pete tong classics tour

2024 WINTER TOUR

Ibiza Classics

Jules buckley, the essential orchestra, december 2024.

• WED 4 ABERDEEN P & J LIVE
• THU 5 GLASGOW OVO HYDRO
• FRI 6 NOTTINGHAM MOTORPOINT ARENA
• SAT 7 MANCHESTER AO ARENA
• TUE 10 CARDIFF UTILITA ARENA
• WED 11 BRIGHTON CENTRE
• THU 12 BIRMINGHAM UTILITA ARENA
• FRI 13 LONDON O2
• SAT 14 LONDON O2

2024 SUMMER DATES

• FRI 21 JUNE NEWMARKET RACECOURSES
• SAT 22 JUNE HAYDOCK PARK RACECOURSE
• FRI 5 JULY BEDFORD SUMMER SESSIONS
• SAT 6 JULY SILVERSTONE MOTOR RACING
• FRI 19 JULY HERRINGTON COUNTRY PARK, SUNDERLAND
• SAT 20 JULY ENGLEFIELD HOUSE
• FRI 26 JULY SANDOWN PARK RACECOURSE
• SAT 27 JULY MOTE PARK, KENT
• SUN 28 JULY CAMP BESTIVAL, DORSET
• SAT 10 AUGUST MARBELLA ARENA, SPAIN

Pete Tong announces ‘Ibiza Classics’ 2024 arena tour

The 'Ibiza Classics' live show with conductor Jules Buckley and The Essential Orchestra will mark its eighth year

Pete Tong has announced an ‘Ibiza Classics’ arena tour for December 2024.

Joined again by contemporary conductor Jules Buckley and The Essential Orchestra, the tour will kick off at Aberdeen's P&J Live on 4th December 2024 and take in dates in Glasgow, Manchester and Birmingham, before rounding things off with a pair of shows at London's O2 Arena on 13th and 14th December.

Tickets for the 'Ibiza Classics' arena tour go on sale at 09:30 GMT on Friday (8th December). Go  here  for the full list of dates and tickets.

The forthcoming 2024 dates will mark the eighth year of the Ibiza Classics Heritage Orchestra live project, which puts an orchestral spin on well-known dance tracks, with the first 'Ibiza Classics' compilation arriving in 2017.

In 2021, Tale of Us reworked Hans Zimmer’s ‘Time’ for  Pete Tong's 'Pete Tong + Friends: Ibiza Classics' EP , which followed from the 'Classic House', 'Ibiza Classics' and 'Chilled Classics' releases.

Back in February, the Pete Tong DJ Academy launched a new scholarships scheme , providing free access to their full program with the likes of Carl Cox, Nicole Moudaber, Adam Beyer, Sama’ Abdulhadi, TSHA and Jamie Jones offering mentorship and guidance.

The winners  of the Pete Tong DJ Academy Future Talent Awards were announced in July.

View this post on Instagram A post shared by DJ Mag (@djmagofficial)

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P&J Live

Pete tong presents ibiza classics 2024, wednesday 4th december 2024.

Music | Entertainment | Concerts

Event Details

Doors: 6:30pm

Standing over 14s only / Seated under 16s should be accompanied by an adult 18+yrs

DJ, broadcaster and global dance music legend Pete Tong has today announced that his critically acclaimed Ibiza Classics will return for a brand-new show in winter 2024. He will once again be joined by long time collaborator Jules Buckley and The Essential Orchestra.

Kicking off in Aberdeen at P&J Live on 4 th December 2024, Ibiza Classics will visit arenas in Glasgow,Nottingham, Manchester, Cardiff, Brighton and Birmingham, before concluding with two very special dates at The O2, London on Friday 13 th and Saturday 14 th December 2024. Special guest vocalists will be announced in the new year. Ibiza Classics has firmly cemented itself as part of the live music calendar becoming the world's most iconic orchestral electronic music event. Celebrating the legacy of dance music, the new live show will include a host of special guest DJs and singers showcasing stunning reimagines of timeless classic house tracks. Combining unique orchestration with unparalleled electronic production, ravers rejoice as it is set to be the party of the year reminiscent of the White Isle and its musical history!

• Three Presale: Wednesday 6th December 2023 @ 9:30am
• General Onsale: Friday 8th December 2023 @ 9:30am

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Pete Tong Ibiza Classics

With vocalists mnek, john martin, jem cooke & jazzy.

• Date 24 Nov , 2023

Event Starts 7:30 PM

• Doors Open 6PM
• Availability On Sale Now

Enjoy the ultimate show experience from your own private suite, with the flexibilty to purchase on a show by show basis or annually with full interior branding opportunities available.

Find out more

Enjoy the Champagne Experience in our AO Electric Lounge. More than just tickets to a show, our VIP experience includes a pre-show glass of champagne in the AO Electric Lounge and seats with the best views of the stage.

You must have a valid ticket for the show to buy this upgrade. The Heineken Sky Lounge is our private, over 18s only pre-show bar where you can enjoy drinks before taking your seats to enjoy the show.

