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Nick van de Wall, who is known to the world as Afrojack, was born in Spijkenisse, Netherlands, and started his very successful DJ and producer career in the mid-1990s. He had been known for the underground material he was steadily putting out to the world, but he did not achieve a high level of international fame until the late 2000s. In 2011, he took over the club scene with the release of the single “Take Over Control”, which went Platinum in the United States. From there, he began his own label which he titled Wall Recordings, and hoped that it would become a popular platform for other electronic dance music artists to record and release their material. Due to the success of this single, he was able to gain a residency at the Las Vegas Wynn Hotel, the first DJ to ever get annual residency at that venue. As part of the deal, he was able to perform at many of the Wynn clubs, including Encore Beach Club and Tryst.

That same year, Afrojack was featured on the Pitbull and Ne-Yo collaboration single “Give Me Everything”, and he was also instrumental in the production of Beyonce’s “Run the World (Girls)” hit. In 2012, he released his own single “The Spark”, which peaked at #3 in Australia and charted as a top 10 hit in more than seven countries. He has since been named as one of the highest-earning DJs according to Forbes magazine, and finally released his debut album in the Spring of 2014, entitled Forget the World.

Afrojack contact information is available for you to look at. We have Afrojack manager information, along with his booking agents info as well. If you want the Afrojack’s email address for his management team, or booking agency, we have that available for you to view by signing up. You can find the Afrojack booking info and booking price here:

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Afrojack tour dates 2024

Afrojack is currently touring across 11 countries and has 29 upcoming concerts.

Their next tour date is at Unknown venue in Guatemala City, after that they'll be at Xs @ Wynn/encore Las Vegas in Las Vegas.

Currently touring across

• 🇬🇹 Guatemala
• 🇮🇩 Indonesia
• 🇳🇱 Netherlands

Upcoming concerts (29) See nearest concert

Empire Music Festival

Xs @ Wynn/encore Las Vegas

Encore Beach Club (EBC) at Night

E11EVEN Miami

S2O Festival Vietnam

7th Sunday Festival

DAER Dayclub South Florida

Ushuaïa Ibiza

Zomerspektakel Alphen aan de Rijn

S20 Hong Kong

XS Nightclub

Hollywood Palladium

Encore Beach Club, Wynn Las Vegas

Airbeat One Festival

Tomorrowland

MEDUSA FESTIVAL

Cavo Paradiso

Tomorrowland Brasil

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SunIce Festival

Ultra Music Festival

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Recent tour reviews

The showtimes were wrong saying it ended at midnight but the show it’s self was pretty good. Venue a little smaller than I expected but wasn’t too overcrowded. Nice crowd atmosphere though.

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Afrojack, real name Nick van de Wall is perhaps the Netherlands most well known export of EDM music. Nick has been active as a musician since the mid 90's yet only released his debut album in 2014.It is through his live shows and expert mixing ability that has allowed him to take his time and build a fan base before the album came.

Playing at some of the world's most prolific dance events over the past few years, his set at Creamfields was considered a turning point of his career as Van de Wall stepped up to the decks and brought one hell of a party that all others would be measured against. Skilled in the art of anticipation and atmosphere, Afrojack keeps his audience waiting in a sense of hushed frenzy before an all-consuming lights display illuminates the stage and the beats of 'Ten Feet Tall' begins.

The crowd dance, jump and sing along throughout the electric gig as Nick hypes his crowd before dropping in music by the likes of Alesso and Avicii. Afrojack doesn't simply stand behind the deck and drop tracks, he makes his show an experience for his audience.

Afrojack is definitely one of the top djs to watch, everytime I see him I am never disappointed. He always plays his new music but always takes it back to his older hits. You can also expect him to play any hits that are current. Afrojack always connects with the crowd asking us how are we feeling dancing with us and sending out good vibes. You will see everyone dancing whenver he djs.

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Night Club Royale

By Josh Eells

On the final Saturday night of 2012, Jesse Waits entered the Encore resort in Las Vegas and took a private elevator to the seventh floor, where a young d.j. named Afrojack was staying. Waits wore a black Tom Ford suit without a tie, and he was texting on two phones at once. Thirty-seven and handsome, with straw-colored hair, Waits is the managing partner of XS, a club on the Encore’s ground floor, which features a vast indoor dance space and an elevated open-air stage that looks out over a swimming pool surrounded by palm trees. According to the magazine Nightclub & Bar , XS is the top-grossing night club in the country, bringing in between several hundred thousand and a million dollars a night. The Encore’s owner, the casino magnate Steve Wynn, likes to joke that the club “has a perfect name.”

There are four dance clubs inside the Encore and its sister resort, the Wynn. According to an executive at the company, the clubs’ combined revenue last year was a hundred and eighty million dollars, which was more than the slot machines earned. (The Wynn’s press office disputed all figures related to salaries or revenue, but declined to provide accurate numbers.) “Half of Steve Wynn’s profit comes from the night clubs,” Andrew Sasson, a rival club owner, told me. “Gambling is an amenity now.”

The clubs achieved this success by championing electronic dance music, or E.D.M.—an unwieldy name for a sleek sound marked by propulsive kick drums, dopamine-rush synthesizers, and soaring vocals. E.D.M. songs are often punctuated by a “drop,” in which a steady beat abruptly shifts gears, jolting listeners into a state of joyful delirium. At a time when the music industry seems increasingly anemic, E.D.M. is one of the few robust genres around; it has influenced Lady Gaga and the Black Eyed Peas, and has made celebrities of several skinny young Swedes.

Teen-age fans seek out E.D.M. online, or at festivals such as Electric Daisy Carnival, which is held in Las Vegas each June. But listeners of legal drinking age often prefer to experience the music at a club like XS, where gold-plated molds of female torsos hang over the bar. Customers pay from five thousand to twenty-five thousand dollars to reserve one of the banquette tables near the dance floor, which are stocked with Belvedere vodka and Perrier-Jouët champagne, along with silver ice buckets, carafes of orange juice and cranberry juice, and glass tumblers stacked in small ziggurats. After gambling revenues decreased during the financial crash, night clubs like XS became increasingly vital to the Las Vegas economy. Resorts bid millions of dollars to secure exclusive contracts with d.j.s, whose faces adorn billboards on the Strip next to those for Cirque du Soleil and Celine Dion. “Las Vegas goes through cycles,” Waits told me. “And, right now, if you don’t have d.j.s, you’re not relevant.”

Last year, on the annual power list compiled by the magazine DJ , seven of the top ten d.j.s were under contract with Wynn Resorts. They included Tiësto, of the Netherlands, who was, according to Forbes , the top-grossing d.j. of 2012; David Guetta, of France, who has sold more than eight million albums worldwide; Skrillex, a six-time Grammy winner from Los Angeles; and Deadmau5, a Canadian who performs in an oversized, L.E.D.-covered mouse helmet.

Waits employs forty-one headlining d.j.s, and maintaining friendships with them is part of his job. He is especially close to Afrojack. When the d.j. is in town, they often go to a gun range together, or barbecue on Waits’s back porch. “I’m like his big brother,” Waits said.

Upstairs, Waits knocked on the door of the suite, and Afrojack, wearing Louis Vuitton sweatpants, a Louis Vuitton T-shirt, and black athletic socks, greeted him with a hug. Afrojack, who is twenty-six, was born Nick van de Wall, in a suburb of Rotterdam. He is six feet nine and stocky, with a sculpted goatee and a wide smile. Both his size and his demeanor suggest a friendly cartoon bear.

