There is an audience behind the DJ. When the track changes, one person looks up, and the people around them start dancing too. Instead of watching a big stage from far away, the picture feels as if you were mixed in right next to the DJ booth.
When people think of Boiler Room, this closeness is probably what most of them associate with it first.
But if you settle its history with "they filmed a DJ surrounded by a crowd and it went viral," you lose the important parts. Whom do you invite? Which city do you go to? Who do you team up with on the ground? And who bears the cost of continuing to release the video for free?
The project that began in London in 2010 changed not only how people listen to music but also the routes by which DJs become known. At the same time, becoming a global brand also made it a place where underground values collide with corporate ownership structures.
Here we follow 2010 to 2026 through each year's events and a representative video. The videos are not annual rankings; they are choices made to read the character of each era. Years are organized by the year of the performance in principle, and videos published later or retrospective videos are noted as such. The 2025 entry on ¥ØU$UK€ ¥UK1MAT$U is treated as a case where a performance from the previous year spread after it was published.
What is Boiler Room?
Boiler Room is a music platform that streams and publishes DJ sets and live performances and also holds events in various places. It is neither the name of a single club in London nor the name of a particular genre. We also want to distinguish it from the arrangement itself, in which the audience surrounds the DJ, now called the "Boiler Room style."
Nor can its history be explained simply by comparing the scale and headliners of a single main event each year, as with Tomorrowland or Ultra. The protagonists of Boiler Room are city-by-city projects, takeovers by labels and collectives, and individual performances.
The key people from the early days were Blaise Bellville, who ran an online magazine called Platform, and Thristian Richards, now Thris Tian, who handled the music side. Beyond the founder's idea, the foundation of the project was a selector who decided what to play and the personal relationships that connected the performers. [1][2]
2010–2013: from a room in London to the world
2010: it begins as a radio show with pictures
In 2010, Boiler Room was a weekly stream delivered from East London over Ustream. The FADER's reporting at the time records that Jamie xx, Kwes, Sampha and others gathered for a Young Turks project. It was less a polished show business than an attempt to open a room where music friends gathered to the outside. [1]
Some care is needed about the origin of the name. The explanation "they made the first broadcast from a disused boiler room" is often seen, but in a July 2010 interview with the same magazine, Bellville said that the boiler room they had meant to use contained asbestos and that they actually used an empty room upstairs. Only the name remained, according to his explanation at that point. [1]
This starting point also matters when thinking about its later growth. It was not selling a globally uniform event format from the start. First there was interesting music close at hand, and the people who listened to it.
Watch: The Early Years — 2010 with James Blake, Theo Parrish, Ben UFO & more
An official retrospective video introducing early footage from 2010. It was published on YouTube in 2017 and was not uploaded at the time in 2010. [3]
2011: Thom Yorke stands in the DJ booth, not on a giant stage
On October 11, 2011, an event commemorating Radiohead's remix album "TKOL RMX 1234567" was streamed from Corsica Studios in London. The performers were Thom Yorke, Lone, Illum Sphere, and a B2B of Jamie xx and Caribou. [4]
What is interesting here is that even when the frontman of a famous band is invited, the show does not become an ordinary rock concert. Yorke enters the booth as one of the people choosing tracks. The structure used the size of his name as an entrance, from which viewers could move on to other music.
In the same year, 2011, streams were also held in Berlin. The London program was spreading to a base with different performers and audience from the city it began in. [2][5]
Watch: Thom Yorke — Boiler Room London DJ set
A 2011 performance. It was posted to the official YouTube channel in a later year, so the year the video was published and the year of the performance do not match.
2012: from a London show to a network of multiple cities
The official archive keeps "Boiler Room New York 001" from June 26, 2012. The performers were AraabMuzik, Baauer, Shadowbox, LE1F and Physical Therapy. Projects in Los Angeles and Berlin also appear in the same year. [6]
This is different from simply a tour taking British DJs abroad. Each city had different performers, and all of it could be watched from the same destination. Even people with no plans to visit that city gained a point of contact with its local music.
Meanwhile, ties in London, where it all started, continued as well. In December, a roughly 55-minute set by Jamie xx was published as part of a Young Turks project. [7]
Watch: Jamie xx — 55 min Boiler Room London DJ Set
We deliberately look back at the year of overseas expansion together with a video that shows London's continuity. Increasing bases and keeping the relationship with the original music community were proceeding at the same time.
