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Defected Records Founder Simon Dunmore Explains How The Label Overcame the EDM Boom

When Billboard Dance catches up with Simon Dunmore, the Defected Records founder is in Ibiza, where he's preparing for the label's closing party later that week following a summer-long residency at…

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When Billboard Dance catches up with Simon Dunmore in Ibiza, the Defected Records founder is preparing for the label’s closing party later that week following a summer-long residency at San Antonio superclub Eden.

“We’ve had a great season,” Dunmore says, despite what he calls a particularly tough year for the party island at large. “A lot of the clubs are down [in attendance], and a lot of the hotel bookings have not enjoyed a great season, so officially I’m very happy because we’ve punched well above our weight.”

This summer has been a success for Defected in more ways than one. Beyond its events, five of the label’s single releases have hit No. 1 on Beatport’s overall chart since July at the time of writing, most notably Roberto Surace’s “Joys.” The S.O.S. Band-sampling track, with its grinding bassline and catchy vocal sample, dominated the decks in Ibiza and beyond, making it a strong contender for track of the summer, and maybe even of the year.

Indeed, “Joys” won “Track of the Season” at last month’s DJ Awards, but the moment felt even more well-earned considering the bidding war in which Dunmore and his team outlasted major labels to sign it in the first place, as well as successfully navigating the radio landscape. “I’ve got a good nose for these kinds of records after being around for so long,” he says, “so it was a calculated risk signing the record, but it’s paying off.”

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Roberto surace's 'joys' tops shazam's ibiza dance chart for third week.

You could say Defected was built on calculated risk. Dunmore, who had spent a decade working in the music industry as a DJ, record store employee and doing club promotions and A&R for major labels, was then running A&M Records’ dance division, AM:PM, when he decided to bet on himself by starting his own label in 1999. Within a few years, the London-based label achieved its first No. 1 hit on the U.K. Singles chart, Roger Sanchez’s “Another Chance,” and released soon-to-be house classics such as AFTC’s “Bad Habit,” Shakedown’s “At Night” and Kings of Tomorrow’s “Finally” — the latter of which Dunmore says he still hears every summer, all summer.

No one was fully prepared for the landscape-shifting EDM boom at the turn of the next decade. New dance devotees, especially ones overseas in America, sprinted en masse to lasered-up festival main stages, where they reveled in big-room builds and filthy dubstep drops — sounds and worlds that seemed like the polar opposite of Defected’s. The label fell into a major slump, as producers followed a new and extremely profitable trail. “There were times where financially we were close to going out of business,” he says.

Rather than fold, the label chose to wait out the EDM craze while continuing to release the music they loved on their own terms. Second-act records like Solomun’s smoky remix of Noir & Haze’s  “Around,” the Larse version of Candi Staton’s club spiritual “Hallelujah Anyway” and FCL’s slow-burning “It’s You” became testaments to Defected’s unwavering ear, making it a reliable alternative to EDM’s hyper-neon glaze. In 2017, Camelphat and Elderbrook’s “Cola” afforded the label a new level of validation when it earned a Grammy nomination for best dance recording. “That brought so many people into our universe,” says Dunmore. “Almost everything we did as a business benefited from having that one hit record.”

CamelPhat & Elderbrook on 'Cola' Success, Unexpected Grammy Nomination

Twenty years after Defected’s formation, it’s still standing, and stronger than ever. More than just a record label, it really is its own universe spanning several sibling labels (such as the disco-leaning Glitterbox and tech-minded DFTD), radio shows, merchandise, club nights and even full-on festivals in London and Croatia. But at its heart, Defected is still very much a home for house music.

As it prepares to take an international victory lap at Amsterdam Dance Event, followed by a U.S. tour in November, Billboard Dance spoke with Dunmore about Defected’s origins, overcoming various hurdles and the legacy he hopes to leave.

When’s the last time you danced really hard?

