The then 20-year old had just one single ('Sleepless') and one remix (Hermitude's Hyperparadise) to his name. The buzz was growing, thanks in part to a standout afternoon performance at Splendour in the Grass, but his audience was confined largely to fans of underground electronica propagated by rising tastemaker label Future Classic.
'Zeitgeist' is an awkward and overused word, but Flume captured it. Lead single, the double-platinum selling 'Holdin On' came out and people went nuts. The album came out in November 2012 to rave reviews ('scarily close to perfect', said Rolling Stone) and debuted at #2. 'On Top' came out and once again people were hooked.
He played countless festivals in his native country - Golden Plains, Falls and an especially memorable Laneway Festival headline slot - and fans couldn't get enough. He was the highest- polled local artist and most-polled artist overall in triple j's Hottest 100. At one point, Flume was playlisted on community radio, triple j and commercial radio simultaneously. In February, Flume peaked at #1 on the ARIA Chart, two months after its release. In April 2013, he sold out a mammoth 37,000 ticket national tour, including two Hordern Pavilions, two Festival Halls and a maximum capacity Riverstage.
Simultaneously, Flume was making serious inroads overseas, selling out headline shows in NYC, LA, London (The Roundhouse), Paris (Trianon) and Berlin. His maiden NZ headline tour saw him play to over 11,000 fans. He joined like-minded producers Disclosure on their massive, sold-out national UK tour in November.
In November 2013, Flume teamed up with friend and collaborator Chet Faker to release the platinum-selling Lockjaw EP, featuring single “Drop The Game’ which polled at an impressive #5 on triple j’s Hottest 100.
Flume won the 2013 triple j award for ‘Australian Album Of The Year’, and four ARIA Awards for ‘Producer of the Year’, ‘Best Male’, ‘Breakthrough Artist’ and ‘Best Dance Release’. He capped off an incredible 18 months in Australia with headline slots at the national Big Day Out and Field Day festivals (where he finished with a wild back to back set with Skrillex).
Commercial success is one thing, but the the best part? The music is really, really good. The producer (don't call him a DJ) creates complex, intelligent, original productions that sound great wherever you're listening - all from the bedroom of his parents' house.