJs can exchange tracks, dig through Beatport to find new music, and build joint playlists directly in our web-based DJ software. Think of it as any regular B2B session… but borderless — giving you and your friends the ability to play together at any time, no matter the place — and with the tremendous power of Beatport’s 12-million-strong track catalog at your fingertips.

But what good is a party without people to play for? With Party Mode, you can invite up to 100 fans to watch, listen, and join in on the action in real-time with the feature’s integrated chat function. Viewers can also dig through Beatport’s catalog via the app’s discovery function and chime in with “track requests” at any time, all while creating a shared session playlist that every participant can save.

Watch the Party Mode tutorial and learn how it all works below and start your own Party Mode session by going here.

Beatport first teased its new Party Mode function during its Microsoft Surface Originals² showcase with a livestream of the world’s first remote B2B DJ session with Jamie Jones (performing in Miami) and Loco Dice (performing in Berlin). Learn more about it here.

This first-of-its-kind, truly interactive performance tool has various applications that will completely revolutionize the way you perform, learn, teach, and enjoy the art of DJing.

• Play & Socialize: Party Mode is the perfect place to link up with your friends and revel in your shared passion for DJing and music discovery. Show off your hottest tracks.

• DJ Education: Whether you’re looking to learn the fundamentals of DJing or teach them to someone else, Party Mode’s easy-to-use interface makes it an ideal classroom for those looking to start their DJ journey.

• Fan Interaction: Looking to find new and innovative ways to interact with your fans? Invite 100 of them to a Party Mode session to answer their questions, hear their requests, and show them how you work behind the decks.

• Joint Gig Prep: Got a B2B gig coming up with a DJ in a different time zone? Hop into a Party Mode session to find your flow and perfect your setlist ahead of the performance.

H/T Beatportal.

The execution.
We created a haptic suit experience that translates music and crowd energy into vibrations that can be felt by the deaf community live at the festival in real-time, using wearable technology from Music: Not Impossible and Vodafone’s 5G network.

With 24 sensors on the suit, vibrations could be felt across the torso, shoulders, wrists and ankles for the ultimate full body experience, with adaptable vibration levels allowing fans to tailor the strength according to their level of deafness. The beats from each separate instrument on stage, along with the vocalist, were transmitted to their own dedicated sensors to enable users to feel every single layer of music as it happened.

The results.
Debuted during Jessie Ware’s performance at London’s Mighty Hoopla Festival on 3rd & 4th June 2022, the haptic suits were thoroughly enjoyed by a group of deaf and hard of hearing friends from the Mighty Hoopla community, who for the first time could experience not only the music but also the energy around them. Our goal to achieve audio inclusivity for all members of the audience was achieved.

In a world first, we also developed additional software using machine learning to translate crowd noise and atmosphere into vibrations along with the music on stage. Using five 5G receptors, we captured crowd reactions and translated these audio feeds into ‘VibraWow’ state data via machine learning. Thanks to Vodafone’s 5G network this was then fed back into the suits in real-time and strategically mapped to the body to convey changes in crowd energy, emotion and intensity – allowing guests to experience the full festival atmosphere.

H/T Vodafone.