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



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



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




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



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




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



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




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




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



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





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



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




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



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




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



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




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



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



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



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



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

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



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



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



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



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



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




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



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

The VIP Experience: The Real Price Of Comfort

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


Tik Tok as a Disruptor

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




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




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




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




TokTok, Independent Artists & The Power of Discovery

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




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




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




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




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




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




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


TikTok's Harrowing Effects on Creativity

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




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




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




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





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




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




TikTok as a Changemaker

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




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




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




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

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

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



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



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







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



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







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





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









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








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







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



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







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

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







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



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



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



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

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

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





F*** me I’m Famous | Ushuaïa | June 6

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




Get tickets for FMIF opening party at Ushuaïa on June 6

Follow David Guetta on Twitter | Instagram | SoundCloud




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

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




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















Zero meets Veniceberg | Underground | June 7

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




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




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



Follow Ibiza Underground Club on Twitter | Instagram | SoundCloud








Solid Grooves | DC-10 | June 9

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




Purchase your ticket for Solid Grooves opening party









Follow Solid Grooves on Twitter | Instagram | SoundCloud




Destino Ibiza Grand Opening with Solomun | June 10

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


Follow Solomun on Twitter | Instagram | SoundCloud




Pyramid | Amnesia | June 12

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

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




Buy tickets for Pyramid opening party at Amnesia

Follow Pyramid on Instagram | SoundCloud







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





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



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



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









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


More info at www.concepthotelgroup.es

Ibiza Selects (June 6 – June 12)

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




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








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




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







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







Follow Gorgon City on Twitter | Instagram | Soundcloud

Gorgon City Fires CRSSD Festival into the Stratosphere

When it comes to genuinely impacting present-day dance music, Mihalis Safras and Eskuche have the scene on lock. A quick listen to their respective libraries will show you the level of mastery each artist possesses. Combine that dual mastery into the collaborative single, “Feeling Good,” and you have one top-shelf heater ready to burn up every dancefloor in a fifty-mile radius. The skittering drum kit wastes no time setting a break-neck pace, and once that ascending buzz drops into a zesty rolling bass line, it’s only a matter of time until every foot in the room is stepping right along.





Mihalis Safras has time and time again been the mastermind behind some of your favorite underground tracks while also concocting some of your favorite DJ’s favorite underground tracks. His command of the tech house sound dates back years before the sub-genres current boom leading him to pioneering status on major labels like Relief, Hot Creations, Moon Harbour, and his own Material Records.



Running parallel to the Greek talent is house music’s premiere Russian groove selector, Eskuche. Since his debut a decade ago, Eskuche’s dynamic, no-nonsense percussion patterns and soul-snatching bass lines have made him one of the most consistently impressive talents to work on heavy-hitter labels like Hot Creations, Elrow, Relief, and more.



Consistency is one of the essential ingredients to success, and quality music output is something both Safras and Eskuche consistently have in spades. A trait that comes to life in the form of their 2022 collab, “Feeling Good.”





Follow Mihalis Safras on Facebook | Instagram | Twitter

Follow Eskuche on Facebook | Instagram | Twitter

Mihalis Safras & Eskuche's Rolling Tech House Heater Has Us 'Feeling Good'

We all want to be out as summer blossoms, bathing in the rays and soaking up some sweet sounds. While parking lot raves and indoor events may be all the rage, there's much better scenery to take on when you venture off the beaten path. And with the world opening back up to what may be the most heavily stacked festival season in recent history, there's no better time to take advantage of some of the spectacular locations promoters have uncovered to host parties in.


We've found nine parties in some of the most picturesque locations throughout Europe. If you're looking for a unique vacation with a hip-shaking soundtrack, we've got you covered.









Echoes from Agartha

June 29 - July 3 || Cappadocia, Turkey

The Cappadocia region in Turkey was formed 60 million years ago by the erosion of soft layers of lava and ash from Mount Erciyes. What’s been left behind is an imposing landscape cut by sharp rocky hills, deep ravines, churches carved straight into rock faces, and a network of underground cities. Echoes from Agartha echoes that with an array of cultural offerings and superb sets from Lee Burridge, Mind Against, Seth Troxler, WhoMadeWho, Chaim b2b Jenial, Tarsol, Elif, Majnoon, and many more.









Moga Caparica

June 1-5 || Lisbon, Portugal

MOGA happens in two places every year and this edition is the one on the Portuguese coast just south of Lisbon. Sun is all but guaranteed and so are imaculate main stage sounds and after parties on the beach with DJs like Breakbot & Irfane, Chez Damier, Chima Hiro, Cruz, Fernando Costantini, Guy Gerber, Klin Klop, Amine K, Audiofly, Carlita, Dam Swindle, Dan Shake, Daox, Folamour, and YokoO.









Dimensions

September 1-5 || Tisno, Croatia

Dimensions marked a stunning start to the new chapter at The Garden Resort of Tisno last year, and in 2022 the acclaimed underground festival builds on that legacy with a 10th-anniversary edition September 1-5, 2022. It goes down with a tastefully curated list of headliners, back-to-back exclusives, label parties, UKG celebrations, Detroit specials, debut sets, and much more, The tanbtilizing lineup includes Helena Hauff b2b DJ Stingray 313, Raresh, Blawan, Mala, DVS1, Marcellus Pittmann, Tama Sumo, Peach, Saoirse, Laurine, Francesco Del Garda, Soichi Terada Live, Sherelle, Eris Drew & Octa Octa, Sonja Moonear, Move D, D. Tiffany & Roza Terenzi, Gene On Earth b2b The Ghost, DJ Storm, Batu and more.









Lovefest

August 4-6 || Vrnjacka Banja, Serbia

Lovefest, Serbia is one of Europe’s most celebrated festivals and this year will be held from August 4-6 under the slogan Refresh. This year's edition marks 15 years and it will be the biggest in its history with legends of the electronic scene such as Marco Carola, Joseph Capriati, Jamie Jones, Kölsch, Rødhåd, Folamour, Danny Tenaglia, and more than 100 other performers.









Hide & Seek

September 3-4 || Capesthorne Hall, Manchester, UK

This is the third edition of Hide & Seek so much is expected after two great first editions. The location is a perfectly picturesque British one at Capesthorne Hall, Manchester with a great focus on stunning stage designs, lights, and sound. Musically it is on point too with Zip, Todd Terje, Apollonia, Sonja Moonear, Priku, Fumiya Tanaka, and Raresh.









Solstice

June 23-25 || Finland

Ben UFO, Powder, PLO Man, Roza Terenzi, and Jimi Tenor head north to play this unique gathering which celebrates the fact the sun will still be high in the sky at midnight. Solstice ends during Finland's national celebration of the summer solstice so it’s one for those who like dancing by day.











Access

June 10-11 || Warwick, UK

Sherbourne Park in Warwick is the lovely escapist haven for Access which promises open-air fun in the sun. It comes from an esteemed team of heavyweight local promotions and has a widescreen soundtrack. Playing across the two days are names like Gerd Janson, Octo Octa b2b Saoirse, Jeremy Underground, DJ Boring, Dan Shake, CC: Disco, Dam Swindle, Crazy P Soundsystem, MATHAME, DJOKO b2b Harrison BDP, Byron The Aquarius b2b Jamie 3:26, Raw Silk and many more to come.









Lost In A Moment

July 9 || Tofte Manor, UK

Innervisions is one of the most revered deep house labels in the game and they are behind this gathering at Tofte Manor in the heart of the UK countryside. Label heads Ame and Dixon will play a special back-to-back set at Lost In A Moment. They’ve curated a lineup of incredible artists to join them for the day including Avalon Emerson, Elkka, Haai, Gerd Janson, Jenny Cafra, Mano Le Tough, and more.









Forbidden Forest

July 2-3 || Grantham, UK

If you go down to the woods of Grantham - an all-new location for this year - you're in for a wonderful musical surprise. Forbidden Forest is a multi-stage event has plenty of food and entertainment as well as huge headlining sets from Adam Beyer, Loco Dice, Jamie Jones, Darius Syrossian, Alan Fitzpatrick, Apollonia, Gorgon City, AJ Tracey, and many more.

9 of Europe's Most Epic Festival Locations

As we enter the month of June, more exciting events are taking place on Ibiza bringing new reasons to enjoy the world's most infamous party island. Ibiza is also a great option for relaxing on hidden beaches making it ideal for the whole family. No matter what your plan is, Ibiza is sure to be the best option this summer for people looking to experience memorable holidays. Below are some of the best recommendations for this week powered by Balearica Music!




Kisstory at O Beach Ibiza | Tuesday May 31

O Beach is located on the west coast of Ibiza in San Antonio with ocean views by day and a great sunset scene by night. Open since 2012, O Beach offers modern facilities such as a swimming pool, VIP beds, dancefloor, performances, delicious food (try the sushi!), and much more. From 1 pm on Tuesdays it hosts an old-school pool party called Kisstory, spinning the biggest garage, hip hop, R&B, and dance classics by O Beach resident DJs alongside Kiss FM favorites. If you are looking to dance to proper dance music anthems while soaking up the Balearic sun, you have to head over to O Beach this Tuesday!



Tickets are available for Kisstory at O Beach on Tuesday May 31

















La Troya Opening Party at Octan | June 1

La Troya has been a legendary Ibiza night for more than three decades. Beging as a hot spot for the island's gay community, it soon became a must-visit for an audience of all sexual orientations, races, and ages with an anything-goes spirit. It all started as “La Vaca Asesina” at KU club (now known as Privilege) then it relocated to Amnesia, a few years later moved to Space, and ended at Heart Ibiza prior to the pandemic.




This party has always been a successful night with the most diverse and joyful of crowds. This season La Troya lands in Octan for the first time to spread magic every Wednesday night starting on June 1st. Expect scandalous dancers, feathers, lasers, electrifying beats, hot house, and catchy rhythms accompanied by the most colorful show.




Get tickets for La Troya opening party at Octan

















Release x Sankeys | The Return to Ibiza at Es Paradis | June 3


First opened in Manchester in the 90s, Sankeys arrived in Ibiza in 2011 at Platja D’En Bossa. This summer season, Sankeys makes its return to Ibiza on the first Friday of every month from June to September with Release.

