In 1969, Gramaphone Records opened on North Clark Street in Chicago. Back then, the area was known as record store alley, with multiple shops hawking similar offerings. In the early '80s, when house music began to get the youth of Chicago joyously jacking their bodies, Gramaphone began to focus on dance music, thanks to Andy Moy, the manager at the time.



It began as a selection of house 12-inch records behind the counter that patrons could ask the friendly staff to play on the record player behind the counter. If you liked it, it was yours—unless someone wanted to fight you for the last copy. Soon enough, as the scene and its subgenres grew, locally and globally (they still have UK jungle and dubstep sections), dance records came to dominate the space. It has occupied a larger—yet still intimate and inviting—space since 2005, under current owner Michael Serafini. As you walk across its black-and-white checkered floors, you can dig through records meticulously organized by dance genres and subgenres, with a small section for other music.



The 53-year-old beloved Chicago intuition is known for having friendly and knowledgeable staff to help you find exactly the sound you're craving and to discover something new. It truly is a DJ's record store. Legendary Chicago DJs, back when they were carving out a name for themselves in the growing local scene, including Derrick Carter, DJ Heather, Collette, Mark Farina, and DJ Sneak, worked there during the golden era of Chicago house in the late '80s through mid-90s. Ravers and fellow DJs would come in to find out what records they'd played last night, like an analog Shazam. And long before you could enjoy them on SoundCloud, artists would sell their mixes at Gramaphone.



"If you came in there in the '80s and '90s, you would see some of the hottest DJs on the scene actually working there and helping you find the music you needed, whether you were into rock or alternative, new wave, techno, house or the mix show format. We were getting [the music] before a lot of people. This is when radio didn't dictate music. It was in the clubs first, then radio got hold of it," former Gramaphone employee Jesse De La Pena, currently of local independent station Vocalo Radio, told NPR in 2021.



"I can think of Saturday afternoons, everybody was there getting their music for the parties that were going on in the weekend," De La Pena said. "You would be patiently waiting your turn to grab a turntable so you could listen to some new tunes. If you heard something, you'd signal out that you'd take it. But I've seen altercations over that last record in Gramaphone."



It was, and remains, an important community space in the Chicago dance scene, a friendly meeting place for DJs, ravers, club owners, independent radio hosts, and other house heads to meet and discover new artists and sounds. Beyond being a hangout space, they host events like album release parties and even the odd wedding.



"One thing that people should know about Gramaphone Records, is that when they walk in the store, they're actually walking in the footsteps of legends that have come into that store," house forefather Steve "Silk" Hurley shared in the Vocalo radio 2020 mini-documentary (watch above).



The store has eight listening stations, where you can hear the underground records and discover artists that may not be on your radar yet, and that the streaming service algorithms may never serve you.



"If you're not from Chicago and you're interested in electronic music or house music, 'til this day Gramaphone does a great job of curating a lot of cutting-edge music in various genres," De La Pena added. "[The] majority of big DJ producers that come in from Europe or Japan, they all got to make it by Gramaphone. It is a must-stop if you make it to Chicago."



Gramaphone has Chicago hip-hop roots as well—before he was famous, Kanye West used to sell his mixtapes there.



Check out Gramaphone's website and Discogs to tap into their house magic.

House Music Thrives at Chicago's Gramaphone Records

The history of dance music is decidedly queer and full of people of color. It evolved from several genres, including disco, which was also queer and Black. Venturing deeper into the other genres that branched off from disco, we see the roots and the marginalized people who created and embraced it.




LGBTQI+ communities helped shape everything from dance music’s sound, mood, and culture. They intended to create all-inclusive music and spaces free of homophobia, racism, and hate. Persecution for being gay was and is a real thing, so there needed to be places where these marginalized folx could go and be around like-minded people and feel safe.







Chicago was a relatively safe space for queer folx. Since the 20s, there have been gay enclaves throughout the city. Illinois was the first to repeal the sodomy law, and after Prohibition, the first bars catering to lesbians and gays began to prop up in Chicago. In the 80s, the Human Rights Ordinance gave queer folx a pathway into politics. Suffice it to say, the city as a whole was a safe space, albeit maybe more so in particular districts.




A mainstay in the Chicago dance scene, Frankie Knuckles, helmed The Warehouse, a members-only club almost exclusive to disenfranchised gay Black and Latinx men. This club cultivated the scene in a guarded manner, and it was here that Chicago house was born. Those same gay Black men looking for a place to belong attempted to bring solidarity and momentum to the community.




The Warehouse offered an almost religious respite for those who felt ex-communicated from communities due to their sexual orientation. This shaped the character and culture of The Warehouse, as it became a place where one could be their authentic selves. This was before any laws and ordinances were created to protect people from discrimination based on sexual orientation, and sadly, this was just how things were. But with the evolution of music, the evolution of house, things began to change.




In Detroit, a similar revolution was happening, but with techno. At first, the Motor City wasn’t as open to queerness as Chicago was, but once people saw what was happening in the Windy City, they decided to expand their point of view. Inspired by the movement in Chicago, Detroit producers like Chez Damier, Alton Miller, and George Baker felt that they wouldn’t settle until they could create a similar club and vibe that The Warehouse provided Chicago. Thus the Music Institute was born. This after-hours spot was the first place in Detroit, and the world, to give Techno a chance, all while uniting the scene and providing safety for queer and people of color. Saturday nights at the Music Institute were pretty provocative as they took a page out of DJs Larry Levan and Frankie Knuckles books on DJing.




Promoters strove to create places where everyone could express themselves freely. While house and techno parties remain safe havens, the original message has been somewhat diluted, especially since the architects of the culture are no longer at the forefront of dance music. Thankfully, there are crews focused on refocussing that attention. We pulled together a list of parties that continue to expand on this mission.




A Club Called Rhonda

For 14 years, A Club Called Rhonda has served Pansexual greatness to the LA area and beyond. The friend you never knew you needed, A Club Called Rhonda is the indulgent party everyone’s invited to and features an anything-goes policy. The only rule is to come ready to serve! In looks, that is. Full of inclusivity and acceptance, Rhonda offers a magical night that bridges the gap between gay and straight folks while fusing the love of music and LA nightlife. Founders Gregory Alexander and Loren Granich wanted to recreate the vibes of clubs past, reigniting the passion created when the culture was first presented. And they are doing just that.




Follow A Club Called Rhonda on Instagram | Twitter | Youtube






Berghain

We couldn’t write this piece without acknowledging Berghain. The infamous club grew popular during a time when subcultures began to gain prominence. Its current door policy continues to protect these communities from feeling vulnerable or unsafe. It’s also why the ‘no photos inside the club’ policy exists. There’s no fear that your sexual exploration or freedom will be exploited. Norbert Thormann and Michael Teufele founded Berghain in 2004 to change the conversation and improve things while making history.




Follow Berghain on Instagram | Twitter




The BunkerNY

The Bunker in New York has been a formidable part of the New York party scene because of the music and the community it attracts. The Bunker is a record label, podcast, event series, booking agency, and radio show, all rolled into one. The event series is the culmination of their mission of unity. The community continues to show up because they once feel welcome and safe. With 19 years of providing quality events and music, The Bunker always honors and pays homage to the LGBTQI+ community with each event. They encourage any person, regardless of gender identity, sexual orientation, or race, to come through the doors of The Bunker event if the music so moves you.




Follow The Bunker on Instagram | Twitter | Youtube




Internet Friends

If you’re from Miami, you’ve probably heard about Internet Friends. And hell, even if you’re not from Miami, I’m sure you’ve heard about this Queer-led, Trans, and ultra-femme collective. Internet Friends focuses on bringing diversity to underground spaces, giving the finger to sexist expectations and the toxic masculinity usually associated with nightlife. Staunchly against exclusion, Internet Friends was born out of a need for a safe space, and the crew tries to create a new, forward-thinking approach to inclusivity at each event. And fun fact: before organizing parties, they organized Black Lives Matter protests, which should indicate what this crew is like.




Follow Internet Friends on Instagram | Facebook | SoundCloud







Queer House Party

When the world went into lockdown, Harry Gay, Wacha, and Passer started hosting a weekly Zoom party from their London home. What began as a way to make some extra cash and connect friends has evolved into something so much more. Geared towards the LGBTQI+ community, this Zoom party brought out queer folx from around the world, some even in locations where it’s illegal to be gay, which is HUGE, considering that accessibility is super important, not just online, but in real life as well. Though things have opened back up and in-person parties are happening, Queer House Party continues their virtual takeover, ensuring that those who need it have an outlet to dance, celebrate, and express themselves.




Follow Queer House Party on Instagram | Twitter | Facebook




OMOH Budapest

Menishu is one of the founder bitches of the trailblazing technoqueer event, OMOH in Budapest. This event is not only ground-breaking, it’s a revolution and more than just a party. Founded in 2016, OMOH is all about body and sex-positivity, empowerment, and having the freedom to experiment as you see fit. When you’re part of a marginalized group, everyone matters, and everyone gets to have a say, and OMOH strives to keep that mentality. Plus, there’s the added difficulty of throwing a queer party in a country overrun with homophobia. OMOH’s goal is to continue to offer safe places for people just to be.




Follow OMOH on Instagram | Facebook

These 6 Queer Parties Create Safe & Inclusive Spaces

So you bought Ableton (or the DAW of your choice), spent the last few months learning how it works and watching endless YouTube tutorials, and finally created a song that you think is good enough for release on your favorite label.




It’s an exciting moment for you, daydreaming about a future DJing massive festival stages and releasing genre-defining music. But, as you sit down at your laptop to send out that first track, thinking about how to craft the perfect email, you realize you have no idea what to say—the anxiety of knowing that your first impression is essential starts to overcome you. And while you aren’t even sure if anyone will ever read this email, to begin with, you know it’s vital to get this right.




We’ve seen Twitter threads from countless artists and label managers about this subject. Most recently, Parker Cohen, label manager for Off the Grid and artist manager for John Summit, Deeper Purpose, Freak On, Kyle Walker, and Ranger Truco, discussed in a tweet how a lack of professionalism permeates so many of his communications with artists. And Desert Hearts founder Mikey Lion also summed up his tips for demo sending success on Instagram.




To reduce some of that pre-email anxiety, we put together a short list of dos and don’ts for sending out your demos.







Express yourself, but be concise.


While you may think it’s important to write an extremely lengthy email with a deeply personal story about the track, you should also consider the A&R’s time. Although it is essential to introduce yourself and talk about your music, you want to keep things smart and concise. Give a line or two about who you are, the track, and why you like the label. Simple, easy.







Make sure they know where to find you.


You wrote a nice short email, that’s it, right? You’re better than that! Include all of your social links. You’d be surprised how often this information is skipped (even when artists pitch for media coverage). If you recently released with another relevant label, include that too. Make sure you are active on Soundcloud, have a Spotify Artist account, Instagram, Facebook, and Twitter. If you can show a label that you are taking yourself seriously, they will take you seriously.







Send appropriate links.


Just send them the Ableton file. They will figure out how to listen. NO! We cannot stress this enough. You must upload your track to Soundcloud as a private, downloadable link. You can also upload it to Dropbox. The links should not have an expiration date. While your demo is important to you, understand that any label receives dozens if not hundreds of demos every week. So making it easier to listen to is the least you can do. Also, many labels will download a song to test out before agreeing to sign it. If they can’t download it, they might skip it altogether.




Exclusivity is important.


You should send that private Soundcloud link you made to every label, right? WRONG AGAIN. Although it may take up a few extra minutes of your time, either create separate links for each label or shut off the play count (and comment) feature for that track. A private link on Soundcloud displays the track’s number of plays by default. By repeating the link over and over, you’re showing the label that you’re shopping the track around. Labels like to feel some sense of exclusivity to the music they sign.