The Beautiful North represents the ultimate in laid back luxury, complete with its own private bar, fine-dining cuisine and unrivalled views of the stage from the rear of Block 115.

Event Details

THE WORLD’S MOST ICONIC ORCHESTRAL ELECTRONIC MUSIC EVENT RETURNS LATER THIS YEAR

IBIZA CLASSICS

JULES BUCKLEY

WITH THE ESSENTIAL ORCHESTRA

BRAND NEW SHOW FOR 2023

SPECIAL GUEST VOCALISTS ANNOUNCED

MNEK / JOHN MARTIN / JEM COOKE / JAZZY

DJ, broadcaster and global dance music legend Pete Tong has today announced special guest vocalists for upcoming critically acclaimed Ibiza Classics show with Jules Buckley and featuring The Essential Orchestra.

Singer-songwriters and dance music vocal pioneers MNEK, John Martin, Jem Cooke and Jazzy join the line up to perform eight huge arena dates across the UK’s major cities. Kicking off in Glasgow at OVO Hydro on 26th November 2023, Ibiza Classics visits Manchester, Nottingham, Cardiff, Brighton and Birmingham, before concluding with two very special dates at The O2, London on 1st and 2nd December 2023.

Grammy award winning, BRIT and Ivor Novello-nominated artist/producer/writer MNEK, has clocked up an astonishing fifteen years in the music business. With over 4 BILLION streams on MNEK written, featured and produced tracks, he has grown to become a true powerhouse within the British pop world. He has worked alongside some of the biggest names in the industry and written with massive international stars.

Swedish singer, songwriter and producer, John Martin will also take to the stage, having shaped some of the most defining tracks across house and EDM he is best known for his work on the Grammy-nominated, multi-platinum-selling, Swedish House Mafia single ‘Don’t You Worry Child’. John has gone on to collaborate with dance music icons Avicii, Steve Akoi, David Guetta and Martin Garrix.

British singer-songwriter Jem Cooke has been augmenting the UK electronic scene for some years now, a prolific writer and recording artist she has worked with huge artists including Camelphat, Franky Wah, Gorgon City, Zero7, Cristoph, HotSince82, Wilkinson, Damian Lazarus, Kate Simko and Jamie Jones. Continuing her ascent as one of dance music’s most prominent new artists, Irish DJ and vocalist Jazzy will also be performing on the tour. Having announced her highly-anticipated debut EP Constellations today, the record is executive produced by dance-duo Belters Only and features her massive club hits ‘Giving Me’ and ‘Feel It’.

Ibiza Classics has firmly cemented itself as part of the live music calendar becoming the world’s most iconic orchestral electronic music event. Celebrating the legacy of dance music, the new live show will include a host of special guest DJs and singers showcasing stunning reimagines of timeless classic house tracks. Combining unique orchestration with unparallel electronic production, raver rejoice as it is set to be the party of the year reminiscent of the White Isle and its musical history!

Last year, Pete Tong and Jules Buckly released Amazon Original orchestration of ‘Free (Do What You Want To Do) with Ultra Naté and LP Giobbi, listen here . The recording follows their three acclaimed and chart-topping albums: ‘Classic House’, ‘Ibiza Classics’ and ‘Chilled Classics’ plus the EP ‘Pete Tong + Friends: Ibiza Classics’.   A pillar of dance music with an unparalleled ear for new talent, Pete Tong MBE is undeniably one of the world’s most influential figures. Over the last three decades - both publicly and behind the scenes - Pete has been revered as an arena-selling artist, DJ, music producer, A&R, and the voice of Radio 1’s prestigious dance programming. With an incredible 30+ year career, the tastemaker DJ, broadcaster and producer has been dedicated to making dance music a global genre, constantly pushing boundaries, and breaking new talent wherever he goes. A testament to his life spent in music year, Pete Tong MBE was honoured with the prestigious Music Industry Trusts Award (MITS) in 2021 for recognition of his outstanding contribution to the music and broadcast industries. Ahead of the tour Pete Tong’ Ibiza Classics took part in celebratory Coronation Concert in the grounds of Windsor Castle earlier this year, watch some of the incredible performance here . Tickets are on sale now!

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Summer concerts

Pete tong ibiza classics.

Pete Tong Ibiza Classics with Jules Buckley and The Essential Orchestra.

Plus special guests, The Grid, Groove Armada and a rising star from the Pete Tong DJ Academy,

Saturday 20th July 2024

Englefield House, Pangbourne, Berkshire RG7 5EN

One of the world’s most influential musical figures Pete Tong will bring his Ibiza Classics show to the stunning grounds of Englefield House near Pangbourne in Berkshire next summer, as part of the Heritage Live concert series.

The DJ, broadcaster and global dance music legend will perform in the grounds of the Elizabethan country house and estate on Saturday 20th July 2024 , and will be joined by Jules Buckley and the Essential Orchestra. The show will also feature special guests, The Grid, who are reuniting their full, original line-up for the first time in over 20 years, Groove Armada, as well as a rising star from the Pete Tong DJ Academy. 

