On Ibiza we welcome the July heat and juicy events led by some of the best DJs on the planet. Long beach days and non-stop partying are synonymous with Ibiza summers. So to keep that heat going on the dancefloor we selected a few of the best places to be for the upcoming week.



Carl Cox Invites | DC10 | Tuesday, July 5

For eight dates this season, the king Carl Cox is inviting some of his DJ friends to DC10. The legendary techno artist that will take over Tuesdays in July and August at Ibiza’s paradise for ravers located at the end of the airport runway.



Cox has been a regular in Ibiza for more than 20 years and the main man at Space Ibiza (closed in 2016) but this is the first time he lands on the island with his Carl Cox invites concept after touring it worldwide last year. If you want to experience a pure night of clubbing by one of the most in demand DJs on the planet, make your way to DC10 this Tuesday July 5.



Purchase tickets for Carl Cox invites at DC10 on Tuesday, July 5

Follow Carl Cox on Twitter| Instagram | SoundCloud











Martin Garrix Opening Party | Ushuaïa | Thursday, July 7

Dutch producer and EDM star Martin Garrix returns to Ushuaïa this summer, taking over the open-air venue for ten events on Thursday afternoons untill September 8. In 2015, young 19-year-old Garrix - who has recently released his first album Sentio – held court on the island with his first residency. Now, the youngest number one DJ for three years in a row (2016-2019), label owner, and producer of many hits celebrates his third residency on Ushuaïa’s main stage kicking off Thursday, July 7.



Get your ticket to enjoy Martin Garrix at Ushuaïa.

Follow Martin Garrix on Twitter | Instagram | SoundCloud













Afterlife Opening Party | Hï | Thursday, July 7

“An odyssey through the realm of consciousness,” is how Italian techno duo Carmine Conte and Matteo Milleri, better known as Tale Of Us, define their concept. The multifaceted artists are inviting innovators including Ben Klock, Rødhåd, Nina Kraviz, Carl Craig, Mind Against, and Modeselektor in electronic music to help lead the journey. Afterlife has become one of the most successful summer encounters at Hï Ibiza. Thursday night’s feature hypnotic and minimal production to keep the focus on the music. A highly recommended night for real techno lovers. 



Enjoy Afterlife with Tale Of Us at Hï

Follow Afterlife on Twitter | Instagram | SoundCloud













El Baile Opening Party | Pacha | Thursday, July 7

The team behind Storytellers brings a new immersive party concept to the Ibiza scene to celebrate dancing as a symbol of freedom, equality, and diversity and pay homage to the dance music culture of the island through 14 different ‘chapter’ events. It takes its name El Baile (The Dance) from the book that celebrates Pacha’s 25th anniversary. The team is bringing the Queen of neo-soul Erykah Badu to the opening party alongside a roster of powerful female performers. El Baile honors the past in the present with a powerful feminine spirit recognizing the roots of clubbing culture born in gay communities. Visit Pacha on Thursday if you are looking for a friendly and distinctive celebration!



Tickets for El Baile opening party at Pacha on Thursday

Follow Erykah Badu on Twitter | Instagram | SoundCloud











Skreamizm | Amnesia | Friday, July 8

DJ and producer Oliver Jones, better known as Skream, makes two appearances on the island as part of his Pan-European Skreamizm tour. The London-based DJ —considered the ambassador of dubstep in the 2000s—will be touring five countries and stopping at Amnesia for two Fridays this summer. Skream is one of the most versatile DJs on the scene, weaving a path from house and disco to techno, drum'n'bass, and more. His Skreamizm events are a representation of that diversity with a host of DJ guests including legendary duo Octave One to perform live, Aussie boy Partiboi69, Scottish selector Eclair Fifi, and Sally C.



Buy tickets for Skreamizm party on Friday at Amnesia

Follow Skream on Twitter | Instagram | SoundCloud











Ibiza isn’t just the greatest clubbing destination in the world, it’s also a foodies paradise. Check out some of our recommendations below.



Dinner and a show at 528 Ibiza

For a multi-sensory experience, 528 Ibiza, located in the rural hills of Benimussa, is the perfect blend of Mediterranean cuisine, music, art, and live entertainment. Its name is a nod to both club culture and the spirit of love that transformed the island into an international hub of unity. 528 Hz is known as the frequency of health, connection, inner peace, and love. A theatrical open-air dining experience converted into an interactive Phoenician marketplace, full of diverse and colorful characters and some of the most skilled artists in the world. A brilliant link to Ibiza’s heritage and culture, 528 honors the past and the island’s famous mystical energy. All topped with an Ibizan-inspired menu made by internationally renowned chefs paired with craft avant-garde cocktails. Doors open at 7:55 pm so you can enjoy the sunset.

More info at: www.528ibiza.com









El Silencio

Tentacles, giant lips and swings are some of the elements you can find at the infamous Parisian venue Silencio. The playful club was designed by Miranda Makaroff and and features Brazilian artist Samuel de Saboia’s Dreamland paintings. French owner and founder of NESO Paris Guillaume Sanchez fuses the menu with high-quality local products and you can also order street food powered by Pharrell Williams’s ToGo street-food group(you can take away and eat at the beach). There is also a tapas and beach restaurant by Mauro Colagreco, chill-out area, and club nights courtesy of CHA CHÁ The Club Madrid, LunArts, Jaime Fiorito, Cuts & Wines, and Pascal Moscheni. El Silencio is located at Cala Molí, on the east side of the island and opens at noon.

More info at: www.elsilencioibiza.com











ASAL Ibiza

Opposite Pacha, located inside the Ibiza Gran Hotel, a new venue has been born, Asal Restaurant and Bar. It consists of three minimal spaces Inspired by organic and natural Gaudí shapes and a Pitiusan style. The Garden Terrace and the Chef’s Saloon are guided by Mario Sandoval, who holds two Michelin stars and has been recently awarded the Michelin green star (an award for sustainable cuisine). This new luxury venue is a combination of the beauty of the island with light, modern, and timeless style that evokes Ibiza's famous caves.