Taking place at Es Paradis, Sankeys brings the authentic Balearic style to one of the oldest clubs in San Antonio Bay. Bringing the place back to its origins as an open-air venue, Sankeys is throwing a series of daytime raves from 2 pm- 2 am.




They continued throwing parties in London during their four years away from Ibiza. Their new island residency sees them teaming up with Studio 338's flagship party Release to deliver an underground-only vibe with the best house and techno DJs on Friday, June 3.









Purchase tickets for Sankeys opening at Es Paradis












Calvin Harris Opening Party | Ushuaïa | June 3

One of the most popular DJs, producers, and songwriters in the world, Calvin Harris, returns to the greatest open-air venue, Ushuaïa, for 14 weeks after a successful six-day residency in 2019. The multi-platinum selling artist is an icon of modern dance music creating hits with Dua Lipa, Rihanna, Sam Smith, and Florence and The Machine, among others. The Ibza-based artist will be accompanied by MK as a weekly guest, being the perfect blend for Friday afternoons in Ibiza!




Early booking is advised for the Calvin Harris opening party at Ushuaïa








Follow Calvin Harris on Twitter | Instagram | SoundCloud







Future Rave by David Guetta Opening Party | Hï Ibiza | June 3

Just across the road at Ushuaïa’s David Guetta and Morten’s will be dropping their future rave sounds starting at midnight on June 3. The new concept mixes techno, progressive house, melodic music, and percussion for a curated fusion of underground and EDM.




"Along with my friend MORTEN, we've created a new sound. A movement that's rooted in the underground, but made for the festival main stage," Guetta says. "This is the start of something special and we can't wait to be together with our fans in the amazing Hï Ibiza Theatre. The island has always held a special place in my heart making this residency even more meaningful."




This party promises to change the game as future rave is now a globally recognized music style that lands in Ibiza this Friday, June 3rd at Hï Ibiza.




Tickets for David Guetta & Morten present Future Rave opening party at Hï








Follow David Guetta on Twitter | Instagram | SoundCloud

Follow MORTEN on Twitter | Instagram | SoundCloud




The Last Chance To Dance at Bora Bora Ibiza | June 5

The legendary beach club Bora Bora is celebrating its 40 anniversary this season and every Sunday is hosting The Last Chance To Dance, unique events with a special lineup made of well-known DJs. On previous occasions, we’ve seen ANTS resident DJs playing and the flamboyant concept party Keep on Dancing took the lead last week. Who will be playing at this one? You have to be there to get the chance to dance! The entry is free and the party starts at midday and goes until late.

















If you feel like discovering a different side of Ibiza, read on!




Flamenco at La imprenta | May 31

Although Ibiza is known as the island home of electronic music, you can also experience the passionate and emotional official music of Spain, Flamenco in smaller venues. Guitar, percussion, cante, heel tapping, and a flourish of art happens on Tuesdays in the center of Ibiza. La Imprenta is a two-level restaurant located just a stone’s throw from Vara De Rey that offers mouth-watering haute cuisine. This classic Ibiza restaurant sits in a beautiful neoclassical palace dating back to 1898 with vintage-style decoration providing La Imprenta with an artistic and bohemian atmosphere. It's perfect for enjoying the authentic flamenco experience. Doors open at 7 pm and the dinner show with Flamenco starts at 10 pm.











Ibiza Cinema at Bam-Bu-Ku | June 1

There is something special about outdoor cinema, a big screen, and popcorn during summer nights in Ibiza. This is why Bam-Bu-Ku features Cinema nights around the pool once a week. O Beach Ibiza’s sister venue opened just two years ago and has become a great daytime alternative for couples, groups, and families alike. This colorful sight surrounds a tropical lagoon beside San Antonio’s beach with palm trees and sunbeds. A great spot to enjoy the sunset, watch a legendary movie, and grab unlimited candy and popcorn! This Wednesday, June 1st Ibiza Cinema features a classic tale of summer love, Dirty Dancing. Showtime is 9 pm but arrive early to grab the perfect poolside seat!
















Las Dalias Night Market | Sunday-Tuesday in June

One of Ibiza’s main attractions is visiting a hippie market. Dating back to 1985 and located in the heart of San Carlos, Las Dalias is the oldest one of its kind on the island. It opens every Saturday during the day and during the summer season, it presents a more relaxed version from 7 pm on Sundays, Mondays, and Tuesdays with exclusive stalls (some of them different from the ones at the classic Saturday market). 

Worldwide artisans, designers, and painters present their unique art at Las Dalias, where you can also find handicrafts made in Ibiza. More than a hundred stands offer distinctive artifacts, exclusive vintage, and colorful fashion or jewelry. Stroll around accompanied by live music and grab something to eat or drink from a variety of food trucks, or sit at Las Dalias café and restaurant and taste delicious Mediterranean cuisine. The market was around when the café opened in 1954 and it has been a real meeting point for different cultures and free-spirited people since then.

Ibiza Selects (May 30-June 5)

Europe certainly isn’t short on celebrated house and techno artists. In 2021’s annual curated list of dance music’s creme-de-la-creme - DJ MAG’s Hot 100 - over 60% of the awarded artists were Euro-based. While the UK, Ibiza, Belgium, and The Netherlands often own the label of “house music hotspots,” Ukrainian DJs are also on the rise. Recent world events have only highlighted the fact that the resilient artists of Ukraine have always shown a true passion for their community and their craft. We’re honored to celebrate Ukrainian DJs, their music, and their legacy.




Miss Monique

Since making her Ibiza debut in recent years, Miss Monique has graced hundreds of stages across the globe. Her eclectic mix of techno, trance, and progressive house has racked up a serious online fanbase. The producer turned to her YouTube channel through the pandemic to connect with fans and play music. There, her livestream sets have racked up millions of hits. Her biggest one is a live set from Atlas Weekend Festival in 2020. The stream boasts an impressive 5 million views. She also has a fan-favorite podcast, Mind Games, where listeners are treated to a fresh DJ set every month. Those close to New York might want to check Miss Monique out this summer at Superior Ingredients in Brooklyn.







Artbat

This duo of Artur Kryvenko and Vitalii Limarenko earned a nod as superstar David Guetta’s favorite tune of 2020 with their CamelPhat collaboration “For a Feeling.” The French “Titanium” producer called Artbat “rising stars.” Hailing from Ukraine, the two friends create an energetic and innovative melodic house sound recognized by artists like Deadmau5 and Richie Hawtin.




DJ Nastia

Anastasia Topolskaia, better known as Dj Nastia, is known best for her dynamic mix of jungle house and techno. Nastia is openly proud of her Ukrainian heritage, and she’s touted as the most toured DJ in the history of her country by Resident Advisor. Born in a small village in eastern Ukraine, she started visiting nightclubs in Donetsk with her older sisters as a young girl. Though she had no formal music education, she loved to dance. After she started spinning in ’05, she took gigs at radio stations and clubs across the country - including a residency with the media giant BBC Radio 1. A true DJ at heart, she says her goal is to get as many people on the dancefloor as possible.


Juicy M

Juicy started her DJ career in 2007 as a resident DJ in fashionable nightclubs like Orangerea Supper Club and Matrix in Ukraine. Known for her wicked technical skills and her mixing videos on YouTube, she was also named “Best Female DJ of the Year” by the 2010 ProDJ Awards. In the early 2010s, she took her first international gigs as an opening act hip hop and R&B DJ. By 2015 she’d become the first woman to sign to the heralded Armada imprint since she’s shared the stage with Skrillex, Afrojack, Black Eyed Peas, and Backstreet Boys and played in some of the world’s top destinations and festivals like Green Valley, Pacha, Privilege, and Creamfields.




Woo York

After releasing a string of successful EPs on Soma Records and Planet Rhythm in 2012, Woo York went from a local heroic duo to internationally recognized artists. Their unique, hardware-based sets and their melodic approach to techno have made them standouts in the underground scene. Their 2018 debut album, Chasing The Dream, includes hits like “Second Breath” and “Equilibrium.”




Korolova

One day, Olga Korolova decided to switch her studies from mathematics to music. Her parents were unsure of her newfound career path as a DJ, but Korolova knew what she wanted. After intensive touring and performing hard-hitting EDM on big festival stages, she started to feel a disconnect. After finding herself mesmerized by a techno stage at Daydream Festival in 2017, she knew she had found the music of her soul. She’s leaned into her soul music with her visually stunning YouTube videos and intimate performances.




Daria Kolosova

Daria Kolosova grew up living in Lutugino, Ukraine. After falling in love with electronic music at a young age, her formative creative years came after she relocated to Kyiv. After headlining nearly every club in Kyiv, she joined forces with DJ Nastia for an international tour before eventually becoming a resident of Nastia’s newly launched label, NECHTO.




Nastya Muravyova

Nastya Muravyova is one of Ukraine's most active DJs somehow balancing a job as a flight attendant with a consistent touring schedule that takes her across Europe to gigs at institutions like Tressor and Berghain.  She's held down the decks at institutions like Berghain, Fabric, She blends pumping four-to-the-floor techno with edgy breakbeat for an infectiously sexy sound. We love her 2018 warehouse set from The Boiler Room on YouTube.


Xenia

Xenia’s high-energy style of techno has made her a rising star in the underground scene. Her fuzzed-out banger “Stimulant X” asks dancers the adage “how low can you go,” but with a sinister twist and a massive beat. Last year the rising star joined Analog, a powerful worldwide agency, as she declared her position in the techno scene.

Ukrainian DJs You Should Know

Few artists have the breadth of experience to match that of Timo Maas. The German producer has become a venerable dance music figure through a career spanning over thirty-five years, never failing to evolve his offerings to continue pushing the boundaries of sound. From running his label, Rockets & Ponies, to headlining Bencasim After Blur and clubs around the world, Maas’ technical aptitude and industry wherewithal have earned him a reputation of high respect across the board.



