Ganja White Night Brings the Wobble with L-Acoustics L Series to Cover Many Bases and Basses

LOS ANGELES – December 2025 – Benjamin “Bamby” Bayeul and Charlie “Erwan” Dodson formed Ganja White Night (GWN) in their hometown of Mons, Belgium in 2004. Since then, 13 albums and countless shows around the world have established them as leading purveyors of the sparse, syncopated, and rapid drum beats that comprise dubstep. Based in Los Angeles since 2019, the pair have incorporated a diversity of influences into their music, often via collaborations with artists like Boogie T, Subtronics, and GRiZ. But translating that broad sonic palette to live performance demands a sound system that can articulate every musical detail while maintaining maximum impact. GWN found a partner in that quest years ago in L-Acoustics, and more recently with the company’s L Series progressive ultra-dense line-source system.

“They definitely have a unique, distinguishable sound in the dubstep space, but they were influenced from an early stage with drum ’n’ bass music from the kind of clubs that they would frequent as fans before they even really started writing music,” explains David Liberman, GWN’s manager and co-founder of Minneapolis’ celebrated Infrasound Music Festival, which turns the city’s Harmony Park into a bustling festival offering four days of art, music, vendors, and food each summer. “They’re also big fans of reggae music and you can hear those influences throughout their catalog—from downtempo, melodic dubstep to high-energy anthems. They’re definitely known for dubstep, but they have a large range. So they also needed a sound system that would let all of those musical and lyrical elements cut through clearly and powerfully. The L2 system delivers all of that.”

For much of their touring career, GWN were L-Acoustics users, early on relying on K1 and K2 systems for shows. However, as their range grew and their lyrical sensibilities evolved, they began playing everything from festivals to clubs, each requiring a sound system that could deliver the growing complexity of their music at any SPL.

One outcome of that is that GWN has no regular FOH engineer, but instead uses local A1s for each show who are intimately familiar with the individual venues. As a result, they came to rely on L-Acoustics not only for the consistency, but also for connections to regional SR vendors who can provide both optimally-configured systems and A1s who know each room intimately.

For their 11-city Sprouted tour earlier this year—the duo's first official trek since 2019—Seattle’s FM Systems provided both system and engineer at WAMU Theater, while locally-based Allied Productions & Sales handled their annual Wobbleween shows at Minneapolis’ Armory venue.

That’s allowed GWN to travel a lot lighter than many EDM artists, giving them an unheard of amount of logistical freedom. “L-Acoustics is the top name in sound, and as a result, we can find the equipment practically anywhere,” says Liberman, citing Vikram Kirby, L-Acoustics’ Global Director, Application Operations, as their A1 sherpa. “We can find their PA in any market, and we work with L-Acoustics to connect with the right providers wherever we tour. For instance, the Sprouted tour,” which visited Detroit, Atlanta, Chicago, and more, with shows on back-to-back nights at each venue, “was just Friday and Saturday in a different market every weekend, so we didn’t have to travel an entire week with the same system. L-Acoustics connects us with trusted vendors in each market who maintain their gear properly and deliver the best quality sound.”

Benjamin “Bamby” Bayeul is quick to point out that the changing nature of EDM and its many subgenres now encompass more lyrical content than in the past. “You’re hearing more pop and other artists doing EDM remixes now,” he says, “and the clarity of the PA is critical to deliver those lyrics clearly. It also helps us take what we do in the studio into the live performance, and the feedback we get from fans at shows tells us we’re succeeding at that.”

It also comes across onstage, where GWN rely on L-Acoustics Kara II or X Series enclosures for monitors, to supplement their IEMs, along with KS Series subwoofers. “I mean, if we don't feel the subs on stage, it’s really hard to get moving and feel the energy since it’s such bass-focused music,” he says. “Using the L-Acoustics subs, we’re able to feel exactly what we’re putting out to the room. It puts us in the space with the audience, really, and that’s exactly where we always want to be.”

Liberman amplifies that, saying that the combination of impact and clarity that the L Series delivers is what virtually brings the studio to the stage for GWN, who then bring the audience up there with them. “They need power, but they also need clarity, because their music is complex, and there’s almost a cinematic approach to what they create,” he says. “One of their biggest influences is Hans Zimmer; they’re absolutely enamored with his ability to capture emotion and tell a story with music. Ganja White Night’s music similarly taps into deep emotions, and L Series gives them both the clarity and low-frequency impact needed to take their recordings into the live environment and bring those stories to life.”

Elaborating on that need for clarity, FM Systems A1 Kyle Kirwan, who is one of the elite team of front-of-house engineers to semi-regularly work with GWN, says lyrical intelligibility is a hallmark of L-Acoustics loudspeakers, and of the L Series in particular. “L2 has a very unique approach to speech intelligibility and clarity,” he says. “It has excellent high-frequency resolution and there are no inter-enclosure angles in the arrays,” describing the angle between adjacent speaker cabinets, which determines the vertical or horizontal coverage of the entire sound system. “L2 is also a very efficient enclosure to deploy, quick to fly and hang, and is a dream from a control perspective.”

Further, he notes, its cardioid design reduces spill onstage even as it increases the SPL out front. “That really cleans up the stage, making that environment that much better for the artist,” he says. “And combined with the KS28, we have a contour all the way down to 20 Hertz, which helps us give the audience the same experience the musicians have on stage. The audience hears exactly what the musicians are giving them. That’s pretty amazing.”

For details on Ganja White Night’s shows, visit https://ganjawhitenight.com. FM Systems and Allied Productions & Sales can be found online at www.fmsystems.net and www.allied.productions.

Please visit L-Acoustics at www.l-acoustics.com.

About L-Acoustics

‍Since 1984, we have been continuously innovating to shape the future of sound.

Our European-designed solutions optimize Source, System, and Space—unleashing creative possibilities in content, perfecting audio technology, and harmonizing with venue acoustics to guarantee exceptional performance.

Our global team of over 1,000, with 20% dedicated to R&D, has pioneered breakthroughs like the V-DOSC line array, L-ISA immersive solutions, and the eco-conscious L Series—innovations that have both transformed our industry and transcended our auditory perceptions.

The world’s most demanding stages trust us: Adele’s Las Vegas residency, the Philharmonie de Paris, the Zaha Hadid-designed Guangzhou Opera House, and over 13,000 premium venues worldwide. We’ve earned this trust by consistently delivering extraordinary audio in every venue and any space.

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Photo Credit: Joe Runge / @joecreate