2013: Kaytranada, and video that remembers even the audience
The second Montreal project, held on September 27, featured Kaytranada, Tommy Kruise, High Klassified, Shash'U, KenLo Craqnuques and others. The local outlet Cult MTL also covered that night. [8]
When thinking about why Kaytranada's video has been talked about for so long, it is hard to understand by cutting out the DJ alone. The small things that happen around the booth and the audience's reactions are also part of the memory of the set. The music archive also becomes a record of a single room.
The same year, a collaboration with the first Dekmantel Festival also began. The official record preserves the names of Laurent Garnier, Xosar, Juju & Jordash, San Proper, Tom Trago and others. Through this pairing, which would go on for a long time, the form of setting up a Boiler Room booth inside a festival, and not only a standalone room, also became established. [32][43]
A night in Montreal and a festival in Amsterdam. Though different in scale, they had in common that they delivered to the outside the place created by local performers and audience.
Watch: Kaytranada — Boiler Room: Montreal
A 2013 performance, published in December of that year. Seen not only as a famous set of later years but as one of Montreal's local performers, it is easier to grasp how the project came about.
2014–2017: the music and places it shows widen
2014: not only DJs, but a record of live performance and music culture
For this year's representative video, we want to choose David August's live set in Berlin. The title's "Live Set" confirms that Boiler Room is not only DJ sets that mix records.
The official retrospective for the year also includes a project featuring Moroccan Gnawa music and a project in which Matthew Herbert worked with sampling in the British Library's sound archive. The subjects it handled went beyond the club DJ booth. [9]
This development also had an influence from Japan. In a 2016 interview, Bellville explained that in 2014 he met Naohiro Ukawa of DOMMUNE, and after returning home decided to upgrade his production equipment. It was to keep the streaming low-cost while also being able to handle expression other than DJing. [33]
It was not that Boiler Room unilaterally exported a format to the world. Learning from other streaming scenes was also part of its growth.
Watch: David August — Boiler Room Berlin Live Set
A live show from April 2014. Without lumping DJ sets and live performances together, we also want to pay attention to the difference in performance format. [10]
2015: Tulum and Johannesburg, where music from different lands enters the same frame
This year is easy to understand by placing Solomun in Tulum, Mexico, alongside Black Coffee in Johannesburg, South Africa.
Solomun's Tulum set became a representative work that has been referred to repeatedly in later years. [44] The South African project, for its part, included Black Motion, Culoe De Song, Okmalumkoolkat and others in addition to Black Coffee. The official yearly retrospective also records that lineup. [11]
What we see here is that even when using the same logo and streaming format, the music that goes inside does not need to be made uniform. Viewers come into contact with the differences of each land and each performer through Boiler Room as the entrance.
Watch: Solomun — Boiler Room: Tulum
Also watch: Black Coffee — Boiler Room & Ballantine's Stay True South Africa
The South Africa video is from 2015. It is a different performance from his 2016 ADE appearance described below.
2016: Skepta in Tokyo, and the difficulty exposed at the Weekender
On May 5, Skepta held an event in Tokyo commemorating the release of "Konnichiwa," which Boiler Room streamed. The FADER announced the broadcast on the day. [12]
Not just streaming British music from Britain, but turning a release event held in another city into a program in itself. Boiler Room was being used not only as a place to introduce music but also as a place to deliver the announcement of new work and artists' activities to the world.
On the other hand, the Ray-Ban x Boiler Room Weekender held in Pennsylvania, USA, in November was interrupted on the night of the second day. Following arrests of attendees and clashes on site, the organizers explained that they had stopped the music, and criticized the response of local security and police. [34]
To move an intimate musical experience into a large venue, the placement of performers and cameras is not enough. Coordination with the venue and the way security is handled also affect attendees' experience. Expanding the business also meant taking on that responsibility.
The same year, Black Coffee also appeared in a project with Bridges For Music at Amsterdam Dance Event. It is a video that can be used for a listening comparison with the previous year's Johannesburg one. [13]
Watch: Black Coffee — Boiler Room ADE X Bridges For Music DJ Set
A 2016 performance in Amsterdam. It is an example of a South African musician also performing within another city's framework.
