Amidst a whirlwind of UK bass beats, dazzling 360-degree production, and a rowdy crowd, Sammy Virji’s LA show proved why he’s a mainstay of modern dance music.
Sammy Virji is proving to be a force in the world of UK garage and bass music, blending nostalgic grooves with cutting-edge innovation. With a knack for dropping dancefloor anthems like his breakout hit “If U Need It” and his 2024 summer smash “Summertime Blues” with Chris Lake, Virji has quickly cemented himself as a new festival staple.
His latest tour featuring his signature 360-degree stage setup has been a global sensation, drawing massive crowds eager to witness his unmatched energy and seamless mix of classics, unreleased gems, and pure bass magic. This past weekend, Virji’s boundary-pushing tour brought him to the iconic Shrine Auditorium in Los Angeles, transforming the historic venue into a pulsing epicenter of UK energy.
As someone who has followed his meteoric rise, I jumped at the chance to witness his magic firsthand. The buzz leading up to the event was undeniable — fans knew they were in for something special, with the promise of his 360-degree stage setup and the immersive production that has been turning heads around the world. Little did I know that this stop would deliver jaw-dropping performances with a whirlwind of emotions, proving why Sammy Virji is one of the most exciting acts in dance music today.
It’s not every day you walk into the Shrine Auditorium with the resolve to do the unthinkable: enjoy a rave sober.
Call it a social experiment or just a midlife crisis, but that’s how this past Saturday started at Sammy Virji’s 360 stage spectacular. With Hans Glader and Duskus kicking things off, the night promised a hefty dose of UK bass, a genre near and dear to any self-respecting dance music aficionado.
Let’s just say the crowd, however, brought more Delta Tau than dancefloor energy. Between incessant chatter and a bumper car level of personal space violations, the vibe was frat house meets festival — and not in the cute, nostalgic way. Add the Shrine’s infamously tricky acoustics to the mix, and Hans Glader set became a game of “how many tracks can you ID over the buzz of conversation?”
Then, Duskus took the stage and reminded us why we brave the chaos. Not only did he drop all of his most breathtaking work, like “Let Go” and “Better,” but he also kept us all on our toes with the change-ups. One moment, his tech-house beats had us sweating it out. The next, we were floating on the atmospheric beauty of “Strobe” by deadmau5. From Joy Orbison’s “flight fm” to that radiant closing moment with Fred again..’s “Glow,” Duskus painted a sonic masterpiece that made you forget — at least temporarily — about the cacophony of college freshmen chattering over your shoulder.
By the time Sammy Virji arrived, the room had transformed into a writhing sea of bass enthusiasts eager for his signature UK garage sound.
From unreleased IDs to crowd favorites like his latest release, “Damager” with Interplanetary Criminal, and his stellar remix of Hamdi’s “Counting,” Virji turned the Shrine into a thumping, spinning wonderland. And can we get a moment of silence for that 360 stage? Genius.
As “Hot In Here” with Champion echoed through the pulsing bodies, the stage began to rotate. For the first time, I could see Virji up there with a grin big enough to light up the entire room. Everyone got their moment in the front row while lights danced hypnotically to every drop, making for one hell of a party on the floor.
But here’s the thing about going sober at 30: that dancefloor chaos becomes a little much. When “Turn Off the Lights” by Chris Lake hit, the crowd erupted into an outright frenzy. And while the energy below was electric, the balcony became a haven for a panoramic view of the madness. From up high, the production looked almost serene as Sammy dropped Oppidan’s “Sandman,” the lights syncing flawlessly to its rhythmic pulse.
So, was it the party of the century? For many, absolutely. Virji proved why he’s a festival favorite, delivering on every expectation and more. For me, it was a night of navigating overstimulation, finding solace in balcony views, and remembering why we love this music in the first place. It’s not just sound — it’s spectacle, it’s community, it’s art. And sometimes, it’s okay to appreciate it from a little further back.