Less is more.


You just finished ten tracks. You should probably send all of them to your favorite label. That way, the odds of you getting one signed are higher. ONCE AGAIN, STOP IT! Although you probably worked very hard on that music, no label is listening to a long playlist. They will likely only listen to the first track and either move on immediately or listen to the second one if they are very impressed. Continuing the theme here, your job is to make their job as easy as possible. Pick the strongest songs. Four tracks are likely the absolute maximum you should at once. If they want to hear more, they’ll let you know.







Does it fit?


Lastly, before hitting send, ensure that the tracks you are sending fit the sound of the label you are sending them to. There’s nothing worse than an A&R at a house label opening a message only to find that someone has sent them the hardest gabber known to man. If you aren’t familiar with the label you are sending your music to, get familiar. If you are, be mindful of their recent releases and overall sound.

The Producer's Guide to Sending Demos

We are heading into the end of June, and Ibiza’s events calendar keeps getting bigger. This week, one of the most magical nights of the year takes place to officially welcome the summer season in this part of the hemisphere. Check out all the events we have in store for you this week.


Night Fever with Felix Da Housecat | Lío Ibiza | Monday, June 20

The ever-evolving American DJ and producer Felix Da Housecat returns to the glamorous Lío Ibiza in Marina Botafoch. Felix Stallings Jr belongs to the second wave of Chicago house DJs from the 80s, an artist who always brings the most positive vibes to the dance floor. Throughout his Night Fever party, Felix presents a unique and distinctive mix of house, techno, and acid. Da Housecat is ready to brighten up Monday nights on Lío’s dance floor to kick off the week!




Get tickets for the Night Fever Opening Party at Lío Ibiza









Follow Felix Da Housecat on Instagram | SoundCloud




tINI and the Gang | Underground | Tuesday, June 21

German DJ and producer Sonja Bettina Günther, known as tINI, has been a key figure in Ibiza for over a decade. She is a widely-respected artist and promoter with incredible skills and a passion for vinyl. She launched her tINI and the Gang brand playing free beachside sessions during the day and moving to Underground club for late-night dances. Her residency by the beach faced some issues with local authorities until she finally settled on Ibiza Underground as her permanent home. tINI and the Gang kicks off the season this Tuesday with a live set by Mathew Jonson.




Click here for more details on tINI and the Gang Opening Party.









Follow tINI on Twitter | Instagram | SoundCloud







Paradise by Jamie Jones | Amnesia | Wednesday, June 22

After eight seasons at DC-10, Jamie Jones has found a new home for his Paradise residency this season, and it promises to be an excellent match for one of the biggest underground nights in Ibiza. Under the theme “Welcome To The Age Of Love,” the Hot Creations label boss will be accompanied by renowned DJ guests and new names every Wednesday in two rooms (the Music Box and La Terraza) plus the outdoor garden as a chill-out space. This Wednesday, Paradise begins a new chapter hosting its first-ever party at San Rafael super club, Amnesia. See you there!




Purchase tickets for Paradise at Amnesia on June 22









Follow Paradise on Twitter | Instagram | SoundCloud







Music On | Destino Pacha Ibiza Resort | Thursday, June 23

Marco Carola is the king of the marathon set. This Thursday, June 23, Carola opens the open-air Music On party season at Destino Ibiza resort, located on the cliffs of Cap Martinet. Music On will take place only six days at Pacha’s beautiful outdoor venue. Carola will lead the daytime party on June 23 alongside Luciano and Idriss D. The following day, from midnight, Carola will share the booth with Loco Dice and Yaya at Pacha nightclub. Dance this Thursday while enjoying the sunset and the fantastic views of Formentera, Dalt Vila, and the Mediterranean Sea from Pacha Group’s stunning location!




Get tickets to experience the Music On Daytime Opening Party at Destino Ibiza.









Follow Music On on Twitter | Instagram | SoundCloud










The Night of San Juan | Thursday, June 23

In Spain, The Night of San Juan is one of the most magical of the year as it commemorates the Summer Solstice. On the island, many villages celebrate the occasion. However, the most unique gatherings occur on the north of the island in Sant Joan de Labritja. There are countless free activities for all ages, such as traditional folk dancing, games, street parties, live concerts, puppet shows, and artisan markets. The Sant Joan party at night features bonfires, fireworks displays, and a ceremony involving fire jumping said to purify your soul and protect from evils. There are similar celebrations in other island villages like Ibiza town, Santa Gertrudis, Santa Eulalia, San Agustín, San Antonio, and San Rafael.















Renaissance Ibiza | Amnesia | Friday, June 24

The British club brand and label Renaissance celebrates its 30th anniversary in Ibiza this season. Founded in 1994, Renaissance brought the original progressive house movement to the island in the late 90s and spread it worldwide. It was also one of the first labels that immortalized house music history through the Renaissance mix compilations featuring stars like Dave Seaman, Deep Dish, Sander Kleinenberg, Sasha & Digweed, and James Zabiela. The legendary party organizer returns to the island and takes over Amnesia to reignite dance music’s golden age for one night only this Friday!




Buy tickets for Renaissance at Amnesia.












Follow Renaissance on Twitter | Instagram | SoundCloud




Guy Gerber’s Mirror Games | Club Chinois | Sunday, June 26

Guy Gerber brings a new concept every Sunday to the recently launched Ibiza nightclub in Marina Botafoch. Attendees enter through a room full of mirrors reflecting tinted, distorted, fresh, and ancient images back upon them. Gerber intends to offer something unique that shines a light on the nature of the spirit. Mirror Games promises a great way to end the week in style with one of the most acclaimed Ibiza DJs.












Follow Guy Gerber on Twitter | Instagram | SoundCloud







If you want to skip the beach for a few hours on Saturday morning, head to the flea market at the Sant Jordi Hippodrome. It has become a meeting point for residents and tourists looking for unique second-hand items, like bicycles, vintage clothing, handicrafts, toys, plants, tools, books, furniture, or shoes at a reasonable price. You can buy, sell, and trade a thousand items and belongings. The diversity of this market is vast. You can also enjoy live music while hanging out as bongo drummers and local bands usually meet there, creating a fantastic atmosphere.


More info at www.mercadillodesantjordi.com

Ibiza Selects (June 20 – June 26)

Scotland is an underrated haven for house music. It's the home of underground tastemaker label Glasgow Underground and the birthplace of superstar producers like Calvin Harris, Chris Lake, and Hudson Mowhawk. It's high time we add Illyus & Barrientos to that list. In recent years, the dynamic house duo have properly represented Scotland's scene with their joyous dance music that draws heavily from soul and classic house.


They've become mainstays on Mark Knight's Toolroom label. And proving that their star is rising, they recently signed a coveted record deal with Ultra Music that will see them have the opportunity to branch out further stylistically, as well as collaborate with new artists. After releasing a track with A-Trak, the duo will take on their first-ever New York City headline performance and establish an even larger footprint in the US.


We caught up with the guys ahead of their show at Superior Ingredients in Brooklyn on Friday, June 24, to chat about working with A-Trak, breaking into the American dance market, and working with two of dance music's most iconic imprints.




What's the story behind your recent release with A-Trak? How did you guys connect with him, and what was that process like producing a track with someone so musically diverse?




We've always been massive fans of A-trak, and when we got to remix one of his tracks, the wheels were set in motion to eventually work together. We sent him over a more melodic idea at first, but he felt there were elements in it to explore. From there, "Together At Last" just happened. The guy is such a talent that he can move into any genre as he sees fit. That freedom has to be admired.






"Together at Last" is a funk-laden track, carrying your signature sounds. On the other end of the spectrum, you also recently released "Ghetto Thang" with Gettoblaster. This is such a showcase of your versatility as producers. Do you find you're trying to make an effort recently to switch up the style more often?




We wouldn't say we switch things up intentionally. Music is a thing of mood and feeling, and when it comes to making it, it's no different. A lot of our up-and-coming stuff has been approached the same way, plus the fact there are two of us with different tastes.




How different is your production process when you work with another artist versus just the two of you in the studio?




It's not too different from how we work sometimes. We're not always in the studio together. We send each other ideas back and forth until a song gets to the final touches, then we might come together to give it the last touches. We have just finished a record with Josh Butler, and it was a similar process. A lot of WhatsApp voice notes with silly jokes and some music chat.




Although it seems hard to believe, you are playing your debut NYC show on June 24 in Brooklyn. As artists who have been playing gigs worldwide for years now, what does it mean to you to finally have a headline show in NYC?




To headline in NYC feels surreal to us. It's one of those pinch-me moments. We can't wait for people to hear what our sound is when it comes to playing music. The energy is going to be amazing!!




The American dance scene is bigger than ever now. Yet, many successful American acts have difficulty breaking through in Europe, and vice versa. In your opinion, what's the big difference between the two scenes?




We don't think you can pinpoint what the difference is. There are various genres and cultures that are different on both sides, and somewhere they meet in the middle, and maybe those are the ones that translate well on both sides of the Atlantic. We always feel that being a good person and appreciating people matters. We make sure we love what we do; hopefully, everyone can see and feel that. At the end of the day, house music is about inclusivity—everyone's welcome. Everyone should be part of something positive. We try our best to make sure our music translates that way onto the dancefloor and earphones. Maybe that's why our music style varies so much.




If you had to pick between a festival, small club, or large venue, what would you say is your favorite type of gig to play?




We recently played with Calvin Harris and MK at Ushuaia [Ibiza]. We still haven't fully recovered from that one. It was insane! Printworks in London recently was a highlight too. But a lot of the time, we love a smaller intimate party because you can really take the dancefloor on a journey. Tulum springs to mind, and Bang Bang in San Diego was really cool.




Labels play an important role in how an artist's music gets heard and the level of creativity they can use with their productions. Toolroom has been a landing spot for you and provided you with plenty of opportunities over the years. So what does that label mean for the house music scene?

Toolroom has been an institution for so many clubbers and artists. We've been so fortunate to have great records out on the label. It's one of those labels that is constantly evolving because they have such a great team behind them. Everyone is a family member, and that's why it keeps on going from strength to strength.






You recently signed a deal with Ultra records. What are you looking forward to about having a deal like this in place? Do you plan to release an album soon or keep it going with the singles and collaborations?




It's been a different journey with Ultra. Even though you work with a big label, you get a lot of control when it comes to what comes out and how you promote it. It's been a nice learning curve. We have spoken about an album recently. It's definitely something we're looking at because we'd maybe like to try and release more than just straight house.



What are your current secret weapon tracks in your sets?




Dombresky, "Bubblin," and Matrefakt, "Shine," have been working wonders for us.




Do you have any pieces of hardware or software plug-ins that you love to use when producing?




We recently met Ben Hemsley, and he told us when he was starting out, he kept watching our tutorial because we gave him a great tip about a bassline plug-in. So here's another amazing bassline tip for up-and-coming producers. Get the R-Bass by Waves. It will bring out amazing harmonies in a bassline that may be hidden.







Do you think the electronic music scene in Glasgow is heading in the right direction?




Scotland as an overall scene now is huge. We have so many acts making their mark, one being Ewan McVicar. Guys like him are constantly pushing boundaries but at the same time making sure people get a glimpse of who they are as people too. There are also loads of great female DJs and producers. BETH and Hannah Laing, for example, are getting put on the map by labels such as Nervous and Trick. It really shows you how far of a reach our scene has.

Illyus & Barrientos Celebrate Signing to Ultra and Debut in New York

After a successful inaugural launch, ARC Music Festival is making its grand return for a second year. The 2021 debut conjured the old-school spirit of house music in the genre’s birthplace connecting communities from around the globe in a way that paid respect to the visionary history of house music in Chicago.