More info at: www.asalibiza.com

Ibiza Selects (July 4 – July 10)

One of the UK’s most prominent producers, Skream, has been at the helm of boundary-breaking sounds for the better part of two decades. As a young up-and-comer, a 15-year-old Ollie Jones was pivotal in the progress of dubstep in the early 2000s. He pioneered the depths of the low end for ten years before transitioning to the soulful side of dance music. Navigating the new sounds like a fish to water, Skream found his way behind the decks at dance music institutions like Spain’s elrow, Manchester’s Parklife, and many more around the globe.





We’ve seen Jones touch back to his Dubstep roots recently, notching a dubstep set at Coachella and a whopping seven-hour B2B with Mama at an all-night party in London club, KOKO. Clearly, in tune with both sides of the spectrum, we weren’t sure what to expect from the July 15th arrival of his new EP, The Attention Deficit, but we now know this much: the inaugural single, “The Attention Deficit Track,” is a straight-up tech house fire starter.



The kick wastes no time setting a heart-pounding pace while the percussion builds the primal beat of this relentless stomper. Chopped Italian vocals begin to furiously fly through space in vigorous hypnotic symmetry, and any inhibition towards movement dissipates. It’s spine-tingling. It’s stimulating. It’s absolutely mad, and we absolutely love it.



This newest offering comes in collaboration with Glasgow’s famous genre-blender, Jackmaster. Skream and Jack came up together in the UK Dance Music scene, their careers running separately but parallel, working to push and defy boundaries. Seeing two top-tier talents in sync on a seismic single is a thing of beauty, and it seems there's more. Jack tweeted on release day, “Good things come to those who wait. Just wait till you hear what we have up our sleeves next.”







Follow Skream on Facebook | Instagram | Twitter

Follow Jackmaster on Facebook | Instagram | Twitter

Skream Holds Nothing Back with 'The Attention Deficit Track'

Bringing gospel-infused house and techno to the sunlit slipways of Belfast, Floorplan’s AVA Festival set was akin to divine intervention. Highlighting techno and house's roots in soul, disco, and funk, the duo often mesh samples from the likes of Kool & the Gang and Aretha Franklin into hard-hitting club tracks.




Inspired by their devout Christian faith, the pair also feature prominent samples from gospel music in their material. Their 2011 hit, “We Magnify His Name,” revealed the power of combining these genres.




Hailing from Detroit, Floorplan is the father-daughter duo of Robert and Lyric Hood. Starting life as one of Robert’s solo projects in the 1990s, the minimal techno pioneer began collaborating with his daughter in 2016. In 2019 they released the album, Supernatural, and since, a multitude of singles.




Emerging in Belfast and later spreading across London, mainland UK, and Ireland, AVA is an Audio-Visual Arts Festival, Conference, Exhibition, Event Series, Industry Network, and Broadcast. Its goal is to celebrate, amplify and develop the strong current of electronic audio-visual art from the ground up.




Its flagship event, AVA Festival Belfast, started in 2015 and has grown annually. It’s now swelled to include a program of international showcases, including Mumbai, Amsterdam, London, Manchester, and Dublin.




Keep your eyes peeled for upcoming Floorplan shows at Defected at Eden in Ibiza, SWF 2022 in Amsterdam, and Maiden Voyage Festival in London.







Follow Floorplan on Instagram | Soundcloud | Spotify

Floorplan Bring Divine Energy to AVA Festival

Techno, house, and love: the foundations that imprint and brand Desert Hearts is founded on. Desert Hearts—created by Mikey Lion, Lee Reynolds, Porkchop, Marbs, and Kristoff McKay—can be best described as embodying freedom of expression, community, and consciousness.




The label, party brigade, and boutique festival began in 2012 as a 200-person gathering in the Mojave desert. “It just organically grew into a festival,” Lion tells Forbes. “We never intended for it to be a festival or had intentions of creating something this big when we first started it. It kind of developed its own personality, following and [growing a] community around it, that we felt responsible to keep it going because it was just this…the most beautiful thing that we’ve ever been a part of.”



In addition, the festival proves to feature impressive lineups, boasting the likes of Tiefschwarz, DJ Harvey, Monkey Safari, Rodriguez Jr., DJ T, Claude VonStroke, Marc Houle, Olivier Giacomotto, Mark Henning, M.A.N.D.Y., and more over the years.




Desert Hearts Records launched in 2014 and features releases from acclaimed producers and burgeoning artists. Past releases on the imprint include Andreas Henneberg, Latmun, The Glitz, jozif, TÅCHES, Dance Spirit, Fritz Carlton, Kevin Anderson, RYBO, and, of course, the Desert Hearts crew. In addition, the eclectic party crew has traveled the world, bringing their City Hearts events to destinations such as Los Angeles, New York, Tulum, Mexico City, Miami, San Francisco, Houston, Chicago, Toronto, and Denver. It’s safe to say the brand’s techno, house, and love movement isn’t slowing down.




“Desert Hearts has given me my entire life,” Lion tells Forbes. “I think humans are tribalistic by nature and, for a lot of people, the tribe that they find is like their sports team or something that they feel a part of. I think that that’s my favorite part is that we’re all coming together with this common goal of creating love and spreading that positive energy and that goal of becoming the best versions of ourselves. It’s truly incredible to me.”




We picked 11 of our top songs by the Desert Hearts crew that are sure to get you grooving.




Andreas Henneberg and Mikey Lion - The Tortilla Rap



Mikey Lion brings the funk with this track. Boasting pulsing baselines and percolating beats, this song is dance floor ready. The comical lyrics provide added flare, truly delivering the sounds you need.