Before Afrojack was widely known, Waits saw him perform. “I know this music,” Waits said. “I know what’s good. He wasn’t as melodic as some of the other d.j.s. He had this unique sound that was a little harder, a little more like hip-hop.” Waits was confident that it was a sound he could sell. “And I liked his personality, his brand. He’s this gigantic guy with all this energy, kind of like a big kid.”

In 2010, Afrojack became the first d.j. to sign an exclusive contract with the Wynn. The resort invested in Afrojack the way a record label might have, spending millions of dollars to boost his profile. His fame, in turn, helped to draw more—and wealthier—patrons to Wynn’s clubs. Because new tourists constantly arrive in Las Vegas, Afrojack can perform there dozens of times a year and sell out every time. Since signing with the Wynn, Afrojack has collaborated with Usher and Chris Brown, and produced a No. 1 single for Pitbull. He became known to the tabloids when he briefly dated Paris Hilton. Another girlfriend, with whom he has since broken up, is the mother of his eighteen-month-old daughter, Vegas.

“How’s it looking tonight?” Afrojack said. D.j.s often ask Waits this question, and he always gives a similar answer.

“It’s good,” he said. “Tickets are sold out. Tables looking good.”

Afrojack asked Waits if he was enjoying his new Ferrari. Waits blushed. He came to the night-life industry after volunteering for a conservation group and working as a snowboarding instructor, and he seems ambivalent about living ostentatiously. Afrojack has no such reservations. He told Waits that he, too, had recently bought a Ferrari, as well as a Mercedes and three Audis, one of which he’d given to his mother. “There’s nothing cooler than buying your mom a nice car,” he said, beaming. “She’s happy as a motherfucker.”

Waits was determined to keep Afrojack and his mother happy. In a few months, two new dance clubs were scheduled to open on the Strip: one at Mandalay Bay, called Light, and one at the MGM Grand, called Hakkasan. Both were trying to lure d.j.s away from the Wynn. It was as if Waits had won the World Series three years in a row, and now two expansion teams were trying to poach his free agents. “We can’t afford to keep everybody,” Waits admitted. The d.j. market was entering a bubble. Skrillex had been earning fifty thousand dollars a show. “Now he’s worth five times that,” Waits said.

Shortly before 1 A.M. , Afrojack put on sneakers and headed to Tryst, a club in the Wynn Las Vegas, which is adjacent to the Encore. He slipped through the kitchen, “Goodfellas” style, and entered the club by a side door, trailing a bouncer named Big Rob, who led with his sternum as he plowed through the crowd. Afrojack stepped into the d.j. booth, and a giant projection of his face materialized behind him, rippling against Tryst’s signature ninety-foot waterfall.

Like most E.D.M. d.j.s, Afrojack both creates his own tracks and spins hits by other artists. He spent the next two hours standing before a laptop and a mixing board, punctuating musical climaxes with karate chops and fist pumps. Waits, who rarely drinks, watched from the side of the stage, sipping a bottle of San Pellegrino.

When Afrojack played his most popular song, “Take Over Control,” a column of waitresses appeared, carrying a thirty-litre bottle of Armand de Brignac champagne that a customer had just bought for a hundred thousand dollars. Then came the drop—a march-like snare buildup replaced by a four-on-the-floor kick-drum beat—and Afrojack raised his arms in triumph. The crowd roared, climbing on couches and taking videos with their cell phones. The Wynn clubs were made for such moments: alcohol flowed, if not freely; the room was packed with beautiful people, most of whom had waited for hours, or had paid exorbitant amounts of money to avoid doing so. Being on the inside, a few feet from a celebrity d.j., felt like a victory.

Around 3 A.M. , a pair of confetti cannons went off, showering the club with red, green, silver, and gold ribbons. Two of the green ones landed on a lamp and began to melt, their edges curling like wilted spinach. A few others fluttered onto Waits, who brushed them off the shoulders of his suit jacket. A club employee appeared, carrying a portable air compressor. As the floor vibrated with each bass note, he knelt by Waits and shot out a stream of air, cleaning the ground around his shoes.

One afternoon a few weeks earlier, the country star Shania Twain rode up Las Vegas Boulevard on a black stallion named Molesso. While Twain’s song “Man! I Feel Like a Woman” played over a loudspeaker, the horse trotted past Jimmy Buffett’s Margaritaville and onto a red carpet in front of the fountains at Caesars Palace. Twain dismounted and accepted a bouquet of white roses from the casino’s president. The stunt, promoting Twain’s upcoming residency at Caesars, recalled Frank Sinatra’s arrival at the grand opening of the Dunes, in 1955, atop a Bactrian camel. Sinatra had worn a turban and an embroidered robe; Twain, in black leather pants and boots, went hatless.

Twain was scheduled to perform sixty times in two years. During the shows, she would enter on a flying motorcycle, and perfumes from Twain’s line of fragrances would be pumped into the auditorium. Molesso, and a white Andalusian horse named El Alcazár, would also have roles. In addition to Twain, Caesars Palace hosts Rod Stewart and Elton John; Britney Spears recently announced a two-year residency at Planet Hollywood. These are the spectacles that Las Vegas does best—and the kinds of high-overhead production that clubs like XS are helping to make obsolete.

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“Those shows have just gotten killed ,” Sean Christie, another Wynn club manager, told me. He said that Vegas resorts often treat big shows as loss leaders, to entice customers into the casinos. The Colosseum at Caesars Palace has forty-three hundred seats. “If we did forty-three hundred people at XS on a Saturday, we’d be out of business,” Christie said. On a typical Saturday night, the club draws between six thousand and eight thousand people. The Wynn’s four night clubs average a profit of fifty per cent.

When I met with Christie at his office, he and ten of his employees were preparing to greet the d.j. Diplo—it was his birthday, and they needed a cake. Christie and Waits scour live shows and Web sites for new talent, and they pride themselves on being able to spot stars early. “We take chances on a lot of guys,” Waits told me. “We bet on the right people, and we lock them in.”

In Christie’s office, two dry-erase boards had been turned into a wall-size calendar. The square for each day contained two numbers: the first, in red, was the d.j.’s fee for the night; the second, in black, was the club’s expected take. To determine how much the Wynn could pay a d.j. and still turn a profit, Christie and Waits used a formula that included everything from the number of a d.j.’s Instagram followers to the weather forecast. Still, Vegas being Vegas, luck is a factor. In August, 2011, a young Scottish d.j. named Calvin Harris, who at that time was popular in Britain but little known in America, signed a twelve-month deal with the Wynn, for forty thousand dollars per show. A month later, Harris released “We Found Love,” a collaboration with Rihanna, which became the No. 1 single in America for ten weeks. Soon, the Wynn was making nearly a million dollars each time Harris performed, while still paying him forty thousand.

A maxim in Vegas goes that the person who invented gambling was smart, but the person who invented chips was a genius. The same could be said of night clubs and bottle service. Last year, XS earned more than eighty per cent of its revenue from alcohol sales. A bottle of Grey Goose that wholesales for forty-five dollars costs more than six hundred in the club—a markup of more than a thousand per cent. The biggest customers often spend half a million dollars on drinks in a night. Because the clubs are often full, the extravagance of the bar tabs distinguishes a great night from a good one. “It’s a whole new metric,” will.i.am, the leader of the Black Eyed Peas, who also d.j.s at the Wynn, told me. “What makes a hit in pop music is how many times a song gets played on the radio. A hit in d.j.-land is how much alcohol is bought.”

