Cameron Duddy is an award winning music video director and musician with over 9 billion views across his work. Most notably, Cameron directed the video for "Uptown Funk", winning an EMA, VMA, and topping charts as the 3rd most viewed video on YouTube. In 2017, Cameron also directed Bruno Mars' "24K Magic" which has earned him a BET award and 3 VMA nominations for "Best Video," "Best Director," and "Best Art Direction". Cam has also worked with Fifth Harmony, Jennifer Lopez, Britney Spears, Iggy Azalea, One Republic, Orville Peck, Grouplove, AWOLNATION and most recently received a CMT nomination for "Best Group Video" for directing the debut single/video from his country trio, Midland. Midland has released two full length LP’s, the first, On The Rocks in 2017 which achieved Gold status and produced their double platinum hit, Drinkin’ Problem as well as a platinum hit, Burn Out. The album earned them two Grammy nominations and several CMA, ACM and CMT nominations and a win for Best New Group. The band released their second album in October of 2019 entitled, Let It Roll. The album has been a critical success and earned them their first number one country album spot and has made them a fixture on late night with multiple appearances on Fallon, Kimmel, Seth Myers and Ellen. Most recently, the band announced the release of their album, ‘Barely Blue’ produced by Dave Cobb, and accompanied by a national headline tour, and the announcement of a main stage performance at Stagecoach 2025, as well as sold out theaters and Rodeos across the country. The band is currently and will forever be on tour…

Founder of the bands Antibalas and Ocote Soul Sounds, founding member of Sharon Jones & The Dap Kings and frequent collaborator of TV on the Radio. I've recorded on over 100 albums since 1995 for artists including Toro y Moi, the Roots, Angelique Kidjo, Santigold, Jovanotti, and many more. Check my work out at http://martinperna.com

After a two-decade run with the legendary Daptone Records, Frontier’s Edge is the first new music from the group on the new label, Diamond West Records — run by The Budos’ saxophonist Jared Tankel and guitarist Tom Brenneck. The Budos Band’s departure from Daptone was on good terms; the split from their long-time home base was an organic result of the band’s evolution. “It’s just a natural growth,” Brenneck says, admitting: “We’re going further away from the sound of Daptone and into territory they probably wanted to stay away from.” As a result, Frontier’s Edge finds the group hungry, passionate and primed to charge into their next epoch newfound sense autonomy within the collective. “We’re a powerhouse in the studio; we can produce ourselves,” Brenneck says proudly of a long process of self-containment. “I take the helm, but the band, they know what they want.” As expected from The Budos Band, Frontier’s Edge resists analysis; it represents the band as they are: a contained explosion. You don’t pick apart Frontier’s Edge; you feel it all at once. Whether this is your first rodeo with The Budos Band or you’ve been following them throughout their two-decade run, Frontier’s Edge contains their musical universe — Afrobeat, Ethiopian music, proto-metal, any number of other streams — in microcosm. Dime the volume and behold The Budos.

Defying expectations is standard operating procedure for El Ten Eleven. Seriously, who would expect two instrumentalists to create such a large and complex sound? But thanks to inventive arrangements and a masterful use of looping, Dunn (bass/guitar) and Fogarty (drums) developed a pulsating sound full of atmospheric intensity. They’ve also crafted an incredibly durable career, and the duo credit the ongoing interest in their debut album as the foundation for that success. Early on Dunn feared the quirkiness of the group’s two-man band approach would overshadow their music. “When we first started and we made that first record, I was really worried that people would only be interested in the novelty of us looping and playing everything by ourselves as just two people,” Dunn shared. “I was worried that they wouldn’t be moved by the music. But as it turned out, although people were impressed that it was just the two of us, they love the music.“ The music of El Ten Eleven has been embraced by fans of many genres — from math rock, to jazz, to lo-fi hip-hop. The duo’s sound is sharply evocative in mood and feeling, yet simultaneously abstract and meditative. The combination of these qualities has stimulated the imagination of the group’s fans, and gives space for listeners to assign their own value and meaning to the sounds. “I’m aiming for emotional impact when I come up with songs,” Dunn explained. “Does it move me? Does it make me feel something? Sometimes it doesn't. Sometimes it's technically interesting but it doesn't make me feel anything. But I don't want music that's interesting. I want music that's emotionally resonate.” When El Ten Eleven was released in 2004, on-demand music streaming services were still in their embryonic phase. The growth of those services would be a consequential factor in introducing El Ten Eleven’s music to the world. Dunn views the development of digital music distribution services as a liberating force for artists, an effective channel to sidestep the suffocating control of corporate media. "Really, this is a Golden Age of music,” Dunn observed. “I think this is the greatest time in history to be a musician. We don't have to rely on MTV or a radio station to be heard. If you make something great people will find it. I'm not saying what we did was great, but that's what we were aiming for. I figured people would find us and they did. It took a long time, but it worked."