Publicly, probably… oh, God ( laughs ). Actually, Croatia. We had some real moments in Croatia. On our last night the heavens opened, and the main stage outside was uncovered so everybody ran for cover, but we kept playing the music and people gradually started to come back. Then the rain stopped, and I don’t know where people had been hiding, but they all came back and it was a real moment. We all got a little carried away with ourselves, and I think there’s video footage of me dancing pretty hard, actually. So not so long ago.

Let’s go back a little further in time. It seems like your path to Defected was pretty organic.

It absolutely was organic. I went from being a collector, to being a DJ, to working in a store to promoting records at clubs for major labels. Then, to make the promotion easier for me, I started commissioning remixes. Then I started to recommend records to be signed by my A&R guy at the time; he eventually left and I got his position. Then I got offered to run the dance department at AM:PM, which was at A&M Records.

I felt at that point, since I’d been in the music industry for ten years, that I knew enough to start my own label. But while I did know enough to start my own label, what I didn’t know was how to run a business. That’s probably what I’ve learned over the last 20 years. I had a plan as far as the sound I wanted to represent, the producers I wanted to work with, the DJs and the target audience, et cetera. I think we had that down, but managing stuff, people being ill, people leaving, hiring, firing, all the administration you have to take care of, were things I had no experience with. While you’re busy doing all the creative stuff, all the fun and good stuff, you have to stop to take care of business, which was where the shock to my system came.

What was the house music landscape in the U.K. at the time, and how did it affect the label’s momentum starting out?

It was extremely vibrant. We’ve always had an amazing club scene in the U.K., and I don’t ever see that changing, to be honest with you, but house music and dance music were getting extensive support on the radio. In our first year, we had eight Top 40 records in the sales chart, and at least six or seven of those were heavily rotated on national radio or KISS FM.

Jumping ahead ten years later, the EDM boom happened overseas. Did it change how you marketed your brand?

The EDM thing was something we really struggled to come to terms with, actually. We have a real tradition in the type of records that we release, and the people making EDM records couldn’t really relate to that. In a lot of instances, they had their own labels — they didn’t need to actually sign to or license their records to another label. So it was a particularly difficult period for us, because everybody kind of got sucked into the EDM phenomenon. People who were making records for us and populating our [release] schedule were all of a sudden making records and signing them to Axwell’s label, or labels that they wanted to be aligned with. So we really had to dig in and re-group and just ride it out.

But funnily enough, all those kids that were introduced to dance music by EDM are probably coming to our events now, so it was the gateway to people getting into dance music. So initially it was difficult but now I think we’re benefitting from it.

It’s surprising to hear that Defected was so affected by the EDM boom, when it seems like so many strong records came out during that period.

Well, EDM wasn’t for everybody. For the people who couldn’t relate to it, I think we were the go-to label whether you were a producer or a punter. The fact that everybody moved away from house music and we stayed where we were, the community saw that as really valuable. The people who made those records believed in us and supported us enough to give us those records to release. That’s acknowledged whenever I speak to people such as yourself — they acknowledge that we stuck to our guns when we were having a tough time, and that counts for a lot. 

“Cola” was also nominated for a Grammy award. That’s already a big deal on its own, but for a label to have stuck to its guns, creatively, and still achieve that milestone in a largely commercial space must have been hugely validating.

For the act, for the label and for dance music in general, it’s always good for those records to be aligned with the high achievers. For us as a label, we need a record like that every two or three years to generate income that we can re-invest into new talent, infrastructure, staff and all the things that you need to keep your business moving forward. You can’t do that necessarily that beginning and ending with DJ records; you need an element of crossover to generate the income. But it also gives the producers the belief that we’re able to deliver a record on that level. It gives people the confidence to submit their music to us.

So being visible in that respect is really helpful across the board, but what that record actually did for us… We decided to release the record ourselves globally. We did one license, which was to Big Beat in the United States, and that was because the United States is so vast that we didn’t feel that we were equipped to deliver that record in that territory. In every other instance around the world, everybody who played that record, played it with Defected Records artwork, on Defected Records. That brought so many people into our universe. They started following us on Instagram, Facebook.. They began to recognize the label and started to collect records that weren’t just “Cola.” Almost everything we did as a business benefited from having that one hit record.