2017: Honey Dijon brightens Berlin's sixth anniversary
In October 2017, Honey Dijon performed at Boiler Room Berlin's sixth-anniversary project. In The FADER's article the following month, she recalls the energy of the venue, which felt unlike a Monday night. [5]
In addition to house and electro-disco sounds, the set includes voice samples of Solange and Martin Luther King Jr. Not only how the tracks were connected but also a selection that added a message through voices was a feature of the night. [5]
Watch: Honey Dijon — Boiler Room Berlin DJ Set
A 2017 performance in Berlin. This is a different video from the well-known 2018 Sugar Mountain set.
2018–2021: recording the scene, and changing the business
2018: Sama' Abdulhadi, and a film that conveys what lies outside the floor
In 2018, Sama' Abdulhadi's set in Palestine was published. The location was Ramallah, not Gaza. [14][15]
This project conveyed that, even in places hard to see in ordinary international music reporting, there are DJs and people who enjoy their music. The documentary "Palestine Underground" was also released the same year, dealing with activity on the ground that a DJ set alone could not explain. [15]
In May, the video platform "4:3" also launched. It was a move to widen what it edits to include music documentaries, films, archives and more. [16]
The set shows "what happens on the spot," and the film supplements "why that place exists." This combination was an important development that you cannot see if you view Boiler Room as merely a collection of live streams.
Watch: Sama' Abdulhadi — Boiler Room: Palestine
Watch for background: Palestine Underground
2019: SHERELLE's breakthrough, and the launch of Boiler Room Festival
SHERELLE's "Bass & Percs Special" in February changed not only the performer but also the fate of the tracks played there.
The set's starting point was DJ Rashad's "Brighter Dayz." Within a selection that crossed fast-paced footwork rhythms and jungle, what got talked about most was Fixate's reworked version of Double 99's "Ripgroove." [35][36] The scene of rewinding the track and playing it again spread, and in March, Ice Cream Records, the label of the original track, announced an official release of that edit. [36][37]
In an interview with Beatportal, she said her Instagram followers grew from about 1,000 to 7,000 in a week. The same article also records that requests to perform increased and that she quit her job to focus on DJing. [35]
Here, "going viral" does not end as an abstract evaluation. The increase in viewers led to opportunities to perform, and attention turned to the tracks she played as well. In its festival video the same year, Boiler Room also introduced her as a performer who symbolized that year. [17]
From October 9 to 12, it held "Boiler Room Festival" in London. It adopted a structure by day of jazz, rap, bass and club. [18] It had already held a Weekender in 2016, so 2019 needs to be distinguished as the year it launched a festival of this name.
A media outlet that promotes the discovery of DJs, and an organizer that gathers an audience itself. Those two roles came to overlap more clearly.
Watch: SHERELLE — Boiler Room London: Bass & Percs Special
What is shown here is the February set, not the October festival footage.
2020: a room without an audience, and a change in performance fees
When the pandemic made it impossible for people to gather, Boiler Room rolled out "Streaming From Isolation." The official page records the first one as March 19. Streams from the homes of Four Tet, Peggy Gou and others remain in the archive of that period. [19][45]
A medium whose byword was closeness to the audience delivered music from places without an audience. Even though its appearance changed greatly, the function of people far apart listening at the same time was maintained.
The same year there was also a change in compensation for labor. According to the operators' explanation, from June it introduced a flat performance fee for projects it edits itself as well. Before that, some projects had taken the form of offering exposure in place of paying a fee. [20]
Video that can be watched for free and artists who perform without pay do not mean the same thing. This change cannot be left out when evaluating its growth as a media outlet.
Watch: Four Tet — Streaming From Isolation #8
2021: the presence of DAYTIMERS, and the acquisition by DICE
Yung Singh presents DAYTIMERS, published in August, became an important project for thinking about the South Asian music community in Britain.
On his official site, Yung Singh recalls that he handled not only the running order but also the guest list. The explanation is that personally inviting people who shared the musical and cultural meaning led to the reaction in the room. [21]
This offers a clue for thinking about Boiler Room's success. The audience is not a backdrop to liven up the video. Because there are people who understand the meaning of the selection and respond to it, it becomes an event that carries beyond the screen.