Originally, a “disk jockey” spun records on the radio or at a club. In the seventies, d.j.s began remixing popular songs; eventually, many started producing their own tracks. These days, d.j.s promote themselves on Soundcloud, and use club gigs to spin their own songs alongside radio hits. “You put your music on the Internet for free, and promoters fly you out to d.j. and pay you three million bucks a year,” will.i.am said.

On a Saturday afternoon in January, an S.U.V. delivered Afrojack from a house he was renting in West Hollywood to a private airstrip near Los Angeles International Airport. His pilot for the day, a genial Finn named Beku, escorted him onto the runway, where a six-seat British Aerospace 124 was waiting. Afrojack was headed to Las Vegas for two nights. The forty-five-minute flight was going to cost him five thousand dollars, plus a five-hundred-dollar cleaning fee for smoking on board. “I could fly commercial and make twenty-five per cent more money,” he said. “But then I wouldn’t sleep, and I wouldn’t be comfortable.”

The plane took off shortly before dusk. One of Afrojack’s tour managers, Sujit Kundu, was on the flight, as was Antony Preston, a songwriter who often works with will.i.am. Afrojack was making an album that would contain both instrumental club tracks and radio-friendly songs with vocals. He had already spent time in the studio with Rihanna, Snoop Lion, and the producer Dr. Luke; now he wanted Preston’s help with some of the hooks.

Afrojack spent a few minutes watching the sun set. Then he lit a Marlboro, opened his MacBook, and cued up a slow-building track with swirling, dreamy synthesizers. A female voice sang, “Don’t wake me up.”

Across the aisle, Preston shook his head. “Chris Brown just did that,” he said. Brown had recently released a song with the Italian d.j. Benny Benassi, called “Don’t Wake Me Up.”

“But I made this before Chris Brown!” Afrojack protested.

“It doesn’t matter,” Preston said. Afrojack could keep the music, but he couldn’t use the lyrics “for, like, four years, at least.”

The next track was darker, more urgent, with another imperative hook: “Don’t blink.” “That’s good,” Preston said. “But you need to change it to ‘Don’t sleep.’ People who don’t speak English don’t know what ‘blink’ means, but everybody in the world knows ‘sleep.’ ”

The third track was a piano-heavy instrumental in need of a vocal. Preston teased out a melody: “I’m a lighthouse,” he sang. “I’ll guide you back.” He tried a few variations, then settled on one. Afrojack liked the vocal line, but he wasn’t sure about the song’s structure. “It’s a thirty-second verse, a thirty-second pre-chorus, and a thirty-second chorus,” he said. “Is that right for a radio song?”

“You don’t go by time,” Preston said. “You go by bars.”

Afrojack cocked his head. “What’s ‘bars’?”

Outside the window, the Luxor hotel’s pyramid came into view. “Vegas!” Afrojack said. The plane descended near the Strip, flying over a billboard featuring Afrojack’s face. Next to it was a billboard for Hakkasan, one of the rival clubs.

A few months earlier, Hakkasan had sent personalized pitch books to the Wynn d.j.s it wanted to poach: Tiësto, Calvin Harris, Deadmau5, and Afrojack. The books described the perks that a Hakkasan residency would offer, including a chauffeured Maybach limousine, access to a fleet of private jets, and a two-story SkyLoft suite with a butler. Hakkasan was also offering more money. At the Wynn, Afrojack earned a hundred and fifty thousand dollars a night. He said that Hakkasan promised him two hundred and fifty thousand, and more shows. Still, he was struggling with the decision. “I’ve had some legendary nights at XS,” he said. “And I feel like, if I’m loyal now, maybe if I go through a tough time they’ll be loyal to me.”

Afrojack arrived at the Encore and checked into his favorite suite. “Every time I’m here, it feels like I’m in my house,” he said. With six hours until showtime, he took off his shoes, bought “The Dark Knight Rises” on pay-per-view, and ordered room service: nachos with ground beef and a Diet Coke. “The nachos here are the best,” he said. “I don’t eat them anywhere else.”

Afrojack was an introverted child who excelled at math and took apart computers for fun. He lived with his mother, Debby, who was an aerobics teacher, and they had little money. “If we went to McDonald’s, it was a good month,” he said. He drew anime-style comics, and learned English from Eminem albums and “The Bold and the Beautiful.” In school, he was nicknamed Afro because of his hair—his mother is white, and his father, whom he has never met, is black. House music, the precursor of E.D.M., was born in the seventies in the gay and black night clubs of Chicago, but today the vast majority of dance-music fans are white. With the exception of Afrojack and a few others, the élite E.D.M. d.j.s are all white and male.

When Afrojack started going to clubs in Rotterdam, his shyness disappeared. “For an insecure person, it’s the best place to be,” he said. “You can’t see shit, you can’t hear shit—you’re there for the music.” Now, he tries to bring the same joy to others. “I feel personally responsible for the night being great,” he said. “I’m not just trying to make a d.j. set. I’m trying to make a party.”

He has produced dance music for more than a decade, and says that he would do it even if it weren’t his job. But these days when he writes a song his ambition is to create a hit. “I know what people like, and I give it to them,” he said. Although he has no formal training, and cannot read music, he has an intuitive talent for assembling the parts of a song so that they deliver the maximum impact. To illustrate, he played a song called “Beyond,” from the latest album by the French duo Daft Punk. “It’s cool,” Afrojack said. “But where’s the hook? Where’s the drop?” Then he played one of his own unreleased songs. “Sonically, it’s not half as genius as Daft Punk,” he said. “But the kids are gonna love it, because it has all the elements they love.”

Just after midnight, Waits stopped by to visit. “How’s it looking?” Afrojack asked him.

“It’s sold out,” Waits said. “It’s slammed.”

Kundu, Afrojack’s tour manager, laughed. “We go through this every time!”

Afrojack took out his laptop and went back to work. He makes his songs using a program called FL Studio, which he has stocked with a library of more than two hundred thousand samples, from synthesizer whooshes to snare hits. Lately, he’d been working on a track with a thick, fuzzy bass riff. On his screen, the song, which he called “Rock Star,” appeared as a series of red and green horizontal bars. Zooming in on a segment representing six seconds of bass, he equalized and compressed the sound to get the timbre he wanted. The song’s tempo was a hundred and twenty-eight beats per minute—faster than a traditional pop song, but standard for E.D.M.—and as he worked his knees bounced in double time. He absent-mindedly lit several cigarettes, ashing them into a glass of Diet Coke. Nearly an hour later, after replaying the six-second chunk hundreds of times, he took off his headphones. “Got it,” he said. He transferred the song to a thumb drive that held two hundred of his own songs, as well as a thousand tracks by other artists, and slipped the drive into the front pocket of his jeans.

A few minutes later, Afrojack was onstage at XS. He put on his headphones and inserted the drive into a device called a C.D.J., a pseudo-turntable that allows him to mix digital files the way d.j.s once manipulated vinyl records. He played for a few hours, taking occasional swigs from a bottle of vodka. When “Rock Star” came on, the crowd—mostly well-dressed Angelenos in their early to mid-twenties—cheered more loudly than it had all night.