How has the digitization of music and the rise of streaming changed your business model and primary revenue sources?

Revenue went down significantly, as it did for everybody. But costs also went down significantly. So if you managed your business really well, it shouldn’t have had an adverse effect at all. Manufacturing costs went down, the cost of mastering went down. Transferring instead of sending things by hand via couriers… the costs went from being astronomical to a very small number. In terms of marketing, instead of taking out ads on radio and ads on TV, pages in publications or putting posters on walls in cities, extraordinarily expensive exercises; all of those things disappeared because you had Facebook and Instagram. You could advertise on the Internet. So the business changed beyond all recognition because of the consumption and the revenue generated by that consumption to the way that you marketed records. You just had to move quickly. 

We do make money from our events. They’re hugely popular, but that’s not always been the case. They’re our marketing; they’re our direct interface with the consumer. So if somebody loves a record, they may mention it on their social media. But if they go to an event and they hear it, they definitely mention it on their social media. So the event becomes the realness of everything that we do.

What do you think is the key factor to Defected’s staying power?

Consistency. I think people trust us now. If you constantly deliver a good product, people will believe in you, and we work really hard to not let people down.

In three words, what is house music to you?

Escapism. Inclusive. Community.

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True House Stories®

True House Stories® Youtube & Spotify Video Podcast

True house stories w/ simon dunmore - defected records / glitterbox, simon dunmore founder defected records & glitterbox interview podcast hosted by lenny fontana # 117 - true house stories®.

A very candid interview with the main man responsible for some of the biggest house music hits in the game, Simon Dunmore of Defected Records and Glitterbox Recordings. Listen carefully on how he explains his rise in the music business.

There are key notes to work and live by that he shares with all of us. Simon’s journey through the music industry to head of Defected was a journey through various subcultures. While working in a London dry cleaners, being sent to a textile course in fashion college in Derby exposed him to the more electronic, danceable side of the post-punk and New Romantic sound.

Venturing deeper into the club scene back in London, he found a new community in the soul scene that would be the canary in the mine for the house music starting to cross the Atlantic. Nights like Nicky Holloway’s Doo at the Zoo and Special Branch (including a trip to Ibiza in 1986) and a pivotal Soul weekender in, of all places, Berwick-On-Sea, lit the flame of a lifelong devotion to the soulful end of house that burns to this day.

A DJ since 1983 (“I’d been making a lot of mixtapes, admittedly mostly for girls, when one day I was asked to play someone’s birthday party”), Simon Dunmore threw himself into DJing and the soul scene: writing for magazines, building a database for his hand-lettered and photocopied ‘London Soul Circular’, organising buses from the suburbs to parties and events around the country.

A job at Record & Disco Centre in London’s Rayners Lane saw him receiving promos from labels hoping he would hype their records to influential customers like Record & Mirror writer James Hamilton. Another customer, Cooltempo A&R Steve Wolfe, gave Simon a job doing club promotions, plugging club DJs whose feedback would inform the dance charts that were the bedrock of a track’s journey from record bag to radio play. 

Soon Simon Dunmore was suggesting better records to sign or remixes to pursue, and when Wolfe left the label, Simon applied and got his job, later repeating the process when Wolfe left new home AM:PM. In the famously cut-throat and hedonistic 90s record industry, Simon took his time to find the right records to launch his new position with AM:PM, but a string of extraordinary releases including Ultra Nate’s ‘Free’, Alcatraz ‘Give Me Luv’, Mousse T’s ‘Horny’ and MJ Cole’s ‘Sincere’ quickly made his name. 

When Ministry Of Sound – whose compilation CDs were not just dominating the electronic music sales but also effectively defining the culture – offered him the chance to set up his own label (just as a takeover of AM:PM by Universal was decimating the team he loved working with), the die was cast. Defected Records was born on January 1st 1999 and has now coming on its 25th Anniversary better than ever.

