The crowd during Peggy Gou's set at Pohoda festival in Slovakia in 2024.
The crowd during Peggy Gou's set at Pohoda festival in Slovakia in 2024.
Ninety minutes and four seconds, one stage, no clashes. That was the frame for Peggy Gou and Four Tet at Head Trip on Saturday 10 October, a back-to-back set that ran from 7:20pm to 8:50pm at the Empire Polo Club in Indio, California, in front of the whole festival at once. The last record logged on the tracklist is Gou’s best-known one: (It Goes Like) Nanana.
What came before it is the more interesting part. The crowd-sourced tracklist for the set shows a programme built on house and tech house, laced with remixes from Four Tet’s own catalogue and a pair of stacked acapellas, and it gives a rare look at how two very different selectors shared one booth for an hour and a half.
A Festival Built Around One Stage
Head Trip was presented by Goldenvoice and billed as a one-time event under the tagline “Just This Once”, according to a set guide published after the show. The format was the point: one stage, no overlapping sets, so every person at the Empire Polo Club watched the same performance. A preview of the weekend listed the single-stage format alongside an 18+ age policy, doors at 3pm and production designed by Romain Pissenem, founder of High Scream, with Floating Points’ Sunflower Sound System making its US debut in a dome tent across both days.
That structure changes how a b2b set works. At a multi-stage festival, a pairing plays to the people who chose it. Here the set shared Saturday with Seth Troxler b2b Ben Sterling, Fisher b2b Chris Lake and a headline set from Calvin Harris, and with nothing else on at the same time, the floor in front of Gou and Four Tet was the whole festival rather than a self-selected crowd. The programming had to work for both.
What the Tracklist Shows
The tracklist on 1001Tracklists logs the set at 1 hour, 30 minutes and 4 seconds, with 25 numbered entries and 19 of 27 tracks identified. The site tags the genres as house, tech house and electronica, which matches the shape of the list: a set that stayed largely in house and tech house territory, with the electronica side used for colour.
The opener is logged as an unreleased Four Tet ID. From there the identified records include KMA Productions’ Cape Fear, CASSIMM’s Love Desire, Eddy M’s Dropping and K-LONE’s Holdup, followed later by Solid Groove’s This Is Sick, Max Styler’s Wanna Dance and Tony Romera’s Boiling Room. Further in come an ID remix of Armand van Helden’s The Funk Phenomena, MPH’s Warlord, Tessela’s Hackney Parrot in its 10_Ton_Mix and an ID remix of Cajmere and Dajae’s Brighter Days.
Several entries are logged as IDs, which is normal for a set built partly from unreleased material and edits. The identified tracks are enough to sketch the arc: an unreleased Four Tet opener, a long run of club records, and a final stretch that brings in Four Tet’s own productions before the closer.
Four Tet’s Remixes Did Much of the Work
A notable share of the identified tracks connect directly to Four Tet’s own production. The list includes his remix of Turnstile’s Look Out For Me, his remix of 925 by Chris Lake, Sammy Virji and RoRo, Tony Romera’s remix of Four Tet’s own Baby, and Heartbeat, his collaboration with Skrillex, which sits near the end of the set.
That matters for how a b2b reads on a floor. Remixes and collaborations from one of the two selectors give the set recognisable anchors without leaning on the obvious hits, and they can let the programming move between a rock-derived remix and a club record without a jarring change, because the same producer’s hand is on both. The tracklist does not record which DJ played which record, so the split of selections between the two is not public. What it does show is where the Four Tet material sits: the opener, then entries 15, 19, 21 and 23, in the back half of the set.
Acapellas Layered Into the Peak
The densest moment on the tracklist is entry 10. JOYRYDE, Skrillex and Flowdan’s Listen Music Culture is logged with two acapellas layered over it: Headie One’s Both and Megan Thee Stallion’s Body. Stacking two different acapellas over one instrumental suggests a peak built deliberately for a large, mixed crowd.
The record that follows, Solid Groove’s This Is Sick, returns the focus to the club tracks that make up most of the list. The sequence shows a familiar shape for a long b2b: a vocal-heavy high point, then a return to floor material so the energy has somewhere to go next. Near the close, Pupa Nas T and SHUFFA’s Work Dub brings in another vocal, from Denise Belfon, before the final run.
Why Nanana Works as a Closer
Peggy Gou’s (It Goes Like) Nanana closes the logged set, and the choice makes sense on several levels. The set guide describes it as her breakthrough hit from 2023 and still her most-played track, which made it the record most likely to be known across a mixed festival crowd. Saving it for the last slot turns a 90-minute set built mostly on club tracks and IDs into a shared ending for a crowd that had watched the whole thing together.
It also returns the set to Gou’s own sound at the moment the slot ends. The same guide describes her style as late-night Berlin house, warm and hypnotic, and Four Tet’s approach as more layered and experimental. A b2b between those two tendencies could easily have drifted toward one side. Ending on Nanana closed the set on hers.
Gou arrived at Head Trip with a strong year behind her. The guide notes that the South Korean-born, Berlin-based DJ and producer runs the label Gudu Records, released her debut album I Hear You on XL Recordings in 2024, and played EDC Las Vegas in May 2026 on the circuitGROUNDS stage.
Where to Hear the Set Again
Head Trip was streamed through a partnership with Apple Music, We Write About Music reported, with video on Apple Music without a subscription, Apple TV, Apple Music’s TikTok, the bisradio channel on Twitch and Apple Music’s YouTube, and audio on Apple Music 1, Apple Music Club, TuneIn and SiriusXM. Replays ran at 2am Pacific time each night of the festival.
Goldenvoice’s Danny Bell said the aim was “bringing this one-time-only event to a global audience”. Stephen Campbell, Apple Music’s global head of dance, described the line-up as “an extraordinary line-up of artists who are shaping dance and electronic music culture right now”. The 1001Tracklists page also links media for the set, which is the quickest way to match each entry to its moment on the stream.
Single-Stage Festivals and the B2B Format
Head Trip is not the only recent event built around a single setting. ElectronicMusic.News covered another when Charlotte de Witte headlined Giza’s first multi-day dance festival, a festival defined by one location rather than a sprawling site.
Head Trip’s version of the idea put four b2b pairings across a weekend and made each one the only thing happening at the time. For Peggy Gou and Four Tet, that meant 90 minutes in which the programming had to hold an entire field. The tracklist shows how they did it: house and tech house as the spine, Four Tet’s remixes as anchors, two acapellas at the peak, and Nanana held back for the final record.
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