{"id":9770,"date":"2026-02-06T17:43:41","date_gmt":"2026-02-06T17:43:41","guid":{"rendered":"https:\/\/www.billboard.com\/?p=1236174688"},"modified":"2026-02-06T17:43:41","modified_gmt":"2026-02-06T17:43:41","slug":"illenium-on-his-new-album-odyssey-why-the-only-way-to-do-a-sphere-show-is-to-make-it-your-entire-life","status":"publish","type":"post","link":"https:\/\/sarmiento24h.com\/?p=9770","title":{"rendered":"Illenium On His New Album \u2018Odyssey\u2019 & Why \u2018The Only Way to Do a Sphere Show Is to Make It Your Entire\u00a0Life\u2019"},"content":{"rendered":"
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Trending on Billboard <\/h3>\n<\/p><\/div>\n

Illenium logs onto Zoom from his Los Angeles home studio in a moment of relative chill, given what his last year has been like.<\/p>\n

The producer born Nick Miller released his sixth studio album, Odyssey<\/em>, today (Feb. 6) and on March 6 will launch a nine-date Sphere<\/a> residency of the same name that will make him the second electronic artist in history after Anyma to headline the venue. <\/p>\n

As such, Illenium and his team have spent the last year creating an entirely new world around the project, with the process starting with the creation of a storyline for the show that then inspired Odyssey.<\/em> The LP is Illenium\u2019s first with Republic Records, and includes collaborators Ellie Goulding, Kid Cudi, Bring Me the Horizon, Dabin, Alok and Ryan Tedder. Odyssey <\/em>also finds the producer, whose work pioneered the future bass genre, leaning into house, tech house and trance of the first time.<\/p>\n

After the story and the visuals and the album was finished, the work continued, with Illenium spending, he says, \u201ceight to 20 hours per song\u201d to mix the album into spatial audio, a technological component of Sphere that Illenium is employing more than any other artist who\u2019s played a residency there thus far. As he tells it to Billboard<\/em>, it\u2019s all coming together well enough to leave him with a big smile on his face during rehearsals. <\/p>\n

\u201cThe only people that are probably going to notice [the spatial stuff] are those who\u2019ve been to Sphere before for shows without it, but people that are going there for the first time are probably just going be like, \u2018Wow, that sounded really good.\u2019 It\u2019s like, \u201cGoddammit, we worked so hard on that!’\u201d <\/p>\n

So how did this new album Odyssey <\/em>come about?<\/strong><\/p>\n

For me to really grind on an album, I have to put so much love behind it. I had done five albums, an album every two years, and was going to take a year to chill, to collect my thoughts and figure out what I really wanted to pursue. I\u2019m so glad I did. I still worked on music in that time, a couple singles, the Ellie Golding song that I\u2019m putting out, but I wasn\u2019t grinding on an album yet.<\/p>\n

When did that shift?<\/strong><\/p>\n

I really started once Sphere came into the picture about 14 months ago. Once we did the storyboard for that and had a world built for the show, I knew I needed a new album for it. It needed to be completely fresh. I wanted to make music for this storyline for the show and have brand new visuals, brand new music, everything new. I\u2019m so glad I did that, because it turned into this major focus where I had tunnel vision for what I needed to do, and that was super fun.<\/p>\n

<\/figure>\n

I was wondering if Sphere came first and then the album, or vice versa?<\/strong><\/p>\n

Without going into a two hour ramble, last January we decided we were going to shoot for a Sphere residency. In order to do that, we needed a story. We were like, \u201cWe want to make a movie.\u201d Every show I\u2019ve seen there has done an amazing job pushing boundaries, but I do feel like there\u2019s room to push the combination of an immersive show and a movie storyline that\u2019s impactful, emotional and has this captivating immersion to it. <\/p>\n

How did you do that?<\/strong> <\/p>\n

The first phase was getting the storyboard. The story is very much a metaphor for accepting the dark and light parts of yourself, going through a journey of accepting who you are and that there\u2019s beautiful aspects to the light and beautiful aspects to the darkness. It\u2019s really a roller coaster ride of that yin and yang, made at a macro scale. We use a lot of space and black holes and visuals of worlds being created in these two polar opposite\u2026 I just got obsessed with this whole storyline.<\/p>\n

