Why Rüfüs Du Sol’s Rose Bowl concert marks the peak of the band’s L.A. journey

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In a Burbank rehearsal studio brimming with electronics and travel cases, the three musicians of Rüfüs Du Sol are nearing the end of their last rehearsals for the most significant tour of their careers. As they play through several songs on synthesizers and acoustic drums, the main dilemma yet to be resolved is how much of their essence to share with their audience.

On a rainy day in March, the Australian trio, Rüfüs Du Sol, are meticulously crafting various live performances tailored for diverse scenarios – festivals, arenas, grand amphitheaters, and most notably, their own series of stadium headline shows. For these high-profile concerts, they’ve prepared an expansive playlist that Tyrone Lindqvist, the singer-keyboardist, nicknames “the Behemoth,” while James Hunt, the drummer, refers to it as “the Beast, the Hulk.

Lindqvist shares, “We’ve been overwhelmed with affection from our fans and a steady crowd at our performances.” He’s the one, with his blond hair and black attire, stationed by the synthesizer. Regarding our show, it stretches to two hours and 10 minutes in this trial run. We sometimes wonder if we’re going overboard, questioning when we’re doing too much. There’s truth in ‘less is more,’ and finding that perfect balance can be challenging.

“You’re grappling with the extreme love that you have from people and trying to find the balance.”

The Australian group Rüfüs Du Sol has previously demonstrated their prowess in Los Angeles. Previously, they headlined a series of three sold-out shows at the Banc of California Stadium with a capacity of 22,000 in 2021. This upcoming Saturday, they will play at the Rose Bowl to conclude the North American leg of their 2025 tour for their latest album, “Inhale / Exhale.

Jon George, a keyboardist, is part of a trio who started their alternative electronic dance music group, or EDM band, in Sydney, Australia, in 2010. Since then, they’ve performed at numerous venues worldwide. Their upcoming show at the Rose Bowl in Pasadena promises to be their largest headlining event yet, with approximately 60,000 fans in attendance.

In music terms, Rüfüs Du Sol have emerged as one of the best-selling Electronic Dance Music (EDM) groups globally. The band seamlessly blends in with major dance events and large-scale festivals that cater to various genres such as Coachella and this year’s Lollapalooza.

Rüfüs Du Sol consistently labels itself as a live Electronic Dance Music (EDM) act, emphasizing its unique standing within the band’s history and the factors that have guided them. A significant influence for the group is The Chemical Brothers, pioneers in combining samples with live synthesizers and other instruments during the onset of the “Big Beat” EDM movement, starting in the mid-1990s.

According to Hunt, our show is not just an ordinary event, but a vibrant and immersive experience that embodies a touch of human authenticity. There may be some variations in the performance from one night to another due to human error, yet these imperfections add to its genuine nature. At the core of the project lies the fusion of technology with human interaction.

Speaking as a passionate moviegoer who’s also a music enthusiast, I recently found myself captivated by “Inhale / Exhale,” an album that soared to No. 2 on the Billboard dance music chart last October. The first single off this record, “Music is Better,” serves as a nostalgic nod to the infectious House sounds of the early 2000s. On the other hand, “Lately” was penned in Ibiza and reflects my partners, Hunt and George’s, experience DJing under Rüfüs Du Sol. This captivating track blends a hint of drama with gospel house vocals, making it a standout from our upcoming album. It was one of the first tracks to emerge during our songwriting sessions.

In 2022, the band’s most recent album, titled “Surrender,” was awarded the prestigious Grammy for the best dance/electronic recording, specifically for the track “Alive.

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The band has now released three studio albums through their ongoing partnership with Warner Records, which also includes several remix compilations. Notably, the three-piece group was signed by Jeff Sosnow, an executive vice president of A&R, and he was once again astounded by the enormous turnout at their two July concerts in New Jersey’s stadiums.

Every night, I find myself amidst a sea of 25,000 enthusiastic fans, each one singing along perfectly to every song,” shares Sosnow. “These aren’t just casual spectators; they’ve invested themselves deeply, and their passion is palpable.

Sosnow believes there’s room for further expansion for the trio, given their unique blend of electronic music with traditional songwriting elements in their energetic mix.

He notes that they truly enjoy their work and possess the same level of production expertise as anyone I’ve encountered. Moreover, they are detail-oriented when it comes to creating their music, rigorously self-critical, and visionary within their artistic sphere. It’s likely that they will strive to push their boundaries, much like many other renowned artists have done. They’re not content with resting on their achievements.

As the 2025 concerts swiftly ran out of tickets, the band members found themselves so engrossed in completing their album that they barely had time to savor the show’s excitement.

Lindqvist admits with a grin that he hadn’t given much thought to it, but the focus during that period was solely on the live performance. However, when referring to that specific moment, the main priority was completing the album.

