Anyma brought his ambitious ÆDEN production to Sydney over the weekend, continuing his mission to transform electronic music performances into fully immersive experiences.
The Italian-American producer, born Matteo Milleri, has become known for combining electronic music with elaborate visual storytelling, creating performances that blur the boundaries between live music, digital art and technology. And his latest chapter, ÆDEN, is no exception.
Drawing on classical antiquity while exploring the increasingly complex relationship between humanity and technology, ÆDEN is built on the world established through his GENESYS project, and represents another step in Anyma’s evolving creative vision. For the Sydney show, the producer developed special production elements and prepared new music specifically for the Australian audience, whom he credits with supporting his work.
Here, Anyma discusses the ideas behind ÆDEN, his fascination with the future of humanity and what he learned from working with The Weeknd.
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Rolling Stone AU/NZ: Your Sydney show featured some special production elements. Can you tell us about the stage design and what made it different from previous Anyma performances?
Anyma: With every single show, I’m always trying to push my production and expand the ÆDEN world. Sydney and Australia in general has always been so supportive so I’ve worked on a few special components to premiere here. Of course the stage design references classical antiquity, as do many of the visuals and themes of the show.
What inspired the creative direction behind ÆDEN?
As I mentioned, ÆDEN is inspired by the ancient world, but juxtaposing that with the previous installation of Anyma through GENESYS. I’m personally fascinated by relationships between humans and technology, and what their coexistence actually means for the future of humanity.
Sound and visuals have always been central to your performances. How does ÆDEN build on what you’ve created in the past?
I try to treat my shows as intertwined chapters, telling a larger story. The unveiling of new characters, new music, new settings, and constantly pushing the envelope with the scale and platform. The themes remain constant while the experience and narrative are relatively unique to each specific show, which I hope moves the audience and provides a more valuable experience.
You’ve worked on some major productions, including The Weeknd’s 2024 São Paulo show. What did that experience teach you about creating immersive live performances?
Diving into someone else’s world and identity was new for me, and especially with someone like Abel, who I admire artistically. I feel that we view our immersive worlds similarly in trying to offer a transformative experience versus just a concert.
It was fun, having to reshape my perception to match that of Abel’s. Specifically it was interesting to mold to what a singer’s perspective can and should be to lure their audience in, versus my own electronic music focused audience and format.
You also prepared new music and special moments for Sydney. How does touring influence your creative process?
I truly am constantly creating while I’m touring, so I’m excited to premiere a few new songs and moments I’ve prepared specifically for Sydney.
