Interview
Bernd Breiter Speaks World Club Dome, Spaceclub Kitchen, Upcoming Projects & More!
Bernd Breiter is a passionate entrepreneur and known worldwide for his always innovative festival and media events. With his BigCityBeats and the international WORLD CLUB DOME festivals, to which almost 500,000 visitors flock every year, he has successfully earned the reputation of an “innovator without borders”. Among the incredible achievements for which he and his team are responsible is the first DJ set in space, where he trained astronaut Luca Parmitano to DJ from space. He “built” a club in zero gravity, the highest club event in Europe on the Jungfraujoch in the Bernese Alps, and created the WORLD CLUB DOME-ICE Club Train to Frankfurt, the fastest club in the world. We had the pleasure of speaking with Bernd on a number of topics during our trip to WORLD CLUB DOME this past month.
What are the most exciting and most challenging things about organizing such a massive event?
The most exciting thing, once everything is organized and the doors are opened, is getting on stage and seeing all those happy faces. People have been waiting for the return of live music for such a long time, and now it’s like an explosion of emotions.I mean, the challenges are huge, because we promise our visitors a dream world and none of them should know what goes on behind the scenes to realize it. But really, it takes a lot of planning and organization to create BigCityBeats WORLD CLUB DOME. From talking to authorities to artists to the productional side of the event, you wouldn’t believe it! There are so many little moving pieces, but it makes me so happy to see the team working together, and that together we can manage all of these challenges and ultimately realize this dream world for our visitors
What is your vision for BigCityBeats WORLD CLUB DOME in the coming years?
I mean, looking back to the last 10 years, everyone’s always told us that we cannot top what we’ve done so far. But now we are in space! We’ve got an astronaut who just returned from space, cooking a meal for all of us right here at BigCityBeats WORLD CLUB DOME! And next year we’re going even further with an Atlantis theme. I won’t reveal too much about next year, but prepare yourself for some really crazy stuff, some of it will probably include water as well..
Can you describe the 3 days of WORLD CLUB DOME in 3 words?
It’s Fucking Awesome! – sorry I guess that was 4 words, haha.
How did you come up with the idea of blending space, music, and food for Space Club Kitchen?
We have two universal languages in the world; music and food. They both bring people together and give them a good feeling. They’re accessible for everyone in the way that you don’t need education to understand how to eat and enjoy food and listen to music. So this was the idea behind Space Club Kitchen; to combine food and music and use their universal language to connect the world. And what’s more universal than space? That’s the only place you can really see the world from the above. So that’s when we came with the idea to have a DJ, and an astronaut, and a chef in a kitchen; to show that whether there’s a lockdown or not, you can turn any kitchen into a party.
Looking back on the past few days, what is your biggest satisfaction with this festival?
Sometimes you’re so deep into work and you forget the bigger picture. When I was standing on the DJ booth during the opening ceremony with astronaut Matthias Maurer, who had literally returned from space two and a half weeks ago, and next to one of Germany’s top chefs, Tim Mälzer, and we saw all those 1000s of people in front of the stage, I realized what we had achieved, and that was a super touching moment for me because in that moment I realized what we had created. That was amazing.
What about your upcoming projects?
We’re currently planning for our next event in Malta in the beginning of August. Then we’ve got plans for Ibiza, Dubai, Dusseldorf, and of course next year’s edition in Frankfurt. The team behind BigCityBeats WORLD CLUB DOME is a group of people who really understand the vision, and who really want to bring the feeling of WORLD CLUB DOME all over the world.
The lineup for WORLD CLUB DOME is so unique and diverse, is your own music taste just as diverse?
Yes, of course. We’re living in a world where you’re constantly in touch with diverse flavors through social media. You’re no longer in specific communities that will only listen to hip-hop or electronic music or rock and so on, even artists go from one genre to another. WORLD CLUB DOME is about catering to all these different tastes. We think about what people want to hear and what they want to taste, so we can ultimately unite all types of people.
A contest winner opened up the main stage on Friday. How important is it for you to use your brand to help those who are up and coming?