Andreas Henneberg and Mikey Lion - Surfliner



From thumping and effervescent bass to swirling synths, this track has what you need to get you dancing. This is truly a festival-approved track.




Machino and Lee Reynolds - Moon Matrix (Original Mix)



Lee Reynolds and Machino open by delivering the dark bass that you crave. Wonky and shimmering synths then lead listeners on a sonic journey. Don’t sleep on this out-of-this-world song.




Rinzen, Marbs, and Evan Casey - Ark



Enter a psychedelic dimension as the trio spins a transfixing song. The record came out on Desert Hearts Black, the darker side of the brand.




Mikey Lion - This is the Beat

Swirling synths, persistent bass, piano backdrop, and pulsating sounds will surely get you grooving. This record provides the beat that you crave.




Mikey Lion, Lubelski, and Jackson Englund - When I’m With You



Catchy lyrics, calming tones, shimmering synths, and groovy bass deliver a track meant for a sing-a-long. The record proves that Lion is a multifaceted creative: one that creates both dancefloor anthems and low-key heaters.




Lee Reynolds - Revolution Earth



Lee Reynolds brings swirling synths and stunning sounds, making this a headphones musical experience. Indeed, the song proves the artistic skills of the producer.




Marbs - Needed Time

Marbs plunges listeners into a dark underworld overflowing with pulsing bass and ominous synths. The track intertwines its dismal sound with bass designed for dancefloor domination.




Mitch Dodge and Porky - Chameleon

Get down and funky with this record that delivers bongos, snakey synths, and a build-up that leads into bass bops destined for the underground. Don’t miss out on grooving to this song.




Machino and Lee Reynolds - Puma Punku (Original Mix)



Transcend into a darker universe with Lee Reynolds. This track is designed to transport you to a dark and sweaty warehouse.




Mikey Lion - I Like to Go Out



Soundtrack your pregame to this funk-filled song. From chimes to catchy lyrics and snaring synths, this song is set to get you into the party mood.

11 Desert Hearts Songs Sure to Bring the Funk

I’ve always wanted to go to a music festival in Europe, and the 29th annual Sónar held June 16-18 in Barcelona was exactly what I was looking for. Since 1994, the innovative “music, creativity and technology” event has presented dance music in unique and engaging ways—they’ve been known for stunning visuals, exciting artist pairings, and boldly exploring who is captivating the underground.

A lot has happened in the world since the last Sónar in 2019, and they’ve done their best to keep up with it. The art space at the daytime venue has gone fully virtual, with a gallery of mind-bending NFTs, V.R., and AI-generated creations. Sonar+D talks and events followed suit, including subjects like an “AI-powered Soundscape Experience,” “Future of Music: AI-driven Virtual Artists,” “What you really need to know about web3 masterclass,” and more.

The daytime venue at Fira Montjuïc was intimate and playful, with four music stages, the biggest of which was outside in the sun, with a dancefloor padded in astroturf and shaded along the edges. The nighttime venue, at the massive Fira Gran Via L’Hospitalet, about 20 minutes away by metro, was a cavernous space with four stages and bumper cars hiding in the middle.



The music was stellar and eclectic. I love when the element of discovery feels like a key part of a festival experience, contrasting a lineup with the biggest names we’ve seen on almost every other lineup that year. On the first day of the event, I was excited for Sega Bodega, UNIIQU3, Ms Nina, and Jayda G. I was thoroughly delighted by the outdoor SonarVillage lineup, which happened to be all women, who slayed and served up extremely diverse and joyful sounds.



On Thursday, recently recovered from COVID-19 and free from quarantine, I arrived at Fira Montjuïc around 5 p.m., in time for the last half of Sega Bodega’s stellar live set downstairs at SonarHall. He sounded amazing, and the stage design was trippy af—the lasers shot out from under him and his microphone, giving the effect that he, too, was a laser. I had to stare at the flowing, ethereal tulle curtains behind him—mixed with smoke, lights, and more lasers—to determine if they were virtual or real, as they also looked like lasers. The vibe was sexy, sultry, and smokey rave, a perfect complement to the Irish-Scottish singer, songwriter, and producer’s music. By the time his set was over, my upper lip was sweating heavily under my mask, and I’d yet to find a spot to stand where someone wasn’t smoking a cigarette, so it was time to go back above ground to SonarVillage.

London-based Manara had been throwing down when I arrived and was still serving up her bouncy blend of Bollywood club edits and ’90s and ’00s pop—she ended with Backstreet Boys’ “I Want It That Way” and global club rhythms. I was still covered in sweat outside, but I followed the wisdom of the crowd and danced in the shaded bits of astroturf. In the crowd, booties bounced, and hands were filled with squirt guns, bubble guns, fans, and Estrella Damm beer. Despite the humid heat, we were ready to get down, and the fabulous femmes of SonarVillage were fully prepared to serve it.

The stage was split with a D.J. booth and a larger live setup, allowing seamless transitions between sets. As soon as the Backstreet Boys classic ended, UNIIQU3’s energizing presentation of the Jersey Club sound she’s at the forefront of began. Starting 111 percent lit off the bat, she held nothing back for her first Sónar performance, commanding the decks with her bouncy, sexy selections and coming out front to rap and dance to her original tracks. The crowd swelled, no longer able to remain in the shady parts. At one point, a loop of Lil John shouting “okaaaaaaayyyy” echoed between the spaces of another track—he was our hype advisor during her set, and I think he would’ve approved.

For her 2018 track “BUBBLE GUM,” she came out from the decks to rap and twerk to it. She closed with her 2021 club hit “Microdosing,” letting us know with a smile, “You guys definitely don’t microdose, my love. You macro dosing it!”