Tickets can be purcahased  here .

Promoter, Giles Cooper of GCE Live said: “Pete Tong is an absolute legend who has provided a soundtrack to life for so many throughout the years. What he’s done with Ibiza Classics is nothing short of spectacular. We cannot wait to host Pete, Jules and the Essential Orchestra at Englefield for what will truly be an historic show”.

Ibiza Classics has firmly cemented itself as part of the live music calendar before becoming the world’s most iconic orchestral electronic music event. Celebrating the legacy of dance music, the live show showcases the stunning re-imaginings of timeless classic house tracks.

Combining unique orchestration with unparalleled electronic production, ravers rejoice as it is set to be the party of the year reminiscent of the White Isle and its musical history!

For all show info, including venue information and VIP packages visit: www.heritagelive.net

Englefield Estate accepts no responsibility for any issues with purchase of tickets, including but not limited to: additional fees charged by ticket vendors, the sale of fake or otherwise void tickets, or purchase of tickets that do not arrive. Please see FAQs below for further information on purchasing tickets and contact the ticket vendor should you have any issues with your purchase.

Please note:

That the promoter has the right to change the supporting line-up. For full and final line-up and details about the event, please  visit Heritage Live's website .

Stage times: 

Gates to the concert arena open at 1pm and the event is set to finish at 10.30pm

How do I book tickets?

Tickets can be purchased via the Heritage Live website, here .

How do I get to Englefield House?

By car: Sat Nav co-ordinates: RG7 5EN

Exit Junction 12 of the M4, signed for Reading. Take the A4 in the Newbury direction, go straight across at the first roundabout and at the second roundabout turn right onto the A340, signed to Pangbourne. For concerts, the site is accessed via the ornamental gates about half a mile on the left hand side. Please follow signage to concert parking.

There is plenty of car parking space available at Englefield, (charged at £10 per car), and tickets can be purchased in advance (as an add-on when buying your concert ticket) for fast-track entry, or by cash/card on the night. Please note that the local road infrastructure is limited, so please allow plenty of time for your journey to and from the venue. Access to Englefield Village is not permitted.

By train:  The nearest railway station is Theale, which is just 2 miles away and 5 minutes in a taxi. Reading station is a 20 minute rail journey from London Paddington and then just a 7 mile drive to Englefield, which takes 15 minutes in a taxi.  View taxi telephone at the bottom of this page.

By bicycle: Please find Englefield on the National Cycle Network .

Is there car parking at the venue?

Please note that car parking tickets can be purchased in advance when you book your concert ticket, via our many ticket agents. Car parking tickets can also be purchased on the night for £10 per car (cash or card).

Please be aware that the road infrastructure surrounding Englefield is very limited, so please allow plenty of time for your journey to and from the venue. Please be patient and respectful to our staff and neighbours. Please allow up to 90mins to enter and leave the car parks.

Vehicles are not permitted to remain in the concert car park overnight.

Are there disabled / accessible tickets?

For discounted Disabled/ Accessible tickets, please purchase your tickets online at  AXS Ticketing . Please note that if you require a space on our  Access Viewing Platform (AVP)  or a space within our  Access Zone , you MUST book this option when buying your concert tickets. It will not be possible to change normal concert tickets to Access tickets at a later date. All Access tickets are sold on a first-come-first-served basis.

There are three ticket options for Access Customers. For more information about the ticket options, visit Heritage Live's website here .

Accessible Toilets

Accessible Toilets are located at the Accessible Entrance and also adjoining the Accessible Viewing Platform (AVP) and Access Zone. There will also be a least two accessible toilets in each of the main toilet blocks in the main arena. These toilets will not require a radar key but are reserved for customers with Access requirements only. An accessible toilet wristband will be required and can be requested at the 'Access Customer Services Check-In' marquee. Additional accessible toilets will also be available on site. For the most up to date information on the location of these toilets and how to access them, please check with the Accessibility Service Team upon arrival.

In addition, ‘Vehicles for Change’ will be providing one of their vehicles for individuals who require either a changing bench and/or hoist or where more space for wheelchair users to access the toilet is needed. The vehicle has either a tail-lift or side-lift with large opening doors which enable the wheelchair user to move straight into the toilet and washroom space. Inside, there is plenty of room for carers or family members who may need to assist or accompany the user. There is a sink at wheelchair height, a toilet with drop down grab rails at either side, a full sized (6 ft) free standing and height adjustable changing bench and an electric ceiling tracked hoist which is compatible with all loop slings. A shower is included with hot and cold running water. They all have heating and consumables such as wipes and disposable gloves and a bin for waste will be provided.

Accessible Parking

Heritage Live offers Access customers an Accessible/ Blue Badge Car Park, which is positioned as near as possible to the Access facilities.

