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UID:4030abc2-071f-4166-9345-298865fdf052@findlocal.community
DTSTAMP:20261011T234029Z
DTSTART;TZID=America/New_York:20261201T190000
DTEND;TZID=America/New_York:20261201T210000
SUMMARY:Bonobo
DESCRIPTION:“Oh yeah\, I guess I did do some of that stuff\,” says Simon 
 Green\, as he reflects on his 25-year-plus career as the man behind the 
 music of Bonobo. It’s a typically self-effacing response from an artist 
 who has spent that time forging a path as one of the defining voices in 
 electronic music. A path that along the way has seen him release two Top
 -10 Albums (2017’s ‘Migration’ and 2022’s ‘Fragments\,’ which both lande
 d at #5 on the UK chart)\, plus numerous Gold and Silver certified singl
 es\, sell over 900\,000 records\, rack up billions of streams\, collabor
 ate with the likes of Erykah Badu and Damon Albarn\, and be both BRIT an
 d GRAMMY-nominated – the latter seven times\, with five in the dance/ele
 ctronic categories\, a record number of nominations shared with The Chem
 ical Brothers\, Skrillex and Madonna. His renowned live show – built aro
 und a full live-band\, guest vocalists and immersive visuals – has also 
 set the blueprint for how and where an electronic musician can translate
  their records into the live arena. He has performed to millions of peop
 le across the globe\, with sold-out shows at prestigious venues like the
  Sydney Opera House\, Alexandra Palace and Red Rocks Amphitheatre – in m
 any cases as one of the first electronic artists to do so – and the worl
 d’s biggest festival stages including Glastonbury\, Coachella\, Sonar an
 d Fuji Rock. His last tour also included both a co-headline of London’s 
 Field Day (alongside Aphex Twin)\, and a historic sold-out 5-night resid
 ency at the Royal Albert Hall\, which was the longest consecutive run th
 ere by a solo artist\, and the longest ever by an electronic musician. A
 longside this\, Green’s OUTLIER events and DJ sets have continued to pla
 ce him at the centre of contemporary dance music culture\, connecting wi
 th generations of club-going audiences in warehouses\, festivals and und
 erground venues alike. He has curated lineups in recent years that featu
 red the likes of Barry Can’t Swim\, Sofia Kourtesis\, salute\, Kelly Lee
  Owens\, Mall Grab\, DJ Tennis\, SG Lewis\, Carlita\, Elkka\, HAAi\, Joh
 n Talabot\, Paula Tape and many more\, with his 15\,000-capacity OUTLIER
  showcase at Drumsheds in London becoming the fastest-selling event of t
 he season\, and a sold-out “homecoming” OUTLIER show at the 10\,000 capa
 city On The Beach (Brighton) proving a highlight of the summer. “I want 
 to reinforce this idea that you can be more than one thing\,” Green expl
 ains. It’s that duality – of live artist and DJ\, introspective composer
  and club-focussed selector – that sits at the heart of latest album ‘Di
 stance in Static\,’ a record that is full of depth\, detail and emotion\
 ; both beautiful and banging\; quintessentially Bonobo\, yet pushing bey
 ond the contours of what a Bonobo album has traditionally been. Across t
 he record he collaborates with a typically striking cast of artists incl
 uding Arooj Aftab\, Joy Crookes\, Nilüfer Yanya\, Ichiko Aoba\, Nicole M
 iglis (Hundred Waters) and Aanya Martin. Lyrics appear in English\, Urdu
  and Japanese\, while historic Iranian samples and guzheng recordings si
 t alongside Green’s own meticulously processed instrumentation\, woven t
 ogether across recording sessions spanning LA\, Tokyo\, London and beyon
 d. A large portion of the record was created at Neil Young’s legendary B
 roken Arrow Ranch studio in Woodside\, California – an environment Green
  describes as deeply immersive and creatively transformative. “It’s quit
 e a mental place\,” he recalls. “There’s this picture of Crosby\, Stills
 \, Nash and Young all jamming there with their shirts off in their 20s\,
  and it’s like you see the picture and then you look over and there’s th
 e place and there’s the studio and there’s the tape machine. There’s som
 ething quite magical about it creatively.” Hidden among woods and rivers
 \, the sessions became almost monastic in nature: “I didn’t leave that p
 lace for two weeks straight. I didn’t go into town. I didn’t shave. It w
 as just very\, very focussed. I was just making soup and coffee and work
 ing. Building a little fire in the cabin. Hiking around in the woods in 
 the morning. Hanging out by the river. It was social isolation as well\,
  not really speaking to anyone. It was very meditative.” A pivotal track
  to emerge from these Ranch sessions was the enchanting “Fire on the Wat
 er”\, featuring Arooj Aftab\, who travelled down from her NYC base to re
 cord what became a breakthrough moment during the album’s creation. Evol
 ving\, almost accidentally\, from a rough acoustic guitar loop recorded 