Next up was more fire from Lady Shaka, who is indigenous from New Zealand and joyfully brings Afro-Pasifika diaspora culture to the club. Her dancers donned traditional Polynesian dance attire and shook it to “Dutty Wine,” “You Make Me Feel (Mighty Real),” and “My Tahiti,” the latter of which she went hard on the ukulele. Nostalgic pop had a strong presence on Thursday, which I was happily surprised by. When I heard the shrill sirens of Britney Spears’ “Toxic,” I jumped up from my padded seat at V.I.P. to report back to the dance floor. She mixed it into Rosalia’s “MOTOMAMI” and later, during Fergie’s “Glamorous,” came out from behind the decks to dance.

The double scoop of vegan gelato I’d eaten earlier to fight the heat had burned off hours ago, and it was time to eat some solid food. While waiting for a veggie burger, I saw UNIIQU3 waiting for her sustenance there as well. I said hi and told her I appreciated that she just went hard right out of the gates. She said thank you and gave me a smile that seemed to say, “Girl, this is how we do it.”

Angolan-Portuguese singer/songwriter Pongo was commanding the stage, glowing in neon pink as she served up her energetic neo-kuduro sound. This sound brings the Angolan genre to the club, which she was responsible for launching 14 years ago—when she was just 16—in Lisbon, Portugal, with “Wegue Wegue” (as a part of Buraka Som Sistema). For this seminal song, she brought over a dozen audience members to dance and power kick with her.



Last was Canadian environmental scientist and funky house queen Jayda G. They closed out an excellent day of joyful sounds and energy from an amazing group of women at SonarVillage on a very high note.

I was three or four glasses of Spanish wine deep, and my note-taking went to the wayside to get super down with this queen of joy. I did successfully Shazam one track from her set—the groovy disco bop “Over You” from Ken@Work. She also played some James Brown and served up pure upbeat, joyful vibes that danced through house, soul, funk, and disco selections while dancing hard.

I returned to the fairgrounds on Friday, excited for the day and night ahead. I was keen to see something I’d likely not see anywhere else, so I beelined to the X indoor stage, adjacent to SonarVillage, for flamenco experimenter Niño del Elche, performing with an 80-piece band from his homeland of Valencia, in a show meant to channel traditional festivals there. The set began suddenly as the band began marching from the back of the room, making their way through the crowd to somehow fit on stage. Niño stood behind them, with his D.J. next to him, beginning with a spoken introduction in Spanish, welcoming us to the wild party that had just started. The first song had him singing chant-like over a jingling Arabic-influenced rhythm (Valencia is part of Moorish Spain) as he slowly waved his hands out flat in front of him. There was another song where he sang “la la la la S.E.X.!” atop a groovy, housey rhythm, ending with “En Valenciaaaaaaa!”



It was strange, experimental, and beautifully paid tribute to Valencia. And even technical difficulties couldn’t limit the energy or send the crowd away. As he shouted "Bienvenidos a la experiencia de la cimica natural! … la vida es para vivir! Toma, toma, toma!” (Welcome to the experience of the natural chemical… Life is for living!) as we danced hard. He ended with a flourish of hard techno, screaming with the mic in his mouth—legend.



Back at the outdoor stage, as the sun set, Parisian electro-pop duo Polo & Pan—with help from their vocalist Victoria Lafaurie—took us on a shimmering, buoyant, and synthy trip around the world. The crowd was again packed, including a guy—my festie crowd hero—with crutches, one in the air, spinning various hats on it. Lafaurie was the show’s star, owning the stage with her sultry voice and dance moves.

For “Tunnel,” Polo & Pan’s Cyclorama collab with Los Angeles swag maestro Channel Tres, Polo channeled some of his swag as he rapped his bars. They closed the joyful set with “Magic,” also from 2021’s Cyclorama.

House music power couple Eris Drew and Octo Octa closed the second day at SonarVillage with two and a half hours of vinyl, vibes, and upbeat ‘90s-leaning house. During the Chemical Brothers classic “Star Guitar,” they shared a cute, long kiss.



It was finally time to venture to Fira Gran Via L’Hospitalet for Sónar by Night. German trio Moderat was first on the agenda, playing at the SonarClub stage. Their dark, deep, and moody beats were the perfect welcome to the night. Amidst the smoke, Sascha Ring, aka. Apparat, and Gernot Bronsert and Sebastian Szary, aka Modeselektor, were vibing hard. The gray and red-tinged visuals were fittingly dark and captivating. They blended tracks from the recent MORE D4TA with older classics that still pierce my soul deeply.

The tightly packed crowd only started to thin out as the sun began to rise. The duality of this odd hour wasn’t lost on me. It’s the worst because you’re not asleep yet, and the best because the dance floor begins to clear and people are on their most extra behavior.



We meandered through the various rooms to find our way to the outdoor SonarPub stage for Bonobo’s live set, which was somehow even more packed. The vibes and stage were fantastic, but it was impossible to dance and difficult to see the action, so we didn’t stay for too long. After ordering two delicious crepes (I only needed one, oops), we made our way back to SonarClub for French duo The Blaze, whose fire visuals and dreamy live set kept the crowd alive.

It was time to head back to SonarPub for Agoria, and luckily the crowd was starting to thin out, so there was some room to dance to the techno-led late-night grooves. Niño de Elche was on stage with him to assist in delivering their perfectly strange 2021 collab, “What If Earth Would Turn Faster.” Keeping the spirit of art and technology in mind, Agoria offered a free NFT via a Q.R. code on the screen. The vibe was dark, sexy, and techno.



