Justin Cohen, a young entrepreneur from Long Island announced plans last month to stage a series of dance-music concerts at Hammerstein Ballroom in New York City, called “Cosmic Opera.” DJ and producer, Axwell, who is one third of the Swedish House Mafia, will be playing the role of conductor; not only manning the turntables, but leading accompanying opera singers for the first two concerts. He will be joined by No ID and Deniz Koyu for the February 23rd show and Thomas Gold is headlining on February 24th.
Mr. Cohen, who is known for having run a successful series of business conferences called the Summit Series, said his goal is to change the way people experience electronic dance concerts by turning them into a theatrical event. He stated, “The goal is to build a brand. “I think of Cirque du Soleil. That’s where I got the inspiration from.” We sat down with Mr. Cohen and his team of executors, all the top in their respective fields to discuss how they are making his vision come to life.
- Peter Witting, who in addition to being Axwell’s Tour Manager and Production Manager, is also a partner in the company. He plays a key role in bringing “Cosmic Opera” to the stage.
- Guy Smith, the Visual Director, is renowned for his innovative vision and technical expertise. He is responsible for the overseeing the “bells and whistles” that make the show unique.
- Melanie Armer, the Theatrical Director, is the driving force in bringing the “opera” and theatrical elements into the show.
- Adam Gelman, who is a partner and the Director of Event Strategy, works side by side with Mr. Cohen and Mr. Witting to execute the complex minute-by-minute performance elements at “Cosmic Opera.”
In addition to the two February dates, two more concerts are planned; one in April and another in May. Each concert will add another chapter to the story and will feature different imagery. The remaining batch of tickets is currently on sale for the February 23rd show which you can purchase here. We hope to see you at the show!
Have you always been an electronic dance music fan? How did you initially get into it the scene?
Justin Cohen: I never considered it “electronic dance music.” To me, it has always been “dance” music and it has changed in style from Michael Jackson, to Swedish House Mafia. I’ve always loved it, because dance music is different from all other genres. It is inherently “participatory” – we move to the music with one another – we dance. I started DJing about seven years ago and that’s when I truly learned what makes dance music special. You can play Michael Jackson at any party, and people will start dancing. Today the same can be said about some of the amazing tracks coming from these producers. Next time you see a party dying out, put on Thomas Gold’s dance remix to Adele and see what happens.
Over the years, electronic dance music events have incorporated themes to create an environment that factors in visuals, sounds, atmosphere, etc. (e.g. Tomorrowland, Escape from Wonderland). How does “Cosmic Opera” plan on taking it to the next level?
Justin Cohen: I’m a huge fan of all of those events. They’re very inspirational and have helped bring dance music to where it is today.
“Cosmic Opera” is intimate and on a smaller scale, while those are large festivals. We intend on taking the “massive” production feeling you get at Tomorrowland, or Electric Daisy Carnival, and put it in a venue where you’re never more than a few dozen feet away from the performance.
The buzz surrounding “Cosmic Opera” right now is at an all-time high. We’re assuming it is taking many individuals (choreographers, electricians, artists, singers, etc.) to coordinate the event. How have you been able to keep details about the show tight-lipped?
Justin Cohen: For many months, we needed to keep everything confidential and not even close friends and family were told what we were working on. The hundred-person team knew how important it was from a marketing standpoint to come out with “Cosmic Opera” as a surprise, so everyone respected the secrecy. Even now, the bulk of the show won’t be talked about until it is ready to be experienced live on February 23rd and 24th. When asked what I was working on for the past 6-months, I had to make a few white lies: opening up an ice cream shop, sock manufacturer, etc.
Why did you choose to bring “Cosmic Opera” to New York over other cities?
Justin Cohen: New York was the clear choice. While Miami has Winter Music Conference/Miami Music Week, and Austin has SXSW, New York does not have a “period” for this genre. There are many one-off shows, but no event series like “Cosmic Opera” that establishes a time period. New York is one of the greatest cities in the world, with some of the greatest fans in the world, and we hope that in the late winter and early spring they look forward to “Cosmic Opera.”
Why did you choose Axwell to not only be a partner in the company, but also to headline and act as the ‘curator’ for the event?