As a company, it came under the ticketing platform DICE in September, and the acquisition was announced on October 1. The announcement explained the intention of combining Boiler Room's music projects with DICE's discovery and ticketing functions. [20][22]
Watch: Yung Singh — Boiler Room London: Yung Singh Pres. Daytimers
2022–2026: popularization, and questions about ownership
2022: Fred again.., and the power of a performance moment to spread
On July 29, the video of Fred again..'s Boiler Room debut in London was published. The roughly 70-minute set lined up his own tracks not yet officially released at the time, and tracks related to Skrillex. For him, then drawing attention with appearances such as Coachella, it also became a place to let people hear a lot of new music at once. [23][38]
In performance terms, it was characterized by a hybrid format combining a DJ mix with operation using pads. [23] On the other hand, what was memorable was not only the playing technique. While an unreleased Skrillex-related track was playing, a nearby audience member accidentally stopped the playback. Fred recovered the moment and carried on with the set. Dancing Astronaut at the time also covered this interruption and his response. [38]
In a later Apple Music interview, he recalled that the venue was so crowded that his close friends could not get near him, so he ended up creating a sense of togetherness in the moment with the people around him. [39]
The anticipation of hearing unreleased tracks, the fun of watching the playing up close, the reaction to an unplanned event. Those three are contained in one long video. It was a set that conveyed even the persona of a performer, which is different from just listening to the songs.
What to listen for here: the difference between the moments of handling sound with the pads and the moments of connecting tracks to build a flow. And, after the sound stops, how he restores the tension on the floor. You can watch both the operation of the equipment and the response to people.
Watch: Fred again.. — Boiler Room: London
2023: Chase & Status show a new entrance for veterans
The Chase & Status London show, published in October, is a representative one to watch for drum and bass. EDM.com also covered this set the same month. [24]
Boiler Room tends to be talked about as a place that introduces newcomers, but it also becomes a place that connects artists who have been active for a long time with new listeners.
The same year, there was also another development at Dekmantel Festival, a longtime partner. In place of the Boiler Room stage that had run since 2013, a new stage with HÖR, "Radar," appeared. [40]
The streaming market does not belong to Boiler Room alone. That event organizers can choose another outlet also shows that its advantage is not fixed by the video format alone.
Watch: Chase & Status — Boiler Room: London
2024: Charli xcx brings a pop star's party
In February, Charli xcx's "PARTYGIRL" was held in Brooklyn. GQ's on-site article reports on the night, in which A. G. Cook, George Daniel and others also took part. [25]
DICE's head of music Andrew Foggin told Pollstar that about 25,000 people registered for an event with a capacity of around 400. Furthermore, the PARTYGIRL shows in London and New York that DICE later handled reportedly sold out within hours. [41] Registration is not the same as the number of paid tickets purchased, but it shows how large the interest in a limited on-site event was.
Here, in addition to a popular DJ playing music, a pop artist was presenting a world that includes the musicians around them, friends and fans.
A closeness different from a show at a huge venue is also valuable to already famous artists. In that sense, the format that in its early days showed an inner music community had become something usable even at the center of pop culture.
Watch: Charli xcx — Boiler Room & Charli xcx Presents: PARTYGIRL
What is shown here is the Brooklyn project. It is a different video from the Ibiza edition the same year.
2025: the spread of ¥ØU$UK€ ¥UK1MAT$U, and the sale to Superstruct
The Tokyo set of ¥ØU$UK€ ¥UK1MAT$U, published in January, became a major point of contact bringing a Japanese DJ to new listeners around the world. However, the performance was on November 9, 2024. Writing it as a 2025 Tokyo show would be wrong. [26][27]
There is also no need to treat his career as that of a "suddenly appearing unknown DJ." What deserves attention here is that the expression of an experienced selector reached, through a single video, people who had not been in contact with it before.
In the same January, DICE sold Boiler Room to Superstruct Entertainment. Superstruct had been the target of an acquisition by KKR the previous year, and backlash over this ownership relationship spread through the music scene. [28]
In March it was reported that Ikonika and others had withdrawn from appearing at Boiler Room. The target of the criticism was the relationship between KKR's investments and the values of the performers, including solidarity with Palestine. Boiler Room's staff explained that they hold no ownership or voting rights in the company and could not influence the sale, and stated their editorial independence and their support for Palestine. [29]
What is done on the ground, and who owns the company. The question was whether the two can be thought of separately. The issuing of a statement cannot be equated with the problem having been resolved.
Watch: ¥ØU$UK€ ¥UK1MAT$U — Boiler Room: Tokyo
Performed in November 2024 / published in January 2025. This section deals with how it spread after publication.