A friend that has been to past Sónars texted me the day prior about bumper cars, and I was hoping this was still a thing. When I saw them at the night venue earlier that evening—and heard the gleeful screams and various joyfully chaotic sounds and neon lights flashing—I was relieved and excited. Ahead of ANNA’s closing early morning set, a friend and I hopped in a car and incited head-on collisions. Luckily, no one was hurt, and we laughed a ton. Since I’m not a late-night person anymore (I love sleeping) and I was tired earlier in the day, I was worried about being able to make through the aggressive schedule, but here we were at 6 a.m., ready to dance out any remaining energy to ANNA’s unrelenting sunrise techno set.

Her hour-and-a-half of dark-yet-rhythmic techno bangers were enhanced by visuals from Maotik, moving quickly in time with the high B.P.M. of the music and resembled strings of light. As her mostly unShazamable set wound down, we realized we’d done it. We made it to 7:30 a.m. on the dance floor—we’re definetly fucking forever ravers! Time to dig out the sunglasses and ride the subway back home for a long nap before the final day and night of Sónar.



I set an alarm to see alt R&B powerhouse serpentwithfeet at 4:30 p.m., something that, since becoming a full-time freelance writer, I am morally against. Yet, despite the effort, I didn’t make it. Instead, I got lost on the way to the metro while having a sensual experience with the tapas I was eating while walking there (ugh, how American of me).

My final day of Sónar began at the Lounge+D, where I caught the last half of Agoria’s engaging talk with journalist Christine Kakaire on creativity and Web3. Afterward, I said hi to Agoria and walked with him and his lovely NFT friends (they were real, fungible people, just into NFTs) to the digital art gallery.



We had a very meta moment while watching the digital frames flash through various strange psychedelic NFT works when one of Agoria’s suddenly appeared. I appreciated the enchanting movement of many of the pieces and learned from one of his friends about the A.I. programs that co-created some of the art. Wild.

My favorite part of the gallery was the hilarious and playful Face2Wikipedia, by Andreas Refsgaard. On a computer, you input your name, “what you’re famous for,” and take a picture of your face. Then, the G.P.T. 3 text generator serves up a fake Wikipedia page. I thought I was 17, which, thank you, and that I had worked with Rihanna, Beyoncé, and Ariana Grande in my successful career as a professional hype woman. OKAY!

As engaging as the art was, it was time to move. At SonarVillage, New York’s D.J. Python, the creator of the deep reggaetón sound, was throwing down Latin-tinged groovers while casually looking like he just got out of class, donning a brown leather bookbag the whole time. Right after, Italian production duo Nu Genea served up their sunny brand of Naples funk with a live band, complete with congas, an amazing singer donning wings, and lots of upbeat rhythms.


After walking out of the venue to catch an OffSónar party at a nearby faux castle, Poble Espanyol, I decided to run over to pet a dog waiting to cross the street. The dog bit my hand, and I spent the next seven hours in the emergency room, most of which I was waiting. I was heartbroken to miss the Chemical Brothers, who I’ve yet to experience. Eventually, I made it to Sónar by Night around 4 a.m. to eat a much-needed pizza and hear the last bit of Charlotte de Witte slaying SonarClub. I asked everyone I talked to how Chemical Brothers were—they were great, of course. I also missed Arca, Joy Orbison, and Eric Prydz—Sónar held nothing back to close things out!—but I am writing you with a healing, not-infected hand, yay. And at least it wasn’t super crowded anymore as I dragged my exhausted ass through the space again.

French funk maestro Folamour gave me life as I sipped on a Fanta and danced as gingerly as possible. He served up infectious house, disco, joy, and his new Power to the Ppl live A/V show outside at SonarPub. The visuals included illustrated versions of him with a bucket hat and some holographic bucket hat ones; cute. The chant-along chorus of Brazilian disco heater “A. E.I.O.U.” from Di Melo is now one of my favorite songs; thank you for that, Folamour. As the sky glistened into the morning, he dropped the Bee Gees’ “Staying Alive,” and we all got down.







Siberia-born, Naples-based Anifsa Letyago, one of the newer killer techno queens, closed things out in style at SonarClub. She delivered spacey, strange, and sickening techno with mind-bending, liquidy visuals by Alice Erre, some with her face as artistic inspiration.

My friend and I snuck away at 7, half an hour before she ended with the debut of her new single “Haze,” only because sleep was desperately pulling on our eyelids.

I cannot wait for the 30th-anniversary edition of Sónar next year. I will be there, and I promise I will not pet any dogs unless the dog clearly demands it.

Sónar 2022: Techno, Disco, Rave, NFTs and Everything In-Between

Drake has been incorporating dance music into his records since summer sixteen, a time when gas prices were low, Trump hadn’t been elected yet, and you couldn’t go anywhere without hearing “One Dance” or “Controlla.” While he had always poked fun at his singing rapper reputation, the release of Views marked the moment he fully embraced it. Despite how side-eye-inducing his faux patois was, Drake’s coquetry with dancehall and afrobeat was too catchy to not eventually grow on you.




Honestly, Nevermind dropped right as I got home from a dance music awards ceremony. So you can imagine my skepticism when people dubbed it a “house album.” It might be - in the same way, Aminé’s TWOPOINTFIVE is a drum n bass album, or PinkPantheress’ to hell with it is a jungle album - which they are, a little, I guess?




Sprinkled throughout the credits of this record are a plethora of electronic music producers. Most prominently, Drake enlists the help of South African 2022 Grammy Award-winning Black Coffee as one of the album’s executive producers and EDM trap trailblazer Carnage, who has since fully rebranded to his house alias, Gordo. High-profile house acts like these (and Frankie Knuckles is probably rolling in his grave at me implying Carnage is a house act) should mean that this album has the best dance music production. However, I skimmed the first few songs of the record, wondering where the actual dance music was.




