DEEG is an all new clubnight with its first edition taking place at the Verkadefabriek. Three exceptional DJ acts come together to tell one singular, evolving story as they lean into their experimental side.
Supported by custom stage design, scenography and projection art the night unfolds as a carefully curated journey. Immersive, unpredictable, and deeply atmospheric.
AMBUSH is an all-woman DJ collective that includes Kora, Grey Area and Ninia. With a female perspective on club music and a shared love of hard and groovy sounds, they bring a unique blend of Latin bass, hard groove and electro.
Their sets move effortlessly between immersive rhythms and unexpected twists, always with a sense of flow, energy and detail. Carried by a queer perspective and a strong connection to the club as a place of freedom, they create a space where everyone is allowed to let free for a moment.
Iris Rijskamp's passion for electronic music runs deep, with a diverse sound that draws inspiration from Italo, house, and trance. Not a moment goes by that they're not digging for new discoveries, proudly navigating between (hidden) gems of the past and fresh releases of the present.
Inspiration is everywhere and the thrill of DJing lies in the unpredictability of each set, presenting a unique challenge for artists like Iris. This means she will surprise you with every set, consisting of all sorts of electronic extravaganza and trips to the unexpected.
In recent years, Iris played at festivals such as Lowlands, Into The Woods; Milkshake, as well as club nights at RadioRadio, POING Rotterdam and NAR Utrecht.
Under the name Kruithuis, Freek van de Riet and Tim Vermeulen merge into a single audiovisual organism. Rooted in raw, high-energy electronic music shaped by groove, industrial, Detroit, warehouse, and acid, their collaboration unfolds as Morphosis; a live state of perpetual transformation.
Sound and image collide and co-evolve in real time, forming a reactive system that breathes, fractures, and rebuilds itself. Morphosis reflects humanity’s endless process of becoming: inventions meant to liberate mutate into new structures of tension, progress reveals its own contradictions, and forward motion loops back on itself.
Kruithuis does not offer conclusions. Instead, it opens a space for observation. The audience is invited to witness rather than participate, to contemplate the machine, the human condition, and their own reflection within it. Ambiguity is embraced. Beauty and friction coexist.