Degs / 2026 Tour Grid

Internal working grid · Deacon & Degs · -
Tap a city to fly there
Quick entry
add Oct 30, Denver, hold, Sublab, $1500  ·  range Oct 18 to Oct 21, Denver, hold  ·  target Target Oct 30 Denver, Sublab  ·  radar Interest Nick Couch, Mississippi, wants Sun 6th, WhatsApp  ·  flight Flight Jul 21 Boston to London  ·  home Home Jul 22 to Aug 14  ·  down Down 18-21 Oct  ·  lock lock Denver Oct 30  ·  drop drop Maine  ·  edit Boston fee 1800
Inbound  ·  drop interest here. Paste what a promoter said, dates become Targets, a conversation with no date lands On The Radar.
Flights
Each opens in a new tab, pre-filled. From defaults to the current city on the grid. Type a city from the list or any 3-letter airport code.
Hotels
Dates come from the run itself, so you pick a spread rather than typing into a blank calendar. HotelTonight opens to the city only: its web search does not carry dates.
Weather
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The Road Ahead
Sound level
0dB approx
Peak 0
Avg 0
Approximate, phone mics are uncalibrated. Sustained 85 dB or higher risks hearing damage.

Down days, done right

Phone, natural light, no crew. Presence with taste. Nothing chases a trend, nothing performs positivity that is not real. The passion is the product. The camera just has to stay out of its way.

Shoot everything vertical-first at max resolution. Add horizontal safety framing on the two anchor pieces so they can live on YouTube too. Golden hour does the production for free: shoot the beauty pieces in the first and last ninety minutes of light, everything conversational in open shade midday. Batch hard. One spot, one outfit, one setup can yield six or eight clips.

One rule. Nothing on camera touches the label move or anything behind the privacy line until you take it public yourself. Forward energy is fine. Specifics are not. If a take drifts there, reshoot it, do not trim it.

If you only shoot three

Spoken word, the tune call-out, the young DJ series. Soul, engine, volume. Everything else is upside.

1The Spoken Word FilmThe anchor. Soul piece.Anchor

The one worth a full evening. Spoken word is already in your DNA and almost nobody else in the genre can do it without it feeling like a costume. On you it is the most honest thing you make.

Treatment

One beautiful spot, wherever you are: a rooftop at dusk, an empty street at first light, water, a view, any place with quiet and good light. One locked frame or one slow push-in. One take, or the honest best of a few. Sixty to ninety seconds spoken aloud about why music matters, what the floor gives people, or what it means to carry a scene forward. No cutaways, no b-roll, no text until the end card. The restraint is the style.

The shape (your words, this is scaffolding)

  • Open small. One concrete image from where you are standing. Not a thesis, a picture.
  • Turn. Connect the image to the dancefloor. People gathered around something bigger than themselves.
  • Widen. The core belief, plainly. Why you make music, what it is for, what the next generation should inherit.
  • Close where you opened. Return to the first image, changed. Last line lands soft, not grand.

Sample opening register

Register, not a draftI am a long way from a dancefloor right now. But standing here, it is the same thing, honestly. A room full of strangers and a rhythm none of us made alone...

Write past that and throw it away. It just has to sound like you talking, not reciting.

The edit

Full piece for YouTube and the feed. A 45 to 60 second vertical that opens on your strongest single line, not the beginning. Lay it over one of your own unreleased instrumentals and it doubles as a teaser without announcing anything. That is the version to fight for.

Framing

Tag and frame this to the liquid and soulful lane, not to Drum and Bass in general. The general tag is crowded and jump up heavy, and this piece lands nowhere in it. The liquid audience holds emotional, all day, soundtrack to life music as part of its own identity, and spoken word over your own instrumental is squarely that. Specific beats broad every time here.

2Send Me Your TunesThe engine.Post first

The engagement engine of the whole set. Every producer whose tune gets played becomes an evangelist for your sets, and it plants the flag that you champion the next generation. True, and exactly the reputation the touring build wants you to carry.