Maybe I’m biased because Drake’s signature falsetto is deeply ingrained in my brain as synonymous with pop. Or maybe it’s because I’ve been listening to Drake bootlegs by some of the greatest electronic acts from both the underground and the mainstream for over ten years.




There’s a snake-eating-its-tail quality to the project, as Drake is probably the most well-loved, most remixed artist in dance music, but he’s especially spun by artists in US-based EDM. You can’t go to a club or festival set without hearing Drake. The Canadian rapper collaborating with these producers is a win for the scene in general. Still, I can’t help but expect more from someone who clearly pays attention to everything said about himself on the internet.




The first song that really caught my attention was “Currents,” produced by both Black Coffee and Gordo. The identifying bed squeaks, “what?” samples and bouncy drum pattern let listeners know exactly where the influence was coming from right away, yet it feels like baby’s first Jersey Club track. Plus, with the rise of east coast club music’s prominence on apps like TikTok, it comes across as pandering to not have an actual Jersey Club producer on the track.




I might have felt differently if the song was good, like Baltimore Club-injected “Sticky.” With credits from Gordo and RY X, “Sticky” grips listeners with its intoxicating pulsating percussion and echoing chopped-up-vocals that serve as the backdrop for Drake’s verses that honor club music’s raunchy lyricism. “Sticky” is proof you can make an interesting song that introduces rap listeners to dance music while also staying true to Drake’s sound.




From “Sticky” on, Drake and his producers attempt to get more experimental. If the first half of Honestly, Nevermind was to prepare longtime Drake fans for how much house they would hear on the record, they accomplished their mission, but not without boring people who already listen to house consistently. His dilettante’s approach to house music is unfortunately predictable. Gordo, acting as the beatmaker with the most production credits on the album, showcases how Drake is still a visitor in this space. Like another accent to try on or trend to hop, he’s secured one of the least relevant and respected names in dance music by those who follow anything other than cookie-cutter EDM. In the back half, we see more of Drake’s frequent collaborators like Kid Masterpiece and Noah “40” Shebib. Ironically enough, they help produce two of the album’s better house tracks, “Flight’s Booked” and “Overdrive.”




With hip-hop and electronic music producers using the same tools to create, Honestly, Nevermind proves that the divide between the two sample-based genres isn’t as significant as we think. And although there are drastic opposing views between people’s first impressions of the album, historically, Drake’s music stands the test of time among his stans and die-hards, regardless of how people react off rip.




I can also appreciate that Drake included so many electronic music producers on the record. Rampa, &ME, Alex Lustig, and Klahr have their catalogs full of dance music gems to dig through.




The day before the album dropped, Gordo tweeted, “This is about to be one of the biggest moments in dance music history…” For the first time, he wasn’t lying. The symbiotic relationship between hip-hop and house music has always been apparent to those who listen to both. House DJs have been blending rap in their mixes since the late ‘80s, when “Hip House” was an actual genre that existed (and was frequently clowned). Similarly, and in more recent years, rappers like Azealia Banks have been using house beats for at least a decade. But with Drake’s star power, this record is the opportunity that dance music can seize to finally get the reverence it deserves from the greater, “mainstream” music industry.




Is the album as a whole great? No. While there are songs I’ve run back a few times since my complete listen-throughs, Drake’s lyrical content here doesn’t even meet the low bar he’s set, perhaps a byproduct of an adjusted approach for blended house rap. Alternately, the beats will not satisfy most house music listeners either. So, this homogeneity and worst of both worlds quality begs the questions: why does this album exist, and who is this album actually for?

Drake's Detour in Dance Music is Disappointing

Ibiza’s event calendar keeps getting bigger, and sometimes it isn't easy to choose what to do. So we're making it easier to plan your Ibiza adventure with the top recommendations to enjoy the island in the best possible way.







Sueños de Libertad | Ibiza Town | June 28 - July 2

The sixth edition of Sueños De Libertad Festival (Dreams of Freedom festival) begins this Tuesday, June 28, through Saturday, July 2, offering different activities around Ibiza town, including music performances from local, national, and international bands, street art, Ibizan food stalls, art exhibitions, markets, and a playground for children. SDL’s music style ranges from indie and alternative sounds to rock and pop and was born to relive the magic of Ibiza in the 70s. It’s the biggest music festival on the island and even provides free entrance to some of the art shows, games, and concerts at la Plaza de Parque. Some events do require booking ahead, so check first.

More info at www.sdlfestival.com







Do Not Sleep | Cova Santa | Tuesday, June 28

The internationally renowned party brand born in Ibiza in 2014, Do Not Sleep, is taking place at Amnesia and its open-air sister venue Cova Santa this summer for a limited engagement. Expect underground vibes, tech-house, and deep sounds guided by fresh talents and some of house and techno’s most prominent tastemakers. The first of four Do Not Sleep Ibiza dates at Cova Santa begins this Tuesday, June 28, and promises to be a great gathering to dance in the middle of nature.




Get tickets for Do Not Sleep at Cova Santa on June 28












Follow Do Not Sleep on Twitter | Instagram | SoundCloud




NERVONation | Eden | Wednesday, June 29

The Australian DJ siblings NERVO have a long history on the island, first as clubbers and then leading their NERVONation residency from different DJ booths such as Ushuaïa or Amnesia. Olivia and Miriam Nervo are songwriters, composers, and sometimes models. Yet it's their style, energy, and passion for electronic dance music that have taken them to the main stages of the world’s biggest festivals and clubs. This season the most famous twins in the scene land at Eden for the first time for the NERVONation opening party this Wednesday, June 29. They will bring their distinctive electro, vocal house music style, and pop bangers to the San Antonio club with special guests.




