CLAP is a new open-source plug-in format from Bitwig, u-he – do we need it, and who will use it?

Bitwig and plug-in maker u-he today are announcing a new plug-in format into beta, dubbed CLAP, for CLever Audio Plug-in API. It’s open and has features missing from the leading proprietary formats – and boasts some significant support at launch. So what will that mean for you?

I’m guessing that as a user your main interest in plug-ins is “will they work so I can get on with music?” followed by… actually, just that. But a plug-in format can get in the way of user-requested features – and can constrain developers or slow them down. Those plug-in architectures also can contribute to other issues with stability and performance, to the point that some DAWs have even decided to roll their own – see Reason Rack Extensions and Tracktion Engine.

But what about developers wanting to target multiple DAWs and OSes? Since AU only works on Apple platforms and VST3 has frustrated some developers, that means turning to open alternatives like LV2 (see Reaper, Ardour) or now, today, CLAP.

(CLAP for its part has been in discussion with developers for years and had its repository available since April of last year. Today’s development is all about shipping hosts and plug-ins.)

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What CLAP does

CLAP’s main draw for a lot of developers is the API’s similarity to the now-defunct VST2 – while adding more modern features that match or exceed what VST3 provides. That includes:

Improved performance – more efficient multi-thread management between plug-in and host (“thread pools”). Right now, you can watch a lot of plug-ins sort of all max out your CPU by sitting on a single thread, on a single core – this approach improves support for modern multicore CPUs.

Faster plug-in scans and improved project organization. Metadata features should improve plug-in library scans and help organize plug-ins. A promised extension will help consolidate samples and wavetable files used by plug-ins when you save your project.

Expression. And a lot of this has to do with further extending polyphonic expression and modulation – especially appealing in the space of advanced synths and software modulars:

  • Per-note automation and modulation (a la MIDI 2.0)
  • Non-destructive parameter modulation – so it snaps back to its original value – and temporary offsets
  • Per-voice parameters for individual notes of polyphonic plug-ins

Licensing and governance

CLAP is open source – you can go check it out on GitHub. And it’s licensed under a permissive MIT license. (LV2 is similar, under the ISC license.)

Bitwig and u-he note that they’ve had contributions from a wide range commercial and open source developers over a multi-year development process. That means today is a pretty big day for a lot of plug-in devs. They’ve also emphasized collaboration and transparency.

LV2 is open, too, but while developers I talked to generally described a good experience working with LV2, they found that additions or changes tended to be delivered as extensions. There is a sense that the CLAP development process is far less monolithic, which will appeal to some.

Governance itself might ultimately be CLAP’s killer feature. AU and VST are entirely proprietary property of Apple and Steinberg, respectively; AAX of Avid. (That makes it even more interesting to see Avid on the “prospective” list – that’d be a sea change.) But that means any changes to those formats is ultimately the domain of those three companies, each of which makes DAWs, instruments, and effects that compete directly with its licensees on top of it.

LV2 is open, but lacks a defined governance structure. So CLAP launching not only with a permissive license but also a collaboration that’s building a process for how the format evolves over time is something really appealing to a great many people. And sure enough…

Adoption

CLAP (uff, that name…) is spreading. There are some significant early adopters – with releases in at least beta form from some big players, available right now, today. That includes the Bitwig Studio 4.3 beta, beta of u-he plug-ins, ChowDSP, and the popular Surge Synth Team, plus a number of open-source projects.

Bitwig also links some tantalizing potential partners who have confirmed they’re evaluating the framework, including Arturia, Cockos, Unreal Engine, Image-Line, Plogue, Presonus, VCV, Xfer, and even the mighty Avid. (Check the full list.) But there’s no commitment from any of those, just a willingness to be listed as interested.

I will say that some developers I talked to are fairly bullish on the format. A number of others said it’s a no-go until there’s official support for the widely-used cross-platform JUCE toolset – right now there’s only limited, unofficial support via a CLAP extension for now. Others are perfectly satisfied with rival open format LV2.

JUCE did not immediately return my request for comment. (JUCE’s creator, Julian Storer, is now on the Tracktion team – so do check that out.) Bitwig tells us they’re in touch with JUCE but there’s nothing official to announce for now, and JUCE is not listed in the “evaluating” list.

