TomorrowWorld ’14 Makes Strong Showing at Atlanta Return

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After a successful American debut in 2013, ID&T’s TomorrowWorld returned to Georgia’s Chattahoochee Hills this past September 26-28 for a sophomore edition that managed to deliver even more than last year’s premiere.

Nestled in the woods approximately 30 minutes outside of Atlanta, TomorrowWorld’s expansive grounds offered more than seven stages of rotating themes and genres spread across three days of packed scheduling. With scenery that included oversized mushrooms, moving mechanical stages, and even human-sized candylands, TomorrowWorld provided the 21+ crowd the chance to experience a grown-up fantasy world soundtracked by dance music’s biggest artists. Here’s what DJ Times saw:


A search around the Georgia woods for the correct parking lot led to a late start on the first day, with the afternoon house of Oliver providing the inaugural grooves of the weekend over at the Mythical Frames stage. Shortly after, Kygo—who took Avicii’s slot after he pulled out due to health concerns—gave the Main Stage’s most laid-back performance, with tropical-fused R&B reworks of radio hits complementing the gorgeous sunset.

Zedd’s set on the Main Stage saw him go a bit harder than his usual pop-progressive edge, instead focusing on rowdy drops. He even managed to drop in an percussive-heavy electro edit of his collaboration with Ariana Grande “Breaking Free,” which went down much better than one would expect.

Friday night, however, definitely belonged to Bassnectar. Playing on the waterfront Mythical Frames stage, the low-end maestro drew a shoulder-to-shoulder crowd as far as the eye could see. The high-energy, bass-heavy set was a slam-dunk with the crowd, especially as it shined with a Southern trap gloss. The highlight: a mash-up of Bassnectar’s early cut “Witch Doctor 808” with “Bombs Over Baghdad” from Atlanta’s own Outkast, who was playing the first of its three-night hometown run just minutes away.


The festival’s second day was split primarily between the volcanic Main Stage—which measured over 400 feet wide and 100 feet tall—and the All Gone Pete Tong tent situated just a stone’s throw away.

The Main Stage’s lineup was predictably geared toward a big-room house sound, with Tomorrowland resident Yves V—who caught up with DJ Times last week ahead of his performance—playing a series of anthemic festival bombs to a surprisingly packed early afternoon crowd. Deorro’s set followed a similar trajectory, although an 11th hour appearance of his smash hit “Five Hours” set the entire crowd alight.

Great View: Tiesto’s on the volcanic Main Stage.

With Diplo having just finished a performance minutes before on the other side of the festival grounds, many attendees expected a Jack Ü appearance during Skrillex’s headlining performance on the Main Stage. Although those predictions didn’t come to fruition, Skrillex’s hit-heavy set was nothing short of a killer showing. “Make It Bun Dem” and his remix of “Wild For The Night” solidified their status as festival slayers, and reworked throwbacks—including The Beastie Boys’ “Intergalactic” and the Lion King theme “The Circle of Life”—went down with universal acclaim.

House fans of all types found a home in Pete Tong’s arena from the early evening onward. dirtybird head honcho Claude VonStroke kicked off an diverse series of genre stalwarts—including John Digweed, Jamie Jones, and Tong himself—with a raucous set of hip hop-tinged booty-tech that seemed to please any and everyone who walked by the stage. Tong’s set channeled the energy of a grimy London warehouse rave, although his deep mastery of genres took everyone on a two-hour journey that included everything from deep house to electro and progressive house. A one-two punch of Ten Walls’ Ibizan juggernaut “Walking With Elephants” into Hot Since 82’s new track “Womb” was a particularly glorious moment.

However, it was Jamie Jones’ headlining set in the tent that cemented itself as one of the best of the weekend. Taking to the decks at 11 PM, the Hot Creations cofounder immediately went to work with a relentless assault of party-ready tech-house. While the blaring basslines may not have made the mixing the star of the performance, the technical mastery Jones showcased behind the decks through his three-track setup and intricate sample work was more than impressive.


By the last day of any camping fest, it’s not uncommon to see the populace reduced to a shuffling mass of sleep-deprived ravers. Although the weekend of partying had a definite impact on the battle-worn attendees, there was no stopping their groove and dancing determination.

Ferry Corsten’s Full On stage moved from a round outdoor stage near the main stage to a nearby tent, shielding it from the noise pollution that seemed to plague it much of last year. Adrian Lux’s afternoon performance was a brilliantly paced set that turned out the crowd through a mix of progressive house and light trance. Andrew Rayel’s high-octane set later in the afternoon veered from electro to trance throughout, and the dance drama was eaten up by the enthralled crowd. Like last year, Corsten appeared for the last 15 minutes of each of the stage’s performances to play B2B, and the musical tango culminated with his own solo set that night.

Renaissance Man: Bassnectar packs out the Mythical Frames stage on Friday.

Over at the Main Stage, Carnage’s mix of big-room house and rap-flavored festival trap was full of crowd pleasers—no one could resist singing along to his edit of Backstreet Boys’ “I Want It That Way”—and even a guest appearance from hip-hop trio Migos for their collab “Bricks.”

Later on in the night, Dirtyphonics threw down a frenetic drum-n-bass set in the All Your Bass Are Belong To Us tent right before Borgore’s set next door at the Dim Mak vs. Smash The House stage. Borgore’s productions were expectedly heavy—and graphic—but he kept energy levels high by switching between electro house sections throughout. Those more inclined for a techno experience needed only to walk a short distance over to Minus Stage, with both Paco Osuna and Maceo Plex providing very fitting sounds for the forested stage.

All in all, it was a strong showing for any event’s second showing. A solid lineup, immaculate production, and an experience that isn’t comparable to many other festival offerings in the country all seem to point to continued success for ID&T’s premier American showing in the coming year.