Purchase tickets to NERVONation at Eden on June 29









Follow NERVO on Twitter | Instagram | SoundCloud







Charlotte de Witte | Hï | Thursday, June 30

Charlotte de Witte debuts a headline show in Ibiza at Hï nightclub. The Belgian techno star has established her place in the scene with her bold, dark, and fearless techno. Regulars at DC-10 and Amnesia, de Witte played at the newest Platja D’en Bossa club for the first time during the Better Together opening party in April and is ready to smash the dancefloor once again, accompanied by some of her favorites guests. The owner of the KNTXT label will drop acid, and hard techno sounds paired with high-level production and the greatest sound system on the island.




Buy tickets for Charlotte de Witte's one-off event at Hï on June 30









Follow Charlotte de Witte on Twitter | Instagram | SoundCloud







Pure Pacha Closing | Pacha | Thursday, June 30

German DJ and producer Robin Schulz says goodbye to his residency at Pacha this season on Thursday, June 30, after six weeks of fun. Catchy vocals and tropical house tunes have led Thursdays at the Cherries club. Pure Pacha was previously hosted by Pete Tong, Bob Sinclar, and Martin Solveig and brings the most diverse crowd. This year has been Robin Schulz’s turn featuring the stunning in-house production and Pacha's glamour and elegance. Get ready for a colorful party of confetti and glitter with Schulz’s pop and house style for the last time this summer.




Get tickets for Robin Schulz at Pure Pacha.









Follow Robin Schulz on Twitter | Instagram | SoundCloud







Trick Ibiza by Patrick Topping | DC10 | Friday, July 1

Patrick Topping’s brand TRICK comes to DC-10 for the first time this season on Fridays. The new residency sees Topping showcasing the musical versatility that has positioned himself at the top of the charts and headlining festival stages. The UK producer launched the TRICK label and events series in early 2019. Not new to the legendary venue, the Newcastle raver holds his first-ever Ibiza residency this year, kicking off July in style at the underground mecca.




Tickets for Trick opening party at DC10 on Friday, July 1












Follow Patrick Topping on Twitter | Instagram | SoundCloud









Lust For Laughs comedy night | Pikes Ibiza | Friday, July 1

If you prefer unique al fresco entertainment, Pikes hosts monthly comedy nights around its tennis court from 8:30 pm. Lust For Laughs features comedians from all over the world spreading jokes, laughs and getting the crowd involved. This Friday, July 1, Greek comic George Zahcharopoulos will host a show focused on the pursuit of happiness. Catalan comic Lluis Vendrell and John Spillane will also join in the hilarity. Freddies room will be open if you feel like dancing after the laughs at the enchanting Pikes in the San Antonio hills.









Tickets for Lust For Laughs at Pikes Ibiza on July 1




Luciano Opening Party | Club Chinois | Saturday, July 2

We are excited to see Luciano embark on a new residency at the newest Ibiza venue Club Chinois this Saturday. Thanks to his pioneering label Cadenza Records, he is considered a trendsetter and a true icon in the electronic music scene, mixing minimal and melodic techno with Latin rhythms. Born in Switzerland and raised in Santiago, Chile, Luciano is a veteran of Ibiza dancefloors and always presents unique concepts. His past residencies like Aether Live, Vagabundos, and Origins at DC-10, Pacha, and Amnesia, respectively, have been crowd favorites. On Saturday, July 2, Luciano presents a new headline residency and will share the booth with some of his DJ friends at the most glamorous location. See you there!




Get your ticket for Luciano's party at Club Chinois on Saturday







Follow Luciano on Twitter | Instagram | SoundCloud

Ibiza Selects (June 27 – July 3)

Like clockwork, dance music is having a mainstream moment. You remember those: they occur pretty regularly. If American radio were as dance-friendly as the British and European charts, the new double-house-drop this week might not seem like anything major. But as you’ll see below, whenever underground dance culture bubbles to the pop surface, everyone benefits.




1974: Disco hits the top of the charts

Disco had gotten notice in 1973 when Rolling Stone’s Vince Aletti first reported on it, but it was ’74 when the big revolution occurred. A pair of back-to-back July number-ones that had jumped into the charts from the clubs: the Hues Corporation’s “Rock the Boat” (July 6) and George McCrae’s “Rock Your Baby” (July 13-20). Along with MFSB’s “T.S.O.P. (The Sound of Philadelphia)” (April 20-27) and, well, Carl Douglas’s “Kung Fu Fighting” (December 7-14), it was plain that dance music was the new sound of pop.















1977: Saturday Night Fever

Two major openings in New York in 1977 drew crowds so outsized they cemented disco in the mass media as an aspirational lifestyle. In April, Studio 54 had its grand opening, turning away anyone deemed too “grey” for the likes of co-founder Steve Rubell. Its selectivity, and popularity with celebrities, made going dancing into a spectator sport. Then, Saturday Night Fever opened in December, with John Travolta as a disco-dancing king of Bay Ridge, Brooklyn. It grossed $237 million (on a budget under $4 million), made Travolta a superstar, and sired a Bee Gees-dominated soundtrack that became the bestselling album of all time until Thriller.







1990: House crossover mania

In the UK, house music had become the soundtrack to a new kind of nightlife in the late ’80s, spawning chart hits. But in the States, Chicago acid tracks were largely met with indifference or scorn. But by 1990, a flurry of house hits crossed over: Technotronic’s “Get Up,” Snap! ’s “The Power,” Black Box’s “Everybody Everybody,” and Deee-Lite’s “Groove Is in the Heart.” And Madonna’s “Vogue” was her first serious toe-dip into house—and maybe her greatest dance-floor moment.







1992: Rave America

With the UK acid house wave having transmogrified into raves in giant fields, the term “rave”—denoting a more simplified, blaring, riff-driven style than the oft-subtler Detroit techno that it aped—became the US biz’s new buzz term, decorating a number of compilation CDs that year, e.g., Only for the Headstrong: The Ultimate Rave Compilation and Rave ’til Dawn. The comps had their moments, but the sales pitch went basically nowhere.