The band’s journey as a live performer in Los Angeles kicked off at Echoplex in 2014, later moving on to the Fonda in the same year, and then three consecutive nights at the Wiltern in 2016. In 2018, they performed at the Shrine Expo Hall for three shows with an audience of 3,000 each night. The following year, they headlined a show at Los Angeles State Historic Park for approximately 21,000 people.

Hunt remarks, “We’ve constructed this over time, progressively, piece by piece.” He finds it noteworthy that this gradual development has resulted in a connection with listeners who have experienced significant life events like marriages, losses, or milestones while listening to the music. To him, it appears deeply meaningful.

The Australian band Rüfüs Du Sol’s ties to Los Angeles are particularly strong. Similar to their past stays in places like Surrey, England, and Berlin, they spent several years living in L.A. post-relocation, residing in a mid-century home in Venice. Connected to this residence was a garage transformed into a professional recording studio where they recorded their 2018 album “Solace.

For several years, they stayed put at that residence, eventually setting up a fresh record label based on the name of their Venice neighborhood street – Rose Avenue Recordings.

Hunt enthusiastically commented, “The setup was fantastic! Even if we played drums as early as 6 am, no one would likely notice.

In addition to their music endeavors during that period, the trio also delved deeply into the vibrant local culture of Venice. As Lindqvist puts it, “Venice was buzzing with countless artists and creative minds, which created an electrifying atmosphere.” With few obligations beyond their band duties, they embraced this opportunity and found the experience quite captivating.

As Rüfüs Du Sol began crafting their “Inhale / Exhale” masterpiece, significant shifts occurred in the band members’ personal lives. They had collectively decided to quit alcohol and embraced a wellness-focused lifestyle. Notably, Lindqvist settled in North San Diego County with his family, while Hunt and George chose Miami as their new home.

The new album was the first to be produced with the band members living apart from each other in different cities. In order to collaborate creatively, they embarked on several writing retreats lasting two weeks each, visiting Austin, Texas, Los Angeles, and Ibiza to generate fresh content.

Lindqvist mentioned that initially there was a sense of apprehension due to the novelty of the situation, as they had never attempted something like this before. Despite being anxious about the unknown outcome and working independently, their shared passion for music and collaboration kept them motivated. In essence, those two-week stretches played a crucial role in bringing the new record to life.

Simultaneously, the band members moved to various cities, while at their manager’s prompting, they embarked on joint therapy sessions. Unlike Metallica’s turbulent therapy journey depicted in the 2004 documentary “Some Kind of Monster,” Rüfüs Du Sol’s group therapy was marked by less drama and conflict.

George grins as he emphasizes, ‘Not at all like that.’ For us, it’s more about discovering innovative ways to foster communication and improve our skills. It’s a continuous journey, not just for me individually, but also for our band.

Lindqvist remarks, “Since we had been in a band for many years, there had been a substantial amount of change, development, strains, and possibly unhealed wounds and grudges among us. We recognized that there were sufficient topics to discuss and address.

A crucial moment towards completing the fresh album unfolded near the end, as the band convened with friends and colleagues for a review event at Open, a tranquil yoga, breathing, and meditation studio in Venice. The attendees got to listen to the work-in-progress of the band’s latest creation while wearing blindfolds.

That encounter inspired the naming of the album, and its arrangement that began with the dreamy, bubbling song “Breathe In” and ended with the optimistic, love-filled “Breathe Out.

According to Hunt, it’s quite exposed to share one’s creations, especially when they are not confined to a close circle of friends. Hearing some of their innovative ideas almost for the first time again was an incredibly exciting experience for them when sharing new music.

5 months following rehearsals in Burbank, Hunt and Lindqvist are on a video call from their Toronto hotel room. The band is mere days from headlining at Lollapalooza in Chicago, with the Rose Bowl concert still ahead, only a fortnight thereafter.

The “behemoth” setlist has undergone adjustments since the initial weeks of the tour, ensuring it’s now perfectly prepared for Pasadena.

Regardless, performing for increasingly larger crowds has been exhilarating yet slightly overwhelming at times. As Hunt puts it, “Beyond a certain point, I struggle to comprehend the difference between one crowd size and another.” During the actual performance, there’s an undeniable pressure since we’re dealing with 20,000 to 30,000 people each night, but this intensity fuels our passion.

For Lindqvist, this is a logical progression as an established EDM group, yet it’s mind-boggling how it surpasses their early days in Sydney, where their ambition was limited to performing at the small 500-capacity Oxford Art Factory venue.

The singer reminisces with a hint of nostalgia about those early days when they played at that venue, stating, “We’d played at many bands there, so performing there was almost like a dream come true.” Later on, they add, “It continued to grow beyond our wildest expectations.

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2025-08-15 13:31