Treatment

Direct to camera, handheld or propped. A street, a rooftop, a window with a view, wherever you are. Casual, one or two takes, imperfection welcome. Under sixty seconds. No music bed, or something of yours very low.

Script (starting draft, your register to finish)

Read aloudRight, quick one. I am out on the road at the moment, and I have been thinking about how many of you are sitting on tunes nobody has heard yet. So let's fix that. Send me your music. One address, right here on screen and in the caption. If it hits me, I am playing it in my sets this autumn, and when I play it, I am saying your name. That is the whole deal. No gatekeeping, no fee, no catch. The scene gave me my shot because somebody played my tunes before anyone knew who I was. So go on. Send me the one you believe in.

Mechanics (matter more than the shot)

  • One clean channel only: a dedicated address or a file-request link. Never open DMs. On screen, in the caption, in the bio.
  • Keep the promise specific: best submissions played in named sets, producer credited by name from the booth and in recap content. That closes the loop and makes the second wave of content for free.
  • Decide before posting: whose inbox hosts this. A neutral artist-owned address is the call, not agency or imprint domains, given where the paper stands this month.
  • Expect volume. Agree up front who does the first listen and how it is tracked. An unanswered pile quietly undoes the goodwill.

Playing one, the tune ID way

When you play a submission, post the clip without naming the track. The comments turn into the ID thread on their own, which is how this genre's audience already behaves, and the thread carries the post further than a caption would. Once it has run, credit the producer by name. The withholding is not a trick, it is the format: the reveal is the payoff and the producer gets it in front of a crowd that asked for it.

The producer credit countdown

A recurring format rather than a series of its own. Five tunes carrying your sets this run, producers named, counted down. The scene is trained to watch a top five, so it travels without explanation. It is the Send Me Your Tunes promise made visible, and being featured in other people's countdowns is a distribution channel worth courting in return.

3The Young DJ SeriesTwo weeks of feed.

Not one video. Eight to ten clips, sixty to ninety seconds each, one question per clip, shot across different spots. One afternoon becomes two weeks of feed. Each clip opens with you saying the question, then answering it.

The prompts (answer off the cuff)

  • What I wish somebody told me at twenty.
  • How to handle a dead room without losing the plot.
  • Why your first hundred tunes are supposed to be bad.
  • What promoters actually notice about opening DJs.
  • The difference between playing tunes and telling a story.
  • How to send music to artists without being ignored.
  • What to do the day after the best gig of your life.
  • The habit that changed my writing.
  • When to say no to a booking.
  • What nobody tells you about the road.

No scripts. The prompts are the production. If an answer runs long and good, it becomes two clips.

4The InterviewTen questions.

The substance piece. These are what the scene is actually arguing about right now, so they travel. See the list before shooting, do not rehearse. One question per cut, good light, full conversation banked as long-form.

Tap a card for why it is on the list.

Question 1
Drum and Bass is having a real American moment. Sold-out headline shows, festival billings nobody predicted five years ago. What does that moment look like from the stage, and is America ready for the deeper end of the genre?
Why this one

Your lane, answered from lived experience. Quietly markets the fall run.

Question 2
The genre is splitting in public: arena acts charting on one side, heads retreating to warehouses and DIY nights on the other. Can Drum and Bass go mainstream without losing its soul?
Why this one

The single hottest debate in the scene. A generous answer to both sides is the take people want.

Question 3
Vocalists are finally being credited as artists instead of features. What changed, and what did it take to be a vocalist in this genre before it did?
Why this one

This is your story. Centers the live-vocal differentiator without a boastful word.

Question 4
AI is in every studio now. Where is the line for you between a tool and a ghostwriter?
Why this one

The biggest production conversation this year. A human-first answer from a writer lands hard.

Question 5
A whole generation is discovering this music thirty seconds at a time on their phones. Gift or threat?
Why this one

Short-form discovery built the current boom. Optimism plays; the honest complication makes it watchable.

Question 6
You are in Latin America right now. What does this music sound like outside the UK, and what does the scene get wrong about where its future audience lives?
Why this one

Location-native and timely. Flatters the growth markets the touring build wants.

