What’s Hot

If you hold the special two-day ticket for the Rockwave Camp July 19 & 20, fill in the registration form, which you will find here and confirm your participation.


Registration is mandatory for entering the venue and must be completed by July 6th!


Those who have not completed the registration process by July 9th will not be able to enter the Terra Vibe Camp Area, even if they have the special ticket.


The names of all registered visitors will be listed on the festival day in order to check in.


Let’s make this experience unique!


* Special weekend tickets for the Rockwave Camp are sold-out.

Registration concerns only those who have already purchased their special two-day ticket for the Rockwave Camp.

BRYAN FERRY at Theatro Dassous September 13th 2018

Βryan Ferry at Theatro Dassous (Thessaloniki) for Dassos 4th Festival on Thursday September 13rd!

Bryan Ferry is one of the most iconic and innovative singers and lyricists in popular music, with an original vocal brilliance of breathtaking elegance.

While studying Fine Art at the end of the 1960s he met the founder of British Pop Art, Richard Hamilton, whose influence and inspiration would inform Ferry’s artistic vision.

“My earliest writings and recordings with Roxy Music,” he explains, “were a direct attempt to combine my love of music with the creative possibilities and ideas that I had learned from Fine Art.”

Awarded a travelling scholarship by the Royal College of Art, Ferry moved to London and wrote the songs, which became the first Roxy Music album. He recruited the other members of the group and put together every detail of their image, from stage clothes to record sleeves.

Appearing on ‘Top of The Pops’ in 1972, performing their debut single, ‘Virginia Plain’, their impact was instantaneous. They took the history of popular music, from Elvis to progressive rock by way of soul and the avant-garde, and fused it into a seamless, glittering pure pop moment, a flawless display of musical virtuosity, lyrical brilliance and style.

The first ‘Roxy Music’ album has been acclaimed by successive generations of critics as one of the most important records in the history of pop and rock.

Ferry recorded his first solo album, ‘These Foolish Things’, in 1973, showcasing his love of classic rhythm & blues and rock & roll in a style entirely his own. The emotional intensity of his vocals can be heard on his epic interpretation of the Bob Dylan classic, ‘A Hard Rain’s A-Gonna Fall’, one of many of his cover versions of recordings by artists he admires, interpreted in his own way, merging musical styles – from French chanson, through classic crooner to hard edged rock – creating a sheen of pure drama which would become his artistic signature.

The cover photograph on his second solo album, ‘Another Time, Another Place’, of Ferry dressed in a classic white tuxedo for the early evening cocktail hour, became one of the defining images in the history of popular culture and his interpretation of ‘The In Crowd’ has become the mythic soundtrack to the legend of the “Jet Set”. Ferry and Roxy Music transcended fashion, setting trends rather than following them.

Ferry makes every song entirely his own. His vocal style brings a whole world to life, making each song a dramatic performance, achieving a perfect tension between languor and melodrama to create high romance.

In October 1975, one of Roxy’s best loved tracks, ‘Love Is The Drug’ – the opening track on ‘Siren’ – described romantic and sexual obsession and further explored the urban underworld of dark bars and addictive predatory romance.

Roxy Music produced their final studio album in 1983 – the triple platinum ‘Avalon’, which sealed their reputation as musical pioneers and as a global super-group.

Throughout the 1990s to the present day, Ferry has continued his work on covers that he has made entirely his own. He endlessly refines his work, through recording and performance, often describing the emotional theatre of romance from the perspective of a loner and an outsider, describing love and loneliness, luxury and isolation. He is the great anatomist of glamour.

In 2002 he released ‘Frantic’, an album put together with a mixture of original material and interpretations of other artists’ songs, some of which were written with Dave Stewart of the Eurythmics, and one song, (“I Thought”), composed with former Roxy colleague, Brian Eno.

In September 2006 Ferry returned to the studio to record ‘Dylanesque’ – an artistic tribute to the songs of the American singer songwriter he always loved and respected.

He celebrated the 40th year anniversary of his career by rearranging his own compositions and recording them in a 1920's style with his Jazz Orchestra, The Bryan Ferry Orchestra, for an instrumental album. After hearing ‘The Jazz Age’ Baz Luhrmann asked Ferry to record the 20's music for his version of the movie 'The Great Gatsby'.

In 2014, Ferry launched his fourteenth solo album, the edgy, brooding, cinematic ‘Avonmore’ containing a mix of original compositions such as ‘Soldier of Fortune’ (co-written with Johnny Marr), ‘Lost’ and ‘Loop de Li’ as well as interpretations of Stephen Sondheim’s ‘Send in the Clowns’ and ‘Johnny and Mary’ by Robert Palmer. ‘Avonmore’ demonstrated all of the qualities that have made Bryan Ferry’s writing, arranging and vocal genius so iconic, innovative and enthralling.

2016 has been a busy year for Ferry so far with a world wide tour and release of his first solo live album. Recorded during the 2015 Avonmore Tour, ‘Bryan Ferry Live 2015’ which features the full set played across world-wide live dates, at multiple shows on tour. The album features songs from his highly acclaimed latest album, Avonmore, and classic hits from the Bryan Ferry and Roxy Music back catalogue.

Βryan Ferry at Theatro Dassous (Thessaloniki) for Dassos 4th Festival on Thursday September 13rd!

