OMFG! NYE - DAY 1 featuring Calvin Harris

Calvin Harris

"Favoring a naughty schoolboy look that makes him seem even younger than his already tender years (22 when his first major-label album was released), Scottish artist, producer, and remixer Calvin Harris has a similarly youthful and forward-looking approach to his music. Skipping the usual apprenticeship in the clubs or on indie labels, Harris went from posting his own D.I.Y. electroclash music online through MySpace and similar sites to signing with the multinational giant EMI almost in a single step.

Born on January 17, 1984, in the southern Scotland city of Dumfries, Harris was first attracted to electronic music in his teens and was recording bedroom demos by 1999. Two of these songs, "Da Bongos" and "Brighter Days," were released as a 12" club single and CD-EP by the Prima Facie label in early 2002 under the artist name Stouffer. With that single to his credit, the still teenaged Harris moved from Scotland to London, but as a very small fish in one of the world's largest and most competitive ponds, Harris floundered; only one of his songs was released during his time in London, "Let Me Know" with vocalist Ayah on the Unabombers' 2004 live-mix CD Electric Soul, Vol. 2.
Returning home to Dumfries, Harris began posting homemade solo recordings to his MySpace page. An A&R representative from EMI liked what he heard and signed Harris to the label in 2006. Following a pair of successful singles, Harris released his debut album, I Created Disco, in the summer of 2007. It featured two Top Ten hits ("Acceptable in the 80s" and "The Girls"), and climbed high in the album charts. Along with his work as a solo artist, which includes touring in front of a full live band, Harris quickly became an in-demand remixer -- working on singles by Jamiroquai, Groove Armada, All Saints, and CSS. He also wrote and produced songs for Kylie Minogue's 2007 comeback album, and collaborated with Dizzee Rascal on "Dance wiv Me," which reached number one in the U.K. "I'm Not Alone," the first single from his second album, also hit number one upon release in April 2009, as did the album (Ready for the Weekend) when it appeared in August." - Stewart Mason, AllMusicGuide


NERO have become a big name in both the Drum and Bass and Dubstep scenes, often fusing both styles of music in their DJ sets. They started with DnB, joining DJ SS's Formation Records in the Summer of 2004. Since then Dan and Joe's tracks have caused quite a stir, gaining huge support from DJs like Andy C, Grooverider and Friction, as well as radio airplay from Zane Lowe, Jo Whiley, Pete Tong, Annie Mac, Rob Da Bank, Steve Lamacq and Fabio & Grooverider, to name just a few.

In June 2006 Nero released their acclaimed EP, "Requiem EP" on Formation Records. The EP featured 4 top tracks, Requiem, Bitch I'm Gone, Autopsy and Bad For the Brain. High Contrast included Bitch I'm Gone in his mix for the legendary Fabric Live series, Fabric Live 25.

2009 saw Nero's first release on iconic label Breakbeat Kaos. The killer track 'Act Like You Know', backed with Sound in Motion and a dubstep edit of the title track, has been hitting dancefloors across the world for the last year and was picked up by Fresh and Adam F.

Onto Dubstep.... Nero's debut dubstep release, 'This Way', became one of the biggest dubstep tunes of 2008 and is still selling big units across the world. Since then, Nero's consistent releases have made them one of the most talked about acts in dubstep. Their remix of the Streets' tune 'Blinded by the Lights' was a massive radio hit as well as a dancefloor smasher played by DJ's from Chase and Status and Skream to Tiesto and Diplo. More recently Nero have remixed La Roux and Deadmau5 to devastating effect.

The boy's DJing career has also taken off this year, October saw an intensive gigging schedule which included supporting Deadmau5, Chase & Status and Zane Lowe on their UK tours.

They recently won the 2010 Beatport awards for best Dubstep Act and Best Dubstep Track for "Act Like You Know".

Nero are currently working on their debut album signed exclusively to Chase & Status' label MTA ... watch this space!

Jack Beats have a plan. That plan involves taking the very best, most spectacularly effective pieces from a vast array of different musical genres and blending them together into an irrepressible force that detonates on contact. When you lay it out like that it all seems quite simple really, doesn’t it?

“It’s all in the influences,” says Niall Dailly, the Scottish half of the band. “There’s always room for a drum n bass breakbeat, or an old rave riff, or a vintage house sample.”

“It might be a hip hop loop, some unlikely, twisted up dubstep bassline or a more minimal techno feel,” says the other half of the band, Ben Geffin. “All these ideas are fed into what we do in the studio. And suddenly…”

“Suddenly it sort of works!” laughs Niall. “We just love hybrid music. So now we’re making our own brand of hybrid music and shaking it all up a bit.”