1997: Electronica ahoy!

By the mid-’90s, the U.S. record biz was starting to buckle—guitar rock, long America’s sales bellwether, was suddenly tanking—and began looking to acts like the Chemical Brothers, whose 1995 debut Exit Planet Dust had been a slow but steady long-term seller. In 1997, “electronica,” a term that in Britain evoked head-food like Aphex Twin rather than the Chems’ rock-’em-sock-’em likes, became the Yank buzzword, an umbrella that meant anything major labels wanted to sell. For a while, they did: the Prodigy’s Fat of the Land hit number one that fall. But not for long.







2001: Electronic music goes (covertly) pop

Really, it began in late 2000, when OutKast’s “B.O.B.”—inspired, Andre 3000 said, by listening to Photek—adapted a drum & bass groove for its kinetic rapping. But in ’01, not only were electronic artists from the Avalanches to Basement Jaxx to Daft Punk all crafting classic albums, Missy Elliott’s “Get Ur Freak On” (another D&B adoption) and Radiohead’s Kid A (Thom Yorke admitted he’d been inhaling the Warp Records catalog—ya think?) smartly adapted key post-rave innovations into their respective frameworks.







2011: Electric Daisy Charts

The big news, of course, was the debut of EDC Vegas, with its record-breaking 230,000 attendance—a signal to the rest of the American concert biz that “dance events,” were now the standard in America. Just as importantly, 2011 was a major year for electronic producers on the US pop charts, from Afrojack (“Give Me Everything” by Pitbull et al.) to Diplo (Chris Brown’s “Look at Me Now”).







2013: Random Access Shakes

With EDM Mania running wild in America, the time was right for two inevitable elements to rise. The first was a novelty hit—Baauer’s “Harlem Shake,” a year-old track (it had debuted on Rustie’s 2012 Essential Mix) that blew up suddenly because of a YouTube clip and then went to number one because Billboard’s charts added YouTube plays as part of a song’s performance. Then in summer came the mature retreat: Daft Punk’s Random Access Memories was modeled on ’70s and ’80s studio albums like Thriller—tons of studio players utilizing tons of studio time to make tracks that sounded spotless. It shot to the top of the charts and swept the Grammys.







2022: Drake and Beyoncé

If you could name a king and queen of pop, these two are probably it. So it’s more than a little significant that the two of them, within hours, dropped music that overtly references house. Bey’s “Break My Soul” rides a blipping keyboard that nods to Robin S.’s classic “Show Me Love,” from 1993—just like AceMo feat. John FM’s “Where They At????” did when it blew up dance floors in 2019. Meanwhile, Drake’s Honestly, Nevermind features the Torontonian hip-hop singjay murmuring over house beats from &Me, Gordo, and Rampa. He sounds a little like Galcher Lustwerk, actually.

9 Times Dance Music Crossed Over to the US Mainstream

Atlanta-based producer and DJ Nikki Nair is one of the artists at the helm of hybridized dance music. After starting his career co-producing parties in Knoxville, Tennessee, Nair made his debut as a producer in 2018. His releases, which merge elements of electro, leftfield techno, breaks, and more, have surprises hidden around every corner.




Nair’s DJ sets encompass an even broader palette of genres, from ghettotech to UKG to experimental disco and beyond. His ability to seamlessly flip between these genres, and maintain a high level of intensity, results in high-octane, unprecedented, and unpredictable narratives whenever he steps behind the decks.












Nair’s Boiler Room set from Hyderabad is one of his best to date. Flecked with bars from the likes of Stefflon Don and vocals from the late Indian rapper and singer Sidhu Moose Wala, it’s a set that needs at least two spins to be fully appreciated.




Beginning life as a webcam taped to a wall in London, Boiler Room has grown to become an industry-leading broadcaster of live music sessions from some of the world’s best artists. Since 2010, the Boiler Room archive has swelled to feature over 8000 performances by more than 5000 artists across 200 cities.




Nikki Nair will soon play at The Ballentine in Minneapolis, Bass Coast Festival in Vancouver, and Dirtybird Campout in Waterford, CA.













Follow Nikki Nair on Twitter | Instagram | Soundcloud

Nikki Nair Makes an Unforgettable Multi-Genre Boiler Room Debut

What Can’t Beyonce do? The multi-GRAMMY award winner has seemingly accomplished everything there is to achieve in music, solidifying herself as a multi-generational talent and taste-maker, and indisputable industry leader. Almost 30 years and six critically-acclaimed albums later, the pop star is again making waves with the release of a brand new single, “Break My Soul.”





Her latest offering not only initiates the rollout of her seventh album, Renaissance but also sees Beyoncé stepping into a new sound—a sound focused on the rich history of dance music. Vocal house grew through the 80s, and 90’s as a sound that defined freedom of expression for Black people based in various city centers like New York, Detroit, and Chicago. The clubs in which this music flourished provided safe havens and community for marginalized groups to feel accepted and empowered.



“Break My Soul” channels that empowerment into a recaptured sound of the past. Effervescent synth work counters spirited piano bursts over a driving steadfast rhythm section. The Queen stands atop as the personification of power and resilience, declaring “You won’t break my soul,” between a series of uplifting but matter-of-fact verses that keep us positively brimming with revitalized self-confidence.



Is this inaugural single a sign of a new direction for Beyoncé’s latest project, or is this a one-off bolt of energy delivered just in time for your next summer soiree? More and more pop artists seem to be drifting into the dance music lane these days, so we’ll be curious to follow the rest of this rollout.

Is 'Break My Soul' Beyoncé's Vacation in House Music?

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. 



Follow Danger Wayne on Instagram | Facebook | Twitter | Soundcloud




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.

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