You probably remember exactly where you were when that drop hit. It’s 2013. Neon tank tops are everywhere. Shuffling is a legitimate form of exercise. And through the speakers, a high-pitched, almost frantic vocal hook starts screaming about arson—metaphorically, of course. When Dutch duo TV Noise released Set the City on Fire, they didn’t just drop a club track; they bottled the peak-energy "Big Room" era of electronic dance music.
It was loud. It was aggressive. It was kind of absurd.
But looking back a decade later, the track represents more than just a nostalgic festival memory. It stands as a pivot point for the Dutch house scene. While guys like Hardwell and Tiësto were dominating the main stages of Tomorrowland, TV Noise (comprising Jasper Kuijper and Jelmer ten Hoeve) were the "young guns" pushing a grittier, more percussion-heavy sound. People often forget that back then, the goal wasn't just to make a "good" song. The goal was to literally set the city on fire with sound pressure.
Why Set the City on Fire Actually Defined an Era
Let's be real: the lyrics weren't Shakespeare. The song repeats the titular phrase over a build-up that sounds like a mechanical beehive on steroids. But that’s the point. In the early 2010s, EDM was moving away from the melodic, "progressive" feel of 2011 and into something much more abrasive.
If you listen to the track today, you’ll notice the signature Spinnin' Records sound of that year. It has that thick, distorted kick drum that hits you right in the solar plexus. Music critics at the time—and even some veteran DJs—complained that this style was "killing" dance music. They called it "noise." Hilariously, the duo named themselves TV Noise, leaning right into the critique.
The track’s success wasn't just luck. It was timing. In 2013, the "Big Room" subgenre was the gold standard for festivals. If a track didn't have a massive, hollow-sounding drop that could be heard from three miles away, it didn't get played. This specific song became a staple in radio shows like Hardwell On Air and Tiësto's Club Life. It was the sound of a genre reaching its loudest, most chaotic peak before the inevitable shift toward "Future House" and more melodic styles a few years later.
The Technical "Magic" (or Madness) of the Track
Jasper and Jelmer weren't just slapping sounds together. If you analyze the production of the song, there’s a specific technical trick they used that made it stand out from the hundreds of other tracks released that month.
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They focused on the "stereo width" of the lead synth.
Most producers back then were keeping their leads very "mono" to ensure they sounded good on big club systems. TV Noise did the opposite. They made the "Set the City on Fire" lead feel like it was wrapping around your head. It felt massive. When it played at a venue like Ushuaïa in Ibiza, it didn't just come from the speakers; it felt like it was vibrating the air in your lungs.
Honestly, it’s a masterclass in 2013-era compression. Everything is squashed. Everything is "in your face." There is zero dynamic range, and for a track designed to blow the roof off a warehouse, that was exactly what the doctor ordered.
The Dutch Powerhouse Connection
You can't talk about this track without mentioning the Netherlands. For a tiny country, they basically owned the global music charts for five years straight. TV Noise was part of that "second wave" of talent.
Think about the ecosystem they were in. You had:
- Spinnin' Records acting as the gatekeeper of what was "cool."
- Beatport rankings being the only metric that mattered.
- A relentless touring schedule that saw these guys flying from Amsterdam to Las Vegas every weekend.
When they released the track, it wasn't just a digital file. It was a tool for other DJs. That’s a nuance people often miss about EDM history. A track like this wasn't necessarily made for your headphones; it was made as a weapon for a DJ to use at 2:00 AM to wake up a tired crowd. It worked. It worked so well that it cemented TV Noise as a name to watch, leading to their later transitions into more experimental, "wonky" house music that they produce today.
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The Music Video and the Visual Identity
The official music video for the track is a fever dream of 2013 tropes. Slow-motion shots of partying? Check. High-contrast urban environments? Check. A sense of youthful rebellion that feels slightly manufactured but still cool? Absolutely.
It captured the "YOLO" (You Only Live Once) culture that was at its peak. This was the era of the "Project X" party vibe. The song provided the perfect soundtrack for a generation that wanted to feel like they were part of something explosive. It wasn't about the lyrics; it was about the energy.
What Most People Get Wrong About This Style
A common misconception is that "Big Room" house like this was easy to make. People say, "Oh, it’s just a kick drum and a simple synth."
Try making it.
To get a track to sound that "big" without it becoming a muddy mess of white noise requires incredible engineering skills. You have to carve out exact frequencies for the kick drum to sit under the lead. If you’re off by even a few hertz, the whole thing sounds like garbage. TV Noise were tech-heads. They were obsessed with the "crunch."
Another myth is that this music died out. It didn't. It evolved. If you listen to modern "Bass House" or even some of the harder "Tech House" tracks today, the DNA of the 2013 sound is still there. The aggression remains, even if the "honking" synths have been replaced by more sophisticated basslines.
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The Impact on the "Set the City on Fire" Brand
Interestingly, the phrase "set the city on fire" has become a bit of a cliché in pop culture, but for dance music fans, it usually points back to this specific window of time. It represents a moment when electronic music was the dominant culture in America and Europe.
It was a time before "algorithms" dictated what we liked. You found music by listening to a two-hour radio show on a Tuesday night or by going to a club and Shazaming a track while spilling your drink. There was a raw, unpolished excitement to it.
Where are TV Noise now?
They didn't disappear. Unlike many of their peers who stayed stuck in 2013, Jasper and Jelmer evolved. They signed with Martin Garrix's label, STMPD RCRDS, and shifted their sound. They moved away from the "Big Room" anthem style and into something much more rhythmic and "clubby."
But they still play the old hits. When that vocal hook hits during a set, the crowd still loses it. It’s a legacy of energy.
Actionable Insights for Fans and Producers
If you're looking to recapture that 2013 energy or understand why this track worked, here are a few things to consider:
- Study the "Call and Response": The track works because the vocal ("Set the city on fire") asks a question, and the drop provides the answer. It’s a classic songwriting technique applied to dance music.
- Don't Fear Simplicity: The main hook is simple. It's catchy. It’s easy to remember after one listen. In a world of over-complicated music, simplicity often wins.
- The Power of the Build-up: If you’re a producer, listen to how they use white noise and rising pitches to create physical tension. The "drop" only feels good because the "climb" was so stressful.
- Context is Everything: This song wasn't meant for a coffee shop. It was meant for a sound system worth half a million dollars. When evaluating music, always consider the intended environment.
The era of "Big Room" might have faded from the charts, but the impact of tracks like this remains. They were the building blocks of the modern festival experience. Next time you're at a show and the energy suddenly spikes, you can probably thank the Dutch producers who decided, a decade ago, that they were going to try and set the city on fire.
Next Steps for the Nostalgic Listener:
- Check out the "STMPD RCRDS" catalog to see how TV Noise’s sound has evolved from 2013 to 2026.
- Compare the "Original Mix" to the "Radio Edit." You’ll notice the radio edit cuts out the long intro designed for DJs, showing how the industry shifted toward streaming-friendly formats.
- Look for live sets from 2013 on YouTube (like Ultra Music Festival) to see how this track was used as a "peak time" weapon in the middle of a set.