Important notes:

• The Blue Badge Parking ticket is limited to one per paying customer, subject to availability.
• You can book your vehicle space in the Accessible Car Park online (at the same time as when you buy your concert ticket), but if you forget, you will also be able to pay at the gates upon arrival, subject to the following conditions:-
• If you haven't bought your Accessible Parking ticket in advance, you can pay by cash or card as you enter the main entry lanes of the car parks (charged at the discounted rate of £9 per vehicle and subject to availability). You must present your Blue Badge, with matching Photo ID and event ticket upon arrival. If you arrive without this documentation you may be refused entry to the Accessible car parking area. After paying, you will then be directed to the dedicated Accessible Car Park by the parking stewards.
• The Accessible car park will be clearly signposted as you enter the event site, but please do check its exact location for your specific Heritage Live venue and event.  Please e nsure you enter the site via the correct vehicle entrance (see the 'Access facilities map' which will be posted on the Event Information of your chosen concert on the Heritage Live website as the date of the concert approaches .
• An accessible buggy service (for those requiring it) will operate to transport customers to and from the Access/ Blue Badge car park to the dedicated accessible event entrance. This service will begin when gates to the main arena are opened and will continue at the end of the show until all customers have left. For safety reasons there may be a waiting time of up to 30 minutes at the end of the event for this service while the main egress takes place.

Can I bring food and drink?

Food, alcohol and soft drinks must be purchased on site and cannot be brought into the concert arena. Prohibited items will be confiscated upon entry. There will be an array of artisan food traders and bars onsite. Single-use plastics are prohibited. Empty refillable water containers can be brought in to use at the free water filling points

Can I bring my own seating?

You are allowed to bring in a camping chair and deck chairs will be available to hire on the evening at £10 each. However, please note that these can only be used in the REAR of the ARENA and you will be prevented from placing them in the front arena, where it is likely to be very busy. There will also be picnic benches and hay bales scattered around the rear edges of the concert arena). For those who have purchased VIP tickets, there will also be some relaxed (unreserved) scattered seating withing the VIP Compound.

What is included in a VIP ticket?

Take advantage of a VIP Ticket (must be purchased on top of your concert ticket) which entitles you to the facilities of the VIP GUEST AREA.

> VIP toilets, VIP Bar (cards only), unreserved additional relaxed seating areas, plus picnic benches scattered on the grass within the VIP compound, plus 'street artist' entertainment.

> VIP ticket holders will also have early access to the concert arena, when possible.

Can children attend?

Children aged 14 and under may purchase a Child Ticket (proof may be required upon entry). All children must be accompanied by an adult. Under 5’s free (no ticket required).

Can I stay on the Estate?

There are no facilities for camping, caravans or campervans on the Englefield Estate. For more information on camping and caravan sites in Berkshire please visit the official tourist website for South East England .

What happens to my ticket if the event is postponed or cancelled?

In the event the concert is postponed, your ticket will apply for the new date. If you are unable to attend this date, you will be entitled to a refund.

In the event the concert is cancelled, you will be entitled to a refund. Please contact your ticket vendor for more details.

This is an outdoor concert, so please dress appropriately. Small umbrellas permitted but please take care and be mindful of those around you when using it.

Please download your E-tickets to your mobile phone (or print them off) before leaving for the concert, as Wi-Fi and 4G signals are very limited onsite.

Can I visit Englefield House?

Englefield House is a private residence and is not open to the public. There will be no access to Englefield House or gardens during the concerts. If you wish to visit Englefield gardens, they are open every Monday. Click here for further details.

Are dogs permitted?

Dogs are not permitted, except for assistance dogs.

• Back to Park Live Kent

JULES BUCKLEY

THE ESSENTIAL ORCHESTRA

27th JULY 2024

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Pete tong ibiza classics.

Pete Tong, hailing from Dartford, has undeniably emerged as one of the foremost figures in theelectronic dance music scene. Throughout his remarkable career spanning over 30 years, the DJ, broadcaster, and producer has committed himself to transforming dance music into a global genre. HisIbiza Classics project, marked by numerous live orchestral performances at iconic venues worldwide, including California’s Hollywood Bowl, London's O2 Arena, and all across Ibiza, as well as the release of three chart-topping albums 'Classic House', 'Ibiza Classics', and 'Chilled Classics', continues to push boundaries across the globe. In recognition of his outstanding contributions to the music and broadcast industries over his lifelong dedication to music, Pete Tong MBE was honoured with the prestigious Music Industry Trusts Award in 2021.

Pete Tong & The Heritage Orchestra Ibiza Classics

This event has passed.

Pete Tong Presents Ibiza Classics

Plus special guests mnek, john martin, jem cooke and jazzy.

• Date 1 Dec - 2 Dec 2023
• Venue The O2 arena
• Availability On sale now

Event Details

DJ, broadcaster and global dance music legend Pete Tong has announced the return of his critically acclaimed Ibiza Classics show for 2023 with Jules Buckley and featuring The Essential Orchestra. He’ll headline The O2 on Friday 1 and Saturday 2 December 2023.