At 4 A.M. , Afrojack left the stage, dropped his shoes off in his room, and headed to an after-party in the suite of a friend, the French d.j. Cedric Gervais, who had performed at a different Wynn club that night. A few members of the Denver Broncos were there, and a young cosmetology student in black short shorts went around offering small white tablets of MDMA, or Molly, the drug of choice for many clubgoers. (Gervais denies throwing a party.)

Afrojack stayed until five-thirty. “For the record, that was not my after-party,” he said, on the way back to his room. “I don’t do drugs. I don’t do anything!” He slipped his key card in the door, but the light flashed red. He tried it again. “It’s not working,” he said, groaning. He went to get a new key, padding to the lobby in his socks.

One of the opening d.j.s at XS is a round, bald man who performs under the name Warren Peace. He plays most nights before the main act, from eleven to one, and for another hour after the headliner leaves. Peace, who learned to spin on vinyl, prides himself on his virtuosity. Afrojack calls him “the best resident d.j. in the world.” Still, he is an employee of the club, like a cocktail waitress or a security guard, and his modest salary reflects that.

One morning, I met Peace for a buffet breakfast at the Wynn. He had ridden his bicycle to the hotel, as he did most days, and that afternoon he was driving his children to a swim meet. Peace began d.j.ing at the radio station of the University of Nevada, Las Vegas, in 1988, and he had watched the local dance scene evolve from desert parties and warehouse raves to a well-regulated leisure industry.

For decades, there were no dance clubs on the Strip; the big resorts worried that clubs would distract customers from gambling. In 1995, the Rio added a club, and soon other resorts did, too. Most of them played an “open format” of hip-hop, Top Forty, Michael Jackson, and classic rock. Prominent dance d.j.s performed occasionally, but none established a residency until 2008, when the British trance producer Paul Oakenfold started a weekly gig at the Palms. XS opened the next year, and by the time Afrojack signed his contract, in 2010, the Wynn clubs featured E.D.M. five nights a week.

I went with Peace one night to see Tiësto perform at XS. The line to get in was as long as a football field; inside, there was barely enough room to walk, much less dance. There was surprisingly little dancing going on. (“They shouldn’t even call it dance music,” will.i.am told me. “They should call it look-at-the-d.j.-and-get-drunk music.”)

At 1:18 A.M. , Tiësto appeared, wearing his own brand of headphones and a butterscotch leather jacket. He took a shot of Jägermeister, stepped into the booth, and played “Can’t Stop Me,” by Afrojack. Near the lip of the stage, a young woman in stilettos started dancing on the arm of a couch, and a busboy motioned for her to get down.

“I won’t fall!” the woman told him.

“You’ll fall,” he said.

She danced for fifteen more seconds, then fell.

Tiësto’s set was a jukebox of familiar dance music: Calvin Harris, Swedish House Mafia, Chris Brown’s “Don’t Wake Me Up.” At one point, Tiësto high-fived a friend while chugging a pint of Heineken. Later, in search of a rest room, he left the stage for four minutes. The crowd did not seem to care.

“These guys can be on autopilot every night, if they want,” Peace yelled into my ear. He had seen some headliners perform the same set two nights in a row. Some of the most famous d.j.s, he explained, are better at making songs than at mixing them. “The guy who designed the Camaro can’t necessarily drive it,” he said. Still, it was the middle of winter, and several girls in minidresses were splashing around, barefoot, in the shallow end of the pool. “I can’t do that,” Peace said.

Afrojack told me that Peace’s talent at mixing wasn’t enough: “As long as you don’t have your own songs, you don’t stand out.” Peace recognized this. He had recently bought a copy of FL Studio, and he had been tinkering with the software backstage during the headliners’ sets. He was looking forward to an upcoming Australian tour, when he would have more time to learn. “I’m going to really get into it,” he said.

At 4:14 A.M. , Tiësto unplugged his headphones and thanked the crowd. Peace entered the booth. “Everybody make some noise for Tiësto!” he said. He cued up his first song, and the crowd began shuffling out.

In January, the Wynn announced its d.j. lineup for 2013. Calvin Harris, Tiësto, and Deadmau5 were all decamping for Hakkasan, and Skrillex had signed a contract with Light. Waits said that, despite his years of building relationships, it had all come down to money: Hakkasan would pay Calvin Harris roughly three hundred thousand dollars per show; Deadmau5 would earn even more. (Neil Moffitt, the C.E.O. of Hakkasan, declined to discuss specific figures, except to say that Waits’s numbers were “bullshit.”)

Hakkasan, Ltd., is controlled by Sheikh Mansour bin Zayed al Nahyan, a prince in Abu Dhabi’s royal family. To non-Emiratis, Sheikh Mansour is best known as the majority owner of Manchester City Football Club. For decades, Manchester City had been overshadowed by its local rival, Manchester United. When Mansour bought the team, five years ago, he spent nearly six hundred million dollars buying up talent from around the world; in 2012, the club won its first Premier League title in forty-four years. Mansour evidently wants to repeat this formula with d.j.s. So far, he has spent more than a hundred million dollars on Hakkasan Las Vegas.

Afrojack had been tempted by Hakkasan’s offer, but he had decided to stay. He worried about the club’s long-term profitability. Besides, he had been happiest when he was a teen-ager d.j.ing on Crete, earning just enough to pay his rent. “I have no idea what I’m supposed to do with all this money,” he said.

Christie and Waits were doing their best to stay optimistic. “We feel like we signed some pretty big free agents ourselves,” Christie said, referring to the Wynn’s two dozen new acts. Most of them were relatively unknown, but Christie was confident that at least some of his bets would pay off. “And, if we’re wrong, there’s always next year,” he said.

At the beginning of April, Afrojack flew from New York to Las Vegas to perform at XS’s fourth-anniversary show. He had hired a ten-seat Gulfstream G-IV, at a cost of thirty-eight thousand dollars. It was the latest splurge in a splurge-heavy few months: in February, he had bought another new Ferrari, which he totalled after forty-five minutes, when he hit an oil slick; in March, he’d rented an eighty-foot yacht in Miami to throw a first-birthday party for his daughter. He was glad to have the time with her. “She’s starting to miss me a little more,” he said. “Every time I don’t see her for a couple weeks, I feel guilty.” He realizes that his life style is outlandish. Still, he said, “If someone gives you a whole bunch of ice cream, what are you going to do, put it in the refrigerator? No. You’re going to fucking eat the ice cream.”

On the plane, Afrojack watched the Manhattan skyline recede. “That’s what I love about these planes,” he said. “Big windows.” On the door to the cockpit was a sign that read, “Do Not Push—Slide.” He pondered it. “That’s actually a really deep life message,” he said.

The plane was forty thousand feet over western Indiana when he decided that he wanted to make a new track. He began with a brisk four-four beat and a repeating keyboard phrase that sounded like a theme from a video game. He added string flourishes, whistle sounds, and a shrill, buzzy tone that recalled a fax machine. By the time the plane had entered Nebraska airspace, the song was more or less finished. He lit a cigarette and spent the remainder of the flight playing Final Fantasy X. Eventually, the Strip came into view. “Home, sweet home,” he said.