Another standard?

Any mention of new formats brings up the infamous xkcd comic strip, 927 “standards” – one so well known, at this point you can mention it by its number and many nerds will know exactly what you’re talking about. (“Oh – nine two seven.”)

https://xkcd.com/927/

But even as snarky commenters “927” this whole issue, there is reason to look for a new standard from a technical standpoint. Some of this developer dissatisfaction is squarely aimed at Steinberg, whose VST format dominates the industry. That’s amplified as not all developers are happy with VST3, and the previous VST2 has been aggressively deprecated (as in Steinberg isn’t even making licenses available anymore).

The trick is finding an intersection between technical sophistication, cross-platform support, wide adoption, and open availability.

Essential reading

Bitwig has done a nice write-up – though with the caveat that not all of the features they describe are not exclusive to CLAP. (They’re still cool, though – and it makes a difference that there’s an open standard gaining some new traction.)

CLAP: The new audio plug-in standard [Bitwig]

You’ll find the best breakdown of this plug-in format in an article on LWN.net by Alexandre Prokoudine. It runs down the complete history of CLAP’s evolution, talks to a number of developers, and I think gives CLAP a fair shake – both criticism and potential.

The Clever Audio Plugin [LWN.net]

And for another great hot take, see the same author on Libre Arts (with a slightly more breezy discussion):

It’s worth highlighting this bit:

CLAP developers created a JUCE extension to simplify making CLAP binaries. LV2 official support is finally coming to JUCE7 probably later this year. As far as I’m concerned, there is no reason to fight. One way or another, they will coexist.

Devs, check out the Git repository:

https://github.com/free-audio/clap

And lastly Urs has a lot more information on their stuff, with a … lot of discussion, if you want to wade through that:

CLAP 1.0 betas for ACE, Diva, Hive, MFM 2.5 [KVR Audio]

Plus for something totally different as an approach to deploying across platforms, and very interesting if out of the scope of this article:

https://soul.dev/

What’s next?

All in all, CLAP is good news – it’s got features users want, it’s open and transparent, it’s got some great partners, and some early adopters.

Technically speaking, LV2 and CLAP have some overlap, and developers can (and definitely will) get into some debates about the formats. But my sense is support for either LV2 or CLAP is a good thing, in advancing open, capable formats. And I agree this is not really a battle between those two so much as a battle between these open, very easily arguably better formats versus the proprietary tools that now dominate the market.

In short, if JUCE does start to support these formats, I think there’s good reason for users to clamor for support in more DAWs. And it could ultimately be good for the whole industry.

And yeah, I hate the name. Completely hate the name. Then again, names like “Nintendo Wii” managed to be loved over time, so – if CLAP delivers, I can learn to love it. You could say that feeling might be infect– I’m sorry. I’ll stop.

We’ll keep an eye on this one and I welcome more feedback from developers. Stay tuned.

10 factors that make Lightning in a Bottle a one-of-a-kind experience

10 factors that make Lightning in a Bottle a one-of-a-kind experienceLightning In A Bottle Insta

Lightning in a Bottle is a sustainable music festival with a set of core values focused on self-discovery, exploration, connection, and of course, music. Presented by the Do LaB, best known for its part-art-installation part-stage at Coachella Valley Music and Arts Festival, Lightning in a Bottle is closing in on its 20th year of programming that not only culminates in the festival, but also in the spread of love, knowledge, and culture across California.

Fostering a pure sense of community and introspection, Lightning in a Bottle and it attendees, lovingly known among festival organizers and goers as “Citizens,” have cultivated an environment all its own that cannot be recreated. Dancing Astronaut was live on location for the festival’s 2022 installement and below, shares 10 unique aspects that make Lighting in a Bottle lightening, in a bottle. All of these factors outlined below contribute to Lightning in a Bottle’s identity and enduring legacy as a standout, one-of-a-kind experience.