Timo is no stranger to the remix game. Over the years he’s garnered interest from superstars such as Madonna, Muse, Fatboy Slim, and Paul McCartney, even scoring a Grammy nomination for a remix of McCartney’s “Nineteen Hundred And Eighty Five.” While one might think Maas’ productivity would slow after thirty-five years, 2022 has been one of his most exciting years to date, releasing five new remixes in the span of five months. As Timo prepares for his busiest performance season yet, we look to the track that began this action-packed year, a transcendent techno remix of Giorgia Anguili’s, “Hidden Miracles.”







From beat one, distant claps juxtapose the thumping kick that shortens the breath and flutters the heart. One by one, new layers patiently materialize in an expansive sonic space.Oscillating bass waves steadily quake the earth below, while haunting chimes entwine with fairy-like synths twirling overhead. This elegant soundscape provides listeners with space for broad expression from reflective meditation to driven rejuvenation.



If there’s one artist who can show us the “Hidden Miracles” that lie within music, it’s Timo Maas.



Follow Timo Mass on Instagram | Facebook | Twitter

Timo Maas Flips Giorgia Anguili’s 'Hidden Miracles' Into Ethereal Techno Bliss

Miami native Nala – aka Stefania Aronin – merges deep house, indie dance, electro, and breaks influences into new textures and forms. A resident DJ at the notable after-hours Los Angeles event series, Lights Down Low, Aronin’ has also collaborated with Dirtybird Records’ founder, Claude VonStroke, who also actively manages her career.







A deftly skilled selector, Nala is the perfect choice to curate Set of the Week. Aronin chose a Boiler Room set from Tel Aviv duo, Red Axes, which closed out the 2019 edition of Present Perfect Festival in Saint Petersburg. Sparking up a lively atmosphere within seconds, the set is as multi-faceted as Aronin’s own productions.



Present Perfect Festival: https://www.instagram.com/presentperfectfestival/

 

“This is one of my favorite DJ sets from Tel Aviv artist Red Axes,” Nala told Gray Area. “It's a perfect blend of rock, dance music, and 90s rave. Red Axes' forward-thinking productions are a hit on the dance floor, and they aren't following any sort of formulaic trend. There isn't anyone else like them!”



Catch Nala in the coming weeks at Discopussy in Las Vegas, Beach House in San Diego, and It’ll Do in Dallas.





Follow Nala on Twitter | Instagram | Soundcloud







Follow Red Axes on Soundcloud | Facebook | Instagram

Nala Selects a Unique Gem from Tel Aviv Duo Red Axes

In 2000, Detroit's Hart Plaza vibrated with the sound of techno, house, and hip-hop for the first time during the inaugural Detroit Electronic Music Festival (DEMF). This was revolutionary, because at the time dance music was still very underground in the U.S. and there were few festivals centered on it. Ultra Music Festival, launched in 1999 and Cyberfest (a now-defunct San Francisco-based festival) were among the only other festivals catering to dance music fans.




DEMF morphed through various iterations under different organizers and names, eventually evolving into the Movement Music Festival we know and love today. When long-time local rave producer Paxahau took the reins in 2006. Ahead of Movement returning this weekend for the 21st edition of techno in the city that birthed techno, we chatted with techno pioneer and DEMF co-founder Carl Craig and Paxahau's founder Jason Huvaere about its storied and legendary history, and deep impact on the scene.



Craig, along with local event organizer Carol Marvin, moved mountains to successfully throw the inaugural DEMF, and the second one in 2001, both of which were free to attend. The first event almost didn't happen due to the city's delay on approving permits, but Craig's brother-in-law, who worked in the mayor's office for Detroit city cabinet member Lisa Webb Sharpe at the time, saved the day by getting him a meeting with her.




"I went in with my dad and convinced her what electronic music was because a lot of people that were older than me didn't understand it. Later on, she said to me, 'This festival has been really great because I have never seen soccer moms drive down and drop their kids in Downtown Detroit," he explains with a laugh.




It did all come together, and Craig convinced a stellar group of artists, many of them his friends and collaborators from the local scene to play the event. It brought the underground above ground, showing the city that their scene mattered, and also created connections within the wider Detroit community.




"It was something that was really exciting for me. When we announced that Slum Village and The Roots were playing, the hip-hop community got excited about this techno festival. That was amazing to see happen," Craig shares enthusiastically. "The majority of them that were approaching me about it were African American kids, that made it even more exciting because it was like I was touching the people that grew up like me and went to public school in Detroit. They probably had had similar experiences, good and bad. I felt that what was happening was that I was touching people with the music in a similar way that the Electrifying Mojo was on the radio in the '70s, '80s and '90s."




He explains that everyone in the scene at the time wanted a techno festival to happen in Hart Plaza because that's where Detroit's cultural events were held. Those events, which included things like the Greek-American festival and African world festival, "were always a big deal" to Craig when he was growing up. The free annual Detroit Jazz Festival launched in the plaza in 1980, which he calls "groundbreaking" for taking place there, and further inspired him and his fellow techno forefathers to bring their scene and sound to the outdoor city square. They were also inspired by the electronic festivals they'd been playing in Europe and Japan. "We thought, 'What about Detroit? What about the U.S.?' Being the D.I.Y. city that is Detroit, we're like 'We can do it!'"




The innovative Sonár festival in Barcelona especially served as creative inspiration for the Planet E founder. (Sonár began in 1994 and Craig had already played it a few times prior to 2000).




"Sonár was doing stuff that was different. It wasn't like they were trying to put on a concert. A lot of how we see the impact of videos with music, they were already pushing the boundaries with that in the '90s," he explains. "That had a big influence on me; [it was important to me]that my lineups and the festival itself is seen as being a high quality, sophisticated event, not just sticking some people together and saying 'Here's a festival.'"




In addition to placing his emerging underground scene in the sunlight and connecting it with the hip-hop community, he had his eye on artists who were doing things differently, not unlike himself. He explains he tried to do things people weren't doing that were really interesting. He booked a DJ that added power tools to electronic music (19 years before Flume!), someone that he saw as "taking music and the idea of what can be done with it another way."



It can't be underestimated how different things really were for dance music back then. Even now, deciding to throw a free three-day family friendly rave would be difficult, even with so many more DJs and ravers out in the world. The first DEMF was a turning point for dance music. "Doing a [dance music] fest in 2000 was like bringing the rave from illegal to legal," Craig muses.




"Electronic music wasn't really popular yet, it was in the shadow of the music business and still regularly referred to as underground music. So, having an event that would draw thousands of people during the day and then spread those people out across venues at night was pretty incredible. It was a justification to the electronic music community that we're being seen, we're going to be okay, we're evolving, and that felt great," Huvaere reflects.




"Now, things have changed a lot, where most touring electronic musicians are playing clubs, and most clubs now are owned by a corporation. We were still kind of rebellious [back then]; the nights would go really late and things were kind of early before a blueprint was made, and now it's definitely a different era for electronic popularity."




And the blueprint for throwing a stellar large-scale electronic music event was crafted by Craig with that groundbreaking first festival.




"[The first DEMF] set the mood for every techno event that's happened there 'til now. I was like the opening DJ setting the tone," Carl adds. And it was a success. "The main stage was what we wanted to see full, and it was every night. The first night The Roots, then Mos Def and DJ Gary Chandler, then Derrick [May] and Richie Hawtin closed out the stage. Kenny [Larkin], me and Stacey Pullen were crying and hugging each other."




That inaugural house and techno fest in Hart Plaza deeply impacted everyone involved, the city of Detroit, and the wider dance music scene. The blueprint helped put dance music on the map for a wider audience, and continues to be used to this day to honor and uphold its Black and underground roots. It is important and deeply impressive that Movement has stayed independent over the decades, as the rave industrial complex continues to morph the scene, pinching pennies from ravers as they white-wash the genres origins. It is a place for the next generation of ravers to learn about and experience the history of the music that moves them, a platform for artists, by artists, and a flame that keeps the rebellious energy of underground house and techno alive and well. Movement doesn't need to update its original blueprint much because it was revolutionary then, remains essential now, and the music and artists keep things fresh.




While it was still underground, the wider North American rave scene around the turn of the century, was definitely happening, as Craig explains. Dancers were reveling in Detroit, Chicago, New York, Miami, Los Angeles, New York, at gay clubs in Atlanta, and even in Milwaukee, Minneapolis and in literal cornfields. He notes that a lot of raves were happening in the Midwest, with Richie Hawtin responsible for many of them (before he got in trouble at the border), including a massive one in a cornfield outside of Windsor, Canada.




When asked what the state of dance music was like in North America around 2000, the Paxahau creator notes the direct impact the festival had on the scene from the start, and how amazing it was to see such a great turnout for an underground event. It was like a wider cast was finally coming to the house and techno party, literally and metaphorically.




"It was noticeable seeing the audience size and the budgets getting bigger, meaning a nicer venue, a nicer sound system. But myself, my co-workers and my friends, we'd loved this music for so long, we already knew it was amazing. So it was just more and more people catching it, in the right space at the right time. And the Detroit event has musically stayed pretty on course ever since then… [At Paxahau] we were always and still are focused on Detroit artists," Huvaere says.




At the 2005 event, then called Fuse-In and helmed by another Detroit techno forefather, Kevin Saunderson, Paxahau hosted the Underground stage. This was the first year tickets were sold—three-days for $25, $10 for single days—but the event saw a financial loss. Saunderson stepped down the following year, so Paxahau took over, changed the name to Movement and has run things ever since. Craig, Saunderson, and many of the fellow Detroit OGs, along with the Motor City next gen as they join the scene, continued to pop-up, have continued to play the fest and serve an important role in keeping things authentic to its roots.




"What was interesting about watching those documentaries about Fyre Festival is people don't realize how close every year is with doing a festival, that it could be your last or it could not even start. It's really touch and go unless you have a lot of financial backing. So with Paxahau, I think they've been a lot more aggressive with being able to get outside money in sponsorship and selling stages and that kind of stuff, which has helped them to flourish for long and better than any of the other behind the scenes of the [previous] festivals," Craig notes.




Movement continues to have a positive impact on Detroit and the artists proud to call it home, and both the festival and the creatives that keep the Detroit electronic scene alive and thriving play a key role in attracting visitors and positive attention to the city.