During the next four months, Afrojack performed in Spain, Croatia, Malta, and Greece, and he played at the Wynn’s clubs twelve times. Since Hakkasan opened, in April, Waits and Christie have leaned more heavily on their marquee acts. For the first time, they have also paid independent promoters to deliver high rollers to their clubs. Over all, summer attendance at the Wynn was down by five per cent. Still, when David Guetta performed at XS on Labor Day weekend, he drew more than ten thousand customers, the club’s all-time record.

The promoters at the Wynn acknowledge that the d.j. bubble will pop. “It may not last longer than next year,” Waits said. In the meantime, the resort plans to wring as much profit from E.D.M. as possible. Waits has made overtures to several top d.j.s for 2014—including some of the ones who left last year, such as Deadmau5 and Skrillex—and the resort is diversifying beyond dance clubs. A restaurant called Andrea’s, which is named for Steve Wynn’s wife, opened in December. It combines Asian-fusion cuisine with an E.D.M. soundtrack selected by a dance d.j. billed as a “musical chef.” The lighting is dim, and Andrea Wynn’s eyes are projected onto an L.E.D. screen behind the bar—a glowing update of the optometrist’s billboard in “The Great Gatsby.” The music is played at a volume that makes conversation difficult. The Wynn calls it “vibe dining.” ♦

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AFROJACK Signs With Moe Shalizi & The Shalizi Group for Management

The Grammy-winning artist joins a roster that includes Marshmello and Alesso.

By Katie Bain

Dutch producer AFROJACK has signed with Moe Shalizi and The Shalizi Group for management.

The Grammy-winning electronic artist joins a stacked dance roster that includes Alesso , Jauz and Marshmello , witih Shalizi guiding the career of the latter artist from unknown producer to global brand .

Friday Dance Music Guide: The Week's Best New Tracks From Jamie xx & Honey Dijon, DJ Snake & Peso…

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The producer’s shift in management follows his 2022 signing with UMG’s Virgin Records Germany and Universal Music Netherlands under a partnership that encompasses the producer’s longstanding label Wall Recordings. This past May, construction completed on the new WALL Recordings headquarters, a compound in the Belgian countryside featuring multiple studios, sleeping and office spaces and content creation areas.

Working with artists across the dance and hip-hop spaces, The Shalizi Group specializes in gaming, television, technology, consumer goods, fashion and digital marketing.

“We are very excited to be working with Nick and look forward to the future,” Shalizi tells Billboard .

This summer and fall AFROJACK is on the lineups for events including this weekend’s Ultra Europe in Croatia, Tomorrowland in Belgium, Lollapalooza and EDC Orlando.

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As one of the most innovative and sought-after artists, Grammy Award-winning producer and DJ AFROJACK, continues to shatter boundaries and push music in bold new directions. Since making his breakthrough with the multi-platinum-selling single ‘Take Over Control’, the Dutch-born musician has lent his production skills to tracks that bend genres and lay the foundation for major hits for artists such as Beyoncé, Pitbull, Will.i.am and more. In the last few years, AFROJACK was named one of the 50 Most Important People in EDM by Rolling Stone, placed on the Forbes ‘30 Under 30’ music list, received a stamp in his likeness in the Netherlands, became the second DJ ever to cement his hands into the Hollywood Walk of Fame, and performed during the interval act of the Grand Final of the Eurovision Song Contest 2021. It was for the first time a DJ was invited to perform during the interval act in the Grand Final. In 2010, he was one of the first DJ’s to secure a Las Vegas residency and now twelve years later he continues to entertain global audiences as a headlining resident artist on The Strip. AFROJACK continuously travels the world headlining and performing at the biggest clubs/festivals, alongside  producing new music with his label Wall Recordings.

2020 saw AFROJACK add more popular tracks to his impressive repertoire with ‘All Night’, featuring Ally Brooke, which hit number 1 on the US dance radio chart after garnering over 30 million streams. In 2021 AFROJACK added the world wide hit ‘HERO’ to his already impressive repertoire, a collaboration with David Guetta. The song, co-written by Ellie Goulding, Stargate, Ryan Tedder and Jamie Scott, has a relevant message, especially during the year that was dominated by COVID-19: there is a hero in everyone. The song became another number 1 hit on the US dance radio chart which has reached 50 million streams to date. Recently, ‘HERO’ got nominated for a Grammy Award 2022 in the category Best Dance/Electronic Recording. After this huge success, fans over the world have eagerly anticipated the arrival of his next big single ‘Anywhere With You’ which was released in 2021.

Off the back of a hugely successful stint headlining at OMNIA nightclub in Las Vegas, AFROJACK then announced his residency with the Wynn Hotel group’s luxurious venues including XS, Intrigue, and Encore Beach Club. This announcement marked his return to the hotel group where he revolutionized electronic dance music. Prior to the COVID-19 pandemic, he was awarded a coveted residency at Hakkasan nightclub of MGM Grand where he was set to perform throughout the year.

‘There’s always so much inspiring me, there’s no reason for me to ever stop making music,’ says Nick van de Wall, the 33-year-old artist behind the AFROJACK moniker. ‘It’s this endless process of thinking about what I want to create next, and the only thing I have to do from there is execute.’

AFROJACK discovered his passion for music as a kid in Spijkenisse (a small town outside Rotterdam), where he was raised by a single mom who worked as an aerobics instructor. Having dabbled in music-making in experimenting on the organ at his grandparents’ house, he had a creative awakening at the age of 15 upon checking out a club and hearing house music for the first time. ‘That changed my whole vision of life,’ van de Wall says. ‘To be in a room with 5,000 people and everyone’s dancing and experiencing this new music—it was amazing to me how everyone could get along like that.’ 

Van de Wall began producing electronic music on his own and discovered a talent at crafting hard-hitting arrangements. He dropped out of Rotterdam Art Academy at 17 to push forward with his music, fusing edgier sensibilities with a powerfully melodic, beat-driven sound. After returning from a summer job DJ-ing at a club in Greece, van de Wall continued producing and—in late 2006—released ‘In Your Face’, a track that fast climbed the dance charts in his homeland. Taking on the name ‘AFROJACK’ (a reference to Rhythm Controll’s house-music anthem ‘My House’), he soon became one of the hottest DJs across Amsterdam and Rotterdam, eventually booking gigs all over Europe.

Once he’d made his name in the European club scene, AFROJACK crossed over to American audiences, working his way onto the festival circuit and collaborating with electronic heavyweights, including David Guetta, Diplo, and Steve Aoki. He quickly crafted an impressive portfolio of hits, writing and producing for a growing number of A-list pop and hip-hop artists, at one point landing three songs on the Billboard charts at once: his own ‘Take Over Control’, Pitbull’s ‘Give Me Everything’, and Chris Brown’s ‘Look at Me Now (feat. Lil Wayne & Busta Rhymes)’—a track that helped AFROJACK achieve his second Grammy Award nomination, after taking home the prize for his remix of Madonna’s ‘Revolver’ in 2011. 

As he continued to collaborate on industry-defining hits like double-platinum powerhouse ‘Titanium’ —AFROJACK has kept up with his epic sets as a headline drawcard for festivals like Ultra, Tomorrowland, and Coachella. His unforgettable, unparalleled (and sometimes unpredictable) shows are eagerly anticipated each year by festival fans the world over, who descend main stages en masse to experience AFROJACK live.