To be honest, it’s really hard to give a big platform for newcomers at such a big event. We get 1000s of requests every day from artists asking if they can perform at WORLD CLUB DOME. My advice is to first think about your own brand and create your own fanbase. If you’ve got a fanbase and your own fame, you’re more interesting because that means people will come out to the event to see you. To help out with this we’ve actually got a program where we do sessions with up and coming DJs and obviously host contests. We also have plans to open a DJ school as well as a cooking school, to once again connect these two universal languages.
You showed a lot of vision and you can feel it when we go to WORLD CLUB DOME. What has recently inspired you when it comes to music events?
I guess it’s a gift from God, I don’t know, it’s tough to explain. Sometimes I’m enjoying a glass of wine and inspiration hits me like ‘oh maybe we can do something with submarines’. As a result of those kinds of ideas we’ve realized so many crazy things that even very conservative companies have joined in and started believing in us.
What would you say to the people abroad, why should they come to the festival?
BigCityBeats WORLD CLUB DOME is all about giving that club feeling. Everyone wants that weekend feeling, and that’s what we give to them. Normally a club spreads out a line-up over a year, but we take that line-up and spread it over three days to build the ‘biggest club in the world’. So you can imagine what kind of emotions people feel when they experience something that is normally spread out over a year in just three days! It’s magic and you cannot explain magic, you have to come and feel it.
Norwegian house trio The Bausa interview discusses breakout single Magnetic, their self-coined Scandi House sound, and what’s next for the Baerum-based three-piece.”
If you haven’t heard “Magnetic” on the radio yet, you will soon. The Bausa, a three-piece house act from Baerum, Norway, are making serious waves across Europe, and after a conversation with Fredrik, Edward, and Filip, it’s clear this is just the beginning. In The Bausa Interview, we’ll explore what sets this group apart and where they’re heading next.
The trio’s origin story is one of those happy accidents that makes for great mythology. Filip and Fredrik had been making music together for two weeks when Filip brought Edward into the picture at a high school party. “He showed me one of the tracks they made and it was so bad,” Edward laughs. “But he was interested in the whole thing, and none of my friends were making music.” A studio session at Fredrik’s home studio sealed the deal. They made a song in two hours and partied to it for the rest of the night. The Bausa was born.
The name has its own story. A friend suggested “Brødrene Bausa,” telling them it meant “boss” in German. They ran with it. Years later, on a trip to Germany, they found out it doesn’t mean that at all. “It sounds dope, it sounds cool,” Filip says, unbothered. When pressed on the actual meaning, they landed on something like “big” and “ambitious.” Close enough.
250 Tracks a Year and the Bus That Made Them
Before playlists and streaming algorithms, The Bausa were sharpening their craft in one of the most uniquely Norwegian ways imaginable: making music for russ buses. If you’re not Norwegian, this requires some explanation. Russetime is a rite of passage at the end of high school where groups of about 30 students rent or buy a bus, get it painted with their crew name and logo, commission custom songs from producers, and then party inside it every night for 30 days. They go to school during the day. They do this for a month.
One of those bus crews was called Tournée, meaning “tour” in Norwegian. They commissioned a track from The Bausa, and that song ended up becoming one of the group’s early breakthrough moments. At their peak, the trio were producing around 250 custom tracks a year for various russ groups, covering everything from hip-hop to drum and bass. “We got a lot of training from that,” Edward says. “We were mixing and mastering the tracks as well.” It’s an unconventional music school, but the output speaks for itself.
Finding Their Sound
Today The Bausa describe their music as “Scandi House,” a term they coined themselves for a style that blends disco, funk, and house in a way that didn’t fit neatly into any existing genre. Their first English-language EP came together almost by accident. They were working on a Norwegian album in January and couldn’t crack the lyrics for a particular beat, the one that would eventually become “Addicted to Your Love.” An English top line clicked where Norwegian hadn’t, and suddenly they were making an English EP.
“Magnetic,” the lead track, has been getting significant radio play across Europe, including here in the Netherlands. There’s an ease and warmth to it that translates across borders, a summery groove that feels effortless even if the work behind it wasn’t.
What’s Next
The Bausa have a busy summer ahead, with festival appearances lined up across Europe. When asked about a dream destination they haven’t played yet, the answer was India, a market with a passionate and rapidly growing electronic music fanbase that they’re clearly keeping an eye on.
As for Norway’s own scene, they’re optimistic. They see a new generation of house producers and underground DJs building something real in Oslo, and they’re quietly hinting at plans to help shape what that becomes. A house festival of their own? “We have some plans,” is all they’ll say.