Biography Simon Dunmore (founder Defected Records & Glitterbox)

When he stepped down as supremo of Defected Records in August 2022, Simon Dunmore left the label he had founded 24 years earlier as the foremost house music imprint on the planet, a major club and festival brand, and a pioneer of a community-focused approach that has become the new template for success in the industry. As a DJ, he’d played the soulful house and disco that have been his enduring love to thousands of rapt dancefloors from Ibiza to Australia. Now he’s taking that experience of over four decades immersed in music to new audiences, beginning with a collaboration with acclaimed visual artist Mark Vessey.  

Simon’s realisation that a shared love for music can build a community didn’t didn’t come in Ibiza, some glamorous storied nightclub, or during the halcyon days of rave. It was a tube station in the late 70s, it was punks vs rockabillies, and it was, in his words, “all kicking off”. 

If equally passionate about the music (a closed capsule of collectable obscure, unpolished 50s 7”s with a uniform to match), 16-year-old Dunmore was an outlier in the Rockabilly scene: far younger and far less battle hardened than the average be-quiffed rocker. Born in 1962 in Northampton, moving at the age of 14 to Uxbridge in West London, young Simon’s first musical obsession was the working class glam rock of Slade. He remembers David Bowie’s ‘Life On Mars’, with its opaque lyrics and androgynous hero “perplexing” him at a young age, opening his eyes to music’s capacity for deeper meaning.

The impact of the death of Elvis in 1977 saw him “looking under the bonnet” of the King’s sound, which led him to Rockabilly, a scene with a subculture at its core. And that’s when he found himself in a tube station after a gig, under attack from a gang of punks. “When it kicked off, a couple of older people looked after me. They were a tribe, brought together by their love of  music; a family. That’s what communities do, they look after each other. I’ve never forgotten that.”

Simon’s Dunmore journey through the music industry to head of Defected was a journey through various subcultures. While working in a London dry cleaners, being sent to a textile course in fashion college in Derby exposed him to the more electronic, danceable side of the post-punk and New Romantic sound. Venturing deeper into the club scene back in London, he found a new community in the soul scene that would be the canary in the mine for the house music starting to cross the Atlantic.

Nights like Nicky Holloway’s Doo at the Zoo and Special Branch (including a trip to Ibiza in 1986) and a pivotal Soul weekender in, of all places, Berwick-On-Sea, lit the flame of a lifelong devotion to the soulful end of house that burns to this day. 

A DJ since 1983 (“I’d been making a lot of mixtapes, admittedly mostly for girls, when one day I was asked to play someone’s birthday party”), Simon threw himself into DJing and the soul scene: writing for magazines, building a database for his hand-lettered and photocopied ‘London Soul Circular’, organising buses from the suburbs to parties and events around the country.

A job at Record & Disco Centre in London’s Rayners Lane saw him receiving promos from labels hoping he would hype their records to influential customers like Record & Mirror writer James Hamilton. Another customer, Cooltempo A&R Steve Wolfe, gave Simon a job doing club promotions, plugging club DJs whose feedback would inform the dance charts that were the bedrock of a track’s journey from record bag to radio play. Soon Simon was suggesting better records to sign or remixes to pursue, and when Wolfe left the label, Simon Dunmore applied and got his job, later repeating the process when Wolfe left new home AM:PM.

In the famously cut-throat and hedonistic 90s record industry, Simon Dunmore took his time to find the right records to launch his new position with AM:PM, but a string of extraordinary releases including Ultra Nate’s ‘Free’, Alcatraz ‘Give Me Luv’, Mousse T’s ‘Horny’ and MJ Cole’s ‘Sincere’ quickly made his name. When Ministry Of Sound – whose compilation CDs were not just dominating the electronic music sales but also effectively defining the culture – offered him the chance to set up his own label (just as a takeover of AM:PM by Universal was decimating the team he loved working with), the die was cast. 

Defected Records was born on January 1st 1999, with the release of Soulsearcher’s ‘I Can’t Get Enough’, a number 8 hit in the UK charts, setting the tone. The label today is the house music juggernaut, but Simon’s fondness for those early, shoestring days is obvious. Set up in the centre of Soho’s music mile across the street from Blackmarket Records, their office became a hub for the international DJ community “They’d come over on a Thursday night to the UK, get their records in Blackmarket and then nip across to see us and grab some promos.