 while Green was testing studio inputs one morning. On hearing it\, Aftab
  responded immediately\, layering vocals in Urdu – the lyrics inspired b
 y poetry from a close friend – to produce one of the record’s standout m
 oments. “When that song happened\, that’s when I could first see an albu
 m coming into shape\,” says Green. “We were both like\, ‘Oh\, this is re
 ally special’.” Elsewhere\, tracks like “Drift” and “Me and You” perfect
 ly encapsulate the album’s club-focussed leanings\, with both quickly em
 erging as firm fan favorites in Green’s recent DJ sets. The latter\, a “
 kitchen table banger” built originally on his laptop shortly after retur
 ning home from touring\, was borne from a desire to create something dri
 ven almost entirely by rhythm\, inspired by the kind of percussive sound
 s he’d been hearing in the club. “It was very joyful and it sort of popp
 ed out quite quickly in a couple of days\,” he explains. “I’ve been play
 ing it out ever since.” Other standout collaborations on the record incl
 ude the soulful intimacy of “Always on Your Side” with Joy Crookes\; the
  lo-fi instrumentation of “Youths Fountain” featuring Nilüfer Yanya – no
 table as a track that also features every musician involved in the forth
 coming live show\; and “Talk to Me” featuring Nicole Miglis (Hundred Wat
 ers)\, marking the first time Green has collaborated with a vocalist twi
 ce on his records\, and featuring a backstage recording of the pair harm
 onising during vocal warmups on the ‘Fragments’ tour. Elsewhere the albu
 m takes in delicate ballad “Equinoctial”\, featuring renowned Japanese a
 rtist Ichiko Aoba\, and “Can’t You See” featuring London-based vocalist 
 Aanya Martin. There are moments of emotional weight amongst the album’s 
 most club-driven tracks\, too\, with “Uncasually” named after the online
  handle of a close friend of Green who passed away last year\, honouring
  her through the kind of ecstatic dancefloor release she would have love
 d most. The title of the record – ‘Distance in Static’ – is perhaps also
  an appropriate indicator for where Green finds himself now\, evoking im
 ages of fuzzy transmissions and transient frequencies\; fragments of mem
 ory and meaning echoing back through more than two decades at the forefr
 ont of electronic music. He sees the traces of his own work reflected in
  a younger generation rediscovering 90s trip-hop\, downtempo and leftfie
 ld electronic music through a contemporary lens. “I think the front end 
 of what I’ve done has now become something that’s referential to younger
  people\,” he says. “I liked the idea of listening for a distant signal 
 — trying to find something in the noise\,” he continues\, and there’s a 
 sense throughout the record of searching for transcendence: music suspen
 ded somewhere between intimacy and scale\, the familiar and the unknown.
  The album’s visual world\, created alongside celebrated designer Trevor
  Jackson\, reflects this shift too. Moving away from the landscape-inspi
 red aesthetics of earlier Bonobo records\, ‘Distance in Static’ instead 
 draws on microscopic photography by renowned photomicrographer John I. K
 oivula\, creating crystalline alien worlds that feel simultaneously natu
 ral and otherworldly. Those themes will also run through the brand new l
 ive show\, designed in collaboration with Pierre Claude – renowned for h
 is work with Air\, Gesaffelstein\, Phoenix\, and Caroline Polachek – to 
 deliver another evolution in the Bonobo live experience. Buried within t
 he ‘Distance in Static’ universe\, there is also a sense that this recor
 d – and particularly the accompanying live tour – marks something quite 
 monumental\, too. It’s a moment of transition\, a celebration of Bonobo’
 s 25 years\, but also\, perhaps his last record in the traditional sense
 : complete with expansive guest features and a multi-year full live-band
  world tour. “It’s probably the last go-around the track in this format\
 ,” he admits. And on the future? “I don’t know what that will look like 
 just yet\, but it’s really about me redefining how to be a musician from
  here.” Whatever comes next\, one thing is for sure: ‘Distance in Static
 ’ is arguably Green’s finest record to date\; as ambitious and forward t
 hinking as ever\, and a reminder\, if ever one was needed\, of why Bonob
 o has remained such an influence on so many\, for so long.\n\nTickets: h
 ttps://www.ticketmaster.com/bonobo-distance-in-static-live-north-portlan
 d-maine-12-01-2026/event/010064F7C067C7D2\n\nhttps://findlocal.community
 /event/4030abc2-071f-4166-9345-298865fdf052
LOCATION:State Theatre\, 609 Congress St\, Portland\, ME 04101
URL:https://findlocal.community/event/4030abc2-071f-4166-9345-298865fdf05
 2
STATUS:CONFIRMED
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