2026: the show continues after the founder leaves
On January 19, 2026, Resident Advisor reported Blaise Bellville's departure. The company's PR confirmed the departure, and according to the same article, he resigned in December of the previous year and the formal departure was in January. [30]
However, the founder's departure does not mean the end of Boiler Room. Streams and events continued in 2026 too, and in June video of Rossi.'s London show was published. [31]
What is at issue at this stage is not only whether the person from the founding remains. It is who chooses the projects in each place and how trust with performers and audiences is maintained. A company can own a brand name, but it cannot own the support of the music scene as well.
The account of 2026 is as of October 20. It is not a summary looking back over the whole year.
Watch: Rossi. — Boiler Room London: Rossi.
Why Boiler Room succeeded
To explain Boiler Room's growth, we need to look separately at the increase in viewers, the broadening of performers' careers, and the continuation of the business. Using the testimony of performers and people involved as clues, let us consider how these connect.
1. It showed the "reaction to the selection," which is hard to convey through sound alone
The value of a DJ mix is not decided merely by lining up good tracks. The same track means something different depending on when, after what, and in front of what kind of people it is played.
Boiler Room's well-known composition puts the DJ and the nearby audience in the same frame. This ties changes in sound to people's reactions. Even with a track you do not know, you can listen using the way the people around took it as a clue.
That reaction gives empathy to people who know the music and curiosity to people who do not. With the Fixate edit of "Ripgroove" that SHERELLE played, the edit became widely known through that scene and led to an official release. [36] The power that comes from the performer, the audience and the track being tied together and spreading is different from that of an audio mix alone.
However, the explanation "they just filmed a natural floor as it was" is not enough. Once there is a camera, people are invited, and the filming location is decided, the setting is to some extent constructed. Yung Singh's testimony that he even put together the guest list is a concrete example. [21]
2. It did not choose everything centrally, but brought local relationships into the show
The early Young Turks, Montreal's local performers, DAYTIMERS. What appears repeatedly in the timeline is not only individual stars but groups that include the people around them.
If you team up with people who know the music of each region, you can reach performers and relationships that are hard to find by lining up famous names from outside. For viewers too, their listening can widen from one favorite DJ to that city, label and circle of friends.
There is also a clear limit here. If the side doing the streaming says too much that it "discovered" a scene that already existed, the work of the people who built it up on the ground becomes invisible. In evaluating Boiler Room, it is more accurate to see it less as the party that created a culture from scratch than as a medium that carried existing activity far.
3. It turned a single night into an archive that can be met again and again
A club night can only be joined by being there. But once the record is published, it can be met from another country and years later.
There is concrete testimony about that influence. In a conversation with RP Boo, SHERELLE said that through Boiler Room videos of DJ Rashad and others she was able to connect the sound she had been listening to with the genre name footwork. [42]
People who watch the video dig into that music, perform on the same medium as DJs themselves, and bring the next listeners. The archive had the effect of nurturing the bearers of the music, in addition to piling up view counts.
Even if a short scene becomes the entrance, a long-form record is there for those who want to hear the whole. It can also convey the flow of a selection and the use of time, which are hard to preserve in articles or short clips. This is a big advantage for the expression that is DJing.
4. It linked the fame of its video to events and collaborations
Even if it can be watched for free, shooting, production, travel, venues and performance fees cost money.
The main revenue sources the operators describe are paid events, collaborations with brands, and apparel. They say that the free release of the video and audio archive is supported by this combination. [20]
The 2015 project with Ballantine's, the 2019 festival of its own, and the 2021 acquisition by DICE each show the progress of commercialization from a different angle.
In the Charli xcx case, the people who handled the tickets testify that requests to take part in Boiler Room concentrated and that the subsequent paid shows sold out as well. [41] The intention to connect the interest the video generates with demand for actual shows is clear.
However, we cannot attribute all the sales of the later shows to Boiler Room's effect. The artist's own popularity and the promotion of her work overlap too. What can be confirmed is a business that combines streaming, on-site events and ticket sales, and that it is not a model that earns from view counts alone.
5. It could show different music in the same format
It also mattered that it was not fixed on house only, techno only, or star DJs only.