Niall and Ben describe the release of their mini albums as a “summing up” of everything they’ve experienced to this point. “They’re a showcase of everything that we’ve got going on,” says Niall. “We’ve really got the bit between our teeth here. We’re always trying to be original and do something different. That’s the hip hop side of us; because in that culture, if you weren’t being original, if you were biting other people’s ideas, you’d be out of a job.”

Through their six singles and a string of monstrous remixes for the likes of Skream, Beyoncé, Aloe Blacc, Big Boi, Florence & The Machine and La Roux they have formed a relationship with an increasingly hungry audience.

“We’re in a world of our own,” Ben says. “We’ve always made music that’s quite forward-thinking and different. So much so that, sometimes, we’re not sure whether anyone else is even into it. There’s a bit of fortune-telling going on in what we do, but we both have patience, we never release anything until we know it’s absolutely right.”

For Niall and Ben the joy in music is in the idea and its execution. They’re relentlessly moving forward and they’re intent on bringing us all with them.

“There’s nothing more satisfying than when we’ve done something that we think might go over everyone’s heads and six months later everyone loves it! It gives you more confidence in the weirdness of your ideas…”

It’s that weirdness of ideas that has propelled Niall and Ben since they put out their first Jack Beats track in 2007. They’re both multiple award winning DJs; in a previous life Niall was DJ Plus One from Scratch Perverts while Ben was a founder member of The Mixologists. Serious turntablists, the pair inhabited a world where endless hours were spent practising scratch routines.

“But we would mainly talk about music, get drunk and go to clubs,” admits Ben. “It’s such a nerdy boys’ thing, it becomes your whole world.”

“I was going pretty insane by the time I finished,” laughs Niall. “I found that I wanted to be in my studio more than practising. After winning the DMC title in 2001 I decided to buy some kit and start making music.”

The pair ended up working together on a Dirty South hip-hop track called ‘Fame And Money’ and that is where Jack Beats really began. “I was a straight up raver at mid 90′s raves for years, and me and Niall both religously went to Movement in the jungle days,” says Ben. “We both used to go together to shit like Plastic People back in the early 2000′s with the beginnings of dubstep…sublow grime days with 100 peeps in there.” However, both were in to bass music too and began making it with the new sound emerging from producers like Dave Taylor AKA Switch.

Grime and dubstep and rave and bass music were all developing rapidly and Niall and Ben started to create their own music that drew on them all. Their ideas were honed in years spent DJing together in clubs, after-parties and raves and by 2007 they had forged a unique style that exploded with the release of their mix of AC Slater’s ‘Jack Got Jacked.’

It was the American crowd that initially picked-up on the guys, with US blogs going crazy for the unique style they heard on Jack Beats’ mix of Jack Got Jacked. “‘Jack Got Jacked’ was the first time we chopped everything all up and dropped straight into a huge bass line,” smiles Niall. “That sound became synonymous with us – that was how we do our shit.”

“That was when everyone turned their heads towards us,” says Ben. “And it got blogged about like crazy. And we did that tune in about two days, which is weird, because we take about two weeks on each tune now…”

The follow up, ‘Project Bassline,’ tore up the Miami Winter Dance Music Conference then the ‘U.F.O’ EP secured Jack Beats’ reputation, defining the fantastically multi-stranded sound that’s all over their music. Those early releases also drove a huge demand for their out of control DJ sets and ever since 2008 the pair have been touring the States with artists like A-Trak and Diplo. Their American status has led them to collaborating with Skrillex, 12th Planet and Example on tracks for the forthcoming Jack Beats mini albums.

Over the course of the two mini albums, recent single ‘End Of Love’ features a Leonard Cohen sample that the man himself approved, while Example appears sounding quite unlike he ever has done before on the track ‘War.’ Ben points to the brilliant ‘Revolution’ – taken from the second mini album – as a piece that embodies the sentiment of their music. “It has this hyperactive, hard electronic edge, but it’s really melodic. And it goes off!”

“For me it’s all about ‘Hooligans’,” says Niall. “That’s a big club tune with a wicked intro – we love a big intro! That’s a pure hands-in-the-air rave moment…”

The title track of the first mini album, ‘Careless,’ seems to be taking Jack Beats in another direction again.

“Definitely,” smiles Ben. “The music’s developing really quickly and it’s getting very hard. These days, wherever we’re playing in the world, kids just want it to slam. Wherever we play, whatever place we’re playing, it could be a club for 100 people or festival with 10,000 people, the tracks that get the biggest reactions are the ones that are just slamming. Pure bangers!”

“It’s exciting when music goes into a period like this,” Niall says. “It’s so different with so many new things happening and influences start to pan out in interesting ways.”

Ultimately, Jack Beats have got a mass of ambitions, the main one being to get their music to as many people as possible.