Sustainability

Lightning in a Bottle is built on an ethos of sustainability, harm reduction, cultural respect, and once-in-a-life-time experiences. Their motto, “Pack In, Pack Out,” dutifully appears on signs posted around the campsite, encouraging Citizens to be aware of and responsible for their trash. After the final set of each evening, the artists and the crowd work together to pick up waste on their way out of the festival, disposing it in one of the many waste collection deposits placed on the grounds. These collection areas allot for three different types of waste: landfill, recycling, and compost. Attendees are expected to not only leave no footprint, but to also appropriately sort waste; campers who leave litter behind are charged a fee for waste that is not sorted into these three categories.

In addition to waste mindfulness, each stage is lined with energy-saving LED lights. The festival uses biodiesel fuel to run light towers, generators, camping shuttles, and crew vehicles while hybrid solar and wind generators are used for alternative power. Water stations are abundant around the campgrounds and the venue, and attendees are encouraged bring their own water containers, as plastic water bottles are not sold on-site.

Community

With a population of around 25,000, the Lightning in a Bottle community somehow remains one of the most interconnected groups of music lovers in the industry. Providing a space for everyone, ranging from artists, musicians, teachers, young families, volunteers, and concert-goers, the California festival is a hub of like-minded individuals whose main goals are to have fun and inspire change. The five-day event creates a social expectation that all those who enter the space be kind, caring, and respectful of others and the Earth, making it a holistic and uplifting experience that cultivates connection for all who attend.

Design

With three main stages and four additional pop-up stages, the festival’s design is broad and expansive. The Lightning stage—the festival’s largest—sits on a large plot of grass with massive art installations (giant metal totems designed to mimic swaying dragonflies and immersive light fixtures for attendees to walk or lay beneath) placed on the outskirts. Past the Lightning stage are countless immersive exhibits and installations that create a magical and comfortable environment for all.

“We’re providing so many comfortable places for people to sit and relax and so many shade structures and so many art pieces and sculptures. We can’t really help ourselves. The bottom line is never really our concern, so we can’t help going above and beyond,” said Jesse Flemming, co-creator of the Do LaB and Lightning in a Bottle.

10 factors that make Lightning in a Bottle a one-of-a-kind experienceLib Art Installation Insta

Learning and Culture

One of the Lightning in a Bottle’s most unique elements comes in their cultural workshops, hosted throughout the festival’s five days. With more than 100 discussions featured venerated speakers, thought leaders, experts in subject areas like indigenous cultures, psychedelic medicine, climate change, love and relationships, healthy eating, and more, the event offers hands-on opportunities to learn new skills from trades to medicine-making and beyond.

This year, one of these opportunities came from LSDream, who fostered spiritual, emotional, and creative learning and journeying through a performance under his ambient alias, LIGHTCODE.

View Learning and Culture programming below.

10 factors that make Lightning in a Bottle a one-of-a-kind experienceLIB 2022 Compass Learning Culture WEB

Music

From techno and house to pop and hip-hop, folk and Americana to bass music, Lightning in a Bottle caters to Citizens with varied tastes with a lineup that embraces just about any genre under the SoCal sun. Outfitted with seven stages’ worth of otherworldly soundscapes and three days jam-packed with music, the festival engages headliners like Glass Animals, Kaytranda, CloZee and breakout artists like Megan Hamilton, Rome In Silver, Moontricks, and more. The roster also includes surprise sets, such as sumthin sumthin back-to-back The Glitch Mob, as well as a DJ set from SG Lewis, to name just a few of the 2022 tricks up Lightning in a Bottle’s sleev. But by far the most endearing aspect of all the musicality at the event is the elation radiating from each artist who came to perform at the electric and uniting affair.

Food

Curated expertly and, as always, with a clear intention to improve the planet, Lightning in a Bottle is mindful of nutrition and health when selecting its food vendors. Organic and almost fully vegetarian cuisine options were available; in fact, most culinary options were meatless. The few vendors that carried meat sourced it locally, from animals that had been ethically treated and fed. Each vendor was instructed to use compostable waste, food containers, and packaging. Some of the event’s most widely visited vendors included The DoLab’s Dough Lab Pizza, Jungle Fried Rice, and Happy Buddha Bowls. In tandem with food vendors, Lightning in a Bottle offers the Learning Kitchen, where attendees can dig their heels into food-oriented workshops that cover cooking techniques hailing from ancient rituals to modern-day traditions.