If it\u2019s a movie, are there characters?<\/strong><\/p>\n

Yes, it gets really intricate with the character development. We wrote that, then I would have a reference image and a scene, then we would go in the studio and write a song to that scene. Building the show was building the album at the same time. It was totally in tandem. The show has a different layout and order and a lot of different edits, and the album has a different ebb and flow to it <\/p>\n

That\u2019s interesting given that the last time we spoke<\/a> you said you were interested in film scoring, although I can\u2019t image you thought it\u2019d be like this. Are you saying that you\u2019re playing the show in order of the album tracklist?<\/strong><\/p>\n

Not at all. I built the show first and then went back and finished the album. Normally it\u2019s album first, then the show.<\/p>\n

Obviously Sphere is so different than any other show you\u2019ve done. Who did you work with to make it and how complicated was it to do?<\/strong><\/p>\n

[Laughs] <\/em>That\u2019s another two hour conversation. The first show I saw was Dead & Co., and then I saw Anyma<\/a>, and then Backstreet Boys<\/a>. I think all three of them did a fantastic job. I mean, the canvas you get there is just so different creatively. You get so many more possibilities and so much more immersion \u2014 the haptic seats, the spatial audio, which a lot of artists haven\u2019t fully used to its full potential. We\u2019re going fricken\u2019 HAM on all that.<\/p>\n

When you saw Anyma and Backstreet Boys, did you know by that point that you were doing your own show there?<\/strong> <\/p>\n

When I saw Anyma we were talking to them and going through the approval process, so I knew it was a potential, but it wasn\u2019t confirmed. Backstreet Boys, yes, we were already working on it.<\/p>\n

You said you and the team were \u201cshooting for a sphere show,\u201d so obviously it\u2019s something you knew was a possibility. How did you guys get it across the finish line?<\/strong><\/p>\n

Once it became a reality, the only way to do it was to fully commit. It became our entire focus for 12 to 14 months. Not just myself, but my whole team. The only way to do it is to make it your entire life. <\/p>\n

You\u2019re working with the Woodblock animation studio on the visuals, right?<\/strong><\/p>\n

That\u2019s my entire visual team, and they\u2019re freaking awesome. My mind is very character driven, so we took a while to fine tune the characters and how we want them to look, walk and fly. So then you get sketches of those characters in each scene, then we start dissecting like, \u201cWe really want this part to be impactful and for everything to flow with the music.\u201d Everything needs to be driving to the music. <\/p>\n

No matter how amazing all the shows I\u2019ve seen at Sphere have been, I feel like there needs to be more [emphasis] on those impactful musical moments and really driving with them, really feeling it. That\u2019s where that immersion element comes in so well. A big moment starts coming, and you feel a rumble in your seats that takes you to this rumble you see visually. It\u2019s very tied together.<\/p>\n

If you\u2019re saying it\u2019s like a movie, is there going be dialog?<\/strong><\/p>\n

There\u2019s no dialog, actually, besides one tiny piece at the very beginning. It\u2019s tricky, because we\u2019re going to make a movie and tell a story, but nobody gets to talk. That\u2019s where writing for the scenes is so helpful. For example there\u2019s this one moment called \u201cInto the Dark,\u201d and it\u2019s the intro song to my album, and it\u2019s these two characters coming into contact for the first time, and they have to follow each other into the dark. The lyrics work with what\u2019s happening visually really well, so it\u2019s almost like writing for a movie.<\/p>\n

The music is the dialog. <\/strong> <\/p>\n

Yeah, exactly.<\/p>\n

<\/figure>\n

Will there be any of symbolism that we\u2019ve seen previously in your shows and that have defined your world and aesthetic for a long time? Are you adapting that pre-existing world?<\/strong><\/p>\n

Not exactly. The world is new. There are similarities in terms of the phoenix being present, but not as constantly present. I love like that the phoenix is kind of godly or higher power-esque figure that has these special powers and can create worlds, and from the ashes of a feather can create an entire universe type of thing. I like that kind of massive thought.<\/p>\n

It\u2019s like <\/em>the end of Men in Black<\/em><\/a> when you find out it\u2019s all taken place in marble of some alien.<\/strong><\/p>\n