In the meantime, follow The Bausa on their socials and streaming platforms. All the links are in the show notes below.
Want to hear the full conversation? Stay tuned for the complete interview, coming soon to the Ten Days in Dance podcast on Spotify.
Zehavi Interview: Aliya, Lior Narkis, And Music Without Borders as he talks Aliya, Mediterranean roots, and culture-crossing electronic music
Zehavi’s music began with the sounds he grew up around, from Arabic, Moroccan, Persian, Greek, and Mediterranean melodies to the bouzouki he first learned through his father. Those early influences now sit inside his electronic productions, giving his work a personal link to tradition without pulling it away from a wider audience. In this interview, Zehavi discusses his collaboration with Lior Narkis on Aliya, the creative control behind the release, and how different languages, instruments, and cultural references can meet inside one record without losing their emotional weight.
Great to have you with us. Before we dive in, can you tell us a bit about the artists, sounds, or moments that originally drew you toward music as a profession?
Growing up, I was exposed to music from many different cultures and languages — Arabic, Moroccan, Persian, Greek, and more. From a very young age, I already knew how to play full classic songs on the bouzouki, and those ethnic melodies became a huge part of my musical identity.
What excited me most was the idea of bringing those timeless sounds and emotions into today’s mainstream world through modern production and electronic music. Music was never just a profession for me. It has always been the biggest love of my life. It calms me, gives me energy, and has been there for me even during difficult moments. For me, music is not just work — it’s a way of life.
There’s a really distinctive blend in your work, electronic textures sitting alongside instruments like the bouzouki. How did that pairing come about for you, and how have you refined it over the years?
This connection started when I was very young. My father played the bouzouki everywhere we went, and during his free time he would teach me as well. Those sounds became part of me from childhood, so the emotional connection to the instrument was always very natural.
As I got older, I formed a band where we performed original music alongside classic songs in a Mediterranean and Greek-inspired atmosphere. That experience taught me a lot about live performance, emotion, and connecting with people through traditional melodies.
Later on, when I discovered electronic music, I immediately realized how fascinating the combination between these two worlds could be. The energy and production of electronic music mixed with the soul and emotion of live ethnic instruments felt like something unique that I wanted to build and develop further.
You’ve seen substantial growth across streaming platforms and social media recently. How are you processing that level of recognition, and what does it open up for you as an artist?
I think people connect not only to the music itself, but also to the authenticity behind it. That openness has created a very strong connection with my audience and opened many doors for me professionally and personally. It led to collaborations around the world, live performance opportunities, and relationships with incredible people who are still part of my life today. Sometimes people even reach out to me for advice about life, which is something I never expected. I’m truly grateful for all of it.
Taking full creative control on the release of “Aliya” alongside Lior Narkis, how did this collaboration differ from others you’ve worked on, and were there any challenges you faced along the way?
This project was very special for me because I really wanted to bring together different cultures and languages in one track. With “Aliya,” the vision was to create an English record combined with Arabic influences, which made the collaboration feel very unique from the beginning.
Seeing Lior Narkis, an artist of his level and background, step into a language and musical atmosphere that was less familiar to him was something very exciting and inspiring to witness. One of the biggest challenges was making sure the fusion felt natural and authentic, while still remaining accessible to a wide audience.
What moved me the most was seeing how people connected to it regardless of language or culture. The track reached audiences all around the world and showed me that music can truly break boundaries and unite people emotionally.
Credited as performer, producer, and co-writer, could you talk us through the creation process of this track and how rewarding projects like this can be?
Being involved in the project as a performer, producer, and co-writer made the entire process feel very personal to me. I wasn’t only focused on creating a good song, I was focused on building a full experience and emotion around it. Every small detail mattered, from the melodies and production to the atmosphere and energy of the track.
The creative process was very organic. We spent a lot of time experimenting with sounds, languages, and different musical influences until everything felt authentic and emotionally connected. Because I come from both a live musical background and an electronic production world, I always try to balance emotion with energy.
Projects like this are extremely rewarding because they allow me to fully express my artistic vision. Seeing people from different countries and cultures connect to something we created in the studio is one of the best feelings an artist can experience.