Location

Having made the move to Bakersfield, Lightning in a Bottle offers an all-encompassing environment for a festival experience. Set on a massive plot of land located on Kern County’s Buena Vista Lake that supports a variety of activities, grassy fields, and trees, the event allows for romping around the estate, rinsing off at a lakeside campsite, and taking a dip in the water during a pop-up Desert Hearts set.

Yoga and Movement

A cornerstone of the festival is the care of one’s self, the planet, and each other—and this dovetails with looking after one’s body. Lightning in a Bottle provides Citizens the chance to get in touch with their body through yoga and movement. Each day, there are multiple yoga classes that attendees can take part in. Taught by venerated instructors of various styles and skill levels, the classes ensure that all festival-goers have an opportunity to find fulfillment by engaging their mind, body, and soul.

Art

Diverse in its spectacles and exhibits, Lightning in a Bottle is brought to life in part by artists who curate pieces of art in real time across mediums, like graffiti, oil on canvas, and interactive pieces, among others. All are on full display throughout the festival and culminate in an art walk on the final day, where attendees can peruse a sea of imaginative artwork.

Marketplace

At the Marketplace, Citizens will find local and artisanal goods crafted by local and international curators specializing in a range of wares including jewelry, clothing, skincare, couture and street wear, official festival merchandise and more, all made of natural materials.

Featured image: Lightning in a Bottle/Instagram

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ILLENIUM’s Ember Shores returns for second run with Clozee, Dab The Sky, Dillon Francis, Subtronics, and more

ILLENIUM’s Ember Shores returns for second run with Clozee, Dab The Sky, Dillon Francis, Subtronics, and moreEmber

A large component behind ILLENIUM‘s designation as Dancing Astronaut‘s Artist of the Year in 2021 is because of the success of his inaugural Ember Shores destination event in Cancún, Mexico. In partnership with Festication, an offshoot of Disco Donnie Presents, and Feyline, Ember Shores returns to the beaches of Cancún’s Paradisus Resort and Fiesta Americana Condesa from December 2 – 4 for an all-inclusive festival experience.

Featuring daily sets from ILLENIUM himself, the supporting cast features headliners Clozee, Dillon Francis, Subtronics, as well as Dabin and Said The Sky going back-to-back as Dab The Sky. The undercard includes additional firepower with ARTY, Blanke, Juelz, Nurko, Dancing Astronaut Artist to Watch Rossy, Trivecta, William Black, and many more.

If the sophomore edition is anything like its freshman predecessor, Ember Shores’ 2022 run is sure to feature plenty of surprises from ILLENIUM. The now Grammy-nominated and BBMA-winning producer played seven sets over the course of the event’s debut weekend, including rare house and drum ‘n’ bass sets. The full lineup can be viewed below, and tickets can be purchased here.

ILLENIUM’s Ember Shores returns for second run with Clozee, Dab The Sky, Dillon Francis, Subtronics, and moreMagnumpr EmberShores2022LINEUPV02HALINEUPFINALJunetick 1

Featured image: Rukes

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Justice celebrate 15 years of iconic debut album with unheard demo of ‘D.A.N.C.E.’

Justice celebrate 15 years of iconic debut album with unheard demo of ‘D.A.N.C.E.’Justice Pedro Winter

Bon anniversaire!

Recorded between 2005 – 2006, Xavier De Rosnay and Gaspard Augé crafted their critically-acclaimed debut album, with the now iconic “D.A.N.C.E.” serving as one of the LP’s lead singles. At the time, before electronic dance music collided with the mainstream, the French DJs couldn’t have known that their rookie studio output would go on to inspire an entire generation of musicians and listeners across the globe 15 years later, let alone serve as the world’s introduction to one of the most esteemed electronic groups of all time.

Now, the GRAMMY Award-winning duo is celebrating the 15th anniversary of the genre-defining LP, with a previously unheard version of the beloved “D.A.N.C.E.” Originally released via venerated French imprint and the group’s longtime home base, Ed Banger Records, the album catapulted underground dance culture and electronic production from the fringes of the Internet to the mainstream.