In a massive undertaking, 2017 saw AFROJACK perform at a record-breaking 8 shows at Europe’s biggest dance music festival, Tomorrowland, performing 8 times in just 5 days, including one set under his ‘Kapuchon’ techno alias. In 2020 he maintained his mainstage headliner status at the first ever virtual Tomorrowland ‘Around The World’ event which amassed a staggering 1 million ticket sales globally. He is a regular powerhouse artist on the global Ultra Music Festival tour lineup, the largest of which takes place in Miami and hosts 70,000 festival goers. He has also performed for over 50,000 people on the main stage as a headliner for opening night of Electric Daisy Carnival Las Vegas, during which he brought out three surprise special guests, including hip-hop group Rae Sremmurd. A major announcement in March 2020 revealed that he was named as the official interval act for the Eurovision Grand Final which was cancelled due to the ongoing global pandemic. In 2021 this was resumed and he was able to create a show that isn’t easy to match. Together with Dutch top talents Glennis Grace and Wulf, and accompanied by a classical youth orchestra, AFROJACK is the first DJ in the history of the Eurovision Song Contest who performs during the interval act in the Grand Final. Over 200 million households in 41 countries saw AFROJACK performing on the iconic Erasmusbrug in Rotterdam, and taking this into the venue for an epic ending of his performance. 

AFROJACK’s set lists are ever-evolving, adding to the seemingly endless supply of new hits he churns out year after year. A successful 2017 saw the release of star-studded track ‘Dirty Sexy Money’ alongside David Guetta, Charli XCX and French Montana, ‘Bad Company’ with DirtCaps, a remix of U2’s iconic ‘Get Out of Your Own Way’ and a reunion of David Guetta and Sia on ‘Helium’. His single ‘Bed of Roses’ (featuring Stanaj) was released as a gift to his fans on Valentine’s Day, ‘No Tomorrow’, featured hip hop heavyweights Belly, O.T. Genasis and Ricky Breaker; ‘Keep It Low’ featured Mightyfools; the highly-anticipated ‘Hands Up’ with Hardwell featuring MC Ambush and the remix of Major Lazer’s ‘Know No Better’ 

In 2021 AFROJACK founded Never Sleeps. This concept is created for the dance floor: not tied to any genres, no definitions and no politics – it’s all about the music. The platform, which is a music label and events, is open to all artists who want to be involved, regardless of background, style and experience. Unlike current music labels and events, this renewed platform allows EDM, techno and, for example, progressive house to coexist. 

AFROJACK explains: ‘Never Sleeps is made for the dance floor and is 100% there for music lovers and festival goers. This isn’t just about me, it’s about all artists and all music, without restrictions and politics. I am very proud of this concept and can’t wait to expand this platform.’

AFROJACK pushes music in bold new directions, and at the same time, he is putting a lot of effort into his label Wall Recordings, a record label he launched in 2007 to release his own music, which is dedicated to cultivating the careers of leading-edge electronic artists and producers, such as up-and-coming singer/songwriter Fais, who struck gold with the early-2016 release AFROJACK collaboration ‘Hey.’ Believing in new talent is what he stands for and showing them that the music industry is always within reach if you have heart for it. 

‘Years ago I analyzed my own career and realized that so much of my success came from how I never stopped working,’ he says. ‘So my secret recipe is: if you really want something, don’t ever stop working at giving it everything you’ve got.’

‘Nothing’s really changed for me since back when I was working 72 hours a week in Crete, making hardly any money,’ he says. ‘I was producing music, I was DJ-ing, I was living my dream. Everything that’s happened since then has just been a nice extra.’ 

This talented artist continues to make new records and hit new heights. He has graced the covers of DJ Magazine in the US and Europe and appeared in the Top 6 list of Top 100 DJ’S Worldwide, the highest ranking for AFROJACK ever. 2020 even saw him kick off his online gaming debut, teaming up with Nicky Romero on the E-Sports ‘HyperX Showdown’ celebrity gaming series. With a varying array across the board talents, there’s clearly no slowing AFROJACK down.

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Afrojack Announces ‘Jack To The Future’ US Tour

Photo Credit: Ruud Baan

Afrojack is set to head to New York, Los Angeles, Miami, Las Vegas, San Diego, Boston, and more on the Jack To The Future tour.

Dance music icon Afrojack has continued his reign of dominance in the scene in 2022 as he’s taken the stage at massive festivals like Tomorrowland , Ultra Music Festival , and Electric Zoo while releasing some wicked tunes along the way. Last month saw the GRAMMY Award-winning producer drop his latest EP, Afrojack Presents NLW , which saw him offer up some club-ready gems that have ignited dancefloors around the world, leaving fans craving their next experience with

Afrojack’s faithful followers in the US won’t have to wait long to get their craving filled as he’s set to embark on the Jack To The Future tour this fall. Starting on October 27 in San Antonio , he will jet-set across the continent with stops in cities like San Diego , Boston , and New York to close out that month before hitting Miami and Los Angeles in November. Additionally, Afrojack has two stops in Las Vegas at Marquee and OMNIA , along with a set at EDC Orlando this year that is sure to bring plenty of energy to the festival.

Joining Afrojack on the road are artists including Cesqeaux ,  Black V Neck , and  Chico Rose , so check your local stop to find out who is set to play in support. Stay tuned as three more stops on the Jack To The Future tour will be revealed in the coming weeks.

Tickets for Afrojack’s Jack To The Future US Tour are on sale now. Head over to his official website to grab your tickets and let us know where you plan to catch him on Twitter !

Afrojack’s Jack To The Future US Tour

Afrojack’s Jack To The Future US Tour – Dates & Venues:

• October 27 – 1902 – San Antonio
• October 28 – Marquee – Las Vegas
• October 29 – NOVA – San Diego
• October 30 – Memoire – Boston
• October 31 – Marquee – New York
• November 3 – 45 East – Portland
• November 4 – OMNIA – Las Vegas
• November 5 – LIV – Miami
• November 11 – EDC Orlando – Orlando
• November 18 – Pure – Sunnyvale
• November 19 – Academy – Los Angeles

Follow Afrojack on Social Media:

Facebook  |  Twitter  |  Instagram  |  SoundCloud  |  YouTube

Grant Gilmore

Grant Gilmore’s authoritative voice as a media professional lends credibility not common to EDM journalism. As the founder of EDM Identity he has effectively raised the bar on coverage of the past decade’s biggest youth culture phenomenon. After ten years of working for nonprofit organization Pro Player Foundation, Gilmore launched EDM Identity as a media outlet offering accurate informative coverage of the rave scene and electronic music as a whole. Although they cover comprehensive topic matter, they have taken special care in interviewing the likes of Armin van Buuren, Adventure Club, Gorgon City, Lane 8 and Afrojack. In addition to household names, they have also highlighted unsung heroes of the industry through their ID Spotlight segment. Whether he’s covering it or not, you can expect to find Grant Gilmore attending the next big electronic music event. To find out what’s next on his itinerary, follow him via the social links below.

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Cascade Equinox Drops Off Vibe-Fueled Lineup for 2024 Edition

Bass canyon unveils another stacked lineup for 2024 edition, coachella 2024 weekend 2 live stream schedule & info.