“If a year ago someone had said our music would come out on a major label across the world I’d have fallen over laughing,” says Niall. “We began life as an underground crew making tunes for Sunday night hardcore clubbers. Suddenly it gets to this level ands it’s shocking, but we’ve been around enough to know that we’re here on the merit of what we’ve done. We’re not trying to be something we’re not.”

And that is the key to Jack Beats, that’s why their plan works. They are making exactly the music they want to make and the world is coming to them.

“It’s exciting because we’re already way past where we thought we would ever get,” says Ben. “And we’ve got here by staying true to the people we’ve always been.”

“We’re still striving,” laughs Niall. “Still looking for the next goal to achieve.”

For more than 30 years the International Marine Mammal Project at Earth Island Institute has worked to make the oceans safe for dolphins and whales through habitat protection, sustainable fishing, halting commercial whaling and ending dolphin slaughters and whale and dolphin captivity worldwide. For more information:

They sing; they make people dance; they were born outstandingly beautiful, fashion forward icons. They are on everyone who knows lips. So who exactly are NERVO??
NERVO are Mim and Liv Nervo. They emerged as hit songwriters; Kesha to Kylie; Guetta & Rowland; Pussycat Dolls and more. They've remixed Katy Perry, 30 Seconds to Mars, Cobra Starship, topping club and sales charts worldwide ('The Way We See The World' charted at number 1 in the Beatport electro charts). Since landing a deal with Virgin America/Astralwerks as artists, they have been working on their debut album - where they not only write, produce but will step into the spotlight and perform. They are also fast emerging as the most sought-after DJ duo in dance music. A feisty tag-team, best known so far for their songwriting collaboration with David Guetta on his Grammy winning smash hit "When Love Takes Over" (performed by Kelly Rowland) - but not for much longer. NERVO are quickly becoming a force to be reckoned with on the club scene worldwide and are due to launch their first artist EP imminently. With William Morris Entertainment as their agency, these London based globe-trotting Australian-born twins are making serious waves on both shores of the Atlantic with their infectious blend of chunky, sexed-up electro-house. They embarked on their second bus-tour of USA in late June - supporting Britney Spears and Nicki Minaj on the Femme Fatale arena shows, launched a Las Vegas residency with the Wynn Group and then they hit the uber-cool Identity run, with the hottest talent on the electronic scene.
In counter-contrast with their feminine image - NERVO's style is bold, sassy, with in-your-face beats that beckon a dance floor to its knees. The sound is loud, dirty, which has won them respect from the most serious music lovers. They rocked Lolopolooza, Tokyo, and Sydney opened for in Ibiza, Afrojack and David Guetta, played alongside Pete Tong, Luciano, Sharam, Avicii - and dropped in on Richard Branson at Necker for a Halloween party with the Victoria Secrets models.

Kill The Noise

In a time when the internet and dancefloors around the world are saturated with all types of artists and performers, it's difficult for emerging names to carve out their own niche in the scene and have their sound heard by the masses. However, the dynamic production force known as Kill The Noise has done just that in the small amount of time since their introduction to the electro/house scene just before the turn of the new year.

Upon further inspection, the origin of this unique and refined sound is apparent. The project emerges from the same studio of NY-based avant garde drum & bass front runner Ewun, as well as the brand new, highly regarded mash-up/IDM project Ludachrist. The minds behind these projects are no strangers to the electronic music scene, having already traveled the globe in various other successful musical endeavors.

Tight production, creative, original, and innovative ideas begin to describe the sound Kill The Noise is known for. While some compositions growl with angry, distorted synth lines and glitchy sample edits, others lean towards the more playful, funkier side with addictive melodic hooks and lyrics, complimenting additional productions of the more techno-inspired realm of pumping side-chained beats and infectious rhythms.

This sound has resonated throughout the blogosphere and indie/ electronic dance communities, and has been embraced by both old and new generations of artists and enthusiasts. Commanding attention from its listeners, Kill The Noise has earned support from a diverse selection of notable players in the global electronic dance music community. Names such as Chromeo, Ocelot, Franki Chan of Iheartcomix, LA Riots, Scion Automotive Company, Treasure Fingers, Klever, Craze, Le Castle Vania, and Juxtapoz Magazine, just to name a few - not to mention the plethora of music blogs all over the world who have helped to spread the growing reputation of KTN. Whether it is an original composition or remix, the music stands out from the pack as something special to both the average and avid listeners.

2008 is already shaping up to be huge for Kill The Noise with a truckload of new material in the pipelines including various remixes and a debut EP of original material entitled 'KILL KILL KILL'. All in addition to a growling list of high-profile performances. Kill The Noise is on a mission to prove it's name to be true... Kill the noise, kill the production, kill the scene, and become the most influential production outfit on the block.