While enormous artists like Carl Cox, Charlotte de Witte, Enrico Sangiuliano, and Richie Hawtin will headline the weekend, it’s the hometown heroes that ARC continues to deliver on. Paying respect to the underground heroes that are the engine of the culture, these artists prove why Chitown is the home of house music. We’ve selected ten Chicago-born and bred artists gracing the ARC Stages to show us why the Chicago music scene is where it’s at.







Azzecca



Azzecca is a modern-day Chi-town queen who commands the dance floor with her diverse music library. She can be seen not just playing but in the crowd in Chicago’s Spy Bar or one of the numerous underground clubs. Her love for house, techno, and the filmier sides of dance and disco drive her as a DJ and producer. Via her exceptional technique and reflective selections, Azzecca has a remarkable ability to take crowds on incredible adventures through genres and emotions.


Follow Azzecca on Instagram | Twitter | Soundcloud




Chip E.




Chip E is one of the OG Chicago house legends. In the early 80s, he played a pivotal role in defining the genre. He was a focal DJ on Chicago’s leading radio stations (WBMX, WGCI-FM, and B96) and a critical collaborator on Frankie Knuckles’s first records. He’s a keystone in the building blocks of House, credited with coining the use of the terms “House” and “Jack” on his legendary and highly coveted first album, “Jack Trax.” His production has earned him esteem with artists such as Michael McDonald, Fleetwood Mac, and Prince. In 2017, he signed a licensing and distribution deal with Universal Music Group to reissue his classic catalog. He can be found globally touring and coming to life on the festival circuit when not producing.



Follow Chip E on Instagram | Facebook | Twitter | Soundcloud




Derrick Carter



DJ and producer Derrick Carter is regarded as one of the best to come out of Chicago. Getting a start as a teenager in his bedroom, he stepped into the Chicago house scene in the 90s, playing as a featured artist in local record stores and venues. Carter cemented his star status with pioneering tracks on his label Classic Recordings and Green Velvet’s Cajual. Known for freely traveling outside conformative club tastes in his production and DJ sets, he seamlessly incorporates old-school disco, soul, jazz, and whatever catches his fancy to jack the beat and rock the party. His refusal to obey conventional standards has garnered him worldwide standing as an underground pioneer and a megastar among dance-music aficionados. 


Follow Derrick Carter on | Facebook | Soundcloud







DJ Hyperactive



Joseph Manumaleuna, aka DJ Hyperactive, began to imprint his legacy on the scene in the early 90s from the south side of Chicago. He’s best known for epic house and techno sets reflective of his diverse musical roots. On top of playing legendary rooms like Tresor and Berghain in Berlin, Output in New York, and Liquid Room in Tokyo, his incredible work as a producer, spans over 100 astounding remixes and original tracks. He’s released seminal classics like “Venus” and “Wide Open” on Droid Recordings and “Music Box” on his label 4 Track Recordings. With a career going 30 years strong, DJ Hyperactive is showing no signs of slowing.



Follow DJ Hyperactive on Facebook | Twitter | Soundcloud




DJ Lady D



DJ Lady D is best known for her charismatic sets blending house, disco, and open-format for various events globally and the most notable Chicago clubs and events, including North Coast, West Loop Arts, Westfest, Noise Pop, House of Sol, Summerdance, Chosen Few, Wanderlust, SXSW, and Lollapalooza. A creator at heart, she founded premiere house music label and marketing group D’lectable Music where she curates events and produces and remixes music. As an advocate for women in dance music, Lady D is a founding member of SuperJane, self-described as America’s first all-women DJ collective it includes DJ Colette, DJ Heather, and Dayhota. Listed by EDM.com as one of the most influential Black artists from Chicago. she is holding down the house as one of the city’s most beloved and in-demand personalities.


Follow DJ Lady D on Instagram | Facebook | Twitter | Soundcloud





Gene Farris




As a global ambassador of Chicago’s classic house music sound, Gene Farris has spiritedly contributed to this century’s evolving house and techno culture. A staple of the legendary underground warehouse parties, He started spinning acid house, disco, and Chicago style in the 90s. His early success propelled him into residencies at some of the city’s most notable clubs, including the AKA Club and Boom Boom Room. A self-taught engineer and producer, he’s worked with prominent labels such as Cajual, Relief Records, Defected Records, Soma Recordings, and his breakout label Farris Wheel Recordings. His productions have propelled his influence into ever-expanding realms producing bangers that give new life to classic sounds. Gene is a gift to the scene sharing his wealth of house music knowledge with the world.


Follow Gene Farris on Instagram | Facebook | Twitter | Soundcloud




Honey Dijon



Honey Dijon had carved a distinct niche for herself in the world of underground cross-genre sets. She started spinning records in her parent’s basement and discovered a passion for crate-digging in some of the most illustrious Chicago record stores. Her love runs deep, and her influence brings a unique perspective and experience to her productions. Honey has also been highly active at the intersection of fashion and music. And as a transgender icon is an advocate for LGBTQ issues in club culture. Honey Dijon’s brazen style blends all genres with a vision for the future of dance music. She enchants with her intuitive ability to move any dancefloor and has a versatility that dazzles.


Follow Honey Dijon on Instagram | Facebook | Twitter | Soundcloud




Mike Dunn




Chicago house music legend Mike Dunn has been DJing and producing music for over twenty years. He started at local block parties with a unique blend of disco, funk, soul, and prototype Chicago house tracks. His first release, “Dance You Mutha” on Westbrook Records, kicked off his career as a producer, engineer, and vocalist and led to his collaboration with multiple artists and labels throughout the 80s and 90s. In 2021 his iconic track “God Made Me Phunky” was re-released on Defected Records with a remix from Eats Everything, reintroducing him to a new generation of house heads and raising his profile. This propelled him to begin touring again globally, headlining venues such as Panorama Bar, Concrete, Fabric, and Sub Club and playing festivals such as Glastonbury and Electric Forrest.




Follow Mike Dunn on Instagram | Facebook | Soundcloud




Ron Carroll



Ron Carroll’s love for music started as a choir boy and grew as a fan of bands like Kiss. But a high school dance party changed his life when he discovered a love for house music while watching a local DJ perform. After opening a club in the late 80s, he took the opportunity to try his hand at mixing. However, he is best known for his vocal performances and production of dance classics. Some of his biggest hits are his 00’s era collaboration with Superfunk, “Lucky Star,” “Back Together” with Hardsoul, and his biggest hit, “Wonderful World” with Axwell and Bob Sinclar. As a DJ, Ron has kept dance floors moving worldwide, combining DJing and live vocals. When not performing, Carroll spends his time running his three labels ElectricDiscoPussy, Chi City Music, and RCM.


Follow Ron Carroll on Facebook | Twitter | Soundcloud




Mark Farina



Mark Farina has solidified himself in dance music as a trailblazing DJ, producer, tastemaker, and bona fide house music icon. After three decades of crisscrossing the globe playing hundreds of shows a year, he shows no signs of slowing down. As an early house music frontiersperson, Farina’s history includes a long-standing residency at Smart Bar in Chicago and a position at the legendary Gramaphone Records. In the 90s, Mark pushed musical boundaries and blended hip hop with downtempo grooves to create an entirely new genre, “Mushroom Jazz.” With a tireless passion for playing extended sets, B2B shows with fellow house music icons, and a habit of playing both of his signature styles on two stages on the same night, Farina continues to entertain fans all over the globe.


Follow Mark Farina on Instagram | Facebook | Twitter | Soundcloud










DangerWayne



A lifelong fixation with dance music and over a decade of experience behind the decks has created one of Chicago’s most in-demand up-and-coming DJ and Producers. Eric Zingsheim, aka DangerWayne, is known for reading a crowd and flexing between multiple genres. He’s a regular feature in Chicago’s hottest venues, such as Tao, Spybar, and Prysm. Danger Wayne has had the honor to warm things up for various house music legends such as Tiesto, Deadmau5, and Kaskade. 



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Dani Deahl





Dani Deahl is an icon of modern dance music. She fluidly floats between multiple roles at the intersection of music, culture, and technology. Currently the President of the Chicago chapter of the Recording Academy, she’s a tireless advocate for increasing the footprint of dance music on the Grammys. As a journalist, she’s exposed the delicate ties that bind music to technology through her work at the Verge and the YouTube series “The Future of Music.” And she’s long been a champion of creating more space for women in music. With a resume that runs this deep, it’s hard to imagine that she has any spare time, but she’s managed to build a heralded career as a DJ and producer with a Billboard-charting tune and nearly two decades of experience behind the decks to her name.




Follow Dani Deahl on Instagram | Facebook | Twitter | Soundcloud

10 Chicago-born Hometown Heroes at ARC Music Festival

It feels as if there's is a major music festival somewhere in the US every weekend from March through October. From massive (Ultra Music Festival, Electric Daisy Carnival, Coachella, Lollapalooza) to boutique (CRSSD, III Points, Lightning in a Bottle), there's comfort in knowing there is a little something for everyone. Name a genre of music, and there is likely a music festival that focuses on that style. For consumers, this is great. Having unending choices is an extension of the American dream. This, however, is a new normal.




The festival landscape was hardly as crowded when Ultra Music Festival and Coachella held their inaugural events in 1999. Dance music fans had few options when it came to massive events that catered to their tastes. When Lollapalooza began in earnest in the early 2000s, there wasn't even a dance stage, and now it's the second-largest draw at the festival. And when EDC started over 25 years ago, the scene was still mostly underground, operating in the darkest corners of society.




As festival culture, specifically electronic music festival culture has permeated American society, fans have more opportunities and choices than ever to attend events that cater very specifically to their interests. Although many of the most popular electronic festivals book all genres, the influx of smaller, boutique festivals that focus on one or two sub-genres indicates the changing tastes of dance music fans. These events garner less national attention but often build strong communities and longevity by creating an environment of like-minded people that expect promoters to book forward-thinking lineups.



ARC Music Festival in Chicago fits this mold. ARC held its inaugural event in 2021, and this year expands to three days. The festival exclusively books underground electronic music, focusing on the brightest names in house and techno with an emphasis on interactive art exhibits, honoring the roots of its hometown, and including strong brand partners like elrow.




Chicago is the birthplace of house music. Given the city's rich music history, it seems improbable that it took so long for a music festival honoring the origins of house music to be created.



House music first emerged in Chicago in the early 1980s. The founding fathers were Black American DJs who grew up on a steady diet of disco, rock, and soul but were intrigued by brand new synthesizers that could create otherworldly sounds. Then, spurred by new technology from equipment manufacturers like Roland (the 808, 303, and 909) and Korg, artists like Frankie Knuckles, Marshall Jefferson, and Farley "Jackmaster" Funk began experimenting musically.




The godfathers of house music took these new creations out of their bedroom studios to the warehouse. Quite literally, in fact. One of Chicago's primary venues for house music at the time was The Warehouse.








The original house music DJs were onto something. The scene quickly expanded with experimentation. Offshoots like acid house became worldwide phenomena transporting the style worldwide and taking on new forms in cities like London, New York, Berlin, and beyond.




Less than 15 years after the birth of Chicago house, electronic music festivals began to take shape in the US. What had already become a long-held tradition in Europe promised to bring the genres of dance music home to their birthplace. And although we know about Ultra and Coachella's beginnings in 1999, the inaugural Detroit Electronic Music Festival in 2000 truly set the tone.




Since 2000, DEMF (now Movement) has run continuously (outside of COVID shutdowns) and independently. As festivals in the 21st century grow and often become the subject of corporate demands, independents like Movement, ARC, and Lightning In A Bottle play an essential role in preserving the culture. The demand for profit should never overrule the demand for culture and community. Of course, boutique festivals have a bottom line. Still, they allow themselves to build something culturally important and relevant by filling a niche.

