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Event Details

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We've decided to kick off our 10th summer of production with an unforgettable weekend of Camping, Music and Art. Over the last ten years we've hosted some great events and parties. Along the way we've overcome many barriers and fostered great relationships. Last years festival was a major breakthrough for us and we've gained insight into what Digital Desert means in the community. This year we've put together a solid team to produce something thats more dialed in than ever before. 

Join us in the mountains of Ocate New Mexico Thursday, June 2nd through Sunday, June 5th for an event that is ten years in the making. We welcome all veterans, newcomers and participation of any kind. 

Digital Desert Campout
June 2nd-5th 2016
Ocate NM

Featuring Ill Esha & Christan Martin and many many more TBA

You can expect top notch game changing production all around. There will be numerous musical and visual performances as well as activities, vendors, games, food and more...

All ticket types are available while supplies last or until the listed date:
EarlyBird (sold-out) $50
Tier One (sold-out) $65
Tier Two (May 6th) $70
Tier Three (May 20th) $75
Box Office will be $80 + $10 Facility Fee ($90)
Car Camping [requires GA ticket] $40
Early Arrival [arrive Wednesday requires GA ticket] $20

Lots more info coming here and on the official website.

Wave 2 of the lineup will be released in early May.

Daly City/Dub Police/Haunted Audio

For many years ill-esha has weathered the dynamic, often ephemeral soundscape of Electronic music, simply by being an original. “I’m not really an observer. I’m very much a participant and a creator,” self-describes the Vancouver (BC)-born producer, instrumentalist, songwriter and DJ. “Everything I do in my life quickly becomes way more than a hobby.” From growing up in the EDM hotbed of the Pacific Northwest, attending raves in her teens, ill-esha accelerated her musical passions to the fullest. “First I wanted to be part of this culture as a DJ, doing vocals and curating music. After that, I also needed to participate in the music I was playing,” referring to her progression as a producer and headlining performer. “I’ve just been moving one step up at a time over the years, into being this completely original show.”

Although ill-esha’s professional career dates back to the late 90s, the Denver, Colorado-based artist asserts that her recent evolution in music greatly contrasts with her initial work. “I spent about a decade in the Drum & Bass world. I was one of two Drum & Bass female MCs in the whole country, for a long time. That’s how I got my start, and started touring.” Delving further into making the kind of music she wanted on her playlist, ill-esha’s journey broke out of genre. “Something about Drum & Bass just isn’t what I make,” she says, becoming a pioneering artist in the Glitch Hop movement and more recently Future Bass. Even that musical taxonomy is something that today, the veteran shakes off. “It now means something very different from what I do.” In 2013, ill-esha’s music started to gain more major headway, tied to three separate tours, alongside Bassnectar, Beats Antique, and Big Gigantic. With the increasing dates and venues, the artist remains committed to her audience. “After that experience, I upgraded my set-up. Now I have custom stands, instruments—even if it’s heavy and expensive to travel with, I’m proud that authenticity is what matters most in my music.”

Authenticity has been a driving force in ill-esha’s albums, including 2011’s Whiplash Recovery, 2014’s Open Heart Surgery, and most recently 2015’s Hyperbolic Space Crochet among a plethora of singles, EPs, and various appearances and side projects. Looking at this creative space she’s helped to lead, she says, “Those of us who do it own way without going with what’s hot in the market, we don’t blow up as much, but we’re all still here.” With her work covered and remixed, the artist who grew up in a professional music family, stresses, “I really try to make songs. A good song should be translatable. If I can’t play an acoustic version of it, I don’t let it sit.” Calling her own musical style “weird,” it’s something that crowds have hooked onto.

All the while, ill-esha has helped shift a paradigm in EDM. After years of suffering the music industry’s sexism, from being mistaken as a visual designer or a dancer to being discounted despite her expertise, it’s only made her sound hit harder. “I have to be better cause people expect me to be worse,” ill-esha says, noting that she plans to lead workshops that inspire at-risk youth—young women especially, to pursue the technical arts. In a culture where production is stereotyped as a masculine practice, it is ill-esha now making the records that male and female DJs are spinning.

A fully dimensional artist, ill-esha remains in touch with her DJ past. “In my live shows, there’s an extra layer of freestyle energy. I think it’s really important to make each show special, and make people have to see you.” Differentiating from the albums, she adds, “I like to make solid songs, and just a whole level of randomness when it’s live.” With turntables, keytars, vocal loopers, and other instrumentals integrated within her sets, all of the iterations of ill-esha’s journey are represented.

Christian Martin

Since 1995, Christian Martin has been exploring electronic music from one end of the earth to the other; from full-moon parties in the deserts of California to the thumping, dark corners of the London club scene. Christian followed his love for spleen-rattling bass to San Francisco in 2000, where he met up with the now legendary dirtybird crew. The dirtybird BBQ was the brainchild of the four original members – Christian & his brother Justin Martin, and friends Claude VonStroke and Worthy. They had a personal mission to change the landscape of San Francisco house music by throwing an epic free party in the park, based on their new signature sound.

In 2003, with nothing to lose and everything to gain, Christian bought a massive yet necessary sound system on his credit card. This set the standard for a new era of die-hard dedicated DIY producers, all with productions based on heavy bass-lines, smiling faces and dance floor delights.

In 2006, Christian began releasing a steady stream of tracks, first collaborating with Justin under the “Martin Brothers” alias, as well as Claude VonStroke. The Martin Brothers partnership has produced such hip-hop influenced hits as ‘Duckface’, ‘Stoopit’, & ‘Dum’, as well as remixes for Ed Banger and Fool's Gold. On his own, he's released his own brand of bassy house music on labels such as dirtybird, Trapez, and Anabatic. His low end take on tech house has led to remixes for musical heavyweights such as Chromeo, Underworld, L-Vis 1990, and many more.

Christian's devotion to large scale bass has allowed him to champion the dirtybird sound out of the park and onto giant soundsystems at clubs and festivals worldwide. From Fusion (Germany) to Shambhala (Canada), to Coachella & Symbiosis (US), there's a constant demand for what he describes as “bass from the ground up.” In San Francisco, Christian is a resident at dirtybird's raucous quarterly party at Mezzanine; and also at Monarch, the newly opened marvel of a club. His new musical alias Leroy Peppers has recently roared to life, offering an even heavier take on hip-hop influenced bass music. Whether it be Leroy or Christian behind the decks, if your hands aren't clapping your ass surely will be.

More information is available on our website:

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Event Location


Wheaton Creek Ranch

Ocate, NM, 87734

View Ocate in a larger map


ill-esha / Christian Martin / Hedflux / DrrtyWulvs / Sam Groove / Ancient Mermaids / Reverend Mitton / Future Simple Project / Omega