David August's live set, Skepta's release event, Sama' Abdulhadi's Palestine show, and Charli xcx's PARTYGIRL differ in performance format and musical background. Even so, they can share the entrance of "seeing that person and the music around them up close."
Viewers can move on to music they do not know while remembering how to watch the show. Meanwhile, performers do not necessarily have to match the same sound. This coexistence of commonality and difference is thought to have created room for it to spread internationally.
6. Behind a composition that is easy to imitate, projects and records had accumulated
Placing people around a DJ and filming is something other organizers can do as well. Boiler Room's strength cannot be explained by the camera angle alone.
It is a combination of relationships with labels such as Young Turks, continuing collaboration with events such as Dekmantel, episodes planned by the people involved, such as DAYTIMERS, and an archive that lets you trace all of them later. CARISTA, looking back on her 2018 Dekmantel appearance, also told the organizers in an interview that the set became an opportunity that changed her career. [43]
Because of past achievements, even an episode with unknown performers gives a reason to watch. For performers, it becomes a place that reaches an existing audience. An accumulation of relationships like this cannot be obtained by merely copying the shape of the booth.
Even so, it is not a strength that can be monopolized. There is the history of taking production-side inspiration from DOMMUNE, and the fact that Dekmantel welcomed HÖR. The reason Boiler Room succeeded is not that one company invented streaming, but that it has long tied together selection, the scene, video and international distribution.
What Boiler Room changed
What Boiler Room built was not a mechanism that makes the music of the world all the same. It was a mechanism that lets you move on to different music scenes from the same entrance on the screen.
It showed people far away the work of DJs that had been hard to see except within certain places and relationships. By watching not only the music but also the people reacting to it, viewers come to take an interest in the local scene.
But the feeling of being close is different from actually being a member of that community. The more the brand expands, the larger the questions become of whom to show, whom to pay, and who owns it.
The backlash of 2025 cannot be dismissed as something unrelated to music suddenly being brought in. Precisely because it is a medium that has valued relationships and trust with communities, the consistency between that value and its ownership structure was questioned.
Viewed from both sides, the pleasure of rewatching great sets and thinking about who makes that video and what supports it, the history of Boiler Room becomes far more three-dimensional than a growth record of a popular YouTube channel.
Sources and how the videos are handled
Research reference date: October 20, 2026. For each year's YouTube link, we cross-checked the video title and uploader against the official Boiler Room channel. Regional restrictions, later deletions, and whether embedding is possible may change. Videos whose performance year and publication year differ are distinguished in the text.
The historical facts in the text refer to the materials below. The discussion of success factors and historical positioning is this article's own analysis and is distinguished from the operators' self-assessment.
[1] The FADER, "Dollars to Pounds: Boiler Room," 2010-07-30. On-site reporting from the founding period; Bellville's remarks. https://www.thefader.com/2010/07/30/dollars-to-pounds-boiler-room
[2] Guestlist, "Boiler Room Interview," 2011-12-16. Thristian Richards's early role and the interview, and the 2011 London and Berlin streams (archived copy, as the original page has been deleted). https://web.archive.org/web/2016/https://guestlist.net/article/2042/boiler-room-interview / The Vinyl Factory, "Yo! Selector with Thris Tian." https://www.thevinylfactory.com/films/yo-selector-thris-tian