ARC festival is a long-overdue response to the rich history of Chicago. Architects of Chicago house like Derrick Carter and Gene Farris seamlessly mesh with legends like Carl Cox and modern innovators like Charlotte de Witte. Old school techno crosses paths with new school tech house.




It would be easy for the organizers of Arc to present this message and not follow through with the programming. They have committed to creating an event that memorializes all that is good about the city and scene.




Although the festival is only in year two, its expansion to three days indicates that the response from fans is strong. Another day means another opportunity to highlight more local artists and traditions. And as we peer across the landscape of American music festivals, it's rare to find many that focus on local culture and music history.

How Boutique Festivals Strengthen Dance Music Culture

Gramophone Records is a Chicago institution. It isn’t just a store. It’s a scene. The shop has been around for over 50 years and is an integral part of the city’s rich dance music legacy. Derrick Carter worked there. So did Jessie De La Pena. And I was the first person to get married there.

My name is Dani Deahl. I am a DJ married to Fei (Phives), another DJ. Yes, that makes us two DJs who got married in a record store.

Dance music is the foundation of my relationship with Fei. We met when he booked me to play the Porn & Chicken dance party, a weekly he used to organize. We hit it off and quickly forged a friendship through our mutual love of electro, tech house, and melodic techno. Then, shortly after, we had our first date on Record Store Day. We picked up cupcakes and delivered them to the busy staff at Gramaphone, spending the afternoon thumbing through bins of vinyl. Later on that night, we went to see Wolfgang Gartner.



Less than 30 days later, we were engaged. Then, two years later, we recreated that first date and got married inside Gramaphone Records.

Everything about our story “breaks the rules.” We met at one of Chicago’s wildest parties. We only dated for a month before making a crazy big life decision. We got married in a record store. But it’s who we are. I think sometimes… rules are arbitrary. And making your own rules in life can be just as important as those you choose to follow.

The rule we chose to follow: Make the event as unique to our personalities as possible. That guided all our decisions around the wedding, starting with Gramaphone as the location. Planning a wedding is stressful — especially when you want everything customized — but where it would be held was the easiest decision to make. There was never another option in our minds. The idea of sharing that moment in Gramaphone with our families just felt natural.

Once we made sure we could rent out the store, we built everything else around it. Our save-the-date invitations were artful mimics of Ticketmaster tickets (they were so indistinguishable from real tickets that they confused some relatives). The actual invitations were real 45 records with custom sleeves. Even our cake was decorated with the dotted pitch calibration pattern found at the bottom of a Technics 1200 platter.



Dance music carried through the ceremony into the reception. The tables were assigned dance genres instead of numbers (we sat at the house table, obviously), and friends DJed for us all night. The following week, we hosted a special edition of Porn & Chicken and “got married” a second time in front of everyone at the club. It was all an homage to our love of dance music and a way to share our story with the people who matter most in our lives.

Gramophone Records feels like it’s a part of my DNA. It isn’t just the place I got married. It was my gateway into house music. When I started DJing in high school, vinyl was pretty much the only option, and I was lucky to live in a city with multiple record shops. Back then, I’d take my allowance and ride the 22 bus every weekend to comb through the bins and buy a couple of pieces of vinyl. I loved the scuffed black and white checkered floor, the smell of the cardboard jackets, and the surprise of stumbling into famous DJs. The store was a second home.

I think many DJs in Chicago feel sentimental about Gramaphone like I do. And it’s incredible to see its reach continue to reverberate beyond the city. It’s not only still the best spot for locals to get vinyl, it’s also become a destination point for traveling DJs. Gramophone is more than a store. It’s a cultural touchstone.



I don’t DJ with vinyl anymore, but supporting the store is still important to me today. It’s given me so much over the years, and I literally would not be the person I am today if it didn’t exist. (That’s kind of crazy to think about!)

So, the next time Record Store Day rolls around (or if you happen to be in town for a music festival like ARC), maybe hit up your crush and head over to your local shop to bring the staff a snack and buy a few tracks. You never know how things will end up.




Dani Deahl is a celebrated music journalist, DJ, and producer. She will be performing at ARC Music Festival Sunday, September 4, 2023.

Why I Got Married In A Record Store

Elrow, the most bizarre and extravagant electronic dance music party brand, continues to flourish with its immersive, out-of-this-world productions across the globe. The mind-altering, top-notch production quality at every elrow event has helped it become arguably the world’s most popular clubbing brand. There’s simply no party like an elrow party.



Since its inception, elrow founders the Arnau siblings have successfully expanded the brand internationally and left smiles on fans throughout the world’s most inspiring cities. What started as a weekly party in Viladecans just south of Barcelona is now a global enterprise.



This year, ARC Music Festival in Chicago will be the only festival in the world to host an elrow full stage takeover. After such a successful debut run last year, the sophomore edition of the popular Chi-town house and techno festival is ecstatic to welcome back the elrow family and all their colorful characters.



Over the years, elrow’s many intricate themes have spread across some of the world’s most dance music-loving locales such as Ibiza, London, Barcelona, Madrid, Amsterdam, Malta, Dubai, New York City, Las Vegas, Miami, and more. With each newly announced theme more absurd than the last, every elrow soiree has something unique to bring to the table.



If there’s one event brand in this industry that never ceases to amaze house and techno lovers, it’s elrow. While words and pictures don’t do a real-life elrow extravaganza justice, we’ve curated a list of some of the most alluring elrow stage concepts to date to get you pumped for your next elrow bender.



El Triangulo de Las Rowmudas

Imagine a wild soiree full of mad sea creatures, plane crashes, shipwrecks, and pirates intertwined with fascinating electronic music under the same raging sea. Now that’s a party. Behind the concept of El Triangulo de Las Rowmudas lies an intricate tale of its own. According to elrow curators, “we threw a party on a pirate ship, but somewhere between Atlantis and Es Vedrá, the ship went off course and entered the white island’s wildest waters: the Rowmuda Triangle.” Think Lost City of Atlantis and Pirates of the Caribbean meets mesmerizing live sounds from some of the hottest commodities in electronic music. You can take part in the untamed, under-the-sea extravaganza at ARC Music Festival this year, September 2-4 at Union Park in Chicago.



elrow Town

While every elrow event is essentially a mini-festival all on its own, elrow Town offers attendees a full-on festival experience over two days. Elrow Town showcases a stunning mixed array of decor and stage designs bringing existing elrow themes into one single event. There’s no specific theme or story behind the concept of these two-day al fresco fiestas. Just upbeat, ludicrous vibes no matter where in the festival you reside. Oh, and of course, a ton of confetti everywhere.




Psychrowdelic Trip  


As one of elrow’s highly-favored themes, every Psychrowdelic Trip takes attendees on an otherworldly journey to an alternate universe with its hallucinatory production elements. Last year, the trippy theme made its grand North American debut festival appearance at the elrow ARC Music Festival stage takeover during Labor Day Weekend, and it was a smash hit. Attendees can relive the glory days of peace, love, hippies, kaleidoscope dreams, and more amidst the typical elrow fiesta chaos. With its hypnotizing, 1960’s inspired decor everywhere, we guarantee it will feel like an actual trip.







elrow’art Kaos Garden



A few years back, the elrow’Art Kaos Garden concept was unveiled to music and art lovers across the globe and introduced the scene to an unfamiliar world in which music and art unite. The elrow creatives joined forces with multicolored street artist Okuda San Miguel and esteemed music producer Paco Osuna to form this captivating concept. Together, they’ve brought a unique sense of artistic awareness to the electronic music world by bringing human fashion and art installations to life at each event. In essence, Kaos Garden depicts all the madness that goes on in Okuda San Miguel’s inner world. It’s a place where reality and fantasy coexist as one. There’s no place to party like it.





RowsAttacks 



Another phenomenal elrow stage theme to note is RowsAttacks. This concept is truly out of this world, featuring its twist on all things extraterrestrial. In this otherworldly house and techno-filled galaxy, attendees can expect to collide with an unimaginable universe of electrifying music, aliens, spaceships, cosmic performers, UFOs, stars, planets, and more. Amongst the supernatural chaos, the typical elrow madness and absurdity lives on. Earth and humanity are nonexistent at a RowsAttacks fiesta. No matter where in the crowd you reside, prepare to be blown away by intergalactic beings and mind-altering soundscapes.









Sambowdromo do Brasil 

Although every elrow concept resembles a carnival-like gathering, Sambowdromo do Brasil is the closest thing to an authentic Brazilian Carnival you’ll ever experience. Here, the ambiance is nothing short of rowdy. This is where the wild things are. At this outrageous elrow concept, the Amazonian jungle interlaces with the pulsating vibrancy of samba and all things Carnival, where attendees get the chance to rave freely amidst the barbaric foliage. If a typical Brazilian Carnival fiesta is wild, imagine what you’ll find at this one-of-a-kind elrow-designed celebration.





El Bowsque Encantado

One more whimsical and eye-catching elrow theme to observe is El Bowsque Encantado. Similar to Psyrowedelic Trip in some aspects, this multicolored magical forest is a mind-expanding world of its own. The theme’s name literally translates to “the enchanted forest,” and that’s exactly the ambiance you’ll partake in at this bewitching house and techno affair. If you’ve ever daydreamed of basking in an entirely mythical land of fairytale creatures among the natural beauty of the forest, this is one elrow concept you won’t want to miss out on. Once deep in the thick of El Bowsque, there’s no turning back.

A Curation of elrow's Most Alluring Stage Concepts

Peggy Gou has solidified herself as a household name among the dance music community with her uniquely buoyant genre-blending style. She champions a tastefully subtle vintage air that attracts praise from even the most stalwart of old heads. Peggy recently turned her Midas touch on Kylie Minogue’s dance anthem, “Can’t Get You Out Of My Head.” Taking on a staple classic such as this can sometimes prove to be a tall task, Gou was up to the challenge.



Honoring the most timeless elements of the 2001 global hit, the South Korean selector maintained the original bass and synth lines and provided a fresh chopped spin to give the foundational elements new life. Gou even received the official seal of approval from Kylie Minogue herself in an interview with Vogue Scandanavia, saying, “It’s not easy to remix that song...so I was so excited to hear it, and I loved it. There was nothing to say. It was gorgeous.”





The Berlin-based music maven has been on a one-way road to the top since 2016, when she exploded onto the scene with four EPs in one year’s time. Since her thumping, acrobatic bass lines and equally dynamic countermelodies have set new standards for the sounds that facilitate God-tier vibes for hazy late-night clubs, breezy after-noon hangouts, and almost every occasion in between.



This fabulously fun remix was facilitated by none other than Magnum Ice Cream. The fact that this iconically cool collaboration was made possible by suppliers of the most refreshing of summer treats truly is the cherry on top of this succulent single. Good luck getting this one out of your head.

Peggy Gou Works Her Magic on Kylie Minogue’s 'Can’t Get You Out Of My Head'

Ben Böhmer presents Portraet | Cova Santa | Monday, June 13

The Cova Santa party calendar kicks off this week with German artist Ben Böhmer and his Portraet series. Böhmer is a versatile rising artist based in Berlin. The multi-hyphenate composer, DJ, and live musician is hosting his first Ibiza residency. He will be performing two different sets. Outdoors where he’ll present a live show full of hypnotizing melodies, heavy basslines, and deep sounds. At midnight he moves to Cova Santa’s club for a DJ set showcasing his distinctive house music inspirations. On Monday afternoon, visit Amnesia’s open-air venue (between the hills of Sant Josep) to enjoy a musical experience like no other on the island!




