Born in 1979, the story of Ajdin Begovic far exceeds musicalmanifestation. As a Bosnian native, the Yugoslav Civil War proved an insatiablebattleground of social and physical preservation to what should have been histender teenage years. Through the suffering, imprisonment, loss of loved onesand his eventual release from a detention camp in 1992, his earliest tests andtribulations have served as considerable drivers to the leaps and bounds nowassociated with his global overhaul. Times have changed. Social landmarks havecome and gone. Armed only with the haunting memories of his earliertribulations, Baggi’s club deviance has been modestly tailored, yetwholeheartedly executed to make relevant marks on the modern market.

As an industrious playground, few could argue the positive legwork madeby Baggi upon his relocation to Rotterdam. Away from the constant reminders ofpolitical unrest, Baggi would staple himself amid the thriving Netherland’scircuit, immersing himself among such long serving peers as Funkerman, Hardsouland Rene Amesz – the latter of whom he would top the progressive house chartsalongside for “Smells Like Teen Spirit.” With a back catalogue includingcollaborative duties alongside Erick Morillo, Roger Sanchez and a strongpresence on Defected Record’s Ibiza 09 compilation, there is no shortage of indicatorsof Baggi’s preserved musical aptitude.

Call it house music, EDM, or assorted Begovic charm, but this is oneartist whose ever-expansive studio arsenal knows no limitations but upfrontquality. A tropical groove-master by inauguration whose stints for MusicalFreedom, Defected Records, Toolroom Records and Spinnin Records alike brokeincessant momentum across the industry, modern times are yet to hinder hiseclectic get-up. More recently, remixes for Rita Ora, Kelly Clarkson and RodStewart have underpinned his unwillingness to shy from the ever-expandingboundaries of popular music; yet another asset that has kept him in consistentvisibility amid his craft’s undeniable renaissance.

But for the most part, Baggi remains as relevant and club-footed as everfor 2013. Tiësto, a long time provocateur and advocate of Baggi’s pursuit ofsolo stardom, has played a considerable part in this full-circle of musicalliberation. Dropping his debut single for Musical Freedom exactly 21-yearsafter losing his father to the atrocities of war, their new found collaborativepartnership – as formally celebrated during Tiësto’s set at UMF, signals aliberating streak for Baggi and his accomplished studio persona.

Trends have taken wind, but the well-travelled artists buoyancy on theglobal club circuit remains evident in the sheer scope of his global presence.Between landmark stints at Mysteryland, Global Gathering, Creamfields and SpaceIbiza, Baggi’s studio output and fluid turntable maneuvers continue to caterfor every facet of club land without compromising on the quality that has keptthe air miles racking up throughout his whirlwind career.

Baggi’s story has not always been one of plain sailing, but throughmusic, the chimes of liberation have offered considerable redemption. Taking2013 like a man driven only to excel the ranks of his craft, one thing remainspainfully evident where the long serving Bosnian talent is concerned: music isan outright liberator when placed in heartfelt hands.