Ibiza Classics has firmly cemented itself as part of the live music calendar becoming the world's most iconic orchestral electronic music event. Celebrating the legacy of dance music, the new live show will include a host of special guest DJs and singers showcasing stunning reimagines of timeless classic house tracks. Combining unique orchestration with unparalleled electronic production, ravers rejoice as it is set to be the party of the year reminiscent of the White Isle and its musical history!

This year, Pete Tong and Jules Buckley released Amazon Original orchestration of ‘Free (Do What You Want To Do) with Ultra Naté and LP Giobbi, listen here.  ‘Free (Do What U Want)’ reimagines two timeless classics, combining orchestration and electronic production alongside a 12-person choir, to bring new life to the two hits. ‘Free’ has become an anthem for different groups over the last twenty years, more recently the track had a new lease of life during the pandemic as people yearned to be out dancing again. Watch the behind-the-scenes video filmed at AIR Studios here.  The recording follows their three acclaimed and chart-topping albums: ‘Classic House’, ‘Ibiza Classics’ and ‘Chilled Classics’ plus the EP ‘Pete Tong + Friends: Ibiza Classics’.

A pillar of dance music with an unparalleled ear for new talent, Pete Tong MBE is undeniably one of the world’s most influential figures. Over the last three decades - both publicly and behind the scenes - Pete has been revered as an arena-selling artist, DJ, music producer, A&R, and the voice of Radio 1’s prestigious dance programming. With an incredible 30+ year career, the tastemaker DJ, broadcaster and producer has been dedicated to making dance music a global genre, constantly pushing boundaries, and breaking new talent wherever he goes. A testament to his life spent in music year, Pete Tong MBE was honoured with the prestigious Music Industry Trusts Award (MITS) in 2021 for recognition of his outstanding contribution to the music and broadcast industries.

Important Information - How to download your tickets on The O2 app

For this show, if you’ve purchased your tickets from theo2.co.uk or AXS.com you’ll need to display your ticket on your phone via The O2 app. Ticket purchasers will receive an email with news and information on  AXS Mobile ID tickets  and how you can download your tickets to your phone. 

If you’ve bought your tickets for this show via AXS then you can re-sell your tickets with AXS Official Resale   which gives you a safe, simple, and fair way to buy and sell tickets.

For more information on re-selling tickets from AXS and other ticket agents  click here .  

Please note:  If you purchase  resale   tickets for this show through any website other than via theo2.co.uk or axs.com, your tickets may not be valid and access to the venue could be refused.

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The Unique Burial of a Child of Early Scythian Time at the Cemetery of Saryg-Bulun (Tuva)

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Pages:  379-406

In 1988, the Tuvan Archaeological Expedition (led by M. E. Kilunovskaya and V. A. Semenov) discovered a unique burial of the early Iron Age at Saryg-Bulun in Central Tuva. There are two burial mounds of the Aldy-Bel culture dated by 7th century BC. Within the barrows, which adjoined one another, forming a figure-of-eight, there were discovered 7 burials, from which a representative collection of artifacts was recovered. Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather headdress painted with red pigment and a coat, sewn from jerboa fur. The coat was belted with a leather belt with bronze ornaments and buckles. Besides that, a leather quiver with arrows with the shafts decorated with painted ornaments, fully preserved battle pick and a bow were buried in the coffin. Unexpectedly, the full-genomic analysis, showed that the individual was female. This fact opens a new aspect in the study of the social history of the Scythian society and perhaps brings us back to the myth of the Amazons, discussed by Herodotus. Of course, this discovery is unique in its preservation for the Scythian culture of Tuva and requires careful study and conservation.

Keywords: Tuva, Early Iron Age, early Scythian period, Aldy-Bel culture, barrow, burial in the coffin, mummy, full genome sequencing, aDNA

Information about authors: Marina Kilunovskaya (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Vladimir Semenov (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Varvara Busova  (Moscow, Russian Federation).  (Saint Petersburg, Russian Federation). Institute for the History of Material Culture of the Russian Academy of Sciences.  Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail:  [email protected] Kharis Mustafin  (Moscow, Russian Federation). Candidate of Technical Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Irina Alborova  (Moscow, Russian Federation). Candidate of Biological Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Alina Matzvai  (Moscow, Russian Federation). Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected]

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How derrick hodge brings hip-hop classics to life with symphonies.

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AUSTIN, TX - MARCH 15: Derrick Hodge of Robert Glasper Experiment performs on stage at Sonos Studio ... [+] during Day 4 of SXSW 2013 Music Festival on March 15, 2013 in Austin, Texas. (Photo by Andy Sheppard/Redferns via Getty Images)

Hip-hop classics like Illmatic can be revered alongside works of Mozart. This sentiment is shared by Derrick Hodge, the two-time Grammy-winning multi-instrumentalist, composer, and producer who has mastered the soulful fusion of jazz and hip-hop. With a history of collaborating with artists such as Jill Scott, Common, Yasiin Bey, and Nas, Hodge has established himself as a storyteller in full narrative control.