Purchase tickets for Ben Böhmer’s opening party at Cova Santa









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Camelphat and Solardo | Ushuaïa | Tuesday, June 14




Switching gears from a night to day party this season, CamelPhat (Dave Whelan and Mike Di Scala) are teaming up with Solardo (James Eliot and Mark Richards) to deliver the most energetic underground sounds under the open sky at Ushuaïa. Their eponymous residency kicks off this Tuesday, June 14. Afterlife head honchos Tale Of Us and Ukrainian melodic house maven Korolova will join them for an impressive opening lineup.




Get tickets for Camelphat and Solardo at Ushuaïa.








Follow CamelPhat on Twitter | Instagram | SoundCloud

Follow Solardo on Twitter | Instagram | SoundCloud







The Martinez Brothers | Hï | Tuesday, June 14

Steve and Chris Martinez have become the most famous brothers in the scene and this season embark on their first-ever headline residency at Hï nightclub. The soulful house duo from the Bronx has been a regular on the roster of some of Ibiza’s hottest parties for years. This summer, they take control of the dancefloor and have curated a season full of friends and family from around the world. Join the Martinez Brothers opening party on Tuesday, June 14, for old-school house vibes and the bros’ uplifting energy!







Get tickets for The Martinez Brothers opening party at Hï Ibiza.


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FISHER | Hï | Wednesday, June 15

This summer promises to be a great one for Paul Nicholas Fisher, known by FISHER, as he hosts his first-ever headline residency at Hï Ibiza. The Australian surfer and musician went solo just four years ago after leaving Cut Snake. He arrived on The White Island in 2019 for the first time and has become a favorite thanks to his contagious energy and immaculate selections behind the decks. From midnight on Wednesday, June 15, the Aussie DJ and producer begins a new and exciting residency that promises to be one for the books!


Follow Fisher on Instagram | YouTube | TikTok




Tickets available for FISHER at Hï Ibiza













All Day I Dream | Cova Santa | Thursday, June 16

British DJ and producer Lee Burridge began with the All Day I Dream concept in 2011 as a daytime event celebrated on a Brooklyn rooftop. Today it has evolved into a label and event brand that welcomes a community of dreamers with a unique love for emotive dance music.

Since 2019 when Burridge’s party landed on the island for the first time, Cova Santa has been home for the series presenting a mystical yet fresh crowd full of smiles beneath the sunny Ibiza sky. So bring your happy vibes this Thursday afternoon for the All Day I Dream opening party hosted by Lee Burridge and friends.




Buy your ticket for the All Day I Dream opening party on Thursday, June 16

Follow All Day I Dream on Twitter | Instagram | SoundCloud

















Club Chinois Ibiza Grand Opening | Friday, June 17

The beloved HEART Club and restaurant located at the Marina Botafoch port in Ibiza is now Club Chinois. After a face-lift, the iconic venue has been reborn. World-class entertainment and late-night hedonism converge to create the island’s most opulent venue inspired by the decadent Shanghai jazz clubs of the 30s. This Friday night, Club Chinois opens its doors for the first time. And Wednesday's this season rising Afro house star takes over for his residency at Chinois with guests like Black Coffee, Dubfire, Eli & Fur, Serge Devant, and Amémé.















Pikes | Sunday, June 19

Whether you are looking for a delicious lunch or a dip in the pool, The Brothers Grim return for their 8th season of Pikes on Sundays. Presiding over an afternoon of poolside fun, the world’s best Balearic and alternative DJs, provide the perfect soundtrack to Ibiza’s most famous Sunday roast. The daytime affair begins poolside with breezy beats, cocktails, and barbecue and continues past nightfall in Freddie’s room with the Tales Of The Unexpected reunion featuring selected DJs each week. Head to this enchanting venue this Sunday for a day-to-night experience like no other!




Click here for table reservations and guest list to join Pikes on Sundays on June 19

Ibiza Selects (Monday, June 13 – Sunday, June 19)

Paco Osuna charged up Music On Festival 2022 with a set that had crowds swelling around the decks within minutes. Starting off brooding and serious, the set evolves to become playful and funky, with a Black Eyed Peas and Groove Armada edit thrown in for good measure.




Music On is a house and techno festival that takes place in Amsterdam. After canceling its 2020 and 2021 editions, it returned with a bang in 2022. Run by Marco Corolla, it is globally recognized for hosting a broad spectrum of upcoming and established talent. The festival returns in 2023. Pre-registration for tickets is open now.









For over two decades, Osuna has been known well beyond the borders of his native Spain for his characteristically deep, refined, and imaginative tech house and techno. In 2006, he launched Mindshake, a platform dedicated to creating and distributing electronic music.



Mindshake has become one of the most important techno labels in the US and Europe, featuring material from the likes of Cuartero, Carlo Lio, Fer BR, Nick Curly, and Paul Ritch. Mindshake events have also developed a committed fanbase: the next installment comes this June at GO Beach Club in Barcelona.




This summer, Osuna is set to play elrow Festival in New York, Space in Miami, Secret Project Festival in Portugal, and beyond.




Follow Paco Osuna on Twitter | Instagram | Soundcloud

Watch Paco Osuna's Intoxicating Music On Festival Performance

“We’ve come a long long way together, through the hard times and the good. I have to celebrate you, baby. I have to praise you like I should.”



Cue what is arguably the most recognizable piano riff in modern music history. If the timeless melody of “Praise You,” just rang through your head, thank none other than Norman Cook, known by millions worldwide as the one and only Fatboy Slim.





Cook’s four-decade career has seen him evolve from bassist of the Housemartins to a venerated dance music figure through twenty-four different aliases and nine different collaborative projects. He even holds the World Record for most Top 40 hits under different artist names.



Born and raised in the UK in the 1960s and 70s, Norman spent his formative years in one of the hottest times and places in music history. By the age of fifteen, he started DJing local clubs while continuing to grow his expansive music taste. Eight years later, his ear for rhythm and reputation for groove landed him the role of bassist for the pop group, The Housemartins. While the gig proved fruitful, Cook knew it wasn’t the right fit and returned to his home behind the decks.



Cook’s ear for a hit became evident in no time. Soon after leaving The Housemartins, Norman formed the group, Beats International, and their 1989 debut single, “Dub Be Good To Me,” reached number one on the UK charts and became an international club hit. The breakout track, which sampled SOS Band’s “Just Be Good To Me,” and The Clash’s “The Guns Of Brixton,” would be merely a taste of what Cook had to offer to the world.







Over the next five years, Norman would release chart-topping hits with various outfits, including Pizzaman and Freak Power, while continuing to remix dance singles for other artists, including A Certain Ratio, Bassbin Twins, and Stereo MCs. Cook’s ear for a winning sample, a sturdy beat, and a gripping hook remained steadfast through each iteration and bout of experimentation, culminating in 1994 with the birth of Fatboy Slim.



The ironic party persona came to life when Cook started attending the Heavenly Sunday Social nights curated by Tom Rowlands and Ed Simons, aka The Chemical Brothers (then the Dust Brothers), in London’s West End. The clever sampling and massive beats of the night quickly drew Norman behind the decks, where he soon shared time with Rowlands, Simons, Richard Fearless from Death in Vegas, and Monkey Mafia’s John Carter. A wiz behind the decks, Cook fit right in, but he soon realized his ideal set could not be played with the records available. 





He returned to the studio and soon returned with Fatboy Slim’s inaugural single, “Santa Cruz,” a swirling hypnosis of grinding guitars and acidic synths that launched to high praise from club-goers and DJ cohorts alike.










Soon, Fatboy Slim was pioneering the big beat movement alongside The Chemical Brothers and The Prodigy, and in 1996 he released his debut album, Better Living Through Chemistry. The album dropped in the United States, one year later to critical acclaim, with Rolling Stone Magazine calling it “One of the most fun, shamelessly genre-hopping dance albums of the year.”





Success found a new definition in 1998 when Cook’s sophomore album, You’ve Come A Long Way, Baby, elevated Fatboy Slim from “the drinking man’s DJ” to a global phenom. The project achieved cross-over success thrusting big beat into the mainstream. Certified platinum, it landed Cook his first two Grammy nominations for Best Dance Track and Best Alternative Music Album.



Tracks like “The Rockafeller Skank,” “Praise You,” “Right Here, Right Now,” and others off the historic album have immortalized Cook’s “big beat” sound as pieces of countless soundtracks and commercials to this day.







The turn of the millennia saw Cook continue to push sonic boundaries and shatter genre lines. His album, Halfway Between The Gutter And The Stars, delivered what many consider his single most diverse collection of sounds and another Grammy nomination for Best Alternative Music Album. Elements of dance and rock are bound by his classic big beat style while sharing space with elements of breakbeat, acid house, and even a taste of Hindi Ragas.



Fatboy Slim’s final solo album, Palookaville, would arrive in 2004 in the wake of a brief split with then-wife Zoe Ball. He scored two more Grammy nominations for Best Dance Recording and Best Electronic/Dance Album.



Norman Cook announced in 2008 that he would be retiring the Fatboy Slim name, but much to the delight of millions of fans around the globe has intermittently reprised the role for a collaborative project here, like Eat, Sleep, Rave, Repeat in 2014 with Beardyman, or a one-off show there.



While past years saw a recession of appearances, 2022, the 28th year of Fatboy Slim, sees the lunatic alter-ego take the stage over 25 times in a strong post-Covid resurgence. His appearance in Chicago at ARC Music Festival is partocularly noteworthy as, even in the UK, his festival apperances are rare. However, the lineup also includes collaborators like Eats Everything and longtime friends like Carl Cox. While he has a mountain of hits dating back three decades, his DJ sets stay fresh, relevant, and fabulously fun.



Will Fatboy Slim ever truly retire? Maybe. Maybe not. Norman Cook’s love for performance may seem boundless, but in recent years he has migrated more towards the role of father while also pursuing art and film projects. Indeed, one would say he has certainly earned some time for himself if he ever decides to take off the headphones. His contributions not just to dance music but to music as an institution will have waves of impact long from now. Whether it be 100 performances in a year, or one, we will always be ready for our smiley-clad hero to take the stage.

Fatboy Slim: The Story of Dance Music’s Smiley Clad Legend

The effortlessly cool kids of Barcelona and surrounding Catalan cities have been raving into the future at Barcelona's innovative Sónar fest since 1994. It is finally my turn to check out the cutting-edge electronic music and technology rave at its upcoming 27th edition, taking place at the Fira de Barcelona historic fairgrounds June 16 - 18. Sónar is known for booking artists pushing dance music's boundaries and presenting their shows in exciting ways with stunning visuals and unexpected collabs. Here are ten sets I'm stoked to catch, although I'm equally excited for the magic I discover.




Agoria

Fun-loving French DJ/producer and visual artist Agoria makes dance floor heaters generally categorized as house, sometimes techno, but he gleefully and intentionally pushes boundaries in his art. His sets are playful and filled with surprises—during his post-Coachella 2019 Monday set at Sound in Los Angeles, he played Donna Summer so he could dance under the disco ball with the crowd. Drift is not only the name of his stellar 2019 album and Ibiza residency. It's a lifestyle. It's all in the flow of captivating his audience and taking them on a wild ride.



Anfisa Letyago

Anfisa Letyago makes deeply interesting left-field techno that has been championed by Carl Cox, Charlotte de Witte, and more. The swiftly rising Siberian-born, Naples-based artist has been on a touring tear this year, bringing her moody, captivating and unique warehouse sound to EDC Las Vegas, Skyline Festival, Cercle Festival, Movement, and more.



ANNA & MAOTIK A/V show

Brazilian techno queen ANNA serves up the perfectly moody mix of hard, pulsing techno with an undercurrent of melody and groove, as she knows we're all "Forever Ravers." At Sónar, she'll be collaborating with French digital visual artist MAOTIK, who will provide immersive visuals to complement what is sure to be a kinetic sunrise set.



