Dorothy Chandler Pavilion Remixed

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Even from a distance, you could tell something special was happening at the Dorothy Chandler Pavilion. Streams of green and blue light darted off the chandeliers and through the Mondrian windows, inviting you to enter the peculiar world of Sleepless: The Music Center After Hours (Sleepless).

This past weekend we celebrated the third installment of the Sleepless series, and it did not disappoint. Flocks of fans braved a warm February night in Los Angeles for a taste of The Music Center after hours. From the Founder’s Room to deep below the stairs, the pavilion was alive with sounds and beats, lights and imagery, puppets and pillows. The pavilion was decked out for a luxurious good time.

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We had the opportunity to collaborate with dublab again, helping us tap into the pulse of LA’s unique music scene. Things kicked off with DJ crew Mas Exitos, along with their expertly curated assortment of tropical classics and rare oddities.

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In true Sleepless fashion, the arrival of each guest was announced aloud by our cheery staff. Flanking either side of the Grand Staircase were a few newcomers to the affair. Boyle Height’s own Self Help Graphics & Art brought their workshop directly to the party. Guests and their DIY shadow puppets danced the night away atop cityscapes by Self Help’s own Daniel Gonzalez and Martha Carillo.

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On the other side of the lobby, guests became the puppets themselves. Fresh off of their epic projections at N.Y.E.L.A., yU+Co graced the Grand Lounge with an interactive video installation alongside the audio works of composer John Wiese.

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Touch, the London-based imprint, burrowed themselves deep below the stairs, creating a truly 360º installation. Eight speakers surrounded you, blending together pieces from their artist roster in real time.

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Past the bronze Plazzotas statues and up the Grand Staircase, Stern Grand Hall was transformed into a space of futuristic leisure. The video and sound synthesized with the mid-century design of the hall in a way that was both nostalgic and innovative. The audience listened intently as they reclined below the chandeliers, gazing upwards as animated light reflected back down towards them. Leaving Records provided a diverse soundtrack including worldly, spiritual songs from Carlos Niño, the undulating synthesis of M. Geddes Gengras, and frantic juke-inspired beats from Ahnnu.

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Meanwhile around the corner, in the illustrious Founder’s Room, wide-eyed dancers shuffled and stepped under the watchful gaze of Dorothy Chandler herself. As the disco-ball spun and the records revolved, the ESP Institute put on a clinic of their own. Straight from Amsterdam, Tako joined a cast of his label-mates including Cooper Saver and Lovefingers.

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It didn’t matter where your personal experience took you that night, the experience of Sleepless is as exclusive to every individual as it is universal to the whole. Because of these unique factors, no two Sleepless nights can ever be the same. Surrendering themselves to the spectacle and the allure of the night, each artist created for the collective. With open minds, the audience was able to check their preconceptions at the door and revel in the moment. Combined they were able to tap into the heartbeat of the city at night.