“We're trying to honor our music presented in many ways possible because we deserve it. We deserve our music to be presented,” Hodge shared in our exclusive interview last week.

A versatile talent, Hodge's roles as a composer, band leader, producer, bassist, and musical director have led some to wonder about his exact title. However, this versatility is what defines his individuality and has positioned him as a pioneer of the hip-hop symphony, elevating hip-hop’s cultural prestige.

Hodge made history in 2014 as the first composer to bring a symphonic rendition of Illmatic to the Kennedy Center, featuring Nas. Now, a decade later, Hodge will reprise his role with Nas and the Colorado Symphony at Red Rocks Amphitheatre on June 30, commemorating the 30th anniversary of the classic album.

Two nights before (June 28), Hodge will conduct alongside the Colorado Symphony for a performance featuring Damian and Stephen Marley, marking a full circle moment. In our exclusive interview, Hodge delves into his inspirations, notable hip-hop moments, the relevance of jazz in hip-hop, and his project for ambitious creatives, Color of Noize.

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Ime Ekpo: You've worked with iconic artists such as Common, Nas, and Yasiin Bey. Could you share some insights or memorable experiences from those collaborations?

Derrick Hodge: Working with those artists has always felt like a reminder of the purpose connected to what I do as a creative. From day one with each of those individuals, especially Common and Yasiin, it’s been nothing but love and acceptance. There’s a strong sense of brotherhood—asking what I’m interested in, what we can do uniquely, and how we can tap into the music.

For instance, Yasiin had a show at Carnegie Hall, and at the last minute, he said, "Hey, let’s add some strings, let’s add some this, let’s add some that." It wasn’t even 24 hours before the show, and not a single thing was written yet. Working with people like that, who are so trusting and willing to put it all on the line, you step up to the challenge and embrace the moment. We got some musicians together, and that Carnegie Hall performance led to many other opportunities.

Yasiin always made it about more than just love and respect. It was, "My platform is your platform. Let’s try it." Common has been the same way. We go back nearly 20 years now. I’ve written and produced with him, been on various albums from Be to Finding Forever to The Dreamer/The Believer . Common is an incredible brother and friend who’s always ready to try something unique.

I don't take these relationships for granted. Q-Tip and Kanye are no different. I honor these connections in my work, especially with Nas. Working with Nas on Illmatic was a pivotal moment. Illmatic was part of my soundtrack in college, so having the chance to contribute to it was special. Nas gave me the trust and freedom to paint my own story through the music.

LOS ANGELES, CA - FEBRUARY 10: (L-R) Musicians Derrick Hodge, Chris Dave, Robert Glasper and Casey ... [+] Bengamin, winners of Best R&B Album for "Black Radio", poses in the press room at the 55th Annual GRAMMY Awards at Staples Center on February 10, 2013 in Los Angeles, California. (Photo by Frederick M. Brown/Getty Images)

Ekpo: You’ve worked as a composer, band leader, producer, bassist, and musical director. Given your versatile background and your involvement across a broad spectrum within this specific sector of hip-hop, how would you define your approach? How did you become so versatile?

Hodge: And, you know, people ask me, who are my biggest influences? I say to this day, it was my mother, beyond any musician, beyond anything. It was her because, you know, I had a dream. I grew up in New Jersey, but I'm from Philadelphia. My mother was in choir with Patti LaBelle and all these people. And, you know, she sat in front of the bass player and said, like, “Don't get in no trouble.”

Color of Noize encapsulates me like a question mark. Even my closest friends sometimes only know a certain side of me, and other friends might not get them all. They're like, “Oh, yeah, Derrick does this,” and another person is like, '”Oh, he does that.” Wait, that question mark. Well, what is he? I've always been great. And honestly, that's become my journey.

Ekpo: Your baselines on Common’s Be have been recognized to be among the top 20 in hip-hop history. How did you approach creating those class act baselines? And what was it like working with Common, someone of that hip-hop caliber, on that project?

Hodge: Be was so special because Be was a result of Common watching me do things in silence. I would work and create and just write strings and always had ideas. When I got the call to come meet him in New York for that, it was just about that. It was like, "Hey, man, you know, these ideas, can you put some of that on this album?" And I always try to show up and just, you know, kind of have that spirit of, you know, whoever's in the room, let's just be open-minded, go with whatever direction. This is the plan. I have this music written out, but let's see from there how the spirit leads.

And that's exactly what happened with Be. People don't know that I wrote some strings out to cover the samples. It was a whole big kind of orchestral thing happening. In the end, we ended up just using the bass. I was just messing about, getting the sound, going through the vibe. And that's one beautiful thing about Common. They said, "Oh, man, that's it. We good. Just right there."

Ekpo: Now, you orchestrated—and this was hip-hop history—and directed the 20th anniversary celebration of Illmatic with Nas and the National Symphony Orchestra. What was that process like integrating hip-hop with orchestra music, and how did it feel to be a part of hip-hop history?"