Avalon Emerson

The first time my friends and I saw Avalon Emerson play at the 2017 edition of the intimate Bay Area festival Sunset Campout, we fell in love and dubbed her the techno librarian. From behind wire-rimmed glasses, the Berlin-based, Arizona-born DJ/producer stirs up an enchanting mix of techno, house, and strange rave sounds that always get the dance floor sweating.



The Chemical Brothers

Iconic Manchester duo The Chemical Brothers, consisting of Tom Rowlands and Ed Simons, have been at the forefront of bringing dance music to the masses—and always keeping it interesting and innovative—since they released their sophomore album, Dig Your Own Hole, in 1997. They're beloved for the eye-catching visuals they bring into their live show, enhancing the immersiveness of their electrifyingly cinematic sound.



Eris Drew B2B Octo Octa

Eris Drew and Octo Octa are one of the reigning power couples of dance music, period. Witnessing them combine their talent, good vibes, and love of funky, feel-good house on stage in the sacred art form known as the B2B is pure joy and a surefire way to get your body grooving.




Jayda G

Vinyl-slinging Canadian house and disco queen Jayda G is a marine scientist and a purveyor of deeply joyful vibes. I'm confident that when in the presence of Jayda behind the decks, it's scientifically impossible not to feel happy and move your body. If you need confirmation of this, check out her 2017 Boiler Room set. I dare you not to groove.



Niño de Elche with Ylia & Banda La Valenciana

Niño de Elche is a Spanish flamenco singer born in Elche, a city in Valencia from which he took his artist name. He takes the traditional, hypnotic musical form and blends it with electronics, hip-hop, and beyond. You can hear his haunting voice in his collab with Agoria, "What If Earth Would Turn Faster." A regular at Sónar, this year he'll be performing with Spanish producer Ylia and the 80(!)-piece Banda La Valenciana to, as Sónar describes it, "create chaos on both stage and dance floor: a unique reinterpretation of the music of popular festivals, drawing on flamenco as well as the sound of '80s and '90s Valencia: hardcore mákina and proto-techno bakala."



Ms Nina

Sónar is not strictly electronic music, and Argentina-born, Spain-based Ms Nina will be representing neoperreo, the sex-positive feminist interpretation of reggaetón, to the fest this year. She made waves with her 2019 debut mixtape, Perreando por Fuera, Llorando por Dentro, (or "grinding on the outside, crying on the inside"), a mood that feels ever more relevant in the strange not-post-COVID-but-we're-partying-again days we're leaving in.



UNIIQU3 (live)

New Jersey club queen, UNIIQU3 raps, sings, produces, and DJs, and looks damn good while doing it—what else could you want? She serves up a unique (duh!), confident, sexy, and buoyant brand of dance music that nods to classic R&B and hip-hop and pumps up the BPM. She'll bring her A-game to Sónar with a live set that will pull out all the stops to get your booty bouncing.

10 Acts To Catch At Sónar 2022

If you have not yet been to an elrow party, we suggest you change that. The brand calls Spain its home, although it has expanded in the last decade to produce events across five continents. 

Regular attendees of elrow events can attest to its power. Although they regularly program top-level DJs, it doesn't matter who plays. You are simply there to participate in and be a part of the most extraordinary party on earth. When you attend elrow, you will find yourself observing the madness in the wee hours of the morning and simply smiling to yourself, knowing that you have become part of something truly special.



elrow is coming back to New York City for its only stand-alone US festival on July 23 at the Brooklyn Mirage. Get tickets now before they sell out.




Below are our favorite things about elrow.



The Themes

Every single elrow party has a theme. Upon entering an elrow event, you teleport to another world. From the stage to the roof, no detail is spared. From alien invasions to a Brazilian jungle to a psychedelic trip back to the 60s, an elrow theme is what creates the visual experience. While straining your neck to take in all the unique set pieces, we hope you won't overlook the performers sneaking about the crowd, melding with the fans, and creating a truly immersive experience.




The Music



A mixture of techno, house, and tech house is expected at an elrow party. Massive names like Fat Boy Slim, Fisher, Vintage Culture, Meduza, Skream, and Claptone have headlined elrow. Yet as any attendee can attest, it almost doesn't matter who is playing. There is a sense of musical understanding from every artist who graces the stage at elrow. Although you can expect to hear the hits from the artists who play, they all seem to know how to maintain the party's energy. Big-name DJs take it as an opportunity to play deeper, reserving their biggest hits for the infamous confetti cannons.





The Energy

To truly understand elrow is to feel the energy at the event. There is a certain electricity in the room when you enter. No matter what hour you arrive, the steady bassline thrums in your ears, your eyes begin to catch all the tiny details around the room, the colors are irresistible, and the performers dance around you. The immersive experience that is elrow thrusts you into a world of light, sound, and color. You close your eyes, and the next thing you know, it's 7 AM, the final song is playing out, and there are still two men in pirate costumes on stilts walking past you.




The Crowd



As any regular attendee of dance music events can attest, the crowd can vary tremendously. Factors like the venue, type of music, and whether it's a festival or concert all impact how the crowd acts and what the experience is like for patrons. At elrow, the crowd is always as vibrant as the decorations. Perhaps it is the absolute madness unfolding in front of everyone's eyes or the mutual love for proper house music. But, more likely is the acceptance that as a fan at elrow, you are not attending a concert, you are part of the show. This realization allows everyone to slip into a house music trance and enjoy the night with their friends.




Rowgelia

When we think of raves, mascots are usually not the first thing that comes to mind. Yet, it wouldn't be an elrow party without a touch of the absurd. Meet Rowgelia, the giant yellow chicken that is the comical mascot and master of ceremonies for elrow. She can be found at every event, starting the party on stage and pumping up the crowd. When Rowgelia steps on stage, a confetti blast isn't too far behind.




Performers

At elrow, you aren't the only ones partying. To make the experience truly immersive, costumed performers make their way throughout the crowd and on the stage, bringing a new level of authenticity to the theme of the evening. It's not uncommon to find yourself dancing with a stilt walker, being zapped by an alien, or playing games with a forest fairy.




Confetti

Fans with a keen eye will notice the performers sneaking around the stage, discreetly dropping streamers and confetti into massive cannons. Before you know it, your favorite DJ is building up to a massive drop, and whooooooosh. Confetti is everywhere. It's more confetti than you've ever seen in your life, and the entire crowd revels together in the moment.

Family

It wouldn't be elrow without talking about family. The Arnau family has roots in the entertainment industry, dating to 1870. The elrow brand is the latest in a long line of game-changing moments for a family that helped bring techno to Spain via their iconic venue Florida135 in Fraga.e



Run by brother-sister owners Juan and Cruz, elrow began as an intimate gathering on Sunday mornings in Barcelona. It's become an interactive, confetti crazy house party with residencies in Ibiza, Las Vegas, and New York City. Over six generations, the Spanish family has innovated the Spanish entertainment industry. They established one of the first discotheques in Spain.




When you attend elrow, everything around you is as genuine as the people creating the experience.


Inflatables

Was confetti not enough for you? Performers in the crowd don't do it? Well, don't worry. Keep your eyes peeled for the slew of theme-relevant inflatables that not only begin to surf the crowd but also act as a take-home gift for the lucky few with quick hands.




Long or Short nights

At elrow, the party begins as soon as the doors open. While we would encourage you to come early and stay late, one can have an incredible time just at the start of the night or at the end of it. No matter when you arrive, the party is in full swing, and the music is bumping.

10 Things We Love About elrow

The laundry list of add-ons and ticket tiers can be dizzying when planning a festival excursion. But it’s this laundry list of options that fund the events we know and love. The sale of multi-leveled ticket tiers and VIP packages has played a large part in the steady increase in music festivals since the start of the festival boom in the early 2000s.



Look at the overwhelming majority of festival ticket pages, and you’ll find several price points connected to an increasingly inclusive ticket/accommodation package.



The US’s largest festival Coachella has a general admission pass that runs about $500 and a VIP pass at ~$1,000. The festival website states, “VIP areas offer specialty food & drink vendors, air-conditioned restrooms, shaded seating areas, and full cash bars.”




The disparity between camping options is even more pronounced, with base-level accommodation starting at $102 and the highest lodging tier weighing in at a whopping $9,500. It’s worth noting there is a final lodging tier that simply states, “Contact VMT (Valley Music Travel) for pricing.” But, of course, we all know what it means when there is no listed price.



Electric Daisy Carnival and Ultra Music Festival, two of the world’s leading dance music festivals, offer similar ticket disparities, with General Admission clocking in at ~$400, GA+ at ~$700, and VIP at ~$1,000.




Examining most VIP packages will entail a similar line of amenities while sometimes offering exclusive memorabilia. This kind of tiered packaging is not a new or unique concept, and it is certainly not specific to the mainstream. Even niche festivals like Dirtybird Campout, ARC Music Festival, and All Day I Dream offer various event experiences. 



Chicago’s premier house and techno event, ARC Music Festival, for example, lets VIP ticket holders pick from two tiers. Both the Global and Icon levels offer express entry, access to exclusive lounges, elevated viewing areas, cash bars with top-shelf liquor, and air-conditioned bathrooms (something anyone can appreciate at a festival). The Icon tier steps up the offering with all-inclusive bar and food options, massage and spa services, personal lockers, and festival merchandise.




Festival-goers would be hard-pressed to find a festival that didn’t offer a VIP option of some sort, be it through event access or accommodation level. And a quick glance at the present-day market metrics will tell you why.




Dr. Chris Anderton, Professor of Cultural Economy at Solent University, noted in his analysis of music festival sponsorship that between 2003 and 2006, 160 new music festivals formed in Europe’s music festival hub, Great Britain. Those festivals comprised 24% of the UK’s average of 670 yearly fests. Of those 160 events, more than 25% had ceased operation by 2007.



A quick search on Music Festival Wizard shows the US will host 400-500 music festivals in 2022 alone. Applying Anderton’s findings to the current market, which continues to be plagued by Covid-caused cancellations, suggests that 10-20% of this year’s new festivals will cease operation in 1-4 years.





This may seem surprising to many considering festivals like Lollapalooza, Burning Man, and Glastonbury have been in place for 30-50 years. But by and large, the festival industry is volatile. Everything from adverse weather to poor marketing can wreak havoc on an industry closely tied to the current financial state of its target market. And they require massive amounts of initial investment. Festivals in secondary and tertiary markets with strikingly slim profit margins are sometimes one ill-timed thunderstorm away from permanent failure.



Considering the annual return of many music festivals is far from a forgone conclusion, it makes sense that event organizers would seek to boost revenue in any way they can. Bolstering profit margins with VIP and tiered offerings goes a long way toward ensuring the return of some of our favorite festivals.




But every action has an equal and opposite reaction, and we have to ask ourselves if the price of these VIP offerings is purely monetary or if we might be sacrificing something more? Could the culture of music festivals be at risk? To answer this, we first must look to the roots of the modern-day music festival.



Today’s music festivals trace their origins to the UK’s open-air jazz festivals of the 1950s and psychedelic pop and rock events like the Monterey Pop Festival and Woodstock Music and Arts Festival of the 1960s. These festivals offered space for expression and participation in emerging countercultural fields of the time, such as mysticism and eastern philosophies, without the interference of societal norms and expectations.




In a time of stark political, social, and cultural polarization, these events turned into momentary safe havens for an increasingly progressive and forward-thinking population.