As a major collaboration, what was it like working with an established artist like Narkis, and what key lessons did you take from the experience?
Working with Lior Narkis was an incredible experience. Beyond being a great artist, he’s also an amazing person with a very special energy, the kind of person you instantly connect with. From the very first moment, everything flowed naturally between us, both creatively and personally, and I think people can feel that chemistry in the music as well.
One of the biggest lessons I took from the experience is to always listen to your heart and trust your vision. In music, there will always be different opinions from people around you, but when you truly believe in an idea and feel connected to it emotionally, you have to follow it completely. Sometimes the projects people doubt the most become the ones that connect the strongest with audiences.
With your career constantly on the rise, could you give us an insight into what the future holds for Zehavi, particularly in terms of new music and live performances?
This project is constantly evolving, and I feel like I’m only at the beginning of the journey. I’m planning to release a lot of new music and collaborate with artists from different countries and cultures, all with the same goal – to create music that truly touches people emotionally.
My live show is also constantly changing and growing. I always try to bring something fresh, emotional, and unexpected to the stage. Right now, I’m working on a brand new project that I’ll be able to reveal very soon, and I believe it’s going to take the Zehavi experience to another level.
Modal Nodes Talk ‘Destiny,’ ‘Jawa Dub,’ and Mystery as the bass act discusses Subtronics support, sci-fi influences, and what comes next
Modal Nodes have quickly become one of bass music’s most intriguing emerging projects, pairing a mystery-led identity with a sci-fi visual world and a sound tied to their fictional origin story. Their latest dual release, Destiny and Jawa Dub, gives the project two different entry points, with Destiny connected to their first shows and Jawa Dub rooted in the alien narrative behind Modal Nodes. In this interview, Modal Nodes discuss the concept behind the project, the brutalist architecture that influences their identity, recent support from Subtronics, and what may come next as their presence in bass music continues to grow.
Modal Nodes have quickly become one of the most talked-about emerging names in bass music despite still remaining anonymous. Was the mystery always part of the project from the beginning, or did it evolve naturally alongside the music?
Modal Nodes originally started out as an abstract concept on our home planet. It wasn’t anything serious to begin with, but has since progressed farther than we ever expected.
Your latest dual release, Destiny and Jawa Dub, showcase two very different energies. What inspired the direction behind each track?
We wanted to showcase the duality of what we’re capable of within one musical project. Destiny was inspired by our first shows, and Jawa Dub was inspired by a xenos race we encountered in our travels.
There’s a strong cinematic and sci-fi-inspired feel behind the music and visuals. What are some of the biggest inspirations behind the world of Modal Nodes?
Our sound and appearances come from the far reaches of the galaxy. We’ve taken a lot of inspiration from the brutalist architecture on our home planet, it plays a massive role in our identity and our sound tries to embody this.
You’ve already received support from major names in bass music, including a recent co-sign from Subtronics during Coachella and custom visuals at his sold-out Red Rocks headline. What has it been like watching the project gain traction so quickly?
It’s been incredible to see someone with such influence as Subtronics play our music out. We have never received this type of appreciation where we’re from. It’s been very rewarding seeing it received so well here on Earth.
Your early live appearances at events like Rampage in Belgium and Northern Invasion in Montreal are major milestones for a developing act. How has the live response compared to what you expected when starting this project?
When we first started the project we never considered the idea that we would have mistakenly arrived on this incredible planet. It came as a shock that humans were so receptive to it, and so far it’s been a dream come true. We are incredibly grateful.
Without revealing too much, what can fans expect from Modal Nodes as the project continues to evolve?
A lot more music, shows, collabs with great artists, merch and possibly something considered to be unnatural.
Thanks so much for taking the time to speak to us, is there anything else you’d like to say to our readers?
Thank you for all the support. We’ve only just begun.
As Modal Nodes continue gaining attention in bass music, the project is doing more than relying on anonymity alone. Destiny and Jawa Dub point to two different sides of their sound, while their sci-fi identity gives each release a wider concept to exist within. The references to brutalist architecture, distant planets, xenos races, and “something unnatural” also show that Modal Nodes are treating the project as a full creative world, not just a run of singles. With early support from Subtronics, appearances at Rampage and Northern Invasion, and more music, shows, collaborations, and merch ahead, the project is still in its early stages, but the direction already feels intentional.
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