Ticket Info
Pre-sales start on Friday March 16th

SHAGGY joins STING at European Tour 2018

In creating their collaborative, island-inspired album 44/876, Sting and Shaggy drew from the many unlikely connections at the heart of their music. With its title referencing their hometown area codes, 44/876 first and foremost honors the duo’s deep-rooted love for Jamaica: Shaggy’s homeland, and the place where Sting penned such classics as The Police’s “Every Breath You Take.” Along with continuing each artist’s exploration of reggae and its transcendent rhythms, songs like “Don’t Make Me Wait” reveal Sting and Shaggy’s shared passion for making timeless music that defies expectation.

The lead single from 44/876, “Don’t Make Me Wait” came to life after the musicians were introduced by Martin Kierszenbaum (Sting’s manager and Shaggy’s former A&R executive). Although the initial plan was for Sting to lend his vocals and musical finesse to the track, the two soon discovered that their distinct voices blended with unbelievable ease. Fueled by their immediate chemistry, “Don’t Make Me Wait” emerged as a soulful love song built on intense grooves, warm harmonies, and graceful guitar work.

Compelled by their creative synergy, Sting and Shaggy decided to team up on another track and soon amassed a near-album’s worth of material. “Everything about it is organic—it was never planned,” says Shaggy of 44/876. Recording in New York City, they enlisted a lineup of esteemed musicians and writers from Jamaica and New York, including the legendary Robbie Shakespeare of Sly and Robbie, dancehall sensation Aidonia, Morgan Heritage (courtesy of CTBC Music Group), Agent Sasco as well as Branford Marsalis and Sting’s longtime guitarist Dominic Miller.

Executive-produced by Kierszenbaum and primarily produced by Sting International—a frequent Shaggy collaborator who worked on global smashes like “Oh Carolina,” “Boombastic,” and “It Wasn’t Me”—44/876 fuses infectious Afro-Caribbean rhythms with irresistible pop melody and plenty of massive hooks. And in their lyrics, Sting and Shaggy take a cue from their mutual hero Bob Marley and present a powerful message of love, hope, freedom, and unity. “The theme that’s common to all of this is looking for something better in tomorrow,” notes Sting.

That thoughtful optimism infuses such songs as “Waiting For the Break of Day” (a piano-laced, gently soaring mid-tempo number) and “Morning Is Coming” (a brightly swaying track delivering silken grooves and sultry horns). On “Just One Lifetime,” the pair turns playful with a bit of poetry lifted from Lewis Carroll’s Through the Looking-Glass, their warm-hearted storytelling shifting from Sting’s smooth vocals to Shaggy’s masterful flow. And on the deeply stirring “Dreaming in the USA,” with its urgent beats and uplifting harmonies, the duo detail their shared experience as outsiders pursuing the promise of American life. “I think the greatest part of America is that welcome that it gives to the world,” says Sting.

One of rock music’s most notably inventive bass players, Sting traces his love of reggae to the bass-driven melodies that served as a prime inspiration for his work with The Police. With the pioneering British band’s near-decade-long run yielding five studio albums—and earning six Grammy Awards, plus an induction into The Rock and Roll Hall of Fame in 2003—Sting’s illustrious solo career has led to an additional 10 Grammy Awards, two Brits, a Golden Globe, an Emmy, four Oscar nominations, a TONY nomination, Billboard Magazine’s Century Award, and MusiCares’ 2004 Person of the Year honor. All told, he’s sold close to 100 million albums from his combined work with The Police and as a solo artist.

Born and raised in Jamaica, Shaggy moved to Flatbush, Brooklyn as a teen where he attended high school and first realized his talent as a lyricist while freestyling with his Flatbush classmates. After serving in the US Marines for four years, he made his musical breakthrough in 1993 with “Oh Carolina,” a track that holds the distinction of being the first-ever dancehall record to chart in England (where it spent two weeks at No. 1. on the UK Singles Chart). A major force in boosting the worldwide popularity of reggae and dancehall music, Shaggy later went on to win the Best Reggae Album prize at the 1996 Grammy Awards for his third full-length effort Boombastic (featuring the platinum-selling and iconic title track). His catalog also includes the No. 1 mega-hits “It Wasn’t Me” and “Angel,” both of which appeared on his diamond-selling album Hot Shot. Shaggy currently resides in Jamaica with his wife and children.

In their collaboration on 44/876, both artists felt equally challenged and inspired by the other’s singular creative approach. While Shaggy says he learned from Sting’s meticulous experimentation in the songwriting process, Sting points out that Shaggy’s purposeful spontaneity helped to expand his artistry. “The whole record was made with this kind of genial competitiveness between us, each trying to up our game,” says Sting.

Both dedicated philanthropists (Sting co-founded the Rainforest Fund with his wife Trudie Styler in 1989), Sting and Shaggy debuted “Don’t Make Me Wait” at a recent benefit for the Bustamante Hospital for Children (a Kingston, Jamaica-based facility that Shaggy’s long supported through his Shaggy Make a Difference Foundation). Despite never having heard the song, the crowd of 20,000 almost instantly sang along—a testament to the undeniable vitality of the duo’s collaboration. “Going into the studio with Shaggy and not knowing what the outcome would be—it’s a leap in the dark, it’s a risk,” says Sting. “But it’s always worth taking a risk in terms of creativity because the best things are always accidents…You have to say, ‘Okay, well, I’m going to put myself out of my comfort zone and see what happens.’ And that’s really what this is.”

Photo credits to Salvador Ochoa

Page: (2 / 21) <<<123456789>>>
More Categories
Favourite Links
Mailing List
For any question or help
View Impressions File
Events, concerts, and more
First box office
Subscribe now to our Mailing List
and inform about Didi's Music News
Mailing List
Kind of Music:
Terms of Use
Follow us:
Favourite Photos
© 2011 www.didimusic.gr , all rights reserved - Web Design by ΝetPlanet