Before big-box EDM took hold of the collective zeitgeist there was its slightly less neon predecessor—blog house. The Jackson-inspired “D.A.N.C.E.” stands as perhaps the most recognizable monolith of this era in dance music; coinciding with a moment in time that would irrevocably transform the way the Internet spreads music and shapes culture. The previously vaulted demo of the 2007 hit-single can now be heard on the duo’s newly released EP, D.A.N.C.E. (Extended), in celebration of ‘s decade and a half of influence.

The commemorative work includes an unreleased demo of the breakthrough single, a live and extended version, and “D.A.N.C.E” reworks by artists of the likes of electronic music peers MSTRKRFT, Alan Braxe, Fred Falke and more.

Featured Image: Pedro Winter

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Thomas Jack dons his vocals on the single to end his five-year hiatus, ‘Sandman’

Thomas Jack dons his vocals on the single to end his five-year hiatus, ‘Sandman’Thomas Jack Fb

A tropical-house pioneer in the mid-2000’s, Thomas Jack secured acclaim early in the course of his career, thanks in large part to his 2015 single, “Rivers.” After deciding that his vision worked best when it used his own vocals, the SoundCloud prodigy took five years to purposefully transform his voice into the powerful tool it is today. And now, after a period of patience, fans can see the results of his hard work in his latest one-off “Sandman”—and Dancing Astronaut asserts that it was well worth the wait.

Influenced by the edginess of rock and roll while maintaining Jack’s sleek, laidback style, “Sandman” wears layers of synths, a bellowing bassline, and live drum kicks, culminating in a vintage feel. With the idea of unity serving as the track’s backbone, Jack sets forth on a rejuvenated sonic voyage that feels fresh and true to form.

In the spirit of new ventures, Jack has released “Sandman” as an NFT via Sound, excitedly navigating his new creative endeavors along with the new world of the music industry in 2022. Stream “Sandman” below and stay tuned for Thomas Jack’s new era.

Featured image: Thomas Jack/Facebook

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Stream Kaivon’s latest, ‘Love Is Blind’

Stream Kaivon’s latest, ‘Love Is Blind’274937268 637705110854831 3557563619711187051 N

Kaivon continues his release run with “Love Is Blind,” his latest foray into the world of ambient future bass and trap. The new single follows “Lost,” “I Know,” and “Stay” as 2022 contributions to his discography. According to Kaivon, “‘Love Is Blind’ is inspired by the idea that even when you can’t see love, it is always there for you. You might not see it, but love is all around you taking care of you.”

The original arrives amid an influx of unofficial remixes that Kaivon has recently directed to his TikTok, including a take on Kate Bush’s “Running Up That Hill (A Deal With God).” The Bush original has gone viral after appearing in the newest season of Stranger Things.

Kaivon recently wrapped up a slew of supporting dates for Said The Sky‘s Sentiment tour and has already played festivals like Countdown, Okeechobee and EDC Mexico in 2022. He has dates at Splash House, North Coast Festival, Global Dance, and Lost In Dreams to name a few upcoming this summer. Listen to “Love Is Blind” out now via Lowly. below.

Featured image: Luis Colato

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Yotto initiates rollout of forthcoming concept album, ‘Erased Dreams,’ with ‘Silhouette’

Yotto initiates rollout of forthcoming concept album, ‘Erased Dreams,’ with ‘Silhouette’Yotto Motion Bristol Alive

“My love for the bass-heavy dance music is endless. But when the festival gates close and the lights go down, there’s a special place for something different…”

Yotto recently shed some light on his next musical undertaking via Instagram, where he announced that his next LP, Erased Dreams, will materialize on July 11 via Anjunadeep‘s ambient sub-label, Reflections. “Erased Dreams is a soundtrack to an imaginary journey from nowhere to nowhere,” the Finnish DJ elaborated. “It might be lullabies for sleeping or background music for an intergalactic spa.”

Yotto released the first single from his upcoming eight-track project on June 13. Featuring Helsinki-based vocalist Sansa, “Silhouette” offers a glimpse into the percussion-free sonic realm of Erased Dreams. While the festival veteran is widely admired for his driving progressive trance music, “Silhouette” serves a different purpose. Through one sustained meditative soundscape, the Sansa-assisted single effectively sets the stage for Yotto’s atmospheric new album. On a more personal note, the producer explained,

“This music probably reflects my personality more than club music does. I’m a bit shy, but I’ve learnt how to fake that I’m not, and this album is very relaxed, quiet, introvert[ed], and ambient. I am very happy to stay in the background and maybe this album does just that. And who knows, there might be club versions too. But for now, there’s not a single drum sound to be heard.”

