The WORSHIP Tour Packed Out the Hollywood Palladium

Sub Focus, Dimension, Culture Shock, and 1991 delivered dominating drum and bass energy at the Hollywood Palladium for the final stop on the WORSHIP tour.

Drum and bass has soared in popularity in the US within the past few years. The resurgence of its presence on this side of the pond has led to massive venues and sold-out shows for many top artists in the genre. Events like DNBNL, the celebration of Hospitality & Respect LA‘s 25-year anniversary, and Chase & Status‘ tour stops have taken over Los Angeles. Parallel to this, the stardom of the WORSHIP supergroup, made up of Sub Focus, Dimension, Culture Shock, and 1991, has grown tenfold within the US.

These four artists’ popularity on a global scale has made them recognizable and seen by many as leaders in the genre. Their sound is palatable for those looking to get into drum and bass, with their wide range of melodic, easy-going tunes to deep, heavier-tempo heaters, yet still satiates the cravings of those who have long been in the DnB trenches. So we had to be there when Sub Focus, Dimension, Culture Shock, and 1991 made their way back to LA for the last stop on their tour.

On a cold, windy night, the Hollywood Palladium filled out within the first hour after doors opened. Rising artist Ghost In Real Life hyped the crowd with a high-energy set. The night before, she opened for Chase & Status in New York but kept the vibes alive for Hollywood as everyone got excited for what was to come.

By the time 1991 came on, the floor was packed with an infectious energy that bled into the lobby area

1991‘s set was a bit heavier than most sets I’ve seen from him, with deep rollers and plenty of tracks diving into the jump-up area – including a remix of Santana’s “Maria Maria” and Odd Mob’s “Left To Right.” Soon after, Culture Shock opened with a crazy flip of Miley Cyrus‘ “Party In The USA” – straight into other heaters like Croatia Squad’s “The Vibe,” with a twist of his own for added flair. Culture Shock’s performances are famously for enthusiasts who enjoy the more gritty sound, which I prefer, and his hit track “Bunker” lit up the entire venue in a way I haven’t seen before in large-scale drum and bass events.

In his signature all-black attire and cigarette in hand, Dimension took the decks with matching strobe black-and-white visuals to accompany. He played many solid hits, including his Marlon Hoffstadt remix of “It’s That Time,” “Recombine,” and “Devotion,” and general DnB favorites like Simula’s remix of “Counting” by Hamdi. Excitingly, Alison Wonderland joined him on stage as a surprise guest to play out their new unreleased tune.

To close out the show, Sub Focus delivered his signature sound to the speakers, including my personal favorite track, his “So Much In Love” remix – which definitely an elevated experience heard in a massive venue like the Hollywood Palladium. Other tracks played out, including the famed track “Desire,” and as another surprise, John Summit came out on stage to play out their fresh melodic, vocal-heavy collaboration.

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For a time between sets, I had moments of clarity about how quickly streaming, festival sets, and proper promo can launch a subculture into popularity.

Often, a genre’s rise can be associated with negative aspects from smaller parts of the scene, and these arguments are fair as the commodification of subcultures can often lead to saturation and overall dullness. However, with drum and bass, I see the growth having positives that outweigh the cons that may occur. This is due to the drum and bass community itself, which is so adherent and passionate about the music, that the experience of this collective energy and widespread enjoyment is present regardless of any superficiality.

With the emergence of collectives like WORSHIP, I have been introduced to many other amazing producers featured in their sets or have played as openers. Additionally, I’ve met so many more interesting people who share the same love as me. This is often overlooked when discourse circulates about certain genres blowing up. After all, for all the attendees there for the “hype,” there are more who appreciate this newfound community and the music that becomes the soundtrack to their day-to-day lives.

This WORSHIP LA date reminded me of this—what used to be a niche genre with heavy criticism became a sold-out experience at one of the most popular venues in Los Angeles. Electronic dance music grows faster than we musicians, journalists, and listeners can keep up with, and it’s refreshing to see something that used to be so niche grow into a pivotal part of the community.

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