Michael Woods is an English record producer and DJ of various dance music genres, mainly progressive house, electro house and trance and just recently, I got to see him live at Club Royalty as part of the Submerge Dance Project. Utter Excitement.

Talking about Michael Woods, he was always big in the UK underground dance scene but his jump to fame came with his collaboration with Australian vocalist, Imogen Bailey for “If U Want Me”. Since then he has come a really long way, without looking back.

Further, his collaboration with Chris Lake and Joel Zimmerman (a.k.a. Deadmau5) on the ever popular, “I Said” also got him a lot of recognition on the mainstream dance scene.

Personally I wasn’t a huge Michael Woods fan, apart from a remix here and there and a few of his originals here and there, specifically his big-room banger, Airborne; And his remix of Martin Solveig’s “Hello”.

So I went into the dancefloor with an opened mind and NO expectations. And for the 3 hours odd that he played, I was literally blown to Mars.

One thing common to a lot of Michael Woods’ tracks and remixes are his beautifully catchy synth riffs. Considering how he and his sister, singer Marcella Woods, were encouraged into classical piano at a very young age by their father, it’s very evident through out his music.

Coming to his set, it was totally oozing with energy, completely hard hitting. Every drop was like a “KAPOWW” to the face, like a deadly redbull-expresso cocktail.

Mr Woods’s set had a wide range of music featuring a lot from the underground dance scene. The onslaught of spectacular music was fully equipped  with a wide spectrum of #bangin music including mass favourites like his remix of Deadmau5’s “Strobe” and Kaskade’s mash up of “Move for Me” with his very own “First Aid”.

Michael Woods further went on to drop one of my favourites, “Airborne” which then lead into his collaboration with Chris Lake, “Black Thong” and the dancefloor demolishing “Warrior” .

It also included his remix of La Roux’ “In for The Kill” and Hardwell and Thomas Gold’s Mash up of the infamous “Atom” with One Republics “Apologise” and Otto Knows’ “Million Voices”. And I loved when he played Santa and gave us a sneak peak to his upcoming banger, co-produced with his buddy, Chris Lake. That moment made me feel like a 12 year old on Christmas eve!

Truly whatever Mr. Woods let out of his artillery as part of his set, he made sure it had his own personal touch to it which got the crowd even more pumped and left each one of the fans in the crowd in awe of the man as not too many artistes do that nowadays.

Moving on, about an hour into his set we were hit in the face all over again as he broke into dubstep and yes, I’m not ashamed to admit, I spazzed out, with arms flailing, et al. I got stares, but I don’t care! (and I was as sober as a newly ordained priest). Heavy, heavy bass ruled this section of his set and he even added a little LMFAO riff in the middle, the cheeky devil that he is.

Mr Woods had his way of teasing the crowd. He’d pick you up, tickle your nether regions, and just about when you’re literally grovelling for him to stop, he just smacks you in the face with such an epicly beautiful, ear-demolishing bassline but then again, that’s my point. That’s what Michael Woods does to the crowd. He’ll definitely make sure you act like lunatics on the dancefloor and he has the sadistic little grin while doing it, ‘cause he knows exactly the kind of effect he has on our poor drop-starved souls.

All in all if I had to use a trend to describe Mr. Woods’ set, I’d have to use ‘#epicbass’. Take a bow Mr. Woods and thank you as always for an amazing music experience, we can’t wait to catch you live again! Until the last day on earth!