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Electric Candy Land [Event Review]


Monday night at the Highline Ballroom was glittering with pretty vibes, an alluring atmosphere, and captivating dancers. The beautiful venue is located in the heart of Chelsea, a chic and trendy area on the West side of Manhattan. The Highline Ballroom is a perfect spot for people who want to sit in the lap of luxury and order bottle service, or for the plebeians who just want to get weird, dancing their hearts out to music of all sorts. I happened to be one of the many young faces in the crowd ready to hear all the up and coming artists who would be preforming.

Electric Candy Land featured beautiful dancers dressed in Neon and glitter who lit up the stage for each artist, inciting the crowd and amplifying the energy in the room. The crowd was young, and the fans were decked out in a mixture of typical rave attire and club dress.

Major highlights of the night were Jesse Marco and Zaxx's sets.

What was so great about Jesse Marco‘s set was the diversity of song selection he brought to the crowd. Jesse Marco played throwbacks such as “Up In Here” by DMX, and then would smoothy transition into electro, trap, and progressive remixes and mashups. Jesse Marco touched upon almost every genre of EDM that night including moombahton, Melbourne bounce, dubstep, and many more. Jesse Marco is definitely one to keep your eyes out for.

ZAXX opened right after Jesse Marco with “Incredible” by Carnage and Borgore. Although there were some technical difficulties in the beginning of his set, ZAXX kept his composure and played on behind the decks. One thing that I really liked about ZAXX's set is how he interacted with the audience. ZAXX knew how to reach out to the crowd, getting everyone riled up for the big room bombs he was about to drop. Some highlights from ZAXX's set include “This is Dirty” by DVBBS and MOTi, “Max Ammo” by Firebeatz, and “Pallaroid” by Thomas Newson.

Overall, Electic Candy Land was an amazing time for my friends and I, and the artists who preformed were all worth seeing.

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