Right there! Spoiler alert. There\u2019s some cool stuff.<\/p>\n

Did signing with Republic<\/a> during this time open any opportunities for you and make the album process in any way different?<\/strong><\/p>\n

They\u2019ve been such a family vibe. When we signed with them, they knew we were doing Sphere. It was pretty much like \u201cI\u2019ve got a quick timeline. We\u2019ve got to go!\u201d I went from not doing much to \u201cWe\u2019ve got to go hard, fast.\u201d <\/p>\n

They\u2019ve been so supportive. I love everyone on the team. I\u2019ve been through a lot of different label families, and there\u2019s always pros to a lot of them, and cons to some, and I feel like overall, Republic has been really invested in what I want to do as an artist creatively. They\u2019re excited to be a part of Sphere and were super helpful, because I had to get so many sessions done in a short amount of time. I had to write that album in six months, really.<\/p>\n

I was just listening to the Ellie Goulding track \u201cDon\u2019t Want Your Love,\u201d which really goes and also feels like an evolution for you in terms of having a more tech house sound. <\/strong><\/p>\n

For sure. I haven\u2019t dabbled in the house or trance space a lot, and had so much fun working on that. \u201cFeels Like You\u201d with Ellie Duh\u00e9 too, I love that song. I had a really fun time implementing my sound into that genre. There were some amazing vocals that called for it, that I was like, \u201cI\u2019ve just got to go to this world, it\u2019s just meant to be there.\u201d <\/p>\n

Do you think your fans are ready for these kind of genre diversions?<\/strong><\/p>\n

I can\u2019t wait for them to hear the Bring Me the Horizon collab. That thing is fully psychotic. I haven\u2019t made a song that aggressive ever. Fans that want the same half-time big synth drops, they\u2019ll get some of that, but I want to mess around. I don\u2019t want to just do that constantly. There are some amazing songs that are very Illenium sounding, but there are diverse songs too. At first people might get tripped up on that, but with a second or third listen, I think people are going to get really obsessed.<\/p>\n

<\/figure>\n

The atmosphere at Sphere obviously changes so much from artist to artist. The Dead shows were a super Dead vibe and the Anyma shows were very futuristic and techno. I feel like your people are gonna create a really nice atmosphere.<\/strong><\/p>\n

I can\u2019t wait. It\u2019s getting to the point where I am personally blown away by being there and looking and watching. I cannot f\u2013king wait to see fans in it. Right now I\u2019m just in an empty venue with a huge smile on my face. Every run-through I\u2019m like, \u201cWow, this is gonna be f\u2013king insane.\u201d<\/p>\n

I\u2019m so excited for you to have the moment of the first note of the first show.<\/strong><\/p>\n

I don\u2019t get that nervous for a lot of shows, but I\u2019m sure I\u2019ll be f\u2013king losing my fricken self.<\/p>\n

You\u2019ve already done such big stuff, like your stadium shows. I\u2019d been wondering how you\u2019d do anything bigger than what you\u2019d already achieved, so this all makes perfect sense.<\/strong> <\/p>\n

Creatively, doing a stadium show is so fun. I do get nervous for those, but it doesn\u2019t take as much longterm work as a Sphere show. The rush of a stadium show is really fricken\u2019 crazy. You almost have your own show that you\u2019re watching from the stage, because it\u2019s so massive and we have so many lighting effects out in the crowd. <\/p>\n

But the Sphere residency is a whole different type of work. I\u2019ve never done a lot of this. It\u2019s super immersive. We\u2019re adding sound effects to all these these visual aspects and layering with the music and making edits. It really feels like making a movie, which is so fun, because I love that s\u2013t.<\/p>\n","protected":false},"excerpt":{"rendered":"

Trending on Billboard Illenium logs onto Zoom...<\/p>\n","protected":false},"author":1,"featured_media":9771,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[55],"tags":[],"class_list":["post-9770","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entretenimiento"],"yoast_head":"\nIllenium On His New Album \u2018Odyssey\u2019 & Why \u2018The Only Way to Do a Sphere Show Is to Make It Your Entire\u00a0Life\u2019 - 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