Soho was alive with record shops.” Business could be precarious of course, with cash flow issues often being resolved quite literally in the nick of time: famously, “releasing Roger Sanchez’s ‘Another Chance’ in 2001 gave us exactly that.”

Having to stay agile just to survive also drove innovation. When radio stations like Kiss FM became corporate entities with a focus on commercial music, Simon Dunmore and the team realised that to reach their community they’d have to step onto dancefloors themselves. Club brand Defected In the House was born in 2003 at a time when club promoters were sceptical of promoting someone else’s brand. “It wasn’t until we started to tie the nights to specific releases; Dimitri From Paris or Masters At Work ‘In The House’ comps, say, that people got it,” recalls Simon.

Now ‘it’ is industry standard. Defected would go on to throw events across the world at a dizzying scale: festivals from London to Croatia, tours spanning Australia to South America. For Simon though, the standout remains their eight year weekly residency at Pacha in Ibiza. “It was one of those moments that I’ve been really lucky to have throughout my career, when I looked around and thought: ‘even if this wasn’t my job, this is exactly where I’d want to be’.”

When Simon announced at a marketing meeting in 2009 that he wanted to shun traditional advertising in favour of doubling down on the then nascent social media, talking directly to the community that bought the records on their own terms, “some of my staff thought I was mad” he says. “And it was a risk. But times were rapidly changing , and we had to change too or we wouldn’t survive.”

Indeed while the shift to digital files and streaming might have caused existential panic among much of the record industry, for Defected the new order was liberating, connecting them directly to their global community and allowing the label to be more agile and responsive to the dancefloor. It also put their incredible back catalog in play as a continuous revenue stream.  

In 2014 Simon Dunmore launched Glitterbox in Ibiza as a counter to a scene dominated by EDM and Techno. Originally pitched as a throwback to ‘classic DJs playing classic records’, the new club night targeted a crowd that frequented Ibiza in the 90’s and early 2000’s and were returning to the island in search of that spirit. But by also foregrounding its drag performers and celebrating the often overlooked black, gay, outsider roots of house culture and disco, it would become a genuine cultural force on the Island.

It took the global pandemic, and the realisation that the record industry had moved irrevocably towards a more isolated way of working, with digital interaction replacing face-to-face connection and collaboration – from the way the tracks are made to how artists are found and developed – for Dunmore to start considering his future. With his sixtieth birthday on the horizon, and close friend and protege Wez Saunders eminently ready to step up to take over Defected, Simon announced in January 2023 that he would be leaving the label and playing his final public DJ gigs.

This mini goodbye tour was almost Simon Dunmore in microcosm; an all-vinyl disco and house set in the epic spectacle of Glitterbox’s night in Printworks’ main room, a sunset party at Mambo in Ibiza to launch their summer season, a benefit gig for soulful house legend Bobby Laviniere in Brixton, and a final, intimate party for close friends at a pub in Kent. 

Stepping away from Defected and DJing, Simon Dunmore says, is an opportunity to pay back the ”time debt” owed to wife Yasmin and his family after decades of intense work and touring. Their sons Louis and Lucas are now taking their own steps into the music biz, producing and Djing as the Dunmore Brothers, “they’ll have to pay their dues just like anyone,” says Simon, “but I’m always there for guidance and support when they want it.” 

And of course there are new projects: first up the collaboration with Vessey, who asked Simon Dunmore to choose a fraction of his 20,000 strong record collection to be immortalised in a stunning giant canvas (“choosing just 88 records took a lot of deliberating ,” says Simon of the selection process, “and about two weeks of digging: my records weren’t as alphabetised as I hoped!”)

Always hands-on with Defected’s artwork and branding over the years, and a keen collector with a particular ‘obsession’ with the febrile 80s New York creative community (where artists like Haring and Warhol rubbed shoulders with DJs like Larry Levan), this step into the visual arts is a natural progression. 