"Movement is a beacon of light [for Detroit]. It's a very inspirational place for established artists as well as artists that are aspiring to grow. It's a great homecoming for everybody that lives here as well," Huvaere says. "It's been huge for this town. We've been fortunate enough to see Detroit grow a lot over the last 20 years and being a part of that growth and being no small contributor to the vibrancy of the city makes us feel good at work."




He continues that one of his favorite parts of the fest has been seeing producers meet at the festival and then later collaborate together. He also notes that music technology people will use Movement like an IRL focus group, chatting with 50-plus artists a day about a new mixer their company is working on to take notes back to the team.




"I think Movement has helped the city of Detroit far more than it's given credit," Craig adds. "I think people in Detroit didn't expect [the initial impact] and it resonated far and wide."




Detroit remains a unique creative ecosystem for a multitude of reasons, including that its more affordable than other major U.S. cities like wallet-busters New York, San Francisco, and Los Angeles. But the intention that artists bring to their work, community, and collaborations also play a big role—on all accounts, it’s a very supportive scene where mentorship is abundant. Detroit has always had a resilient spirit, a citizenry that when left behind by the American automotive industry, found ways to support themselves and utilize abandoned spaces for art, community gardens and more.




"We have a really big artist community here, and so much talent here. It's been in Detroit this whole time. Most of our shows are for a local audience," Jason shares. "We're still an independent company. There's pressure to continue to uphold the legacy and bring in new artists, to uphold our values without corporations, to rep the roots of techno."




The afterparties and festivities surrounding the main event have always been an important part of Movement, and remain so to this day, bringing revenue and good vibes to venues and other businesses around the city. Paxahau has always produced Movement afterparties, and a variety of independent labels, party crews, and DJs have hosted legendary fetes over the years, like Craig's Detroit Love event, Saunderson's KMS Records showcases and Seth Troxler's Monday morning day raves at The Old Miami. Some are in clubs and others are in mixed-use spaces, highlighting that D.I.Y. ethos of the innovative, creative city that constantly evolves itself.




Just as the festival and city have changed since 2000, the clubs have as well. According to Craig, the club scene was previously much stronger. Back in the day, some of the popular rave spots were Motor, The Shelter at Saint Andrew's Hall (now owned by Live Nation), 1315 Broadway, Cheeks, UBQs, and the Music Institute.




"The most important club was the Music Institute. It was very short lived, I think it was only around for about three years or something. That one had the impact that was needed in Detroit," Carl reflects. "Some of the most beautiful moments I experienced were there."




One of the most heart-warming things about Movement is how family friendly and inclusive the event feels. This stood out to me when I attended in 2019. I saw a young kid break dancing to techno while his parents and others circled around him cheered him on. Techno Grandma, who rolls around in an electric wheelchair with a big smile is a staple of the event. I wondered if maybe this was Midwestern hospitality and/or the fact that people were really there for the music that fostered such a friendly, respectful crowd. Craig asserts that it is specifically "the vibe and legacy of Hart Plaza," where many family friendly community events are held, that keeps things so wholesome.





Thankfully, Paxahau made it through pandemic thanks to their Twitch partnership and the work of their legal team. "18 months without live events was decimating," Huvaere reflects. As dance music continues to become increasingly corporate in this country, independent rave organizers and dance fests feel extra essential to keep the spirit of its rebellious, inclusive roots alive. And since they've been able to return to programming events in Detroit, they will keep doing so as long as it feels right. Both he and Craig see Movement continuing into the future, God willing.




"We're not Vegas or Miami or L.A., we're different and that’s okay. As long as we stay relevant and people keep coming, we'll keep doing Movement," Huvaere concludes. "As long as they keep rolling like this, I don't see why Movement wouldn’t happen. But you never know…" Craig says.

Carl Craig and the History of Movement

Over the years, Afrohouse has been considered an underground genre across the African continent. But that’s all changing, as electronic music scenes have recently gained a foothold across the region. The rise in popularity is mainly due to the increase in multi-day music festivals such as Uganda’s Nyege Nyege, Kenya’s Gondwana, and South Africa’s Oppikoppi music festivals. And as artists like Black Coffee, Themba, and AMEME continue to tighten their grasp on dance floors across the planet, Afrohouse is firmly establishing itself as a worldwide dance music phenomenon.




The scene has turned many underground artists into regional touchstones for house heads. Many of these house artists lean heavily into traditional African sounds blended with electronic beats that are becoming hard to ignore. Here are 10 Afrohouse acts you simply have to know.




Black Coffee

Born Nkosinathi Innocent Sizwe Maphumulo, Black Coffee is a Grammy award-winning South African DJ, record producer, and songwriter. He’s built his career gradually over nearly two decades, riding the growing global interest in his home country’s burgeoning dance music scene and eventually becoming arguably the biggest DJ in Africa.


Black Coffee isn’t very demonstrative behind the decks. Instead, he maintains a cool demeanor while the entire dance floor goes nuts. With chart-topping albums such as Have Another One (2007), Home Brewed (2009), Africa Rising (2012), Pieces of Me (2015), and Subconsciously (2021), Black Coffee has been a fixture of the global electronic scene flying flags for both house music and the vibrant electronic scene of his native South Africa.




Follow Black Coffee on Instagram | Twitter







Sun El Musician

Sanele Sithole, also known as Sun-El Musician, is a South African Producer known and loved for his ‘golden ears’ in producing phenomenal dance music. Sun-El’s reputation was shaped by years of working with key producers like Demor Sikhosana, who helped get him started in the industry and producing tracks for the likes of Thiwe, Zakes Bantwini, and Shota.




The self-taught Sun-El has put all he’s learned into a label of his own, El World Music, which counts Simmy and S-Tone, who both appeared on his debut album Africa to the World, among its roster. With several hits under his belt and projects with well-regarded talents such as Samthing Soweto and Ami Faku, Sun El Musician has more than proven his worth as an artist and continues to be a pillar of African dance music.




Follow Sun El Musician on Instagram | Twitter




SURAJ

Kenyan-born DJ, Music Producer & Sound Engineer SURAJ creates contemporary electronic music infused with traditional African, cultural and musical elements. After making his debut in Nairobi, SURAJ has emerged as a dynamic and trailblazing DJ/producer in East Africa. Since then, he has set his sights on becoming a beacon in Africa’s burgeoning electronic music scene.




SURAJ simply doesn’t miss when it comes to carefully curating a sonic experience that compliments his surroundings. He is at the forefront of Kenya’s electronic music movement as the co-founder of Afro-house label Gondwana, which has grown to be a permanent fixture in Kenya’s electronic music scene.




Follow SURAJ on Instagram | Twitter







Prince Kaybee

South Africa’s Kabelo Motsamai, widely known as Prince Kaybee, is a household name in the African dance music scene. Spurred on by the phenomenal success of “Charlotte,” his hit single featuring Lady Zamar, the dance music star has been well on his way to taking on the world.




Prince Kaybee’s sound is almost like a genre on its own. Experiencing great production coupled with the authentic instruments, but there’s something more. Prince Kaybee is acknowledged for his top-notch mixing and electric shows, performing on some of the most prestigious stages in the world, propelling him into a unique league of dance stars.




Follow Prince Kaybee on Instagram | Twitter




Msaki

Asanda Lusaseni Mvana, known as Msaki, is a keystone in the African dance scene. She does not just write songs. She breathes life into them. The East London-born musician, composer, producer, and curator has carved a lane of her own making as she is the ethereal voice heard on multiple Afrohouse hits.




Msaki released her EP Nalithemba on her label Oneshushuday Artistry in 2013, her debut album Zaneliza (2016) and Platinumb Heart Beating (2021). Some of her collaborations include songs with Black Coffee, Black Motion, Mobi Dixon, Kid X, Revolution, and her song with Prince Kaybee, “Fetch your Life.”




Follow Msaki on Instagram | Twitter




Black Motion


The Johannesburg-based dance duo, Black Motion, composed of DJ/producer Robert Mahosana and percussionist Thabo Mabogwane, are always ready to bring the noise. Their sound is defined by lively traditional percussive elements blended with house music and multilingual vocals. Their interesting dynamic, and incredibly entertaining live shows leave crowds in awe.




The timeless sounds of Black Motion are ethereal, and the infusion of indigenous instruments certainly makes for a great listening experience. They have graced stages all over South Africa and Europe and are a distinct force to be reckoned with in this genre.




Follow Black Motion on Instagram | Twitter




Simmy

South African singer-songwriter Simphiwe Nhlangulela better known as Simmy, continues to carve out a distinctive position in the dance music scene. Simmy is part of the new generation taking the reins of African music, reminding us of the colorful and nostalgic pathways of African history.




Her sound is fueled by her deep rich, beautiful vocals and uplifting instrumentation. Under EL World Music, Simmy releases heavy hitters that touch on contemporary issues and more personal narratives speaking to life and love in the digital age.




Follow Simmy on Instagram | Twitter







Zakes Bantwini

Zakes Bantwini, affectionately known as the King of Dance, is noted for his electrifying presence on stage. Zakes is able to integrate respective cultures and musical backgrounds with their love for electronic music as a versatile singer, producer, and songwriter with a knack for a fusion of sound that employs music from different dance genres.




The South African producer is responsible for hits like “Osama,” which became one of the biggest 2021 dance anthems. This track and many others on his catalog serve as an aural embodiment of Zakes’ vibrant sound, with upbeat tempos laced with melodic percussions.


Follow Zakes Bantwini on Instagram | Twitter










Lemon & Herb

Childhood friends Skhumbuzo Radebe and Don Sithole from Kwazulu-Natal, South Africa, form the music production duo Lemon & Herb.




The duo is famous for their distinctly South African rhythms fused with futuristic melodies packaged as warm tunes filled with meaningful messages that can be rocked on the drive home or in the club. Their ability to bring together futuristic melodies with world club appeal puts them front and center of the current African charge.




Follow Lemon & Herb on Instagram | Twitter




Caiiro

African Tribal rhythms layered onto satisfyingly haunting beats and an energetic tempo are the aesthetic of South African producer Patrick Dumisani Mahlangu better known as Caiiro.




In 2016, Caiiro released his debut album First Impressions, launching his musical journey to the global scene. His international music career has grown rapidly over the years, which has him touring Africa, Europe, and North America. Following in the footsteps of internationally acclaimed DJ Black Coffee, Caiiro aims to create and export music that will live on forever.