“Free Festivals” throughout the UK in the 70s and 80s emerged from the belief that commercial event organizers were merely gouging the attendees. This new festival variant soon comfortably outnumbered commercial festivals. They charged no admission or camping fee, featured bands that played for free, and depended on volunteer participation of attendees in every facet ranging from food distribution to ecological awareness for their success.




The characteristics of community, accountability, counterculture, and altruism that defined early festivals laid the groundwork for both free and commercial music festival culture and values for years to come.



A decade of socio-political clashes with the conservative UK government led to the mid-90s disbandment of the free festival movement and the traveling community that sustained it. The elimination of free festivals cleared the competition for commercial festivals to advance, but the economic after-effects of the actions taken against free festivals forced commercial promoters to use corporate sponsors to mitigate these increased costs.



By the turn of the millennium, promoters recognized the boundless possibilities of corporate investment. Since then, we’ve seen festivals grow non-stop to scales greater than ever thought possible. The live music industry has become a roughly 28 billion dollar market. In a world that sees Millennials and Gen Z assigning significantly more value to experiences over goods, the profit potential behind VIP packages is too great for promoters to ignore.



So how do VIP packages and tiered ticketing interact with the foundations of festival culture? While the emergence of higher offerings can ease the financial risk taken by promoters, have they also hollowed the core of what music festivals are supposed to represent?



The principles of community, accountability, counterculture, and altruism that defined the success of the free festivals stemmed from a shared experience driven by a common appreciation for music and the nonjudgemental space for expression it provided detached from societal norms and hierarchy. By these standards, the figurative and literal lines VIP packages form between festival-goers and their experiences based on their financial ability are antithetical to the culture that birthed the foundations of the festivals we love today.

All too often, we see the exclusive nature of this capitalistic hierarchy bastardize the founding philosophies of communal oneness as clout-chasers and wannabe influencers flaunt their attendance and exclusive experience on social media to alert the world how #blessed they are. In a festival purist’s perfect world, one would think the willingness to spend exorbitant amounts of money to separate yourself from the masses—the community—for the sake of first-world comforts and optimal content creation would simply result in a one-way ticket to the nearest exit. But neither the music festival industry nor the society in which it exists are the same as they were fifty years ago.



Today’s music festivals are big business, and, for better or for worse, an adequate revenue stream is just as much the life-blood as the music for every event. While many events lean into popular cultural trends and corporate interests to make a sizable cash grab, there is an increasing number of festivals trying to bridge the gap between community and commercialism.



Events like DGTL, ARC, Envision, Lightning in a Bottle, and more embody the communal oneness that defined festivals of decades past. Festivals like these, while still very much dependent on commercial revenue streams, cater their events to a more niche market. Their target markets consist almost entirely of more seasoned festival and genre-versed fans, which carry a direct correlation between time in scene and a deeper sense of community. Some of these festivals also offer an impressively wide variety of workshops, community volunteer opportunities, and ecological volunteer opportunities outside of the music that reprise the values of free thought, expression, and learning that were once defining features of music festival culture.



While offering these deeply enriching and unique opportunities and actively advocating for communal accountability, festivals like these also offer VIP packages and tiered accommodations. This begs the question, “Are they hurting their community?”



One week(end) at any of the four previously mentioned festivals would likely inspire a resounding “No,” from anyone in attendance. Niche festivals like these garner a strikingly loyal fan base and take on the role of pseudo-pilgrimage for many due largely to the brief taste of the near-utopian community and countercultural experience stemming from one common thread—the music. While some participants may have more means than others, the purposeful lack of unnecessary corporate involvement allows these kinds of festivals to focus entirely on delivering an experience that carries deep meaning and fulfillment for their audiences. The communal accountability, gratitude, and altruism felt by those in attendance largely mitigates any separation conveyed through differing tiers.



In a world where commercialism continues to permeate nearly every facet of our lives, and our perceived (and sometimes financial) value is increasingly tied to the likes garnered by our latest post, is it possible for music festivals to find a balance between the financial gain of VIP hierarchy and the post-societal roots of festival culture?




While the hyper-commercialization of live music over the last two decades has undoubtedly birthed a sea of trend-oriented, profit-driven music festivals, we are seeing a rise in secondary festivals embody the founding principles of community, accountability, counterculture, and altruism while making enough money through ticket tiers and add-ons to become annual events.



Perhaps we are witnessing a split in the market similar to the commercial and free festivals decades ago. While it is doubtful we’ll see free festivals reprise any time soon, festival-goers should still strive to live out the mutually uplifting philosophies of festivals past regardless of genre and audience attendance. Promoters, too, can take a page from the New Travelers, organizers of the Free Festivals, and work to build more festivals of substance that not only support their attendees but also minimize their impact on the land and communities in which they take place.

The VIP Experience: The Real Price Of Comfort

“No, you have to put your hands like this!” My 17-year-old step-sister corrects my finger placements so I can dance to the chorus of Doja Cat’s “Say So” properly. The dance and song were the latest trending sounds on TikTok in 2020, an app I’d reluctantly downloaded to kill time during lockdown. Learning cheer moves with a Gen Zer was not how I pictured my mid-30s going, but I wasn’t the only person over 25 who downloaded TikTok out of desperation.


Tik Tok as a Disruptor

According to Forbes, about one in six people in the United States is a weekly user of TikTok. Currently, the app is the world's sixth most used social media platform, coming in behind Facebook, YouTube, WhatsApp, Instagram, and WeChat, respectively.




TikTok has not only disrupted the app stores but has also done so to the music industry. The sounds accompanying videos on the For You Page have altered how users discover new music and undoubtedly had a hand in which content creators gain virality. Doja Cat and Lil Nas X are just two artists whose successes came from the support of TikTok users.




That support isn’t just for new artists either. A clip of a skateboarder drinking cranberry juice in 2020 prompted nearly 10 million streams of the Fleetwood Mac classic “Dreams,” in the first weeks of the trend, allowing the song to return to both the US and UK charts for the first time since its 1977 release.




Yes, TikTok is changing the music industry, be it financially, aesthetically, or even structurally. Whether that’s a bad thing remains to be determined by those monitoring the app’s power. From a surface level, we can see its influence chip away the need for record label conglomerates with multimillion-dollar marketing campaigns, which have all but flopped upon launch simultaneously as smaller independent artists have grown to become international powerhouses. Randoms from the internet can now build a solid fan base without a team of agents, managers, or publicists to back them.




TokTok, Independent Artists & The Power of Discovery

Surely, the app has harrowing effects on our social thread, but ignoring TikTok’s influence would be incredibly shortsighted.




I’m a slut for broken beats, which is likely why my For You Page in the summer of 2021 sent me a video of a South Asian dude dancing in his living room to a poppy garage-inspired tune, including the hashtag #UncleDance in the caption. I was hooked from the moment I heard the audio. The saccharine vocals and two-step beat were addictive, even for my dark and brutalist tastes. I couldn’t find the full-length version of the song at the time because it was unreleased. All I could find out was the artist’s name was Pink Pantheress, and many of her YouTube uploads were breakbeat friendly, including one which samples the drum and bass anthem “Circles” by Adam F.




Eventually, I learned that the saccharine garage tune was called “Just For Me,” officially released on August 13th, over a month after the #UncleDance video popped up on my feed. After only a week online, “Just For Me” had over 200,000 views, and now, the song has over two million streams. Not to mention the numerous copycat accounts which uploaded one-hour loop videos for a song that’s not even two minutes long.




Oddly enough, there are millions of people around the world who don’t mind listening to this one-minute and 56-second song on an endless loop. We can infer Pink Pantheress’ fans are major Stans but mind you, the young UK talent never had any marketing plan in place and certainly, as a broke university student, didn’t have the money to procure one. The beauty of TikTok was that its users created the buzz for her and continued to spread it off of the app. Now, after a series of viral TikTok hits, Pink Pantheress is signed to Parlophone/Elektra Records and is appearing on lineups worldwide, including Lollapalooza and the Los Angeles extension of Primavera Sound.




To add, Pink Pantheress has introduced a new generation of adolescent music consumers who don’t realize they are enjoying UK bass music.




That isn’t the only subgenre to have been given new life by trending sounds on TikTok. Jersey Club has had a resurgence with Cookie Kawaii’s “Vibe” becoming another trending sound on the app and, more recently, “Jersey Anniversary,” by KiaBHN, who gives the Tony! Toni! Toné! song “Anniversary” a bouncy edit.




Many, like myself, are down for the cross-pollination of dance music in pop culture, but not everyone is on board with the rise of the app’s success.


TikTok's Harrowing Effects on Creativity

FKA Twigs, Florence and the Machine, and Alison Wonderland have all complained about the pressures they’ve received from their labels to post more on the app. Time Magazine reports that major labels have figured out how to strategically use the app for their financial benefit, using their marketing budgets on 30-60 second videos instead of billboards or magazine spreads. Universal Music Group, for instance, has even signed deals with TikTok to cross-promote content and hired teams to track the app’s data.




And why wouldn’t they? TikTokers are spending the most money in-app globally, beating out YouTube subscribers and horny people on Tinder. ByteDance, TikTok’s owner, also ranks higher than SpaceX in its estimated value at an estimated $425 billion to SpaceX’s measly $100.3 billion.




So no matter how you look at it, TikTok is a global force that many in the music industry still try to reckon with. And lo, have they tried. The cases of artists, brands, and companies faking viral moments to try alternative methods of advertising have ironically become something of an epidemic.




In April 2022, pop star Kid Laroi staged a feud with his ex-manager to promote a new song, “Thousand Miles.” After getting other influencers Bella Poarch and Charli D’Amelio to join the trend and use that song, “Thousand Miles” debuted at No.15 on the Billboard Hot 100 and now has over 20,000 videos on the app containing its melodies. “Doing it for the clout” takes on new meaning when the results have life-changing social and financial benefits.





Celine Dion’s “It’s All Coming Back To Me Now” may have come out 25 years ago, but earlier this year, the ballad set one-day streaming records on Spotify and YouTube after videos of users lip-syncing the pre-chorus became a viral TikTok trend. This trend continued off the app, with versions popping up on Instagram Reels.




This aligns with a Statistica report that searches stylized “tik tok” spaced and “TikTok” spelled singularly is the third most popular search query on Youtube. The app’s namesake has also become synonymous with any short-form video content online. Even if users aren’t on TikTok, its content is still on their minds regardless of whether they have the app on their phones or not.




TikTok as a Changemaker

Though there’s still an odious cloud of it being a “high school dance app,” TikTok is changing how we consume media in real-time, and even when you consider pop music singles now being of shorter length and dance music’s influence on trending sounds, the music industry, as a whole, is still figuring out how to keep up with the app’s movement.




The platform saw the highest number of downloads in the first quarter of 2020, coinciding with the onset of a global pandemic. Many of us took to social media to pass the time, with musical live streams becoming one of the more popular forms of outlets. An Eventbrite poll found that roughly 67% of live stream viewers are more likely to buy a ticket to a concert after watching a live video of that event. And for music festivals, 30% who watch a live stream will attend that same event the following year.




For the music industry, this makes the ability to turn streamers into ticket buyers more tangible and could quite possibly be one of the more positive outcomes of Covid’s lasting effects.




TikTok isn’t the first media platform to disrupt the music industry, but it is what’s happening right now, and it’s time for artists, labels, and the like to start paying attention.

TikTok, Ya Don’t Stop - A Look at the App’s Effects on the Music Industry and Media Consumption

One of the UK’s most notable and long-admired DJs and producers, Oliver Dene Jones, aka Skream, enjoyed the type of pandemic productivity many could only dream of.



Over the course of lockdowns throughout 2020 and 2021, the multi-genre dubstep-turned-disco DJ and producer created a whopping 220 tracks, on top of establishing his own, inaugural label, IFEEL, which became the creative launchpad for self-produced tracks such as “Trees” and “Chester’s Groove” (remixed by Berghain resident Norman Nodge).