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Afrojack Concert Setlists & Tour Dates

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• May 04 2024 E11even Miami, FL, USA Add time Add time Add times
• May 27 2024 DAER Dayclub Hollywood, FL, USA Add time Add time Add times

Afrojack at S2O Songkran Music Festival 2024

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Afrojack at SunIce Festival 2024

Afrojack at ultra music festival 2024, afrojack at beyond wonderland 2024, afrojack at xs nightclub, las vegas, nv, usa, afrojack at ultra music festival johannesburg 2024, afrojack at ultra music festival cape town 2024, afrojack at gronk beach 2024, afrojack at time nightclub, costa mesa, ca, usa, afrojack at riyadh street circuit, riyadh, saudi arabia.

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• My City ( 5 )
• No Beef ( 4 )
• Take Over Control ( 4 )
• Turn Up the Speakers ( 4 )
• Congratulations ( 3 )

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12th Planet 2manydjs Alesso AN21 Steve Angello Avicii Axwell Ally Brooke John Course Dada Life Dirty South Dillon Francis Goblins from Mars David Guetta Hardwell Sebastian Ingrosso Knife Party Kryder Matt Falcone Mr. Oizo Otto Knows DJ Pauly D Porter Robinson Seven Lions Skrillex Tom Staar Swedish House Mafia Tiësto TJR Tommy Trash Dimitri Vegas & Like Mike W&W Alan Walker Wrabel XIO Zedd

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Alesso Steve Aoki Avicii Avicii & Nicky Romero Axwell & Sebastian Ingrosso J Balvin & Willy William Benny Benassi Cardi B The Chainsmokers Chuckie Daft Punk Eurythmics Farruko Galantis Martin Garrix Gotye David Guetta Calvin Harris Calvin Harris & Dua Lipa Joyride Kesha Knife Party Lil Nas X Lil Wayne LMFAO Magnificence Major Lazer Masked Wolf Mightyfools Pitbull Post Malone R3HAB Showtek Skrillex Smack Swedish House Mafia T78 Thirty Seconds to Mars Tiësto Tove Lo The Weeknd Yeah Yeah Yeahs Zedd Zedd, Maren Morris & Grey Zomboy

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282 people have seen Afrojack live.

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Lana Del Rey Drags Former Tour Manager for Quitting Just Over a Month Before Coachella

Lana Del Rey is putting a former collaborator on blast after her first weekend onstage at the 2024 Coachella Music Festival .

The 38-year-old hitmaker headlined Friday night (April 12) of the festival and will take the stage again on April 19 for a second weekend.

She reflected on the successful first week in a post on social media. While thanking her team, Lana went in on her former tour manager of 15 years for quitting suddenly shortly before the festival.

Keep reading to find out more…

On Instagram , Lana shared multiple photos from her set at Coachella and some behind the scenes pictures of the prep work.

In the caption, she thanked a teammate named Emily who took over the role of tour manager after her former manager Pete left.

She wrote that he “quit for no reason after 15 years because he was butt hurt that I got 10 comped bikes for free from Wally [Crowder] and randomly decided he was more of a stage designer than a tour manager…”

“Never got a phone call probably never will. Still grateful for the 15 years though. No worries – 37 days was more than enough time to put together an entire headlining set all by ourselves,” she continued. “Not stressful at all.”

Lana heaped praise on Emily , writing that she “f-cking killed it with grace.”

She also playfully asked her managers to email them if they decided to quit, too.

“15 years is a long time for us too☺️ thank you to Cody,” she joked.

Find out who joined Lana onstage for the first weekend of Coachella.

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Lana Del Rey Blasts Former Tour Manager and Claims He Quit Shortly Before Coachella Performance

"Never got a phone call, probably never will," Del Rey wrote in an Instagram post on Wednesday, April 19

Gilbert Flores/Billboard via Getty

Lana Del Rey has some choice words for her former tour manager.

On April 19, the "Video Games" singer, 38, shared a lengthy Instagram post expressing gratitude for everyone who made her 2024 Coachella performance so memorable, while also calling out her longtime tour manager and claiming he abruptly quit about a month before the set.

"Thank you guys. For f---ing everything," Del Rey began the post. "Jack and John and Billie for showing up for me -and the band for just killing it and spending months in Sylmar in a 40° warehouse to the point but it was so cold that I caught laryngitis that literally left just a few hours before I hit the stage because Tessa DiPietro spent two hours lifting that cough remotely through her body intuitive skills just minutes before showtime, Wally Crowder for my bad as bikes. Every stunning dancer on stage- and Alex for her beautiful choreography. My stunning three singers who danced and sang their asses off in style and high matching boots. Judah + Chelsea 😇."

She then shifted her tone, as she thanked "Emily" — referring to Emily Holt — for taking over tour manager duties after "Pete quit for no reason after 15 years," appearing to shade former tour manager Peter Abbott.

Lana Del Rey/Instagram

Del Rey alleged "he was butt hurt that I got 10 comped bikes for free from Wally" and "decided he was more of a stage designer than a tour manager."

"Never got a phone call probably never will. Still grateful for the 15 years though," she added. "No worries – 37 days was more than enough time to put together an entire headlining set all by ourselves. Not stressful at all. Way to go Emily you f---ing killed it with grace."

Del Rey then went onto thank the rest of her team without skipping a beat.

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The "Cherry" artist headlined Coachella on Friday, and her performance was complete with a grand entrance that saw her hold onto a motorcycle driver's shoulders as she rode to the main stage.

Del Rey dazzled the crowd with a performance wearing a  glittery periwinkle blue dress  from Dolce & Gabbana with a midriff cutout and pleated detailing in the skirt.

She had a massive surprise for fans when she brought special guest  Billie Eilish to perform "Ocean Eyes" and "Video Games."

Del Rey last appeared at Coachella 10 years ago, taking selfies with audience members during her set and even  giving one lucky fan a kiss .

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Lana Del Rey Says Her Tour Manager Quit a Month Before Coachella: ‘Never Got a Phone Call, Probably Never Will'

Lana Del Rey reigned as the Queen of Indio, Calif., when she headlined Coachella last weekend (April 13), but one particular exit from her kingdom left the "Video Games" singer especially peeved.

In an Instagram post reflecting on her performance shared to her Instagram account, Del Rey revealed that her tour manager, Peter Abbott, quit just over a month before she took the stage.

After thanking all the key players that made her set possible - including her fans, her band, Wally Crowder (who helped choreograph her motorcycle entrance) and special guests Billie Eilish , Jon Batiste and Jack Antonoff - Del Rey revealed that a team member had to step up as tour manager on short notice.

"[Thank you] Emily for stepping up as tour manager when Pete quit for no reason after 15 years," Del Rey wrote, referencing Emily Holt before continuing about Abbott. "He was butt hurt that I got 10 comped bikes for free from Wally and randomly decided he was more of a stage designer than a tour manager… Never got a phone call probably never will. Still grateful for the 15 years though."

Billboard has made attempts to reach Abbott for his response.

Del Rey's appearance at this year's Coachella comes a decade after she last performed at the festival. The "A&W" singer was originally scheduled for a prime Coachella spot back in 2020, but that year was canceled due to the COVID-19 pandemic. From her lyrics to her imagery, Del Rey has long been synonymous with Coachella and its aesthetic. She even played on that synergy with billboards leading into Indio that read "Has anyone else died for you?" - a reference to how Del Rey was effectively crucified by the media after her infamous 2012 Saturday Night Live performance.

"No worries – 37 days was more than enough time to put together an entire headlining set all by ourselves. Not stressful at all," Del Rey's Instagram post continued. "Way to go Emily you f-ing killed it with grace. Thank you to my managers Ben and Ed for making me laugh the entire way through everything for my whole freaking life even though none of it ever makes any sense. PS please send me an email If you decide to quit this year- 15 years is a long time for us too."

