Standing in the wings of The Colosseum at Caesars Windsor, you can feel the humidity of a crowd that is half-local and half-Detroit. It is a specific kind of energy. For Andrew Fedyk and Joe Depace, the two halves of Loud Luxury, this June 29 date is more than just another line on a tour poster. It is a homecoming for the London, Ontario boys who managed to turn a university hobby into a global export.
They are currently the biggest thing in Canadian dance music. But they do not spend much time in the 519 area code anymore. Their calendar is a blur of international flights and high-altitude booths. This Windsor stop is a rare moment of geographic clarity in a schedule that usually favours Ibiza over the 401.
The timing is surgically precise. They just dropped 'If Only I' and the track is already colonizing the airwaves. It is a joint effort with Two Friends and Bebe Rexha. It took 18 months to polish. In the world of fast-food EDM, that is a long time to spend on one three-minute meal.
Joe shares: "Our collaboration with Two Friends and Bebe Rexha is something we've kept under wraps for some time now. To finally unveil ‘If Only I’ to the world is not only exciting but also an honour. We have immense respect for these talented artists, and the entire process has been a journey filled with passion and anticipation."
The track is a textbook example of the Loud Luxury formula. It has those bright, bouncy chords that feel like a sunrise after a long night. It is commercial. It is safe. And it is undeniably effective.
We saw it land at EDC Las Vegas during the finale. It was a spectacle of pyrotechnics and four-on-the-floor rhythm. The song also had a massive showing at Coachella 2023 when Two Friends brought Rexha out for a live vocal. It proved the track can survive outside the studio.
The music video is a heavy dose of California aesthetic. It is all sand, surf and influencer cameos like Hannah Stocking. It is designed to be clipped and shared. It is a visual love letter to the summer.
Andrew adds: "The song is romantic and nostalgic. It brings you back to a nice summer fling that you've had. The reception has been amazing, and it’s only been out for four days."
There is a simplicity to what they do. Some critics might call it formulaic. But there is an art to making something that works in a club in Tokyo and a bar in London, Ontario. They are not trying to reinvent the wheel. They just want the wheel to spin faster.
Andrew explains: "The main thing that we focus on is we want something that makes you feel good... If that initial idea that demo doesn't make you feel like dancing, having a good time, it's not going to work for us."
It is a pragmatic approach to art. If the demo does not move the feet, it goes in the bin. This ruthless focus on the "feel good" factor is why they are headlining casinos instead of playing basement sets.
We really just hope that our music brings a really powerful positive light... And we want to give people that feeling.
The Windsor show brings out the family ties. Joe jests about the logistical nightmare of playing so close to home. He says he is "getting hit up by cousins and all these people being like, can I have plus five?"
That is the reality of the Canadian music industry. You can be a global star, but your cousin still expects a free ticket. It keeps them grounded. Or at least as grounded as you can be when you live in Los Angeles.
The move to California was the turning point. They left after college with almost nothing. It was a gamble that paid off in ways most London kids can only dream of.
Joe recalls the move vividly. He arrived with "two suitcases and my speakers." It was a lean time. He says: "if we're here for long enough, something will happen."
Something did happen. They became the face of the new Canadian wave. They secured a residency in Las Vegas, which is the ultimate proving ground for any DJ.
Andrew describes Vegas as the "party capital of the world." It is a city that eats amateurs for breakfast. If you can hold a room there, you can hold a room anywhere.
Andrew says: "That's what's really cool about it. It's a perfect test to see if it does work? Because if it can work there, it will work anywhere."
The pressure of the residency has sharpened their live sets. They have to cater to people from every corner of the planet. It is a universal language of bass and builds.
But the lifestyle has its costs. Producing music while on a global tour is a messy business. There are no acoustically treated rooms on a Boeing 747.
Joe explains: "It's not ideal, it's not amazing having to work kind of just like wherever you are, like in a hotel or whatever. But we make do because sometimes you just have to do it."
It is a blue-collar work ethic applied to a white-collar career. They are grinding out hits in Marriott hotels. It is not glamorous. But it is how the modern industry functions.
The accolades are starting to pile up. They have Juno awards and iHeartRadio nominations. These are the trophies they used to watch on television as kids.
Andrew says: "It's just important not only for us, but for the culture of what we represent to show that this matters and has an impact on the world stage."
They are looking toward the horizon now. There is talk of working with the heavy hitters. Justin Bieber, The Weeknd and Ed Sheeran are on the wish list.
Joe hints at a shift in their sonic palette. He reveals that they have "a couple of collabs coming up that we're working on that are with some different genres."
This evolution is necessary. The "Body" sound can only take them so far. They need to prove they have more than one gear.
Ultimately, the goal remains the same. They want to provide an escape. In a world that feels increasingly heavy, Loud Luxury is selling lightness.
Andrew states: "We really just hope that our music brings a really powerful positive light... And we want to give people that feeling."
And when the lights go down at Caesars Windsor, the mission is simple. Joe adds: "We want people to listen to our music and be able to go out and rage.
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