New York, United States
NYC <- Miami <- Santa Barbara <- Glasgow
1/2 of @Kurtzandbomber
1/3 of @slapandticklemiami
Born in Glasgow, raised in Santa Barbara, developed in Miami, and transplanted to NYC, Panic Bomber has influences from all around the world. From these disparate geographic locations, the Panic Bomber sound has taken on many unique forms: as a solo underground producer, a late night deep house DJ, a live analog techno performer, and a five-piece band with horn section making indie dance; his curiosity is never satiated.
Panic Bomber’s music is always forging new paths, ahead of the curve, unsatisfied with the status quo, but above all, catchy and entertaining. He has an affinity for memorable vocal hooks and bass lines that pull the listener to the dance floor, with drums that just won’t let up. As proof of his consistent production and writing wizardry, he has released music on Anjunadeep, Bedrock, and YYZ Records. He has licensed music for Michael Kors, Volkswagen, and included on an official TRAX Magazine CD, France’s biggest electronic music publication. He’s produced Hype Machine Top 10 remixes of Kanye West, Metronomy, and Phantogram, and ghost-produced some big name EDM acts. As a live performer he has played alongside Skream, Skrillex, The Juan Maclean, and MGMT and appeared at festivals such as Ultra, SXSW, Electric Forest, Sunfest, Pride Toronto as well as performing on the Yo Gabba Gabba and La Roux live tours. As a DJ, he is a resident and partner of the Slap & Tickle Miami collective and has spun alongside Disclosure, Duke Dumont, Chus & Ceballos, Kaytranada, John Talabot, Detroit Swindle, XXXY, Aeroplane, T. Williams, Jackmaster, Moonboots, Perseus, Jonas Rathsman, Isaac Tichauer, Kaskade, Rihanna, and Ke$ha.
Recently moved to NYC, Richard Haig aka Panic Bomber is redoubling his production chops and readying a slew of releases across house-related genres while focusing on a new hybrid DJ/live performance incorporating live production with a consistent, dancefloor-filling groove, pleasing both critics demanding more from electronic music and audiences craving a release.