Thu, Dec 31
The Egyptian Lover
Before there was techno in Detroit there was electro in Los Angeles, and a good deal of it came out of one man, one drum machine, and a car full of speakers driving around South Central in 1983.
Greg Broussard still performs with a Roland TR-808, live, on stage, programming it in front of you rather than pressing play on a laptop. He is one of the genuine architects of West Coast electro-funk — the sound that fed into Miami bass, into early hip-hop, into most of what came after — and he has been playing continuously for four decades without ever being fully absorbed into the mainstream that borrowed from him.
A New Year's Eve show from an LA originator in a room on Fletcher Drive that actually cares about this history. Better than a countdown in a hotel ballroom.
Eight at night on the thirty-first of December. Stay for midnight.
Before there was techno in Detroit there was electro in Los Angeles, and a good deal of it came out of one man, one drum machine, and a car full of speakers driving around South Central in 1983.
Greg Broussard still performs with a Roland TR-808, live, on stage, programming it in front of you rather than pressing play on a laptop. He is one of the genuine architects of West Coast electro-funk — the sound that fed into Miami bass, into early hip-hop, into most of what came after — and he has been playing continuously for four decades without ever being fully absorbed into the mainstream that borrowed from him.
A New Year's Eve show from an LA originator in a room on Fletcher Drive that actually cares about this history. Better than a countdown in a hotel ballroom.
Eight at night on the thirty-first of December. Stay for midnight.
Greg Broussard still performs with a Roland TR-808, live, on stage, programming it in front of you rather than pressing play on a laptop. He is one of the genuine architects of West Coast electro-funk — the sound that fed into Miami bass, into early hip-hop, into most of what came after — and he has been playing continuously for four decades without ever being fully absorbed into the mainstream that borrowed from him.
A New Year's Eve show from an LA originator in a room on Fletcher Drive that actually cares about this history. Better than a countdown in a hotel ballroom.
Eight at night on the thirty-first of December. Stay for midnight.
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Thursday, December 31, 2026
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Before there was techno in Detroit there was electro in Los Angeles, and a good deal of it came out of one man, one drum machine, and a car full of speakers driving around South Central in 1983.
Greg Broussard still performs with a Roland TR-808, live, on stage, programming it in front of you rather than pressing play on a laptop. He is one of the genuine architects of West Coast electro-funk — the sound that fed into Miami bass, into early hip-hop, into most of what came after — and he has been playing continuously for four decades without ever being fully absorbed into the mainstream that borrowed from him.
A New Year's Eve show from an LA originator in a room on Fletcher Drive that actually cares about this history. Better than a countdown in a hotel ballroom.
Eight at night on the thirty-first of December. Stay for midnight.
Greg Broussard still performs with a Roland TR-808, live, on stage, programming it in front of you rather than pressing play on a laptop. He is one of the genuine architects of West Coast electro-funk — the sound that fed into Miami bass, into early hip-hop, into most of what came after — and he has been playing continuously for four decades without ever being fully absorbed into the mainstream that borrowed from him.
A New Year's Eve show from an LA originator in a room on Fletcher Drive that actually cares about this history. Better than a countdown in a hotel ballroom.
Eight at night on the thirty-first of December. Stay for midnight.
You found your people.
They didn't know each other before Falkor either.
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