As ever, though, Simon Dunmore is looking beyond, to the potential of this project to build something more. “Maybe it’ll be a podcast, maybe it’s talks or even listening parties, but I want to use the collaboration with Mark as a springboard to share records that are personal to me. To share what I’ve learned in the industry, to connect with people. To remind them not to lose faith in the music, in their work and in what they believe.” 

Looking after his community, in other words. He’s never forgotten that.

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International Music Summit (IMS) Legends Award 2022 honours Simon Dunmore

International Music Summit (IMS) recognise and pay tribute to Simon Dunmore, a truly inimitable electronic music pioneer who over the last three decades has helped shape British dance music history and has created a brand that has cemented itself into international electronic music culture. Simon will be honoured during IMS Ibiza Summit at a celebratory dinner presented in partnership with YouTube, hosted by IMS co-founder and BBC Radio 1 broadcaster Pete Tong. As well as being the founder and head of Defected Records, arguably one of the best known independent electronic music labels of the last twenty years, Simon is also an unparalleled A&R, tastemaker, promoter and world class DJ; fiercely business-minded yet ultimately passionate about and driven by the music, propelling the growth of the electronic music industry by constantly evolving and reinventing the business rule book. With an unquestionable contribution to dance music, Simon will join a prestigious list of previous recipients of this special accolade which include: Underworld, Nile Rodgers, Fatboy Slim, Pete Tong, Sven Väth, Carl Cox, Space Ibiza founder Pepe Roselló, Mambo Ibiza founder Javier Anadon and Ricardo Urgell founder of Pacha Ibiza and the worldwide Pacha Group.  A previous winner of the Pioneer DJ ‘Outstanding Achievement’ award at the 2012 edition of IMS Ibiza, and with a philosophy of ‘House Music All Life Long’, Simon Dunmore is a vital ambassador of the scene, constantly looking ahead to predict and counteract the challenges that our industry often produces. Living and breathing House music, through Defected Records Simon has developed and cultivated some of the most standout electronic artists of our time, from Sandy Rivera, Bob Sinclar and Martin Solveig to Tensnake, MK, Noir and of course the ubiquitous Grammy nominated Camelphat. Focused on a distinct musical identity rather than constantly genre jumping in search of a quick hit, since 1999 Defected Records and sister labels DFTD and Classic have been a constant in the scene, releasing some of the standout House tunes of our generation that continue to be played in heavy rotation at clubs across the world. In recent years Simon has introduced a new club and label brand to the mix, the mighty Glitterbox, an Ibiza phenomenon and a celebration of diversity and disco. In addition to this is the long standing and hugely popular Defected In The House Ibiza residency, the Defected Croatia festival and Defected London FSTVL, launched in 2019.  Simon Dunmore comments:  “To quote a line from Talking Heads ‘Once In A Lifetime’… “you may ask yourself, how did I get here?” The answer is, there are so many factors; the support, guidance and mentorship of all the amazing and talented people that have helped me on my journey. Being stupidly stubborn in my love of House music, Ibiza and dance culture. Right place, right time. The dedication and relentless graft of my team at Defected Records. Luck when it was most needed. Being blessed with an incredibly supportive and loving family. It’s never lost on me how privileged I am that my passion happens to be my vocation and like many I know I suffer frequent attacks of imposter syndrome. It’s an insecurity I channel as a driving force. Ultimately, I am humbled for my contribution to be recognised in this way by my peers. I take my inspiration from them all.  The most exciting thing though, is what lies ahead.” IMS Partner Ben Turner comments: “Simon Dunmore’s rise to success is one of dance music’s great success stories. Defected has become one of the world’s most trusted independent labels and now event brands, a stamp of authority and quality for pure house music. Dunmore is a journeyman who has guided this brand like he was a Premiership Football Manager or Chairman, with the added twist he’s also the ace player with his legendary DJ sets. Dunmore’s undivided devotion to authentic house music is worthy of this award, his consistent support of booking the legends that inspired him 30 years ago around the world is today exemplary. In addition, Simon is one of the nicest industry figures we have around , the IMS partners are proud to host this dinner in his name.” 

