Event Design & Production Brand Strategy & Activation Branding & Identity IP Creation & Innovation
Cybotron @ Barbican
Event Design & Production Brand Strategy & Activation Branding & Identity IP Creation & Innovation
Cybotron @ Barbican
About
SHIFT collaborated with techno pioneer Juan Atkins from Cybotron to create an A/V live show, debuting at Barbican in 2019. The performance featured real-time synced lasers and a 12-metre LED wall using proprietary tech, delivering a world-first multi-sensory experience. With Carhartt as lead partner and support from Resident Advisor, the show reached over 500 million consumers and earned widespread critical acclaim and industry recognition.
Project
SHIFT In-house Project
Services
Event Design & Production Brand Strategy & Activation Branding & Identity IP Creation & Innovation
Date
2016-2020
"An all dancing celebration of Atkin’s visionary fusion of Teutonic synth-pop and Detroit funk, ultimately crystalised in a Trans Europe Express-echoing-Clear. With premier league visuals and fresh repertoire sprinkled through - one showcasing piano skills that justify Atkins’ ‘Magic’ tag - this is a show fit to headline boutique festivals around the world, and, who knows, save techno."
"An all dancing celebration of Atkin’s visionary fusion of Teutonic synth-pop and Detroit funk, ultimately crystalised in a Trans Europe Express-echoing-Clear. With premier league visuals and fresh repertoire sprinkled through - one showcasing piano skills that justify Atkins’ ‘Magic’ tag - this is a show fit to headline boutique festivals around the world, and, who knows, save techno."
Andrew Perry, Writer, MOJO
"An all dancing celebration of Atkin’s visionary fusion of Teutonic synth-pop and Detroit funk, ultimately crystalised in a Trans Europe Express-echoing-Clear. With premier league visuals and fresh repertoire sprinkled through - one showcasing piano skills that justify Atkins’ ‘Magic’ tag - this is a show fit to headline boutique festivals around the world, and, who knows, save techno."
Andrew Perry, Writer, MOJO
"Detroit techno maverick Juan Atkins and his reshaped 1980s group turn the Barbican concert hall into the dancefloor in their first gig ever for a gloriously disreputable hi-tech rave. The show was always going to peak with the biggest, most Kraftwerk-inspired track Clear (famously sampled by Missy for Lose Control), and the minute it arrives, the transformation from concert hall to rave is complete. There’s a sense of relief that the show is as much about the eternal verities of the dancefloor as about high conceptualism or museum-piece reverence. There’s an enormous sense of celebration that this collision of black American and European culture is still so viable and valid. But mostly it’s just one big, disreputable, hi-tech rave."
"Detroit techno maverick Juan Atkins and his reshaped 1980s group turn the Barbican concert hall into the dancefloor in their first gig ever for a gloriously disreputable hi-tech rave. The show was always going to peak with the biggest, most Kraftwerk-inspired track Clear (famously sampled by Missy for Lose Control), and the minute it arrives, the transformation from concert hall to rave is complete. There’s a sense of relief that the show is as much about the eternal verities of the dancefloor as about high conceptualism or museum-piece reverence. There’s an enormous sense of celebration that this collision of black American and European culture is still so viable and valid. But mostly it’s just one big, disreputable, hi-tech rave."
Joe Muggs, Writer, The Guardian
"Detroit techno maverick Juan Atkins and his reshaped 1980s group turn the Barbican concert hall into the dancefloor in their first gig ever for a gloriously disreputable hi-tech rave. The show was always going to peak with the biggest, most Kraftwerk-inspired track Clear (famously sampled by Missy for Lose Control), and the minute it arrives, the transformation from concert hall to rave is complete. There’s a sense of relief that the show is as much about the eternal verities of the dancefloor as about high conceptualism or museum-piece reverence. There’s an enormous sense of celebration that this collision of black American and European culture is still so viable and valid. But mostly it’s just one big, disreputable, hi-tech rave."
Joe Muggs, Writer, The Guardian
2019
British Airways
2018
Natural History Museum
2019
British Airways
2018
Natural History Museum
2019
British Airways
2018
Natural History Museum
The Future Is Now
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The Future Is Now
Let’s start a conversation
The Future Is Now
Let’s start a conversation