Mgmt/Licensing Inquiries: Keith@redlightmanagement.com

Booking US: jmoss@paradigmagency.com / j.kupperman@paradigmagency.com
Booking EU: guillaume@atc-live.com

PR: agreenberg@falconpublicity.com

Very few artists have made the impact that Savage & SHē have made on the music scene in the past few years with their unique blend of Afro House, Melodic Techno, enchanting melodies and hypnotic vocals that have literally taken them to every corner of the world.

Signed to some of the most sought after labels in the electronic music space today and topping the charts on a regular basis Savage & SHē have dominated the underground with hit releases on Crosstown Rebels, Radiant, Go Deeva & Abracadabra.

Headlining market leading venues, festivals and events has become a regular practice for Savage & SHē from their residencies at Scorpio in Mykonos and Blue Marlin in Ibiza to playing over 12,000 people at Universo Paralelo in Brazil. 

Their live sets are nothing short of breathtaking, connective, intimate and revolutionary as they blend beautiful vocals, animalistic percussion and driving rhythms  to create unforgettable moments at every appearance.

Savage & SHē will continue to take their musical message across the globe as they continue to create jaw dropping studio work and moment filled live performances that give their listeners memories that will last a lifetime.

For Bookings please contact: management@sickickmusic.com

Sickick Social Media:
Website: www.SickickMusic.com
Facebook.com/SickickMusic
Youtube.com/SickickMusic
Instagram.com/SickickMusic
Twitter.com/SickickMusic

I make mixes and the occasional track.

I like long walks on the beach, stars and warm cocoa.

Mason Palmer, Electronic Music Producer, Sitar Instrumentalist, Healing Arts Practitioner

booking agent:  melissa@armige.com
contact Jess direct:  jphlip@gmail.com

After 25 years behind the decks, J.Phlip still hasn't figured out how to crush the art of pretending she's doing something when she's not-so she just keeps busy actually mixing. She has built her rep on fearless, genre-melting sets packed with bass, acid, punk-electro, bootytech-whatever she damn well pleases. She flips the script-and sometimes the bird-as easily as she flips from 4/4 kicks to breakbeats, taking you on a sonic joyride with zero regard for speed limits. A founding Dirtybird original since 2006, J.Phlip didn't just help shape the label's sound-she nurtured its ride-or-die community, fiercely protecting its scrappy, open-hearted ethos. From the legendary SF Golden Gate BBQs to building Dirtybird Campout from the dirt up, she's been central to one of dance music's boldest and most beloved collectives. She's lit up everything from Movement Detroit to EDC, Fabric London to Space Ibiza, Coachella to your grandma's basement.

But screw the industry name game - sometimes Jess just wants to jump rope like it's middle school. She'll show up with ropes at festivals and kick off a Double Dutch session open to anyone. Her favorite spot is the Friendship cruise where shes backed by her East Bay ride-or-dies, the Twerkaholicz. Their booty-powered madness nearly broke Dirtybird Campout as they rolled in on a gold-plated "Twerkulator" bus, after J.
Phlip herself brought them into the flock in 2019. At Outside Lands, they co-created a show so far outside the box of today's "Dance Music / DJ culture" it shoved it off the rails - colliding fast-BPM beats, ass-jiggling acrobatics, and pure absurdity into a crowd-screaming blowout. Treefort in Boise got it! - the dancefloor snapped into two hours of unfiltered mosh-raving. Jess isn't here for your sunny-day vibes or safe dance moves. After far too many lost years-dragging herself through pandemic fallout-she's back to start some shit.

Wesley Holmes has been integral in the Northwest’s dj & dance community for the past 25+ years. He was a part of a core group that pioneered the house music scene in Seattle and helped provide a foundation for the thriving dance scene that transpires in Seattle today through an extensive list of club/event productions, residencies, radio work, and behind the scenes efforts over the years. Wesley’s abilities behind the decks, musical depth, and outright love for underground music resonates through his infectious dj sets and mixes.  Wesley’s current residencies with Flammable, Lost and Upper Left keep him both on the front edge of the underground and in front of some of the largest electronic music audiences in the NW.

RESIDENCIES:::
Sunday Nights @ Rebar for Flammable w/ Brian Lyons
https://www.facebook.com/profile.php?id=1194814530

Flammable Sundays
LOST @ the Monkey Loft
UpperLeft Events

*much love and thanks for your support <3

Chloé, french music producer

MGMT: 
brandon.ginsberg@redlightmanagement.com

BOOKING:
Mary Allen - mary.allen@unitedtalent.com

Rich with bold brass and hypnotic percussion, Polyrhythmics' latest album, Caldera, showcases the instrumental eight-piece's impossibly tight grooves and virtuosic musicianship as they tear through a singular blend of funk, soul, psychedelic rock, R&B, progressive jazz, and Afrobeat. Calling to mind everything from Antibalas and the Dap-Kings to The Meters and Fela Kuti, it's without a doubt their strongest work to date, merging the infectious power of their live show with a sleek and nuanced studio sophistication. 

Named for the smoldering crater left after a volcanic eruption, Caldera was written during a band retreat to rural Oregon, where Polyrhythmics embraced truly collaborative songwriting for the first time during a marathon session in the shadow of Mt. Hood (itself an active volcano). The resulting album is a blistering declaration from a band that's progressed beyond the sum of its influences to come fully into its own. From the downtempo, Afrobeat trance of "Stargazer" to the triumphantly anthemic, high-octane pump-up funk of "Marshmallow Man," Caldera is instrumental music at its best: emotional, evocative, mesmerizing. On "Cactus Blossoms," Polyrhythmics craft an eerie, retro gem straight out of a 70's film score, while the trippy effects and wah-wah guitar of "Goldie's Road" suggest a psychedelic journey (or perhaps a bad trip), and the shuffling "Vodka For My Goat" draws on Stax soul while hinting at BB King's merger of the blues and jazz. It's an eclectic collection, tied together by the melding of eight distinct musical voices coming together as a cohesive whole.

The record follows the Seattle band's stellar third album, Octagon, which earned them tour dates around the country along with plenty of critical acclaim. The Stranger dubbed Polyrhythmics a group to watch, hailing their "sophisticated slinkiness and expressive brassiness," while WNCW praised their "modern afro-psycho-beat blend," and the Seattle Times dubbed them "funk maestros." The band was invited to perform live on influential Seattle NPR station KEXP, shared bills with everyone from Snarky Puppy to Booker T, and played massive festival stages including Bumbershoot, High Sierra, and Vancouver International Jazz Fest.

Polyrhythmics are:
Ben Bloom: Guitars, Grant Schroff: Drums, Nathan Spicer: Keys. Lalo Bello: Percussion, Karl Olson: Percussion, Jason Gray: Bass, Scott Morning: Trumpet, Elijah Clark: Trombone, Art Brown: Sax and Flute

Firehouse Recordings NYC // [SELF:TIMER] // Pleasure Planet 
Bookings:  jo@klsbookings.com
Americas & Canada:  ryan@liaisonartists.com

Halley Shriber is following