Follow Caiiro on Instagram | Twitter

10 Afro House Artists You Should Know

On Monday, May 18, I awoke from a dream on a deflated air mattress, packed up my rainbow outfits and headed out on the five-and-a-half-hour drive back to reality, or whatever alternate reality Los Angeles is. That dream was the vibe-filled inaugural All Day I Dream (ADID) Festival, held at the gorgeous Woodward Reservoir campsite in Oakdale, Calif.



Lee Burridge has been throwing ADID events around the world for 11 years now. And after the hugless, eventless year-and-a-half we faced, it felt like the perfect timing for an extended All Day I Dream sesh featuring many of the regulars from his parties and label. The ADID parties are beloved for their dreamy, chilled brand of electronic music, sunny vibes, and magic and whimsy that seem to follow Burridge around like a woodland fairy. Expanding this into a transformational music festival feels natural and is something Burridge had been dreaming up for a while. The magic and whimsy were plentiful, enhanced by the fact we were all living together under the bright sun and full moonlight for several days.



On Thursday, the festival grounds opened, dreamers began to head in, pitch their tents, and park their RVs at the campsite surrounded by a cool and inviting body of water. The festivities began promptly at 9 am the following morning with the Waking Hour Experience, a grounding hour-and-a-half deep house yoga flow session with White Light on the decks and Erika Van Gemeren guiding the movement. The Waking Hour, who've led similar classes at (my favorite) San Francisco ADID events held at Golden Gate Park for six years, kicked off all three days of the fest at the waterfront Wellness Sanctuary dome.



It was the perfect start to the day and the weekend, leaving me feeling grounded, open, connected, and excited for what was to come. Even though it was early and people were still arriving, the class was packed. White Light's selection was stellar, starting with more ambient sounds and moving into deeper grooves as we flowed, including a Björk remix, Cubicolor, Totally Enormous Extinct Dinosaurs—everyone danced in tree pose for that one—and James Blake for savasana. Chimes dangling from dome added ambiance and whimsy, enhanced by helpers dancing around the dome with more chimes at the beginning and end. Right after the class, the socializing began, and was non-stop through the weekend. The ADID Fest crowd so friendly, joyful and colorful and was one of the main highlights for me; it was so fun to be a part of and was so easy to talk to people and make new friends.



Next to the Wellness Sanctuary was another healing space, one I found rather miraculous. It was the Archimedes Banya sauna tent, heated to 180 degrees by a wooden stove cared for by staff of the beloved San Francisco spa. After my blissed out post-yoga breakfast at camp, I headed to the sauna to sweat and then take a dip in the water. I haven't sauna-ed in years, in the past mostly accessing them at gyms and finding calm in the post-workout dry heat. I told everyone who'd listen to check it out, and am still in awe there was a sauna in the middle of a camping festival.



Next up was dancing, of course. The music began at main stage, Cloud Nine, a little after noon with Christian Voldstad doing the honors. My campmates (my close friend Claire, her husband Pierre and a cute group of five of their friends) and I found our way to the dusty dance floor as San Francisco staples (and brothers) Borzu and Rooz were tearing things up with the second set of the day. The music was lively, the perfect soundtrack as everyone began the marathon of dancing, magic and friend-making. My favorite part of their set was a synthy new wave moment that really set things off. Bona Fide followed and kept the dancers reveling into the sunset.



Cloud Nine was reminiscent of other ADID outdoor setups, the dancefloor flanked by laser-cut wooden columns draped by purple flowers with fresh flowers in front of the friend-filled DJ booth. 



But the stage itself was a gorgeous new creation, with the DJs performing under a colorful translucent blue dome reminiscent of Moroccan architecture. The water surrounded this corner of fun, encouraging dancers to cool off and socialize in its mellow waves, as well as the other shores that surrounded the fest (the scenic Woodward Reservoir campgrounds are surrounded by water, like a peninsula).

Two of the three art cars at the fest were camped out there, the mobile Golden Gate Bridge that shone like a beacon at night, and the furry pink Byte monsters, whose big round eyes were mirrors during the day and trippy lights at night.







Byte was an inviting place to sit and enjoy the music, and even offered some shade during the day and coziness at night, with a cushy hammock and ADID flowers hanging from the bottom level. It was also a playful and serendipitous meeting space to easily find new and old friends. I was called to jump onto this piece right away, during Borzu and Rooz, and am very glad I did. A guy hopped off to help me and three others up as a human step, and I met some of the lovely people involved in building Byte, who became my friends over the course of the weekend.

One of these new friends reminded about the opening ceremony sound bath / yoga class starting at six that I'd wanted to attend but lost track of time in the vibes and stimulation of Cloud Nine (that continued all weekend).


Jeremy Falk led a lovely vinyasa class focused on opening our hearts for the magic of the weekend, and even created space to meet our neighbors and look into their eyes and really see them. This session ended at sunset with a dreamy extended savasana as we received a sound bath of gongs, crystal bowls, rain sticks, and more by Danny Goldberg. After we rose from this dreamy space, we learned that one of the many cute ADID couples had just gotten engaged by the Cloud Girl art piece nearby.

While I did make it back to the sauna for another rejuvenating sweat and dip before dancing on Saturday, I didn't make it back to the Wellness Sanctuary for any of their other stellar programming. In addition to the variety of great yoga classes offered there every day, there were workshops and sound healings, including a meditation DJed by Lee Burridge, Milky Way Radio's Singing Forest showcasing the music of plants, and a dreaming workshop.

After regrouping for the evening at camp with a costume change, of course, I reunited with my crew. We checked out the nighttime version of Cloud Nine, and the nearby Nimbus Nights Stage, a red and yellow circus tent where we were the animals and the DJs were the ringleaders. This stage offered warehouse vibes and sets that crept into the wee hours. Hoj was conducting the joyful madness when we entered.



After bopping between those two stages, I needed to go witness the beauty of HoloRealmz, one of the main reasons I attended the fest (in addition to loving ADID, Lee, and many of the other artists). HoloRealmz, referred to as the Dream Dome stage at ADID, was created by Öona Dahl and multi-media artist Julia Sinelnikova a.k.a. Oracle666, a cozy, pretty and trippy art-filled space to chill, dream and decompress. 



The DJ sets were ambient-leaning, weird, and trippy, with Öona and Julia playing every night, along with other DJs and circus-esque performers Öona curated. Julia's shimmering, wavy "fairy organs" with laser-cut designs inspired by nature hung from the ceiling of the dome she custom-designed, and visuals projected onto the space added an extra layer of trippyness. Before the pandemic, they'd created the first HoloRealmz club experience in Brooklyn, and now they were finally able to continue the dream and make its festival debut. Their goal is to bring the inviting, immersive space to other festivals as the much-needed and often overlooked ambient music chill zone.

In line with the magic and synchronicity that was already unfolding into a perfect day, as I was about to head to HoloRealmz for Julia's upcoming set, I ran into them. As we headed over, someone stopped us to share how amazing the space was and how stoked he had been when they announced it was going to be a part of the fest. He then offered us fortune cookies with a big smile, instructing us to add “in bed” to the end of your fortune. (Mine was: It is time to help a friend in need. Give your best in bed.)



When we entered, Lauren Ritter, who played at Nimbus the next night, was leading the sonic journey into other realms, with a friend facilitating the mind expansion through spoken word poetry. Julia was next, and in between chatting with my new Dream Dome friends, I locked my eyes on the fairy organs, transfixed by their beauty, trying my best to absorb their magic.

At one point, sleepiness took over my dreamy state, and I felt the need to move my body to stay awake and extend the magic of the perfect day. (There was a guy napping there next to his friends at one point, and honestly, he looked blissed out.) Öona asked if I wanted to dance and handed me fans adorned with white flowy silk and fairy lights for me to twirl around with and feel ethereal a.f. It worked. I kept dreaming.

Öona's set was next and closed out the magical space's first night. She felt the energy and let us know she wasn't going to do ambient this time and that we could dance, and the full space vibed out and caught her groove. During her upbeat, trippy set, a performer awed us as she did aerial moves secured by holding on just with her mouth, and later spinning with chains instead of silks. When introducing her, Öona explained they met while getting tattoos at the same parlor in San Francisco She introduced herself after hearing her talk about psytrance.



When I later ask Öona about her love of the aggressively high BPM genre, she gives me a "How'd you not know?" look and explains she's played Boom Fest in Portugal and often plays slowed-down psytrance tracks. Amazing.

It was time to head back to Nimbus for the last set of the evening (well, morning by then), none other than the legendary DJ Three, Öona's husband and fellow purveyor of good vibes and strange sounds. He didn't disappoint, serving up plenty of weird noises to soundtrack the early morning circus dance party. 



As we were walking out, a friend of one of my new friends rolled by in his pedicab, rocking good tunes and a pirate hat. He and I jumped in and the friendly pirate took us on a joy ride around the grounds, with multiple trips through the Dream Vortex, rainbow-lit wooden archways reminiscent of Cloud Nine's etched pillars. We rolled over to the campgrounds in search of a renegade to catch the lost hour of morning dancing, and found a quiet one tucked between two RVs. Unfortunately, we brought attention to the party and security came to shut things down.

The sky was getting lighter and, as I rarely am ever awake this early, I decided to find a good place to watch the sunrise. I witnessed nature's light show from a hammock near Cloud Nine, sound tracked by birds hunting their breakfast with chirps that sounded amazingly reminiscent of '90s dialup internet tones. This was just day one! There is no way I could've planned such a magical day myself, so I was grateful for being present in this special dream vortex of a fest.



I caught a little sleep before my tent got too hot to continue. After, I walked back from the bathroom, the breakfast and sugar boost I needed was handed to me in the form of a chocolate-covered cream-filled donut (my favorite kind), the last one in a kind stranger's box. Next up was another sauna steam and water dip—word of the sauna magic got around because there was even a short line to enter!

Marking the perfect middle of the fest was a three-hour afternoon set from Lee at Cloud Nine. As I walked over to the stage, a pedicab drove by playing ice cream truck music. My inner five-year-old wants to eat ice cream daily, she started shouting at me upon hearing this joyous twinkly tune.

