Bijou
[vc_row][vc_column][vc_column_text]EDM Artists >> Bijou
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Bijou has been one of the driving forces behind G-house since the genre first started taking shape, and after more than a decade in the game he’s still finding new ways to push it forward.
Born Benjamin Dorman and based out of Arizona, Bijou got pulled into dance music the way a lot of us did — hearing Tiësto’s “Adagio for Strings” and getting hooked. That was back in 2009, and it didn’t take long for him to start building his own sound, one that leans on rolling basslines, hip-hop-inflected samples, and that gritty, funk-laced low end that came to define G-house.
His 2016 single “Hello” with Dr. Fresch was the moment industry heavyweights started paying attention — Don Diablo and Party Favor both co-signed the track, and it opened doors that led to a steady run of releases through labels like Night Bass and his own imprint, Do Not Duplicate Recordings. He’s also part of the Insomniac artist roster, which says a lot about where he’s landed in the festival world.
Bijou’s catalog only got deeper from there. His G-Code EP in 2017 and Diamond City album in 2020 both leaned into his signature style — dark, bouncy, unmistakably West Coast bass music — while pulling in collaborators from outside the typical dance world, including rappers Denzel Curry and Wifisfuneral. That willingness to blur genre lines is a big part of why Bijou’s stayed relevant while a lot of his G-house peers have faded.
2023 and 2024 kept the momentum going. He opened for Big Gigantic at Red Rocks Amphitheatre in September 2023, one of the bigger rooms he’s played to date, and dropped his Lights Out album in 2024 along with singles like “Put It Down” featuring Jayelle and “Seduction” on his own label. EDM.com singled out his January 2024 track “Chit Chat” for its sample work and synth design. He also picked up Best DJ honors in Phoenix New Times’ Best of Phoenix guide back in 2020, cementing his status as one of Arizona’s most consistent dance music exports.
More than a decade in, Bijou is still one of the clearest examples of what happens when a producer refuses to get boxed into one lane — house, bass, hip-hop, and G-house all show up in his music, and somehow it still all sounds like him.
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