Question 7
What does live actually mean in electronic music in 2026?
Why this one

A live vocalist performing his own material on this question is the most on-brand three minutes of the trip.

Question 8
Nights are getting more expensive and fans are choosing fewer of them. What does an artist owe a crowd that spent real money to be there?
Why this one

The economics conversation from the fan's side. Builds trust with the people buying tickets.

Question 9
Daytime shows, coffee shop raves, unconventional rooms. Passing trend or the future of the night out?
Why this one

A live-format debate to answer playfully. Seeds appetite for our own format work without naming it.

Question 10
What is the tune, yours or anyone's, that reminds you why you do this?
Why this one

The closer. Warm, human, endlessly clippable. Ends on the passion, not the industry.

Off limits, agreed before record

No questions and no riffs about label affiliations, your own release plans beyond what is already public, agency or business arrangements, or any named industry figure or company in a critical register. Anything behind the privacy line stays there. If an answer drifts, stop and retake rather than trusting the edit. This list exists so you can be completely relaxed inside it.

5Voice Notes From the RoadHow tunes start.

The most intimate thing you can share: the raw second a tune begins. A melody hummed into the phone, a rhythm tapped on a table, a sound in a market that stops you in the street. People almost never get to see where music actually starts, and that is exactly why they lean in.

Treatment

Thirty seconds, phone in hand, shot the moment it hits. No setup, no second take. The whole point is that it is real and it is happening now. If you catch yourself humming something walking down a street, that is the video. Turn the camera on before the idea fades.

What to catch

  • A melody the second it arrives, hummed straight into the mic.
  • A rhythm tapped out on a table, a rail, a wall.
  • A reaction to a busker or a sound system that catches you.
  • The sound of the place with your voice over it, saying what you hear in it.
  • The first rough memo of an idea you think could become something.

The cadence

This is the origin story fans never get to see. Caption it plainly: this is how tunes start. Gather a stack across the trip and release one steadily between the longer films. They keep you present in the feed between shows and build the truth that your music comes from real moments, not a formula.

6The Live VocalThe proof piece.

One live vocal in a beautiful setting. Your voice, one take, real air. This is the piece that proves the thing almost nobody else in the genre can do: perform live, for real, in the moment.

Treatment

The rig can be simple. A phone, a portable speaker, one of your instrumentals stripped back, and you singing over it with the landscape behind you. Shoot it in the same golden-hour session as the spoken word film so the best light of the trip carries two anchor pieces instead of one. One locked frame or a slow push. Let the take breathe.

Why it lands

When people watch this, they understand something a studio track can never tell them: what you do on stage is live, and it is you. That is the whole difference of your show, and this is the clearest proof of it there is. It also travels. A real live vocal in a stunning place is among the most shared things an artist can post.

The edit

Full performance for YouTube and the feed. A vertical cut that opens on the strongest vocal moment. If the instrumental underneath is unreleased, the piece teases new music without a word of announcement, the same play as the spoken word film.

Framing

Same lane as the spoken word film: liquid and soulful, named as such in the tags and the caption. A live vocal is the clearest proof of the differentiator, and the audience that values it most is the one that already thinks of this music as emotional rather than functional. Do not bury it under the generic tag.

7Day in the Life / Tour DiaryThe intimacy engine.Anchor

The highest value addition on the list, and the one that looks like the least. The mundane real routine: the airport, the cab, the gym, the hotel corridor, the coffee, the restaurant, the soundcheck. The research is explicit that this format builds attachment precisely because it is ordinary and it recurs.

Treatment

Phone, ambient audio, text overlays, no narration needed. Fixed format every time and a consistent slot in the week, because the whole mechanic is that people learn to expect it. Thirty to sixty seconds. Shoot it as you go and cut it on the plane.

Why it earns its place

Everything else on this list is a piece of work. This is company. It sits entirely inside the privacy line because nothing sensitive is ever in frame: a departure board, a coffee, a room, a soundcheck. It is the format that turns people who like the music into people who follow the person.

The rule

Same shape, same cadence, no apology for the boring bits. The moment it becomes a highlight reel it stops working.

8The FloorThe most shareable thing you have.