Upon not seeing a truck to cart out frozen treats, I shouted towards the driver, "That's rude! Now I want ice cream." He smiled and said "All day I scream," and stopped outside of the joyful madness taking over the stage. I noticed a large cooler on the back of it and paused. Actual small children lingered around with their parents, and soon enough, the cooler was opened to reveal a variety of ice cream bars. I triumphantly walked into the crowd with my chocolate caramel drumstick, looking for my friends and letting people know it was time to (ice) scream.



The vibes were at their peak and Cloud Nine was at its most packed, with the revelers reflecting the sunlight and Lee's sunny energy. It felt like almost everyone at the fest was there together in that moment, enhancing the upbeat sunny vibe with our smiles, dance moves, bubbles and creative, colorful, sparkly 'fits.



Argentinian vibe maestro Facundo Mohrr took over after Lee and kept things upbeat, sunny and flowing up until sunset. Since I'd seen the sunrise, it was essential to also admire the evening edition of nature's lightshow. I met a friendly, sparkly girl named Universe who introduced me to her friend Kim that flew in from Denmark specifically for ADID! He trekked there with another friend from home, who he implored to get tickets as soon as they went on sale. He'd been to one ADID event in London that he loved, and followed the music of Lee and the other dream fam. I found him again on Sunday and asked if he thought the trip was worth it. It was, and he was having a lot of fun. He explained that there's nothing like this in Denmark, so they have to travel to Germany and the UK for raves.

There were other international folks there as well, including a solid portion of the artists, which always makes a party better in my opinion. (Look at Burning Man!) From talking to people, it seemed that the largest chunk of the attendees were from the Bay Area, which makes sense, because that jovial, sun-drenched Golden Gate Park ADID energy was there. There were also quite a lot of dogs and kids in attendance, which really enhanced the playful energy and everyone seemed to enjoy having around.

DJ Three and Öona's adorable one-year-old Aura even made an appearance, thriving in HoloRealmz during the day, greeting everyone she met with wide eyes and a smile. It was a festival family reunion, with literal families and chosen families meeting, growing and celebrating.



On Sunday, I finally checked out the fourth stage, the Lenticular Live Stage, a breezy setup decorated with strings of orange puffy balls that swayed in the wind. I visited the vendor area on the way over, upgrading my rainbow sherbet fairy princess look with a cream hat with sequin netting that hangs over your face from Gitana Gold, my go-to fierce fest accessory peddler. It made me smile to see her hats adorning smiling faces all weekend, including on Little Dragon frontwoman Yukimi Nagano.



I spent the day at Lenticular with my new friends and Jan Blomqvist, Poolside, and Little Dragon, who closed Lenticular with pure joy and golden hour full moon magic. The Swedish electro-pop band's joyful set continued beyond their hour slot and through the full expression of a gorgeous orange and purple sunset on one side and the full moon lunar eclipse behind them. The sunset would have been more than enough to complement the lively, colorful journey they took us on, filled with their buoyant hits and jubilant fan favorites, but when we began to notice the full moon being eclipsed behind the stage…there truly no words to fully express that magic moment.

The expansive long weekend was closed out by Lee, the mastermind dreamer nurturing and co-creating the magic and great vibes with all of us. His four-hour B2B with Matthew Dekay ended promptly at midnight, and though we'd all spent hours dancing and chatting and others had to be exhausted as well, we lingered on the dance floor, on Byte, on the Golden Gate Bridge, getting a few more laughs and smiles in before heading back to our tents one last time. We lingered with tired bodies and full hearts because we knew that the next time we opened our eyes, this dream would be over.



While I've woken up from this dream (and am still sleepy from it), the friendships, connections and memories I created are real and have left me glowing. And there's always next year! At the end of Lee's final set of the weekend, they announced the county had already approved them to return to that special space.

All Day I Dream Festival: Vibes, Magic & Dreaminess

We’re just a few weeks into the season. Ibiza’s mega clubs have already thrown their official opening parties, and a few well-established summer residencies have kicked off. Every corner of Ibiza is overflowing with positive energy. There are plenty of options to discover the island, whether immersed in music, close to the sea, or surrounded by cliffs and woods. Whatever you fancy, below are some tips to make the most of this week from sunrise to sunset and beyond on the magic island!







Flower Power Opening | Pacha | May 23

Flower Power was launched in 1980 and really stands out from Ibiza’s musical landscape, an event where you’ll dance the night away to rock n’ roll and classics from the ’60s, ’70s, and ’80s. Pacha has been home for this party since its origins and gets beautifully decorated with symbols of peace, love, and freedom. One of the most welcoming parties where people of all ages dance and sing along in the hippie spirit.




Tickets for Flower Power opening party at Pacha






A Wednesday Saga by Bedouin | Pacha | May 25

Tamer Malki and Rami Abousabe, known as Bedouin, have been crafting their distinct music style since they came together in 2012. Their hypnotic and spiritual rhythms captivate audiences and evoke the vibe of festivals like Burning Man, where they have performed on various occasions. Saga was born to pay homage to their Middle Eastern roots (Tamer is from Jordan and Rami from Egypt). It’s a psychedelic and mesmerizing experience they have taken around the world. On Wednesday, May 25, the Bedouin duo welcome a new era of their Ibiza residency with Saga’s first season at Pacha.




A Wednesday Saga with Bedouin at Pacha








Follow Bedouin on Twitter | Instagram | SoundCloud




Music For Freaks | Pikes Ibiza | May 26




For a more intimate vibe, if you’re looking for the original spirit of Ibiza, you must head over to Pikes. It is a wonderland for locals and tourists alike, founded in the 1970s and set in the rural hills outside San Antonio. This enchanting venue is home to everyone who wants to celebrate their authentic selves. It has received guests such as Grace Jones, Bon Jovi, George Michael, and Freddy Mercury throughout its history. On Thursday, May 26, the pure disco and house label Music For Freaks (created in 1999 by Luke Solomon and Justin Harris) take over Pikes. The Sunset Terrace will come alive for one night only as dancers revel in the fine art of being freaks.




Apply for guestlist to join MFF at Pikes









Follow Music For Freaks on Twitter| Instagram | SoundCloud













Children of the 80s | Hard Rock Hotel Ibiza | May 27

Children of the 80s is a weekly residency created in 2015 by The Night League (Ushuaïa and Hï Ibiza founders), bringing old-school vibes and smiles to the Hard Rock Hotel Ibiza. One of the most popular outdoor gatherings for Ibiza workers and residents and the flagship party for the universal hotel brand. This old-school party takes place at Europe’s first Hard Rock Hotel on the beach, located next to Ushuaïa on the shores of Platja D’en Bossa. Every Friday from 7 pm, it brings the authentic tunes and vibes of the 80s and 90s through legendary live acts and tributes. On May 27, Children of the 80s begins the season with The Best of Abba tribute by Waterloo, Dream3team Reload, and resident DJs Petit and Vazquez, better known as La Movida. So relive the magic and put on your best vintage outfit!




Join Children of the 80s opening party at Hard Rock Hotel









Follow Children of the 80s on Twitter | Instagram | SoundCloud




WooMoon | Cova Santa | May 27




Ibiza has countless beautiful seaside hangouts, but its countryside and interior villages are just as gorgeous. Located between the mountains, very close to Sant Josep town, Cova Santa is a breathtaking cave, restaurant, and event venue. Since 2012 Cova Santa has hosted exciting outdoor parties that continue into the night inside the cave. This Friday, the venue owned by superclub Amnesia opens its doors to welcome a new season with its flagship party Woomoon, celebrating the new moon with live art, interactive performances, and nomadic music by Nu and Oliver Koletzki on Friday, May 27, from 5 pm. WooMoon is a unique conceptual event on the island that we highly recommend you experience at least once!












Follow WooMoon on Instagram | SoundCloud




elrow | Amnesia | May 28

Elrow is undoubtedly one of the craziest parties in the world. It’s called Amnesia, home on the island since 2017, the perfect locale to make magic happen during the summer season. You’ll feel part of the show from the beginning of the night as you get pulled in by extravagant performances, mind-blowing production, and colorful festive decor. On top of this, elrow brings some of the best house and techno artists from the international music scene to create what is sure to be an unforgettable night in Ibiza. You can pick from 19 different dates and themes.




Buy your tickets for elrow opening party at Amnesia









Follow elrow on Twitter | Instagram | SoundCloud







Party tips aside, every day is an adventure here, and enjoying the sunsets in Ibiza is a daily ritual for holidaymakers.







On the western coastline near San Antonio town lies Cala Comte, a picture-perfect beach. Take a dip in the turquoise Mediterranean waters and let the white sand get between your toes. It is also an excellent spot for snorkeling and sunsets. Grab a bite at Sunset Ashram, a bohemian restaurant with a mix of Japanese, Indian, and Mediterranean cuisine located in a beautiful cove that provides a special sunset session by Balearic DJs. We recommend you book ahead if you want a table or hammock to enjoy the day out!







Another magical place on the outskirts of the San Antonio village to watch the sunset is Hostal La Torre, located in Cap Negret. It hosts daily “Sunsets with music” to celebrate Balearic beats and chill-out from 5 pm, courtesy of some of the island’s best resident DJs. La Torre is a boutique hostel that offers accommodation, Mediterranean food, and delicious cocktails. It is an ideal location as the horizon meets the sea just in front of its chic terrace, and the sun sets right in the middle during the summer.

Weekly Ibiza Selections (May 23–May 29)

Veteran DJ and producer Matthias Tanzmann electrified The Brooklyn Mirage last October with an infectiously groovy set. Sitting at the center of New York’s Avant Gardner complex, The Brooklyn Mirage is a stunning open-air venue boasting an idyllic inner courtyard, striking walls, and evergreen plants.



In 2019, Tanzmann was nominated as Best Tech House DJ in the annual Ibiza DJ Awards for the sixth time. With a career spanning over two decades, he’s no stranger to keeping crowds hooked to the dancefloor for hours on end.

As the owner of the German imprint Moon Harbour Recordings, Tanzmann has helped to grow emerging artists into world-renowned figures from Detlef, to Dennis Cruz, Sidney Charles, and beyond. Since its inception in 2000, the label has released an impressive volume of material.