Justin Cohen: I didn’t think I could achieve the kind of brand I wanted to, without the help from an expert in the industry and the true experts are the producers themselves. I started talking with Axwell and Pete Witting about “Cosmic Opera” at the beginning and it seemed like we all agreed on the vision. Our thoughts on the industry were the same and we could have fun working together – that’s very important with any partnership. Plus, Axwell has seen more shows in the past 15-years of touring than most people will see in their lifetimes. It’s also very convenient when our marketing team has a question about music for a video or webpage – we can just ask our partner Axwell his thoughts, as he knows music quite well! That’s the same reason why we asked him to be the curator – I’m not going to sit here and say I know artists and music better than him. He’s the veteran and his advice and guidance is invaluable to the success of “Cosmic Opera.” As for why we asked him to headline the first show? Axwell, as a performer, brings a profound energy, works his butt off behind the decks for each and every fan, and I don’t think we could inaugurate “Cosmic Opera” any other way. If you’ve seen him live you’d know exactly what I mean.
How did you come about selecting NO_ID, Deniz Koyu and Thomas Gold as the DJs to perform at “Cosmic Opera?” Was it their individual style as a producer? What factors did you consider?
Justin Cohen: Again, I left this one up to the expert – Axwell. We set out to find a wide range of artists, familiar names like Thomas Gold, new talent like NO_ID, and breakout names like Deniz Koyu. We also wanted a wide range of styles so the audience doesn’t hear the same tracks over and over throughout the night. All three of these supporting acts have distinguished themselves with monster solo tunes as producers. They’ve all put out their own work, and have all made some of the best remixes of established work. I truly think these acts are going to be making top hits for a long time. We’re extremely honored to have them at the first “Cosmic Opera.”
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Does the selection of the artist (and their individual DJ style) bear any relationship to the theme of the act?
Peter Witting: The entire theme of the act, more importantly “Cosmic Opera,” is based on artistry and the user experience. It was essential for us to obtain DJs that are artists and not just record players. They are all carefully selected ingredients in a synergistic stew, complimenting each individual’s styles and flavors. There is a plethora of sounds dictating the theatrical components, as well as the overall experience.
Considering the complexity of the event, how is your approach in the execution process different from prior experiences?
Peter Witting: I would say my approach isn’t any different from other shows and experiences. I’ve always lived under the philosophy that you don’t change your diet on game day to enhance your performance; you don’t know how your body will react. In other words, stick to what you know if you do it well. There are quite a few moving parts, so in that respect I suppose our entire amazing team has to experience next level time management. Key word there, team. You surround yourself with the best, you get the best!
To what extent will “Cosmic Opera” follow the characteristics of a traditional opera format?
Melanie Armer & Guy Smith: Only to the extent that we’re utilizing many of the same tools and structure. There are three acts, and performers convey a through-line with a beginning, middle, and end. There are characters, conflict, and beauty. The viewer’s imagination is critical to the process as well – the story isn’t straightforward, rather it’s folded into and suffused with the music of our carefully chosen music producers.
Will there be separate acts or an ensemble? Formal attire?
Guy Smith: As for attire, anything goes. It’s a special occasion, and people will be dressed formally, outlandishly, and expressively. So don’t be shy.
What types of new technology should fans be expecting?
Guy Smith: This is a new format, an opera for the 21st century. We are importing from Europe technology and visual methods that haven’t been seen in this setting before. That’s really all I can say about it at this point.
Should the fans expect an experience based on a storyline? If so, is it original or loosely based on another story?
Melanie Armer: Like opera, the story builds from the music. We are looking to bring the music to life with a full-room operatic experience.
What components of opera add to an ‘electronic dance music experience?’
Adam Gelman: For many generations, the opera was considered the greatest musical experience and spectacle. But, today’s electronic dance music generation might not associate with a traditional opera. We will be combining historical components with the story-like aspect of an opera to enhance the experience of a dance music show.
Hammerstein Ballroom has had a rich history as a venue for traditional operas. What differentiates the venue in terms of its design/lay-out that makes it suitable for “Cosmic Opera?”
Adam Gelman: Hammerstein Ballroom gives you the chills from the moment you walk in, from their historic architecture to their 80-foot ceilings. The lay-out of the venue is perfect for “Cosmic Opera,” as it maintains the form of an opera house with mezzanines and opera boxes, yet has a dance floor that can hold over 2,000 people. Everyone from Bob Dylan to Jay-Z has played there. Its an incredible room and we’re excited to showcase it for “Cosmic Opera.”
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