During the pandemic, Yotto came to notice an ambient synergy among some of his writings. Drawing inspiration from The KLF’s 1990 concept album Chill Out, he began piecing songs together and eventually found himself with a cohesive body of work. As Erased Dreams‘ release date approaches, indulge in Yotto’s ambient alter-ego by streaming “Silhouette” below.

Featured image: Alive Coverage

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Phantoms continue sophomore album rollout with ‘Letting Me Go’

Phantoms continue sophomore album rollout with ‘Letting Me Go’Phantomsliveperformancevisual

Alternative-electronic music duo Phantoms have cemented their fourth early-release album single. “Letting Me Go” arrives on the heels of “Lay It All On Me” with Jem Cooke, “Firepit” with Big Wild, and “This Can’t Be Everything,” respectively. Atmospheric yet anthemic, Phantoms’ latest evokes a melancholic moodiness while maintaining a high score on the danceability scale. The Los Angeles duo’s sophomore album, This Can’t Be Everything, will officially arrive on August 12 via ODESZA‘s very own Foreign Family Collective.

Set to perform at Bonnaroo Music and Arts Festival on June 17, the “Are You Up” producers are gearing up for a slew of North American summer tour dates. Browse Phantoms’ upcoming shows here and stream “Letting Me Go” below.

Featured image: Break Away

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SAYMYNAME, Nitti Gritti debut new alias with TikTok-inspired single, ‘BING BONG!’

SAYMYNAME, Nitti Gritti debut new alias with TikTok-inspired single, ‘BING BONG!’20211123 SAYMYNAME NITTI GRITTI 02 23720 1

The pioneer of hard-trap, SAYMYNAME and the Grammy-nominated Nitti Gritti have come together to form a unique duo, SAYMYNITTI. For their first release under the new moniker, SAYMYNITTI have turned to pop-culture, sampling a popular Tik-Tok trend on “BING BONG!”

Out now via Hard Recs, “BING BONG!” is SAYMYNAME’s first release since February’s “Flow” with Lit Lords. It’s Nitti Gritti’s first one-off since May’s “Sex Drive” with Hadar Adoura.

“BING BONG!” is neither SAYMYNAME’s nor Nitti Gritti’s usual style of production. Rather, their debut SAYMYNITTI single is more of an experimental single, in which both can be heard adventuring within the song’s upbeat and energetic framework. “BING BONG!” uses fully maximized synths to precede the iconic “bing bong” sample before the electro-house drums kick in.

Stream the new single below.

Featured image: Koury Angelo

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bexx explores solidarity and sympathy on “One More Night”

Eclectic alt-pop artist bexx is back with her latest single “One More Night.”  Topped with 80’s-inspired synths, layered harmonies, and eloquent vocals, the British artist delivers a tune that will blast fans straight into summer.

Carving out her own style and musical persona, bexx’s experimentalism has been thriving in recent months. “One More Night” takes inspiration from the 1997 romcom My Best Friend’s Wedding and narrates a compelling narrative. Pairing that with throbbing bass-lines and devoting tales of love, bexx has not only pays tribute to her favorite movie, but also expresses her own emotions about facing an impending breakup. In her words, she shares, “The song is from Julianne’s perspective in My Best Friend’s Wedding, but it’s also from mine. Even though my relationship wasn’t healthy, I really just wanted one more perfect night with this person before I had to cut them loose.” Painfully honest, the relatable song shimmers with colorful synths and movement-inducing melodies as she sings, “we’ll be drunk at karaoke / dancing to the way you look tonight.”

Whether you’re looking to delve into a tune resembling the very best of 80’s inspired euphoria, or hope to find solidarity in bexx’s lyrical ingenuity, we can guarantee that “One More Night” is not one to be missed!

Connect with bexxTwitter | Instagram |

      TikTok @https://www.tiktok.com/