Performance clips from the shows: the drop, the crowd, the room going off. A top performing format on every platform, and the single most shareable asset a touring Drum and Bass act owns. You are already standing in front of it every night and not capturing it as a named series.

Treatment

Crowd audio up, phone from the booth or a friend in the pit. Fifteen to forty seconds. The moment, not the build. One good drop is the whole post.

The tune ID mechanic

Post the clip without naming the track. The comments become the ID thread, which is exactly how this genre's audience already behaves, and the thread does more for the post than any caption would. Once it has run its course, credit the producer by name. If it is a submission from Send Me Your Tunes, that is the loop closing in public.

Housekeeping

Promoter and venue tagged every time. It is free goodwill with the people who book you, and it costs one line in the caption.

9This CityThe location beat.

The run visits a lot of cities, so the city itself becomes the recurring frame. Words of wisdom at sunrise or sunset, the place with your voice over it, whatever the local flavour turns out to be.

Treatment

Thirty to sixty seconds. One location, one thought. It overlaps Voice Notes deliberately, but where Voice Notes is anchored to an idea, this is anchored to a place. Same camera, different spine.

Why it works on a tour

It gives every stop a reason to exist on the feed beyond the flyer, and it accumulates into a body of work by the end of the run. It also quietly does the touring build's job: people in the next city see the one before it.

10The Thank YouPinned-post material.

Short, direct to camera, and completely sincere. What the scene has given you, why you are excited about where the music is going, and a real thank you to the people who show up.

Treatment

Ninety seconds, one take that means it. Somewhere that feels like you, not staged. No script beyond the three things you want to say. Look down the lens like you are talking to one person, because everyone watching feels like you are talking to them.

The shape

  • What the scene gave you when you were coming up.
  • Where you think the music is heading, and why that excites you.
  • Thank you to the people in the room, and the ones sending their tunes.

Where it goes

This is the piece you pin. When the new chapter goes public, this video is already there, proving the gratitude came first and the optimism is real. It sets the tone for everything that follows. Caption it as exactly what it is, nothing more.

11The Stranger InterviewDown the line.Future

The innovative one. Hold it for a future trip or a US down day once the core lane is running. You write your own interview, then hand it to a stranger.

Treatment

A public space with life in it: a boardwalk, a malecon, a plaza. You approach someone with total honesty: you are a musician making a film about music, would they ask you a few questions on camera. They get the cards on the spot, no prep. What films is the genuine exchange: a stranger reading a question they have never seen, reacting to a real answer, follow-ups happening naturally.

If a fan recognizes you mid-interview, that is the lightning version, but the reveal is never manufactured. The piece works because the exchange is real, not because of a twist. That is the line between this and prank content, and it is the whole point.

Why it works

The stranger asks what a journalist never would, in a register no press junket allows, and their real reactions do the emotional work a talking-head edit cannot. It also lives the thesis of the whole pack: the music is for everyone, including the person on the boardwalk who has never heard of it.

Solve before it shoots

  • Releases. Every identifiable face gives recorded consent on camera at minimum, a signed release ideally. Non-negotiable before anything publishes.
  • Coverage. A second shooter or two locked phones. One camera cannot cover a two-person exchange in an uncontrolled space.
  • Language. Bilingual cards and a friend who can translate turn the language gap into charm instead of friction.
  • Sound. Lavs or a discreet recorder. A boardwalk eats phone audio, and this piece lives on the words.
  • Fallback. If nobody suitable says yes in an hour, interview a local musician instead. A different good video, not a failed one.

You write the question set when the time comes. The ten interview questions are the seed stock.

Posting schedule
A rolling fortnight. Read only here, edited through the data. Record on the road, post two days later, so this says when each thing goes live and what it is.
Prepared by Deacon Roswell · RareAccess
Drum and Bass
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Studio
Studio sessions and time with local producers, planned a month at a time. Degs adds a session on the phone, Deacon writes them in from the routing. Same records, two authors.
On The Radar
A real signal happened and there is no date yet. Cold lives in the Master roster, a dated pursuit lives on the Grid as a Target. This is the middle.