Head of YouTube Music EMA, Dan Chalmers comments: “Simon’s unwavering passion, integrity and loyalty has been instrumental in building a global community around house music that will surely have a lasting impact in the industry as a whole. We’re proud to have recently partnered with Simon for the Defected festival and now to be able to honour him in the Legends Dinner. Our collaboration with IMS is another step to bring electronic music and technology even closer and a testament to our commitment with some of the most innovative and critical parts of the music business.” The IMS Legends Dinner honouring this music industry icon will take place on Wednesday 27 April, featuring surprise live performances, entertainment and a charity auction. Limited tickets are available to purchase now from the IMS website, entry to this event is included with IMS Ibiza All Access badges. IMS LEGENDS DINNER IN HONOUR OF SIMON DUNMORE DATE: Wednesday April 27, 2022 TIME: 20.00 – 00:00 LOCATION: CASA MACA, IBIZA COST: €190 plus booking fee – including food, beverages and live entertainment.

Purchase IMS Legends Award Dinner Tickets  HERE

Damion Pell

Loves long walks along the beach, holding hands and romantic 80's power ballads, partial to electronic music and likes to make the odd mix or two.

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About | Defected Records™ - House Music All Life Long

Wez saunders the newly appointed ceo.

Wez Saunders is the newly appointed CEO of Defected Records, the New Era Music Company. Following his completed acquisition of the label and all subsidiaries in July 2022, Wez’s journey to CEO is an aspirational one. Joining the company as Singles Manager in 2014, his position swiftly evolved, stepping from Label Manager to Head of Marketing in quick succession. Since 2017 in his role as Managing Director he has been responsible for overseeing all aspects of the company including recordings, promotions, events and business affairs.

With entrepreneurial drive and a keen appetite for dance music since his teens, Wez started out as a DJ touring across the UK, while working as a writer with now-established artists on productions and remixes. With a young family to provide for Wez then moved away from music to join the finance sector, working at Deutsche Bank for 12 years where he was promoted to Vice President, on his way to becoming the youngest Director in Deutsche Bank’s operations history.

Tragically in 2008, Wez’s younger brother Jamie was diagnosed with leukaemia and died just 23 days later, turning his world upside down. The grief gave him a new outlook on life, and he felt compelled to return to music, setting up a label suite of five imprints in 2010. Building out his experience into all aspects of the music business, Wez also consulted on or ran promotions and label services for artists such as Marshall Jefferson, Darren Emerson and Tough Love, as well as setting up other initiatives including a community development arm (which integrated into charity organisation APE Media, who continue to work with the likes of J Hus & Not3s).

After a chance encounter with founder Simon Dunmore, Wez’s career at Defected began in 2014. He has been responsible for signing some of the imprint’s biggest modern hits, including CamelPhat & Elderbrook’s multi-platinum-selling ‘Cola’, Lee Walker vs DJ Deeon featuring Katy B & MNEK ‘Freak Like Me’, Endor’s ‘Pump It Up’ and John Summit ‘Deep End’. As Managing Director Wez has leveraged these impactful records to pivot Defected’s recordings business towards streaming, achieving his goal for streaming revenue to bank roll and increase the global reach of the company. He also implemented a fully worldwide events strategy, featuring two recurring Ibiza seasons, touring across four continents as well as the growth of the Defected Croatia festival and the birth of Defected London FSTVL and Defected Malta.

Pairing his ambitious empire-building spirit with a distinctly nurturing character, Wez successfully navigated Defected and its staff through the COVID-19 pandemic, an otherwise potentially treacherous period for the industry and its people. Defected inducted three new labels to the group during that time, also launching the Defected Virtual Festival series which accumulated 19 million views and raised $1.2 million for the WHO’s COVID-19 solidarity fund.

Philanthropy is a consistent thread through Wez’s career, recently being appointed to the board for the Elton John AIDS Foundation, as well as setting up a partnership with Bridges For Music (Defected funds 25% of their student cohort), also raising over £100,000 for MIND and £265,000 for children’s leukaemia charities over the years. Wez has also spearheaded Defected’s inaugural Wellbeing Committee to address cultural shifts within the business, setting goals to improve staff welfare and finding new ways to better look after its people.