Hodge: You know, I could talk forever about this. I remember it like it was yesterday. I'm so thankful for the opportunities that have come now, but the thing about that moment with the National Symphony Orchestra, that was the beginning before hip-hop was even being accepted in that way. The presenters thought it was possible. The National Symphony Orchestra, that wasn't just about Illmatic . That was the first time hip-hop had ever been featured with that symphony orchestra, ever. And so I knew the gravity of that moment.

I just didn't take lightly the fact that when I received word that I'd be essentially curating it with the team at the NSO, I was so surprised with the pure trust. Every single note I wrote, I sat by myself. There was no input. It was like, “Derrick, how are you going to paint for this orchestra?” And I didn't take that lightly. Certain moments you're in, you know it's a part of history and it's either run or stay and walk. And it's okay to be afraid sometimes, but don't stop.

That was that moment where I could have just said, “Well, you know, I'm not ready,” but I just, for whatever reason, the trust that Nas had and the conversations we had upfront and how trusting he was, he said, “Look, just send me when it's done. I'll learn what I need to learn and we're going to do it.” I'm like, “What? You're Nas. What are you talking about? You'll learn what you need to learn.”

Ekpo: What was the reception of hip-hop by the traditional orchestra scene? Did you face any adversity or controversy as a Black man in those settings?

Hodge: I've been in situations and I've kind of decided to just bombard myself with, almost put blinders on and just think about, okay, how do I best serve the moment creatively? How can I die to the ego and all this and just be in the moment? What does the music need? And that has so often, I look back now and I hear stories about, yeah, such and such happened. I wasn't catching any of that. I was just thinking about the music, the blessing of being in that moment and trying to show up for our people. Thinking about our people and being in the moment.

That is the thing that has been my guiding light. And that has not stopped. I mean, fast-forwarding, you know, those set of faces, those experiences, that shows up in different ways. I was orchestrating the Oscars with my brother, Adam Blackstone, and all these things, you know, certain things become familiar again. The question mark of, okay, well, okay, this is all great, but who are these young African-American men up here doing this? Are they supposed to even? We had a choice. What are we going to choose to honor? We chose to honor the culture and the music.

Ekpo: How did you approach giving Jeezy’s classic album Thug Motivation 101 a symphonic twist in Atlanta, and how did you manage the stylistic differences between Nas and Jeezy?

Hodge: The biggest thing for me, very similar to Nas and honoring Illmatic and honoring Queens, was just like, okay, how do I honor the spirit of where this music came from? Pete Rock was one of my favorite producers of all time. So, you know, working on Illmatic, I thought about Pete a lot. I would just hit him up, say I'm working on this, and we would just talk and laugh. I would get in his head because that all went into the story.

It was a similar thing with Jeezy. It was even more so about the conversation before I even wrote a single note. And when I say it was life-changing when we showed up at Atlanta Symphony Hall, I mean, they went crazy. It was very similar to Nas, where the music had to be up so loud because you could hear everybody in the audience reciting the words, note for note, beyond the music. And the Atlanta Symphony was just sitting there looking like, oh, okay. That's what this is about.

Ekpo: How did growing up in Philly and working with neo-soul artists like Jill Scott and Musiq Soulchild shape your approach to music, especially in the context of hip hop and urban contemporary genres?

Hodge: I think about Jill and Musiq, and just that Philly sound, the great James Poyser, who puts me on a lot of records, their producers, Junius Bervine, my brothers Dre and Vidal, Larry Gold, all these people I work with out of Philadelphia. A lot of my touring career really started with them. I went to Temple University in Philly, you know, where Jill went to college as well, before me. And the beauty of being in Philly, from Philly originally, is that it's a hotbed of talent and everybody's right on top of each other. Like you can't go far without being out of the city. So I felt that energy.

During the day, I'd be taking in Western theory, learning about how they approach music within college walls. And then at night, I'd be at the Five Spot, the Black Lily, or recording gospel projects, or recording these albums. And that's how I got on a lot of that. The Jill Scott records and Anthony Hamilton and Musiq and Floetry and a lot of those albums I got on, that was just being in that hotbed at that time. And the synergy was so beautiful. It was like, "Hey, are you free? Come on, boom, let's go. Let's do this album." And then we'd do this album all in the same session. It was just a beautiful time and experience.

I think of Jill often, because that was my first R&B tour ever. And Who Is Jill Scott? hadn't even come out yet. So I was there when she did her first Who Is Jill Scott? tour. And I remember what that did for Philly and how that sound encapsulated so much of her energy going on around the city at that time. I'm so thankful to Jill in particular, because she was extremely gracious, especially when I had to leave that band to go back to college. She was the first one championing me to stay curious. She was the first one saying, "No, keep going for what you think you need to get into."

Ekpo: How do you see the relationship between jazz and hip-hop, and what specifically are the unique contributions that you think jazz brings to hip-hop music?