Though quarantine served as a catalyst for the latest era of Skream’s prolific career, the South London native has a unique origin story more than two decades in the making. So, who is this artist whose sonic influence has reverberated throughout vast world of dance music?







Skream, now 36, began as a bedroom DJ at the age of 11. He would break into his brother, DJ Hijak’s, room to fiddle with his turntables before eventually experimenting with music production equipment at his stomping grounds, Big Apple Records, in Croydon. It was “all fun and games,” at the start, but by the age of 13, he knew he was destined to be producer. By 14 or 15, his tracks had begun making their way through the sound systems of local London clubs.



“There was a really famous party that had just started called Forward. It was also the first time that I heard one of my songs in a club,” Skream told Billboard in a 2021 interview. “It was the icing on the cake for me that was like, ‘This is what is what I want to do.’”







Skream’s career can be characterized as one that’s always been on the vanguard of musical movements, encompassing the entire arc of the electronic dance music industry. He was on the leading edge of the dubstep movement in the mid-aughts, paved the way for the transition to a more underground (yet still commercially appealing) house and techno sound in the early-2010s, and more recently, has even leaned into the nu-disco revival.





Early in his career, Skream’s ability to flex cross-genre led to a slew of opportunities. Following the launch of one of his biggest releases, Midnight Request Line, in 2005, Skream found success across multiple musical categories, collaborating with notable grime artists, Wiley and Skepta, and adding his dark, dubsteppy DJing flare to remixes for songs like La Roux’s “In for the Kill.” In 2006, he began a stint on London–based Rinse FM. The community-based station has long remained ahead of the curve in urban and underground music and Skream’s weekly show quickly gained notoriety around Britain and beyond, cementing his place in the burgeoning dubstep spotlight.









In 2007, a new project emerged. Skream combined forces with producers and DJs Benga and Artwork (previously known as Menta), two artists he met during his Big Apple Record days. The trio embarked on a sold-out global tour in 2010 and released their eponymous album, which peaked at number 5 on the UK Album Charts in 2010 with the lead single, “spot.”








The project further skyrocketed Skream into electronic music prominence, and over the course of following years, the artist worked his way onto some of the most high-profile stages (including Berghain’s Panorama Bar and Printworks London) and into some of the most prominent electronic music institutions in the world, including contributing to Pete Tong’s 2013 Defected Records house mix.







But in the 2010s, yet again on the frontier of a new era for dance music, Skream verbalized the marked shift he was witnessing in EDM. In a 2013 interview with Fact, he left nothing to the imagination on his position of the evolution (read: dilution) of dance music.



“I can’t fucking stand EDM anymore,” he said, going on to laude artists like Seth Troxler and the newly-debuted Kaytranada for their roles in injecting real, deep, underground house more into the mainstream. “There’s a lot more interest in it, people are interested in good music again, and that’s good.”







And in the decade since, Skream’s career has evolved yet again, appealing to widening the fanbase eager to reconnect (or connect for the first time) with the soulful, powerful, and authentic roots of dance music. From a Saturday residency at Shoreditch Club’s XOYO to his consistent sets at some of Manchester’s mega-clubs, Skrea’s sound has shifted into a funkier, disco-laden style that’s caught fire throughout the UK and beyond.

“Manchester was the biggest fanbase in the country for a while,” he said in a video interview with The Warehouse Project, surrounded by shelves of sneakers (Skream is a self-described sneakerhead, who jokingly admits has tried to curb his obsession in recent years). In both a production and DJ capacity, Skream has continued to adopt the flare of disco and funk. Since the pandemic, he’s played prolific parties like Spain-based elrow, Manchester’s Parklife, and Glastonbury’s Lost Horizon.







With the world on the precipice of some semi-return to normalcy, what’s next for Skream?



For one, a continued focus on his label. "I wanted to create a label solely for my own productions, in any genre I feel like," he told EDM.com. "I also wanted to bring in artists that I really admire."



And that he did. Set to reunite with Benga in 2022, Skream is causing a lot of buzz about the potential for a fishhook back into his dubstep origins. But don’t expect this artist defined by mutability to be pinned down for long.



Follow Skream on Facebook | Twitter | Instagram | YouTube | SoundCloud | Resident Advisor

From Dubstep to Disco and Back: Skream Stays on the Forefront of Dance Music

We welcome a new month in full force in Ibiza with countless plans to enjoy the island from dusk till dawn and beyond. It’s a very exciting moment for the island’s history after a two-year pause due to the pandemic and it seems like we are back stronger than ever before, embracing old and new holidaymakers to make the most of our beautiful island. Check out some of the best suggestions for this week!





F*** me I’m Famous | Ushuaïa | June 6

David Guetta’s legendary residency moves from night to day for the first time ever this summer. Since the first F*** me I’m Famous party at Pacha back in 2003, Guetta has evolved becoming one of the most popular DJs on the planet and so has his sexy and glamorous concept. This season, the superstar French artist promises a completely new experience at the famous Platja D’en Bossa open-air club Ushuaïa, joined by some of the biggest names in the commercial dance music. David Guetta and friends will be performing under the Balearic sun to his loyal fanbase from June 6 till the first Monday of October. Take your pick from 18 special Monday afternoons alongside the true idol of masses.




Get tickets for FMIF opening party at Ushuaïa on June 6

Follow David Guetta on Twitter | Instagram | SoundCloud




20 years of Kevin & Perry Go Large | Amnesia | June 6

For two nights only, Kevin & Perry celebrate their 20th anniversary at Amnesia Ibiza this summer. If you love trance and classic electronic music from the 90’s and early 00’s, on Monday night go to Amnesia to celebrate two decades since the iconic film's release. There have been tons of films covering Ibiza club culture, but none has come as popular as Kevin & Perry Go Large. They will be accompanied by Ibiza favorite DJs alongside Seb Fontaine (the DJ that originally played during the movie) and Judge Jules, the curator of the soundtrack. Let’s meet at the place where it all started on Monday June 6 to reminisce over the iconic rave culture movie with the legendary duo!




Get tickets for one of a kind party with Kevin & Perry on June 6















Zero meets Veniceberg | Underground | June 7

With a sizable outdoor terrace and a truly cozy and happy atmosphere, Underground is very popular among islanders. If you like to feel part of something more intimate and away from big name headliners, you have to visit this heavenly club. Located in San Rafael, lying between Privilege and Amnesia, Underground has teamed up with Zero logistics and Veniceberg records to spread quality electronic music in its traditional Ibizan house again this summer.




For a good dose of underground sounds and club culture, on Tuesday, June 7 head over to this special venue and enjoy Rhadoo, Lamache, Lorenzo Slider B2B Michele Preda and Ion Pananides behind the decks.




Doors open at 11pm, get your tickets at the door!



Follow Ibiza Underground Club on Twitter | Instagram | SoundCloud








Solid Grooves | DC-10 | June 9

The name speaks for itself. Solid Grooves has become a solid tech-house label and events brand focused purely on the beats. The brand has traveled around the world since its inception back in 2012, establishing party residencies in the UK and on the White Island. Founder Michael Bibi accompanied by Pawsa and Dennis Cruz have created an underground experience with soul and rhythm that matches perfectly with DC10. Regulars on the roster are heavyweight DJs as well as upcoming artists bringing their own unique sense of energy and taking the party to the next level. If you are a groover, don’t miss this weekly residency that kicks off this Thursday June 9 at Ibiza’s clubbing mecca.




Purchase your ticket for Solid Grooves opening party









Follow Solid Grooves on Twitter | Instagram | SoundCloud




Destino Ibiza Grand Opening with Solomun | June 10

One of Ibiza’s most beloved artists, Solomun, opens the party season at Pacha’s resort located a short distance from Talamanca beach, in Cap Martinet. Apart from offering accommodation as a hotel, Destino is a tropical open-air venue with palm trees, a cherry shaped pool, sun beds and a Mediterranean restaurant. For 12 dates only, this summer Destino Pacha will host music events from 5pm till midnight and as it could not be otherwise, Pacha Group invites Solomun to lead Destino Grand Opening in style on Friday June 10.


Follow Solomun on Twitter | Instagram | SoundCloud




Pyramid | Amnesia | June 12

The party created by Amnesia in 2018 has become one of Ibiza's best clubbing experiences for techno lovers coming to the island. Groovy tech-house and high energy take place in two separate rooms at Pyramid events.

After a wonderful warm up party in April, Pyramid is back every Sunday at the San Rafael mega-club starting with the opening party this Sunday June 12. If you like the Pyramid formula “appreciate the past, live the present and dance into the future,” this underground event is made for you!




Buy tickets for Pyramid opening party at Amnesia

Follow Pyramid on Instagram | SoundCloud







If you prefer to stay out of big clubs and enjoy a different side of Ibiza, below are a few suggestions for these days:





Concept Hotel Group launches an acoustic concert series every summer under the name Dorado Live Show at Santos Hotel, located in the quietest area of Platja d’en Bossa. Usually, the event presents Spanish bands around rock, soul, and local styles. 



On Thursday, June 9 from 8 pm it’s Dorian’s turn. The band from Barcelona is considered one of the most nationally-renowned music groups with a mix of styles that go from indie, rock, new wave, and even electronic music. If you fancy acoustic music with an intimate atmosphere and ocean views, meet Dorian at Platja d’en Bossa on Thursday evening.



Also managed by the group of concept hotels in Ibiza, you can feel La Havana in Ibiza at Cubanito, located in Sant Antonio. It offers one of the best Ibiza sunsets from its rooftop terrace known as Malecón. If you feel like dancing to Latin jazz and live Cuban music with a mojito in hand, make your way to Sunset Malecón this Sunday at Cubanito from 8pm!









Romeo’s Motel & Diner is one of the latest Concept Hotel Group additions only for adults at Cala de Bou, right in the middle of San Antonio Bay. Inspired by the classic motels on Califronia's Route 66, it features a drive-in Wedding Chapel, a pool area with red and white parasols and well-equipped rooms and suites made just for ‘lovers and sinners’. On Fridays, Romeo’s features Canta Bingo Karaoke hosted by Dame Lola Von Dage, being the most unconventional bingo in town. The event begins at 8 pm and combines bingo plus karaoke and rock essence, as well as fun and games till well into the night. See you there!


More info at www.concepthotelgroup.es

Ibiza Selects (June 6 – June 12)

Earlier this Spring, Gorgon City took CRSSD Festival to new heights. Menacing vocals echoed through the darkness within seconds of them stepping behind the decks to signal the arrival of something big.




Kicking off each year in San Diego’s Waterfront Park, CRSSD Festival is one of the most anticipated US dance music events. The Spring 22’ lineup featured Four Tet, Glass Animals, Jeff Mills, Sofi Tukker, and many more.








North London duo Gorgon City – Kye Gibbon and Matt Robson-Scott – have garnered a torrent of international support in the past decade. Their tracks, a supercharged form of bass-driven tech house, have proven to be addictive, pulling in over 676 million combined streams.




Alongside producing several UK hit singles, the pair have also ventured onto tougher, more club-oriented terrain through their REALM imprint, which has housed meaty releases like “Grooves On The Vinyl,” “Motorola,” and “Primal Call.” They’ve sold out headline shows at Brixton Academy, Ushuaia, Sziget Festival, and Splash House in Palm Springs.







CRSSD Festival returns this September. Gorgon City will appear at Lost & Found in Malta, Love Saves The Day in Bristol, Extrema Outdoor Festival in Belgium, and beyond. They’ll also be resident DJs this Summer at Ibiza’s coveted super-club, Amnesia.







Follow Gorgon City on Twitter | Instagram | Soundcloud