Audrey Napoleon

“While she may have only entered the realm of electronic music in 2010, L.A. dance music queen, Audrey Napoleon is already a well established DJ and producer. Having released her first track at the end of 2010, she’s a known force behind the decks, thanks to her LA residencies at Avalon nightclub and Music Box. In addition to her recent successes over the past year, her track ”#Mysunrise” serves as the soundtrack to a popular Heineken commercial that’s making the rounds in 28 countries and Napoleon herself appears in the advert as both the headlining DJ and the love interest. Fresh from her New Years Eve performance with Deadmau5 in NYC, Audrey dropped the first video in her series, “Banana Soda es Muy Loca”. Three more videos were released in this series, leading up to the release of her now hit single, ‘Poison’. “Music is a drug to me… When I perform I feel as if I’m transported into the crowd. I act like a maniac on stage.” Energetic talent and grace like hers are rare in any profession. Match it with a keen instinct for electronic music, edgy personal style and a playful personality to arrive at one of today’s most gifted new stars. AUDREY NAPOLEON is simply electric. AUDREY started out exploring progressive dance music then moved through many evolutions, including minimal, to arrive at her buoyant signature sound. She describes it as ‘underground pop’ and insists, “Nothing comes before my art and my music.” Audrey has now shared stages with an array of massive talent – Deadmau5, Avicii, Eric Prydz, Nero, Steve Aoki and many other notable names. To fully experience AUDREY’s production work, listen to her recently released 6 Song EP “Ornamental Egos”. AUDREY admits to not really paying attention to trends. “Especially in music, I’m in the studio trying to carve out my own way,” she explains. Her latest EP is a testament to this as the more mischievous, “Bitchy Queen” is placed next to the Latin infused “Carlos Martinez.” “I try and go with whatever feeling makes me happy. When I get goose bumps, I know the song is almost finished,” Napoleon says. Another smash track by Napoleon “Banana Soda es Muy Loca” is a playful adventure that caught the ear of Eric Prydz , who put his own twist on it and has been playing it at his shows all over the world. AUDREY has also recently released a remix package for ‘Poison’, where Jupiter Ace, Designer Drugs, and Taiki & Nulight put their own twist on this edgy track. Known for her queen-like aura and lively stage presence, Audrey Napoleon is a step above the rest will no doubt provide fans with a captivating performance. To add to this laundry list of accomplishments, AUDREY has recently launched a fashion line collaboration with London based designer ‘The Rodnik Band’. The line debuted at London Fashion Week this fall and has since caught the eyes of Vogue, BBC, and many others.”


The title “musical prodigy” is often reserved for a child or young person having extraordinary musical talent or ability – we call him Walden.

Cobra Starshipʼs smash hit “You Make Me Feel” (Fueled By Ramen/Decaydence), Zoe Badwiʼs “Accidents Happen” (Neon Records) and Rebecca & Fionaʼs “Luminary Ones” (Neon Records) each received the remix treatment before the now 18-year-old Sydney native John Walden was even old enough to enter the venues where his music was on high rotation, and as he swiftly gathers acclaim, it's no surprise that artists like Estelle, Marina and the Diamonds and Paper Crows are all lined up for mixes.

Walden's debut EP “Brightness” is a twisted blend of styles and sounds; the title track, best described as soaring piano-driven progressive house, received an unheard of double feature on Pete Tong's BBC Radio 1 show in the UK, drawing support from international heavyweights Afrojack, Ian Carey, Michael Woods, Morgan Page, Roger Sanchez, Tiesto and Tommy Trash to name a few.

But if it wasnʼt for a school field trip to Sydneyʼs Powerhouse technology museum, none of this might ever have happened. During the visit, Walden and his classmates were given a demo of the audio workstation software Acid Pro, and the 12-year-old was immediately hooked. Despite a complete lack of musical training, he got himself a copy of Acid Pro and began to experiment, using all the samples and loops he could get his hands on to start concocting tunes. This musical output varied wildly, veering from ambient one moment, to techno the next, and on to jazz the moment after that. But when he was 13, Walden discovered the Clubland compilation series, and his path into dance music was assured.

After brief flirtations with happy hardcore, hard trance and electro, his sound emerged - a dash of Avicii, a pinch of Deadmau5, and a heavy helping of Wolfgang Gartner, but more importantly that intangible thing that makes an artist stand out... originality. Waldenʼs sound most closely resembles, well, Walden.

Before long, Walden had created himself a profile on ReverbNation and within a couple of weeks, Big Beat Records, the dance label of music industry royalty Atlantic Records had discovered him and instantly snapped him up.

John Walden's journey is just beginning, and the futureʼs looking bright...

Jacob Plant

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