[3] Radio Nova, "Boiler Room vient de balancer ses premières archives sur Youtube," 2017-03-29. Early footage published in a later year. https://www.nova.fr/news/boiler-room-vient-de-balancer-ses-premieres-archives-sur-youtube-14596-29-03-2017/
[4] Pitchfork, "Watch Radiohead's Remix Album Release Party Live Now," 2011-10-11. https://pitchfork.com/news/44261-watch-radioheads-remix-album-release-party-live-now
[5] The FADER, "Watch Honey Dijon's defiant and intoxicating Boiler Room set," 2017-11-10. https://www.thefader.com/2017/11/10/honey-dijon-boiler-room-set-video
[6] Boiler Room, 2012 event archive. NY001 was June 26, NY002 was July 3. https://boilerroom.tv/events/110/
[7] The FADER, "Watch Jamie xx's Boiler Room Set," 2012-12-07. https://www.thefader.com/2012/12/07/watch-jamie-xxs-boiler-room-set
[8] Cult MTL, "Boiler Room Montreal 002 was amazing," 2013-09-30. https://cultmtl.com/2013/09/boiler-room-montreal/ / Boiler Room's official audio description, the performers on 2013-09-27. https://soundcloud.com/platform/kenlo-boiler-room-montreal
[9] Boiler Room, "2014: In Retrospective." https://legacy.boilerroom.tv/2014-in-retrospective/
[10] MixesDB, David August, performance of 2014-04-09. https://www.mixesdb.com/w/2014-04-09_-_David_August_%28Live_PA%29_%40_Boiler_Room_Berlin
[11] Boiler Room, "2015: In Retrospective." https://legacy.boilerroom.tv/2015-in-retrospective/
[12] The FADER, "Stream Skepta's Konnichiwa Launch Party, Live From Tokyo," 2016-05-05. https://www.thefader.com/2016/05/05/skeptas-konnichiwa-launch--party-tokyo-boiler-room
[13] MixesDB, Black Coffee, 2016-10-20 ADE performance. https://www.mixesdb.com/w/2016-10-20_-_Black_Coffee_%40_Bridges_For_Music%2C_Boiler_Room%2C_ADE
[14] Sama' Abdulhadi official video guide. https://www.samaabdulhadi.com/sama-abdulhadi-streams / MixesDB, 2018-06-22 Boiler Room Palestine. https://www.mixesdb.com/w/2018-06-22_-_Sama%27_%40_Boiler_Room_Palestine
[15] Boiler Room, "Palestine Underground," 2018-11-13. https://www.youtube.com/watch?v=M-R8S7QwO1g
[16] Record of the Day, "Boiler Room launches 'multi-genre' streaming platform 4:3," 2018-05-23, press release. https://www.recordoftheday.com/news-and-press/boiler-room-launches-multi-genre-streaming-platform-43 / The Wire, 2018-06-04. https://www.thewire.co.uk/news/51109/boiler-room-announces-film-platform-4-3-and-new-documentary-fleshback-queer-raving-in-manc
[17] Boiler Room, "SHERELLE | Boiler Room Festival Day 4: Club," official video description. https://www.youtube.com/watch?v=K9Hjw7GnaXU
[18] Resident Advisor, "Boiler Room reveals lineup for first-ever festival in London," 2019-09-05. https://ra.co/news/44335 / Official Day 1. https://boilerroom.tv/session/boiler-room-festival-day-1-jazz/
[19] Boiler Room, "Streaming From Isolation – #1," 2020-03-19. https://boilerroom.tv/session/streaming-isolation-1/ / A contemporaneous introduction to Four Tet's stream (archived copy, as the original page has been made private). https://web.archive.org/web/2023/https://consciouselectronic.com/2020/04/04/four-tet-boiler-room-streaming-from-isolation-series-watch/
[20] Boiler Room, "About Us." The operators' explanation of the revenue model, performance fees, and the timing of the 2021 acquisition. https://boilerroom.tv/about/
[21] Yung Singh, official biography, "Yung Singh Presents: Daytimers on Boiler Room." His own explanation of the selection project and the invited guests. https://www.yungsingh.com/biography
[22] DICE acquisition press release, Record of the Day, 2021-10-01. https://www.recordoftheday.com/news-and-press/dice-acquires-boiler-room
[23] Sonicstate, "Fred again.. Incredible Hybrid Boiler Room Set," 2022-08-11. https://sonicstate.com/news/2022/08/11/fred-again-hybrid-set-for-boiler-room/ / Official video published 2022-07-29. https://www.youtube.com/watch?v=c0-hvjV2A5Y
[24] EDM.com, "Watch Chase & Status' Relentless Drum & Bass Set for Boiler Room London," 2023-10-12. https://edm.com/events/chase-and-status-drum-n-bass-set-boiler-room-london/
[25] GQ, "25,000 People RSVP'd For Charli XCX's Boiler Room DJ Set. 400 People Got In. Here's What It Was Like Inside," 2024-02-23. https://www.gq.com/story/charli-xcxs-boiler-room-dj-set
[26] Boiler Room, Tokyo show, 2024-11-09. https://boilerroom.tv/session/tokyo-wt24/