Hodge: In having the blessing of knowing some of the masters and legends within the framework that we call jazz, I felt a similarity in terms of those records. When you're listening to it, you really hear the spirit of their souls. For better or for worse, you're hearing the spirit of their souls. It's freedom music. When I hear jazz, even when I listen to Miles and when I toured with Clark Terry and a number of jazz performers, even the great Terrence Blanchard, it might not have directly been hip-hop being performed on the stage, but the similarities in terms of us trying to protect the spirit of freedom in the music, the spirit of being unapologetically themselves and just telling their story, being their own narrator, being their own curators of a sound—even if it went against what was acceptable at the time—they chose to be unapologetically free in their voice. And I feel like the concept of that makes hip-hop and jazz one and the same to me, one and the same.

Derrick Hodge, Love Supreme Jazz Festival, Glynde Place, East Sussex, 2014. Artist: Brian O'Connor. ... [+] (Photo by Jazz Services/Heritage Images/Getty Images)

Ekpo: Touching on your stance as a producer, you have also worked with Quincy Jones. How do you balance your roles as a musician, composer, and producer, especially when you're working on hip-hop projects?

Hodge: What on the outside might look like a challenge to balance is something that's actually always been familiar for me, trying to figure that out, because I think that's a byproduct of me always trying to feed that curiosity I've had. It's never just been one thing I was into. So before the opportunities came, I was trying to figure different things out myself. I was figuring out how to produce, how to record, how to get a good sound before the opportunity to produce happened. While I was playing the bass and touring, I would go to the libraries and study scores while I'm touring as a musician where no one even knew I was doing that at the time. But then the opportunity came and it gave the illusion that, oh, okay, this is a new journey for me. I just was always someone feeding that curiosity.

It was great receiving word from Quincy that he saw that and he encouraged me to continue being that way. He often said, and Herbie Hancock would say as well, “You'll never be as far as you'll go will never be further than who you are as a person. So keep building that, build that character, build that, get to know people.” And Quincy, producing alongside him, I mean, he was a perfect example of it because he would ask me more questions about my family and my kids, learning about me, stuff that has nothing to do with music. And then when I would listen to the stuff we created, it was like, there was so much love in that moment. Just really being in each moment that actually kind of binds everything together instead of thinking about the different hats that I'm wearing.

30th Anniversary of 'Illmatic' at Red Rocks Amphitheatre with The Colorado Symphony featuring Tobe ... [+] Nwigwe

Ekpo: In terms of Red Rocks, this is approximately your third or fourth collaboration with Nas, if not more. Your performance with him at the Kennedy Center is deemed legendary.

Hodge: So crazy. This is my first time working with the Colorado Symphony, Red Rocks. It's going to be a great week. We created these pieces with Nas, and it has traveled the country and the world with so many symphonies. So I'm excited to actually be back on that stage hearing these arrangements again years later.

Ekpo: How real is it that, as of 2024, we are a year after the 50th anniversary of hip-hop, and it's approximately 10 years since the Illmatic performance. Now, its a decade later, and you're about to perform this again over at Red Rocks. Is it surreal to you? Is it a full circle moment that this act that you burgeoned with Nas is still up and live and active?

Hodge: It really is. It really is. And especially with this year, we just came off a year of celebrating 50 years of hip hop. And it was brought to my attention when we did a show at the Kennedy Center, where we honored Duke Ellington and J Dilla earlier this year. I reworked a lot of that music with my brother Robert Glasper, who had a Black Radio Orchestra. We were informed the night of that performance that it was 10 years from when that Nas show happened on that same stage. It sent chills to my body because I couldn't believe the symbolism of it and just knowing Red Rocks was coming full circle. This feels like a full circle moment, but also an opportunity to reconnect and keep talking about what else is possible.

Ekpo: In your Color of Noize project, you put a very strong emphasis on artistic excellence, expression, and more importantly, inclusion. How do you see your role in advocating for emerging musicians, especially within this symphonic space in the hip hop community?

Hodge: I'm looking forward to the opportunity to continue to practice what I preach and be held accountable for what I say I believe in. Starting this Color of Noize Orchestra and also being willing to start conducting more and continue this path of arranging has definitely not just been about the curiosity that I've spoken about and just feeding what I love. It is also about being accountable, knowing that, okay, some doors have opened now. We can't turn back.

When I hear from so many musicians over the years about how much being in a framework where they had to be accepted because we were on air, demanding that they're a part of these moments, I'm now realizing, oh, no, this is definitely about way more than me. So what I'm trying to advocate for now is creating opportunities with this orchestra, having conversations, putting albums out. Even the Color of Noize album that I put out, those were all first takes, kind of similar to the spirit of what I was telling you about. It's about acceptance, them knowing that the time they put into their craft is valued.

I'm curious about getting into that, not trying to refine them into something they think I want from them. I'm excited about this Color of Noize platform to continue to be that for people. Fellow composers are now coming all the time where I give free instruction to anyone curious about learning how to do it. Access is a huge thing, and that is something that I always preach about wanting. So now the access is there.

The conversation has been edited and condensed for clarity.

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Out of the Centre

Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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