The rest of Del Rey's statement continued with her thanks to various collaborators, making for a deeply personal caption for a carousel of photographs from her performance. Among those photos are rehearsal footage, flicks of her background singers and dancers, and an adorable backstage picture of Del Rey, Batiste and Antonoff.

Last year, the "Summertime Sadness" singer notched her ninth top 10 entry on the Billboard 200 with Did You Know That There's a Tunnel Under Ocean Blvd , which earned five Grammy nominations, including for album of the year. Del Rey is set to return to the stage Friday (April 19) for round 2 of her headlining stint.

Read the star's full statement below.

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Lana Del Rey Says Her Tour Manager of 15 Years Quit 37 Days Before Coachella

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After headling Coachella's first day last Friday, Lana Del Rey took to social media to thank everyone who helped bring her set to life -- except her ex-tour manager, whom she accused of quitting just over a month before the performance.

In a lengthy post shared to her Instagram page , the 38-year-old singer gave a shout-out to many of the people who had a hand in her Friday set, including her special guests Billie Eilish, Jack Antonoff, Jon Batiste, and even her clairvoyant. But when it came to former tour manager Pete, the GRAMMY-nominated artist claimed he "quit for no reason after 15 years," while profusely praising his replacement, Emily.

"Emily for stepping up as tour manager when Pete quit for no reason after 15 years because he was butt hurt that I got 10 comped bikes for free from Wally and randomly decided he was more of a stage designer than a tour manager," Rey wrote in part, referring to the motorcade of 10 motorcycles she featured in her viral entrance to the stage. "Never got a phone call probably never will. Still grateful for the 15 years though. No worries - 37 days was more than enough time to put together an entire headlining set all by ourselves."

"Way to go Emily you f**king killed it with grace," she added. Later, she asked her managers, Ben and Ed, to "...please send me an email If you decide to quit this year- 15 years is a long time for us too☺️."

But Pete's alleged and abrupt exit wasn't the only obstacle Rey had to overcome for her Friday headlining set. The singer revealed that she had been suffering from laryngitis ahead of the show, sharing that it cleared "just a few hours" before she took the stage.

She thanked her band "for just killing it and spending months in Sylmar in a 40° warehouse to the point but it was so cold that I caught laryngitis that literally left just a few hours before I hit the stage because Tessa DiPietro [Rey's clairvoyant/healer] spent two hours lifting that cough remotely through her body intuitive skills just minutes before showtime."

"It was fun. I'll see you again real soon," Rey concluded her message. She'll be back on the Coachella stage this Friday for weekend two. 

Friday marked the singer-songwriter's first performance at Coachella since 2014, and she kicked it off with a star-studded performance. Rey brought out Eilish to perform a duet of "Video Games" and "Ocean Eyes," as well as Batiste to perform "Candy Necklace." Antonoff also made an appearance to play the piano for "Hope Is A Dangerous Thing For A Woman Like Me To Have - But I Have It."

Coachella's first weekend was all about girl power: one of the biggest performances of the night went to  Gwen Stefani 's reunion with No Doubt  band members Tony Kanal, Adrian Young and Tom Dumont, for their first full concert in almost 10 years at the Coachella Valley Music and Arts Festival. 

The definition of ageless, Stefani, who was sun-kissed thanks to a Dolce Glow tan, and the guys didn't miss a beat as they performed some of their classic ska and pop tracks, including "Ex-Girlfriend," "It's My Life," and "Hey Baby." 

During "Bathwater,"  Olivia Rodrigo  shocked the audience as she joined the group onstage with her hair in mohawk buns and a shirt that read, "I Love ND." 

Throughout the performance, Stefani was filled with emotion as she told the crowd that she wasn't sure the reunion was ever going to happen. No Doubt ended the set with a trifecta of their earliest hits, "Just a Girl," "Don't Speak," and "Spiderwebs." 

In 2021, Stefani  opened up about the possibility of the group reuniting , following their 2014 hiatus and ahead of their 30-year reunion.

"It is a really big deal," Stefani told  Zane Lowe on Apple Music . "I'm reflecting so much on all the music. When you're writing new music, reflect on everything that you've done. For sure, surreal to think that that happened so long ago. I have no idea what the future holds with that. You know what I mean? It's impossible."

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The Daily Lowdown: Lana Del Rey calls out tour manager who quit before Coachella

The born to die hitmaker will be back at coachella this weekend.

Welcome to your Daily Lowdown from HELLO! . Today, we're talking about Lana Del Rey calling out her tour manager who quit shortly before her headline show at Coachella Festival.

Not only that, but Nelly and Ashanti are expecting a baby together, Leonardo DiCaprio is apparently portraying Frank Sinatra in a biopic directed by Scorsese, and Tate McRare kicks off her tour in Dublin.

Tune in to today's episode of The Daily Lowdown below to hear more...

Lana Del Rey has called out her tour manager after he abruptly quit just over a month before her headline set at Coachella. The Born to Die singer, who took to the stage at the huge Californian festival last Friday and will do so again this weekend, wrote on Instagram that her manager of 15 years Pete Abbott quit for no reason shortly before the huge gig. Lana added that she and Pete had somewhat disagreed over the opening of her set which involved riding in on a motorcycle, adding that she never received a phone call from him after that and that she thinks she probably never will. Meanwhile, Lana went on to thank the key players who made her set possible, including her band, dancers and her fans.   

Another biopic has been added to the ever-growing pile, and this time it's courtesy of Martin Scorsese who is set to direct a film about Frank Sinatra. The legendary film-maker and director has reportedly cast his regular collaborator, Leonardo DiCaprio, to portray Old Blue Eyes in a movie retelling his fascinating life and iconic career. According to Variety, Scorsese has also cast fellow Academy Award winner Jennifer Lawrence who is set to portray Frank's second wife, Ava Gardner. Not much more information is known about this one but we're looking forward to finding out.

Singer Ashanti has confirmed that she is expecting her first baby with the rapper Nelly. The couple, who were a fan favourite when they first dated in 2003 but broke up ten years later, rekindled their romance last year and have since got engaged. Ashanti confirmed the news on social media but also told Essence magazine of the happy news, saying that this new year of her life is a blessing and full of love and anticipation, adding that being a mother is something she has always looked forward to. We're sending them a big congratulations.

UK fans of Tate McRae are gearing up to see the singer perform her tour in the UK and beyond this week after kicking things off with an explosive show in Dublin on Wednesday night. The Canadian singer and dancer said she couldn't believe she touring this part of the world adding that she loves her fans in Dublin. After performing in Ireland, Tate will head to London, Manchester and Wolverhampton next before heading to mainland Europe to perform a string of hits from her massive second album Think Later, which catapulted her into the mainstream.

And Prince Harry has officially listed the US as his primary residence, according to documents. The Duke of Sussex, who moved to the US with his wife Meghan Markle in early 2020 after stepping down as working senior member of the royal family, reportedly confirmed the change when filing documents for his sustainable tourism charity, Travalyst. The couple, who share Prince Archie and Princess Lilibet together, removed their final belongings from their former home Frogmore Cottage, last year. Meanwhile, the royal couple are currently working on two Netflix series, one about Harry's passion for polo and the other centred around lifestyle with Meghan.

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