Renowned Trance Tastemaker Gareth Emery Releases ‘House In The Streetlight Under LSR/CITY, His Techno And Immersive Laser Show Moniker

It was more than music. It's more than a live performance. It is an experience.

is LSR/city.

The project is the stage name of respected trance producer Gareth Emery. LSR/CITY combines melodic techno music with emotional sounds to create a music scene that creates pure fun on the dance floor. The tunes accompany an unforgettable laser visual experience that is completely immersive and innovative. In fact, a live performance could make Emery the new laser king.

Emery's LSR/CITY debut was "Like A Brotherhood" with 21-year-old London singer Annabelle. The track became a huge hit with 20 million plays and 1 million social media shares. The experimental project is another impressive achievement in Emery's illustrious career, showcasing his versatile musical talent and knack for putting together an unforgettable live show that took a year to plan.

Today, November 17, the tastemaker shows more of its production capabilities with the launch of Huis in Lig.

The track takes music lovers on a journey that begins with thunderous beats, soothing vocals, soft bass lines and angelic voices. Fast-paced bass takes center stage in an explosion of synths and rippling bass lines designed to get the dance floor moving. The song goes back to the heavenly beginning and high heavenly bands. Undoubtedly, the song is breathtaking in sound and brilliantly executed.

According to Emery, he was so focused on creating a multisensory laser production in six months that he didn't have much time to write music. Then, he says, he was watching TV one night and the idea for the song came to him and gave him "the mood I was looking for in music": happiness, sadness and home. Then he went into the studio and wrote "Light House" one night. He added that LSR/CITY singer Annabelle is a singer as they have been composing tunes together for the past four years.

The sound designer created the single five days before the Electric Daisy Carnival (EDC) in Las Vegas, where he played Kinetic Field, the main stage of his Gareth Emery trance project.

"As soon as ['House by the Lantern'] came out, fans were trying to figure out his name," says Emery. “There are already videos on YouTube with hundreds of thousands of views trying to figure out the name of the song. It generated such an organic response from our audience."

He notes that performing at Kinetic Field is an interesting dichotomy in terms of high-compression music and low-compression production. He performed on the main stage of the famous festival, which hosts 70,000 people, for the first time since 2014. On the contrary, in the theater there is minimal visual production, because the composition is very artistic. Insomniac, the company behind EDC Las Vegas, handles production at Kinetic Field, which places less demand on performers. The lack of visuals prevents LSR/CITY from being displayed.

Emery says he has always loved lasers and wanted to make sure there were plenty of them in his melodic art shows. "We are starting to see how far we can go with LSR/CITY," he says. "The laser is something we're very excited about."

DJ said his goal during the lockdown was to learn the video design software Premier and Final Cut. This allowed him to participate in the production of LSR/CITY. He and his team looked at the shows that had the highest production values ​​and realized that they could exceed the visual output of those sets.

“[We] looked at the amazing lasers in the show and were like, 'Wow, that's funny. We can do better than that," says Emery. "A lot of them were like, 'Let's make it show our business.' It's about, "Let's keep it really simple with the screens and the effects and all that, and let's do the laser." After we did our first tour at the end of last year, people fell in love with the show and then they were like, "Okay, lasers. That's our business. If they were going to go for one reason, it would be lasers."

"If you can provide that experience, there are a lot of people who want to go to the show, but the gap between the artists who can provide that experience and those who can't is much wider," he said. .

Emery says he got into the world of melodic techno because "I'm always trying to find something different, something that interests me." Although the producer says he loves trance music and has been making music for 20 years, he wants to change his vocal abilities "to make life more interesting".

"I never wanted to make music in the same style for the rest of my life," he says. “When you're known for a certain style, it's pretty great because people know exactly what to expect. And in a way it's great because if you do something that's a little outside of that, the audience can say, "Oh, that's why, and we're not listening to you." We have always hoped to do what [I] explain]. I think I've realized that I can't experiment with released albums as much as Gareth Emery. currently, LSR/CITY, this multi-sensory experience can also be an outlet "Crazy with impressions, which I really am. do. Enjoy it."

Emery definitely wants to keep pushing music forward and discovering himself as an artist. He says he finds inspiration "in harmony with the creativity of young people", and creates music that is different from what he has done before.

"I try to analyze these actions to see what we can learn from them," says the producer. "It's easy to feel threatened when someone comes in and does something completely different. Generally, the best approach is, "Why do they succeed?" What are they doing that we missed?”

He cited TikTok as an example. According to him, many established artists like him were reluctant to create video content because they were used to Instagram and its horizontal video format. The desire to be different was there for Emery, but later he realized that he needed to master the creation of vertical videos in order to grow the business of sharing his music. True to its genre output, the industry unveils something new every three years, highlighting past changes such as the shift from vinyl to CDs, the shift from MP3 downloads to streaming, the shift from magazines to social media, and the evolution of Facebook . . Instagram. "You have to be open to the constantly changing landscape and be ready to adapt, because if you don't, you will disappear very quickly," he says.

According to Emery, the aforementioned changes in the perception of music are the most important changes he has seen in his career in the industry. According to him, the music scene was first crushed by the Internet, especially Napster and file sharing. The industry wasn't ready for it, he says, and in the early 2000s most music executives thought the Internet would disappear and be banned.

"I think it was a good warning to other industries that music has come this far and then declined," said Emery. "Television was more poised to rule the Internet than music."

This Internet-driven change "took decades," he says, explaining how artists make money by selling their music and how little they benefit from streaming music today. He added that travel has become more important, but "I don't think we've seen the full extent of it yet."

As for the club scene, the LSR/CITY project founder says "it was a great time" when dance music first came to the US and "riding that wave was amazing." Entering the industry in that golden era allowed many artists to be in the "right place at the right time" as the clubs were packed three nights a week. However, the lockdown brought the industry to a standstill, but since then things "look healthy" and "there is a very good outlook on the world". Although the industry is back to normal, he says audience expectations have changed because people want more from music.

"I think the biggest change that happened and definitely inspired LSR/CITY is when dance music came to [North] America 10 years ago, people didn't want to go out and listen to DJs," he said. Emery. “I think when you have a lot of experience, and that experience can come in many forms, people want an experience, not just looking for music. I think artists have to adapt and figure out how to fit both the show and the music program visually because I think it's all about what people want to do there.

See LSR/CITY and other world-class LASER productions on a 13-city, 16-show tour.

02/24/10: Vancouver vs. BNE Coliseum

02/24/15: San Jose - Civic Center

02/24/16: San Jose - Civic Center

02/24/17: Los Angeles - Palladium

02/24/18: Los Angeles - Palladium

2/22/24: Phoenix vs. Van Buren

2/23/24: Denver - Mission Hall

03/24/01: Minneapolis - Cannon

24/03/2019: Chicago vs. Radius

03/24/08: Montreal - New City Gas

03/24/09: Toronto at Rebels

03/24/10: Toronto - Rebels

24/03/15: New York - Kings Theatre

03/24/16: Washington, DC - Ecostage

03/29/24: Austin - The Concourse Project

3/30/24: Dallas vs. Southside Hall