[27] Boiler Room official LinkedIn, post after the January 2025 publication of the Tokyo set. https://www.linkedin.com/posts/boiler-room_since-the-release-of-%C3%B8uuk-uk1matus-activity-7287514365665103876-shGZ / The Guardian's interview with him states the November 2024 show explicitly. https://www.theguardian.com/music/2026/jul/13/eat-sleep-rave-make-peace-dj-yousuke-yukimatsus-mission-to-change-the-world-with-topless-raves
[28] Music Business Worldwide, report on the sale from DICE to Superstruct, 2025-01-15. https://www.musicbusinessworldwide.com/dice-sells-electronic-music-platform-boiler-room-to-live-giant-superstruct-which-was-acquired-by-kkr-in-a-1-4bn-deal-last-year/
[29] DJ Mag, "Boiler Room issues statement concerning acquisition by Superstruct Entertainment and KKR," 2025-03-27. https://djmag.com/news/boiler-room-issues-statement-concerning-acquisition-superstruct-entertainment-and-kkr
[30] Resident Advisor, "Boiler Room founder and CEO Blaise Bellville leaves company," 2026-01-19. https://ra.co/news/84337
[31] Boiler Room, Rossi. official video, published 2026-06-11. https://www.youtube.com/watch?v=PrTjyNLJIkI / Official video list. https://boilerroom.tv/video/
[32] Boiler Room, broadcast announcement from Dekmantel Festival 2013 (performers). https://legacy.boilerroom.tv/boiler-room-x-dekmantel-festival-day-1-laurent-garnier-xosar-live-vakula-juju-jordash-live-san-proper-tom-trago/
[33] The FADER, "How Boiler Room Went From One Webcam To Broadcasting The Global Underground For Everyone," 2016-11-04. Bellville himself explains his exchange with DOMMUNE and the upgrade of production equipment. https://www.thefader.com/2016/11/04/boiler-room-blaise-bellville-interview
[34] The FADER, "Boiler Room Issues Statement After Police Shutdown Of Weekender Festival," 2016-11-07. Includes the operators' statement. https://www.thefader.com/2016/11/07/boiler-room-statement-police-shutdown-weekender-festival
[35] Beatportal, "Cover Story: Sherelle is Ready to Conquer the World," her own interview from 2020. The opening track, the growth in followers, performance requests and going full-time. https://www.beatportal.com/articles/520160-cover-story-sherelle-is-ready-to-conquer-the-world
[36] Resident Advisor, "Ice Cream Records to release Fixate edit of 'Ripgroove'," 2019-03-25. https://ra.co/news/43505
[37] Resident Advisor, "Mix Of The Day: SHERELLE," 2021. A reference to the response to the 2019 rewind. https://ra.co/news/74487
[38] Dancing Astronaut, "Good Morning Mix: Fred again.. makes Boiler Room debut with ID-loaded set in London," 2022-08-01. Contemporaneous report on the unreleased tracks and the playback interruption by an audience member. https://dancingastronaut.com/2022/08/good-morning-mix-fred-again-makes-boiler-room-debut-with-id-loaded-set-in-london/
[39] Music-News.com, carrying remarks from Fred again..'s interview on Apple Music 1 with Zane Lowe, 2022-10-30. https://www.music-news.com/news/UK/153199/Fred-again-I-ve-been-in-enormously-changed-by-all-the-messages-I-ve-read
[40] Resident Advisor, "Dekmantel partners with HÖR on new stage, Radar," 2023-04-12. https://ra.co/news/78829
[41] Pollstar, interview with Andrew Foggin (DICE head of music), 2024-05-10. 25,000 registrations for an event with a capacity of around 400, and the sales status of the later shows. https://news.pollstar.com/2024/05/10/we-have-thousands-of-shows-priced-at-10-or-less-qs-with-andrew-foggin-global-head-of-music-dice/
[42] Mixmag, "Wild relief: RP Boo and SHERELLE discuss the power of footwork," 2019-11-25. A conversation between the two. https://mixmag.net/feature/rp-boo-sherelle
[43] Dekmantel, "Basking in the Afterglow," 2022-07-26. A look back at the collaboration that has continued since the first edition in 2013, with testimony from performers such as CARISTA. https://dekmantel.com/editorial/basking-in-the-afterglow
[44] Boiler Room, "Solomun | Boiler Room: Tulum," official video, published 2015-03-15. https://www.youtube.com/watch?v=bk6Xst6euQk
[45] Boiler Room, "Peggy Gou | Streaming From Isolation | #21," official video, published 2020-04-25. https://www.youtube.com/watch?v=jxcK_wENFgo