Tanzmann is a Circoloco resident at the legendary Ibiza venue, DC10, and has remixed work from the likes of Jamie Jones, Booka Shade, Moby, and Josh Wink. He’s set to unleash havoc in the coming months at Octan Ibiza, Watergate in Berlin, E1 in London, and many more clubs worldwide.



Follow Matthias Tanzmann on Twitter | Instagram | Soundcloud

Matthias Tanzmann Electrifies the Brooklyn Mirage

Magit Cacoon is an unstoppable techno baroness. Her musical proclivities have elevated her to the forefront of the global dance music scene as a frequent contributor on renowned labels like Crosstown Rebels, Upon You Records, DGTL, and Girl Scout. Her social pages and their infectious performance recaps will show that her sonic savvy extends well outside the studio. Her seemingly effortless crowd control and skills as a selector have earned her critical acclaim from numerous international bodies.



The indelible drive that propelled Magit Cacoon from a local Tel Aviv techno talent to an international dance music matron is more than a work ethic. It is a sound. It’s a powerful engine whose energy runs deep with reverberating low-end synths, hypnotic kicks, and unshakeable precision. This past February, MC loosed her production prowess on an official remix of Jonas Saalbach’s “Cellophane,” which was everything we could want and more.



A razor-sharp pulse lays a steadfast base for the rhythmic glints that illuminate the dark energy of this reinforced remix. As mesmeric synths spiral through the air, one can’t help but sink into the vigorous wash of this club-ready flip. An exceedingly proficient audio technician in his own right, taking on a Jonas Saalbach remix is no small task. But Magit Cacoon’s penchant for the powerful lent itself perfectly to the sonic and emotive intensity of this Headlights album standout.



Follow Magit Cacoon on Facebook | Twitter | Instagram | Soundcloud



If superlatives like Award-winning DJ and prolific producer were not enough, add Mago Music label boss to the CV. Born from the desire to curate and collaborate with an eclectic mix of artists and styles while also championing her own releases, Mago Music is the latest medium by which MC’s career continues to grow.





If you’ve yet to board the Magit Cacoon train, consider this remix a forceful invitation.

Magit Cacoon Gives Jonas Saalbach’s 'Cellophane' a Razor Sharp Remix

Most electronic music fans have heard of the legendary French company, Cercle. They’re known for curating exclusive musical experiences in incredible locations and making it their priority to highlight artists and the most beautiful cultural sights around the world. The brand truly took off during the COVID shutdowns, as they stood in a class of their own regarding high-quality live streams. However, the journey to putting on sets with world-class DJs at historic landmarks was by no means easy or quick.




Cercle got its start in 2016. Their first events took place in a living room, with a small group of friends hanging out behind the DJ in what appears to be someone’s house. Although they quickly progressed into real venues, they were still focused primarily on highlighting local French talent.




When digging through the Cercle archives, it is clear that the Cercle team has an incredible eye for talent, which is one of many reasons why they have had such success growing their brand. Time and time again, Cercle has booked acts well before they blow up and is constantly at the cutting edge of electronic music. From Charlotte De Witte in 2017 to Boris Brejcha and Polo & Pan in 2018, their eye for rising stars is undeniable.




Although we now associate Cercle sets exclusively with historic landmarks, their first event of this sort was Boris Brejcha at the Château de Fontainebleau. It was a truly remarkable space to host an event. Moreover, it was somewhat of a coming-out party for the brand and Boris Brejcha, gaining 35 million views on Youtube, a substantial departure from the 300-500 thousand they’d received on prior streams.




Since then, Cercle has continued to establish itself as a brand artists love to play for, and a true force in the events world. They are a team accustomed to working through challenges and paying attention to the fine details. They plan shows years in advance and produce live streams through immense technical challenges.




Eelke Kleijn spoke about his experience playing for Cercle in an interview with Gray Area.




“We talked to them for almost two years in advance. It had been 1.5 years since I’d played a live show anywhere. It was quite a challenge. I spent four weeks leading up to the show just playing the show at home and rehearsing at least three times a day. Cercle is truly live, so any mistakes will be there forever.




“I had not seen a crowd in front of me for so long and then all of a sudden you’re in France with a huge team working on the show. It was overwhelming. When it was done, it was satisfying.”




Any fan of electronic music can sink hours upon hours into watching Cercle sets. Below are our five favorite selections from their extensive catalog.




Boris Brejcha at Grand Palais in Paris 2020

Coming off of a breakout set with Cercle in 2018, Boris Brejcha returned in 2020 as a massive star. Playing in the glorious Grand Palais in Paris, Boris takes the crowd on a true journey through his extensive catalog, showcasing to the world that he is here to stay.









FKJ Live at Salar de Uyuni 2019

Perhaps one of the most unique sets Cercle has ever produced, FKJ at the Bolivian salt flats, is a masterpiece. A departure from the typical sounds of Cercle, FKJ brings his incredible talent to one of the first crowdless shows Cercle put on. Playing on what looks like a mirror, FKJ stands alone against an endless backdrop, serenading the listener with his soothing sounds.






Carl Cox at Chateau De Chambord in France 2019

When the king shows up, you listen. A Carl Cox set is a can’t-miss affair every time, and his performance for Cercle is no exception. Playing at sunset in front of a gorgeous castle, Carl Cox takes us through his classic tracks in a house-focused set, keeping the crowd moving every minute.






Solomun at Theatre Antique d’Orange in France 2018

Another master of his craft, Solomun’s set for Cercle in 2018, was a big part of their breakout year. When legends play for your brand, the people notice. This Solomun set was one for the ages, as he brought his top-level track selection to the iconic Theatre Antique d’Orange in France.






Disclosure at Plitvice Lakes National Park in Croatia 2020

The worldwide COVID shutdowns allowed Cercle to pivot its brand. They continued to perform shows without crowds, going to more extravagant places each time out. Furthermore, it allowed the brand to target in-demand artists such as Disclosure. Disclosure played their first live set in ages for Cercle above the glorious Plitvice Lakes in Croatia. This was not one to miss.

The Cercle Story In 5 Sets

Las Vegas is synonymous with bright lights, partying, gambling, and all-around excess. Its first casino opened in 1931 after Nevada legalized gambling, although prohibition continued until 1933. In 1938, California began cracking down on gambling, pushing the industry to Vegas.


The Vegas we know as a destination for entertainment and late-night revelry was born in large part due to Frank Sinatra and the Rat Pack performing regularly in the ’50s and ’60s at the Sands Hotel and Casino—the seventh hotel to open on the Strip in December 1952.









A Crooner’s Paradise

“Frank wouldn’t go out after dark without a sport jacket on, let alone perform out of a tuxedo,” former Nevada Governor Lorraine Hunt-Bono told the Smithsonian magazine in 2013. “He was the spark that changed Vegas from a dusty Western town into something glamorous.”




Sinatra, Dean Martin, Sammy Davis Jr., actor Peter Lawford, and comedian Joey Bishop, a.k.a. the Rat Pack, held one of the first Vegas residencies, performing regularly in front of large audiences at the Copa Room and the Sands. Just a few years into the Pack’s glamourous partying, in 1954, around eight million tourists a year visited The Strip to see their shows, along with other big stars of the time, including Debbie Reynolds, Liberace, Elvis Presley, and Ronald Regan(!).




Glitzy pianist Liberace held the first Vegas residency, making waves with his lively show tunes at the Hotel Last Frontier from his first show there in 1944. He would go on to rock the Strip for decades, his entire career, at one point holding the title of highest-paid entertainer in the world.




As more hotels opened on the Strip, they wanted stars to advertise on their marquees to bring people in. The original Ocean’s 11 film, starring the Rat Pack, came out in 1960, further popularizing the stars and its Vegas setting as a glamorous, luxurious destination.




A Stage For A Dying Career




By the late-’60s, the British Invasion was in full force, the hippy counterculture movement was rising, and the widespread popularity of Vegas and crooner music waned. Thus, the Vegas audience aged instead of the city bringing in younger, hipper revelers and the artists they wanted to see. In the late-’70s and ’80s, holding a Vegas residency was seen as the last attempt to save a dying career.




Sin City’s sparkle was dimmed in the early-’80s by the recession, Atlantic City legalizing gambling and opening up mega-casinos, and big rock bands opting for massive sports arenas as their preferred venues.




The city was trying to clean up its reputation for seediness and drugs to appeal to the white-washed family values of the Regan era, so hotels built out family-friendly attractions instead of focusing on drawing guests in with the musical razzle-dazzle of years past. Sinatra referred to ’80s Vegas as “an amusement park…in my era, Las Vegas was rock solid, and now it’s papier-mâché.”









Welcome To The Millennium Of Pop




The new century turned a gilded leaf for the Neon Capital of the World. In 1998, several new, big developments opened, including the Bellagio. Barbra Streisand’s Y2K New Year’s Eve concert at the MGM Grand became the highest-grossing concert ever at the time. Vegas was the world’s most popular city to visit, seeing 37 million tourists annually.




Céline Dion breathed life back into Vegas residencies with A New Day, held at the height of her career from 2003-2007. As of 2018, A New Day still held the title of highest-grossing Vegas residency of all time, bringing in $385.1 million! More residencies from pop and rock stars followed suit, as hotels once again wanted to put a big name on their marquee lights to bring in the big bucks.




Prince briefly painted Sin City purple from 2006-2007 with arguably the coolest club it’s ever seen, 3121, where he’d play for hours and bring star-studded friends onstage with him.




Britney Spears continued the legacy of the successful pop star residency from 2013-17, bringing in younger fans to the city to experience its glitter.




“What followed Britney was going out and getting younger artists and a wider span of genres that would mirror the changing demographic of Las Vegas,” Kurt Melien, president of Live Nation Las Vegas, told Las Vegas Weekly in 2016. “Now we’ve got everything from Pitbull to Brooks & Dunn. The demographic is more diverse than ever.”









The Desert Rave Begins




And as pop stars revived Vegas’ shimmer and appeal in the ’00s and ’10s, so did DJs. Even before Y2K hit, it was already emerging as a rave destination.




