In 2012, a young beatmaker called Flume burst on to the scene and single-handedly changed the face of Australian dance music and its possibilities.
The then 20-year old had just one single (‘Sleepless’) and one remix (Hermitude’s Hyperparadise) to his name. The buzz was growing, thanks in part to a standout afternoon performance at Splendour in the Grass, but his audience was confined largely to fans of underground electronica propagated by rising tastemaker label Future Classic. Today, Flume is a multi-platinum selling, internationally recognised career artist, creating his own space in electronic music.
‘Zeitgeist’ is an awkward and overused word, but Flume captured it. Lead single, the double-platinum selling ‘Holdin On’ came out and people went nuts. The album came out in November 2012 to rave reviews (‘scarily close to perfect’, said Rolling Stone) and debuted at #2. ‘On Top’ came out and once again people were hooked.
He played countless festivals in his native country – Golden Plains, Falls and an especially memorable Laneway Festival headline slot – and fans couldn’t get enough. He was the highest- polled local artist and most-polled artist overall in triple j’s Hottest 100. At one point, Flume was playlisted on community radio, triple j and commercial radio simultaneously. In February, Flume peaked at #1 on the ARIA Chart, two months after its release. In April 2013, he sold out a mammoth 37,000 ticket national tour, including two Hordern Pavilions, two Festival Halls and a maximum capacity Riverstage.
Simultaneously, Flume was making serious inroads overseas, selling out headline shows in NYC, LA, London (Coronet), Paris (Trianon) and Berlin. His maiden NZ headline tour saw him play to over 11,000 fans. He joined like-minded producers Disclosure on their massive, sold-out national UK tour in November.
In November 2013, Flume teamed up with friend and collaborator Chet Faker to release the platinum-selling Lockjaw EP, featuring single ‘Drop The Game’, which polled at an impressive #5 on triple j’s Hottest 100.
Flume won the 2013 triple j award for ‘Australian Album Of The Year’, and four ARIA Awards for ‘Producer of the Year’, ‘Best Male’, ‘Breakthrough Artist’ and ‘Best Dance Release’. He capped off an incredible 18 months in Australia with headline slots at the national Big Day Out and Field Day festivals (where he finished with a wild back to back set with Skrillex).
Commercial success is one thing, but the best part? The music is really, really good. The producer (don’t call him a DJ) creates complex, intelligent, original productions that sound great wherever you’re listening – all from the bedroom of his parents’ house.
Flume began 2014 touring internationally, including stops at Coachella and Lollapalooza in South America. His packed out sets at Coachella Week 1 and 2 gave fans their first taste of the long anticipated collaboration with Lorde – a huge remix of ‘Tennis Court’, which was then released on April 24, 2014 initiating an all -out frenzy on the Internet. Having released a virally popular re-work of Chet Faker’s ‘Gold’, Flume returns to North America in July for a massive headline tour, selling out 3 Terminal 5 shows in NYC, 3 Club Nokias in LA – where he premiered his dark, epic 10-minute remix of Arcade Fire’s ‘Afterlife’ – plus Lollapalooza and a couple of Mad Decent Block Party slots. The tour continued to the UK and Europe for a run of festivals including Reading, Leeds, Pukkelpop, Dockville and a massive headline set at Rock En Seine to over 40 000 fans.
In October, he returned to Australia to headline Listen Out and then spent the summer at the beach and in the studio, before bringing in what will be a massive 2015 with a midnight set at SnowGlobe, Lake Tahoe.
“It looks as if Flume may have to start getting used to being the centre of attention.” – 4/5 THE GUARDIAN
“Sydney’s electronic producer/ auteur stripling Harley Streten shows what celebrity fans such as the xx, Four Tet and Totally Enormous Extinct Dinosaurs have been getting excited about.” – THE INDEPENDENT
“With that kind of control over his songs and performers, Flume could easily evolve into a sought-after producer.” – PITCHFORK
“He’s woven a stunning debut which is as scattershot as it is coherent, and his homeland is certainly right to be heralding him as the next big thing.” – 8.5/10 THE LINE OF BEST FIT