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 making waves in the UK garage and bass music scene, seamlessly melding nostalgic rhythms with innovative sounds. With infectious tracks like his breakout hit “If U Need It” and the anticipated summer anthem “Summertime Blues” featuring Chris Lake, Virji has rapidly established himself as a must-see act at festivals.
His latest tour, showcasing a unique 360-degree stage setup, has captivated audiences worldwide, as fans flock to experience his unparalleled energy and expertly curated mix of classic tracks, unreleased material, and pure bass euphoria. This past weekend, Virji’s trailblazing tour made its way to the renowned Shrine Auditorium in Los Angeles, transforming the historic venue into a vibrant hub of UK bass energy.
As someone who’s been following his impressive ascent, I eagerly anticipated experiencing his performance firsthand. The excitement leading up to the event was palpable — fans were buzzing with anticipation, eager to witness the immersive experience promised by his 360-degree stage design. I soon realized that this show would deliver unforgettable moments, solidifying Sammy Virji’s status as one of the most exhilarating acts in contemporary dance music.
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 setting the tone, the night promised an exhilarating dose of UK bass, a genre cherished by any true dance music enthusiast.
Let’s just say the crowd brought more Delta Tau than dancefloor energy. Between constant chatter and an unwelcome level of personal space invasions, the atmosphere felt more like a frat house gathering than a festival — and not in a charming, nostalgic way. Combine that with the Shrine’s notoriously tricky acoustics, and the Hans Glader set became a challenge of “how many tracks can you recognize over the buzz of conversation?”
Duskus then took the stage, reminding us why we endure the chaos. He delivered a captivating set, featuring breathtaking tracks like “Let Go” and “Better,” while keeping us engaged with unexpected transitions. One moment, his tech-house beats got us moving, and the next, we were lost in the atmospheric allure of “Strobe” by deadmau5. From Joy Orbison’s “flight fm” to the radiant finale with Fred again..’s “Glow,” Duskus crafted a sonic experience that temporarily distracted us from the incessant chatter surrounding us.
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 collaboration, “Damager” with Interplanetary Criminal, and his dynamic remix of Hamdi’s “Counting,” Virji turned the Shrine into a vibrant, pulsating wonderland. And let’s take a moment to appreciate that 360-degree stage setup — truly brilliant.
As “Hot In Here” featuring Champion resonated through the crowd, the stage rotated, revealing Virji’s infectious smile that could light up the entire venue. The audience was treated to an immersive experience as the lights danced rhythmically with every drop, creating an unforgettable party atmosphere.
But here’s the reality of being sober at 30: the chaos on the dancefloor can become overwhelming. When “Turn Off the Lights” by Chris Lake hit, the crowd erupted into a frenzy. While the energy below was electric, the balcony offered a peaceful retreat to take in the spectacular view of the mayhem. From that vantage point, the production appeared almost tranquil as Sammy dropped Oppidan’s “Sandman,” with lights synchronizing perfectly to its rhythmic beats.
So, was it the party of the century? For many, absolutely. Virji demonstrated why he’s a festival favorite, exceeding all expectations. For me, it was a night of navigating sensory overload, finding solace in the balcony view, and remembering the essence of why we love this music. It’s not just about sound — it’s a spectacle, a community, an art form. And sometimes, it’s perfectly fine to appreciate it from a distance.