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Things to Do in Lobnya, Russia - Lobnya Attractions

Things to do in lobnya.

• 5.0 of 5 bubbles
• 4.0 of 5 bubbles & up
• 3.0 of 5 bubbles & up
• Good for Kids
• Good for Big Groups
• Adventurous
• Budget-friendly
• Good for a Rainy Day
• Hidden Gems
• Good for Couples
• Honeymoon spot
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• Things to do ranked using Tripadvisor data including reviews, ratings, photos, and popularity.

1. Temple of the Divine Savior

2. Temple-Chapel of St. Matrona

3. Lobnya Park of Culture and Recreation

4. Chamber Stage, Lobnya Drama Theater

5. Hyperboloidal Water Tower

6. Lobnya Art Gallery

7. Palace of Sports Lobnya

8. Lake Kiovo Natural Monument of Federal Significance

9. Lobnya History Museum

10. Memorial Complex Zenitka

11. Kukly i Lyudi Theater

12. Monument Veteran 1943

13. Temple of Archangel Michael

14. Moscow Defensive Line 1941

15. Monument to the Children Prisoners of Fascism

16. Church of St. Philaret of Moscow

17. temple of the icon sporitelnitsa khlebov.

18. Mass Grave of Soldiers Zvonnitsa

19. povorot mall, 20. cyber arena storm.

21. Cultural Center Krasnaya Polyana

22. Chayka Culture Palace

23. Volshebnaya Solka

24. Patefon

25. Float Studio SAMADHI

• Temple of the Divine Savior
• Temple-Chapel of St. Matrona
• Palace of Sports Lobnya
• Lobnya Park of Culture and Recreation
• Lake Kiovo Natural Monument of Federal Significance

Driving directions

The route deemed to be the safest and simplest with minimal scope for error along the way. The default recommended route from Michelin.

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My route options

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SNYDE | Paul Simon: Short-lived marriage to Carrie…

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SNYDE | Paul Simon: Short-lived marriage to Carrie Fisher was ‘exhausting’

Paul Simon fans are getting a peek behind the curtain of his “exhausting” marriage to the late Carrie Fisher .

The Queens -raised Grammy winner , 82, met the “Star Wars” icon as she was filming the first installment in the franchise. They tied the knot in 1983  and divorced the following summer.

“I mean, what was I thinking? Certainly not thinking about life, you know, that you actually like have to stop,” the Simon & Garfunkel co-founder says in an old interview shown in MGM+’s documentary, “In Restless Dreams: The Music of Paul Simon.”

Noting that the “When Harry Met Sally” actress “was much more show business-oriented” as the daughter of screen legend Debbie Reynolds and singer Eddie Fisher, Simon said he “went along with that.”

“She was used to it,” he said. “She was used to a lot of press and things like that. It wasn’t intimidating or anything. She knew how to manipulate it and make it work for her. She was really good at it, and I wasn’t.”

The singer-songwriter added that “marriage is … a hard thing to do.

“Not everything can happen at once, not everything is a media event. All types of mistakes on top of mistakes on top of mistakes,” said Simon. “I realized I could become exhausted by — I could exhaust myself from emotional upheaval.”

Divorce was not the end of the road for Simon and Fisher, who spent years in an on-and-off romance.

Fisher, who died after suffering a heart attack before Christmas 2016 ,  was remembered by Simon at the time as “a special, wonderful girl.”

“Yesterday was a horrible day,” he tweeted on the heels of her death. “It’s too soon.”

In 1992, Simon tied the knot with singer Edie Brickell, with whom he shares three adult children. Through her relationship with talent agent Bryan Lourd, Fisher welcomed a daughter,  “Booksmart.” star Billie Lourd.

Simon in the docuseries also details the “recipe for the breakup of Simon & Garfunkel,” ending his lifelong friendship with Art Garfunkel.

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