“Vegas is the new Ibiza,” Paul Oakenfold famously told Visit Las Vegas in 2008. “It has become an adult playground.”




The seeds were planted with the Desert Move party an hour outside the city in 1996, featuring Josh Wink, Derrick May, Dmitry from Deee-Lite, and more, with dance music heads gathering together in the desert air, including Insomniac founder Pasquale Rotella and OG local Vegas DJ Robert Oleysyck.




Later that year, the desert rave inspired Gino LoPinto and Aaron Britt to open Utopia, Sin City’s first electronic music-centric nightclub. Utopia was a stand-alone club, unlike today’s Vegas clubs attached to hotels, and served up “indoor pyrotechnics, a high-wattage sound system and an ‘anything goes’ mentality,” and an inclusive club kid vibe with no bottle service. Oleysyck was a resident DJ at Utopia, hosting Paul Oakenfold’s and Sasha’s first Vegas sets. John Digweed, Goldie, and other legendary dance acts also helmed the decks there. The rave was strong at Utopia until 2001 when it shuttered its doors.




“In any nightlife discussion, you can’t deny the impact Utopia had,” Oleysyck said. “It was a jewel in the nightlife scene. Not just in Vegas, but in America. People were flying from every coast to come on Saturday night. You can’t deny that they were influenced by that one way or another.”




A Way Of Life Productions (AWOL) was one of the event producers who put on parties at Utopia, as well as in warehouses and other pop-up spaces, creating elaborate scenes to play and dance the night away. In classic rave style, their fliers would typically have a hotline number to call the night of the event to find out the location.




Vegas DJ John Torres created another dance music haven in 1997 with the Liquid303 record store, selling only dance music, along with presale tickets to the hottest raves nearby. “The timing was perfect,” Torres said. “Utopia was in full swing, Chad from AWOL was throwing legit warehouse parties, after hours were starting to pop up. The scene was growing quickly, but it was still considered ‘underground’ back then.”









Let’s Go, Mega-Club Hopping!




In the early ’00s, hotel owners saw the money they could make tapping into the burgeoning dance music scene and began booking big-name DJs at their clubs. The now-shuttered clubs Ra at Luxor, C2K at Venetian, and Baby’s at Hard Rock were some of the first venues to regularly book DJs, although they didn’t exclusively cater to the dance music crowd. AWOL stayed active, bringing the rave vibes to these spaces that were still newer to it. Filling the void of Utopia, Ice, another off-Strip, stand-alone club, brought in the likes of Paul Oakenfold, DJ Dan, Tiësto, and Armin Van Buuren.







Things shifted when Paul Oakenfold became the first big-name Vegas resident DJ with his Perfecto parties at Rain at Palms in 2008. He served up a wide array of sounds, including unreleased tracks, with the glamorous backdrop of a big-budget production complete with aerialists, stilt-walkers, lasers, and confetti. This was a place to be seen. It was so successful that his residency was extended beyond the initial year and replicated by other hotel clubs.




Using Perfecto’s extravagant and successful blueprint, dozens of EDM-focused mega-clubs opened at hotels on the Strip, including XS in 2008, Marquee in 2010, Hakkasan in 2013, OMNIA in 2015, and Jewel in 2016. TAO was the first club to host DJ-helmed pool parties, now a standard part of the Vegas rave experience, with poolside parties at Encore, Wet Republic, Drai’s Beachclub, and more, booking big-name DJs to bring the party into the sunshine.









EDM & EDC Keep Vegas Raving




In 2011, Insomniac held its flagship festival, EDC, in Las Vegas for the first time, relocating from its home city of Los Angeles. The timing was perfect for solidifying Sin City as a destination for EDM lovers. The emergence of the mega-clubs and poolside venues offered the ideal setting for EDC day parties and after-parties.




The surrounding events of EDC Week have become a destination in itself when the city is consumed by raving and the world’s highest-paid DJs—and Vegas residency regulars—like Calvin Harris, Steve Aoki, David Guetta, Kaskade, Diplo, and even lauded event brands like elrow draw in ravers from around the world willing to pay the high ticket prices.




EDC is estimated to have brought in $1.3 billion to the city during its first five years there! The 2019 fest brought in 450000 ravers from over 100 countries, with over 2000 hotel rooms booked for the staggering 3000 EDC staff members that made the magic happen.




The rave is sure to go on in Vegas for quite some time.

From Liberace to Calvin Harris: The Evolution of Club Culture in Las Vegas:

As with the rest of the world, the past two years of the pandemic have been unprecedented for dance music culture. 2020 saw almost an entire evaporation of the scene (or rather a migration to Twitch), and 2021 saw the reemergence of events through a lens of caution.




But events are far from the only measure of health when it comes to dance music, and the yearly International Music Summit (IMS) report provides a comprehensive overview of all aspects of the culture from both the artistic and business side of the industry.




The primary categories within the report are music, festivals & clubs, fan engagement, education, impact, and diversity.




Gray Area is dedicated to expanding the culture of house and techno in the United States, so our overview of the IMS Report will focus on the aspects of the report that directly affect those sounds and their presence in the United States.




Before going further, it is important to define musical terms as they exist within the report and how they relate to house and techno. IMS defines terms such as underground, commercial, and pop. These definitions in and of themselves paint an interesting picture of how house and techno exist in the modern landscape.




Starting with the term, underground. This is a term that is used very frequently in the conversation surrounding house and techno, and one that’s come up more often as dance music culture has entered the mainstream.




Many fans of house and techno are averse to being associated with the more mainstream side of the culture but based on the IMS Report, house and techno have now extended far beyond the underground.




The IMS Report defines underground as, "Novel-sounding. Even to most electronic dance music audiences.”




The Oxford dictionary defines novel as, “new or unusual in an interesting way,” and currently, “most electronic dance music audiences,” certainly include fans of house and techno.




As such, neither house nor techno are exclusively underground anymore. These genres still have much larger potential to be “underground” in nature, but in 2022 most electronic music fans do not consider these genres new or unusual.




House and techno are far more fitting within the term “commercial” which the IMS report defines as “Familiar-sounding to electronic dance music audiences (but novel to the general population).”




In some cases, house and techno even cross over into pop, which the IMS Report defines as “familiar-sounding music (therefore often with wide appeal) to the general public.”


While this may irk die-hards of house and techno, the success of tracks like Fisher’s “Losing It,” and Tiësto’s “The Business” along with the meteoric ascension of artists like John Summit and SIDEPIECE demonstrate a strong presence of house music within pop music, and the sound that’s solidified house music’s pop status is surely tech house.




The headline of the Beatport portion of Recorded Music section within the IMS report is very clear:




“Tech House takes the top spot in Beatport’s chart.”




Currently, the genre is not only sitting on number one per the chart below, but at the time of writing, the top artist, track, and label on Beatport are, according to Beatstats,  within the tech house umbrella. (Vintage Culture, “Do It To It” by ACRAZE, and Repopulate Mars, respectively).

	




This may seem like a trend that’s taken off with an influx of unofficial tech house remixes of R&B tracks, tech house topping Beatport is not a new phenomenon.




Prior to techno’s ascension to the top back in Q2 of 2016, tech house was at the top for 21 months straight between 2014 and 2016. Before that deep house was topping the list.









What such a trend demonstrates is that tech house has serious staying power. In scanning Beatport, major hits of the 2014-2016 era like Shiba San’s “OKAY” and “How Deep Is Your Love” from Calvin Harris & Disciples aren’t even in the “tech house” category and the genre was still number one.




Different genres always go through periods of mainstream attention as EDM did in 2012—dance music was the highest growing mainstream genre in terms of album sales according to the 2012 IMS report—and even though the EDM boom has long since passed, the effects of EDM remain undeniable a decade later.




Swedish House Mafia is headlining Coachella. Hardwell’s return is a major event for the entire dance music industry.




Tech house hasn’t carried dance music back to the highest growing mainstream genre in terms of album sales in 2022, but with its history of reverence within the dance sphere paired with its current popularity, the genre will likely leave a lasting imprint on what dance music looks like for years to come.




Despite all this, there is a reality to face about the presence of dance music as a whole within the United States.




Dance / Electronic music, which, based on definitions of the IMS Report, includes every single genre within underground, commercial, and pop categories (from the biggest EDM to the most esoteric electro), only makes up roughly three percent of the total recorded music volume in the United States.









A notable statistic is that R&B/Hip Hop is in decline after years of dominating, going from 28.2 percent to 27.7 percent between 2020 and 2021.




Will dance music ever be as prominent in the US as hip hop? Certainly, one way more and more Americans are discovering dance music is through events.




As expected, events made a huge comeback in 2021, with 1,646 festivals worldwide, including electronic artists on the lineup, compared to 1,030 in 2020. The value of festivals and clubs also increased to $2.5 billion in 2021 compared to $1 billion in 2020.




Most of these 2021 metrics are still significantly below 2019 levels as restrictions and cancellations due to COVID-19 have not yet subsided, but there are trends that demonstrate the future is very bright for dance music culture.




According to data acquired from the UK-based ticketing service Skiddle, in 2021, festival ticket demand has shot up to 150 percent of 2019 levels, and that number is only increasing. While Skiddle doesn’t service the United States (at the time of writing, a search on the platform for US-based events turned up no results), the demand for house and techno-themed festivals in the US is clear.




New events like Chicago’s ARC Music Festival will expand to three days for its second edition in 2022. Los Angeles is also seeing an influx of new house and techno festivals like Skyline and Day Trip Festival championed by their native mega promoter, Insomniac.




Overall what these results demonstrate is that for house and techno to become a viable cultural prospect in the United States, the genres will have to separate from the underground. Such a shift is clearly already happening, but the final step is for the community at large to embrace the shift.




There will always be promoters and artists dedicated to the true underground experience, and if these parties weren’t defined by their illegality and their surreptitious quality, there would likely be data within the IMS report demonstrating that the underground is still very strong.




Those who prefer to stay underground certainly can, but house and techno offer an experience that deserves to be as widespread as hip hop and R&B. The unity on the dancefloor. The pure joy being shared. The epic sunrise sets.




The veil has been lifted on the sound. Time to share that sound with everyone.