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.

The IMS Business Report: Is the Underground Really Underground Anymore?

Insomniac Events is at the point in their evolution where they approach trends from all sides. They set trends. They follow trends. They redefine trends.




The latest trend the event conglomerate has engulfed is the ascension of house and techno in the dance music zeitgeist and what will soon likely be the mainstream.




Insomniac’s approach to this trend goes beyond booking more house and techno artists at their existing events or putting house and techno artists on bigger stages. It goes even beyond erecting new events explicitly geared towards house and techno.




Insomniac has done all of these things, but the most pivotal response to this widespread shift in music taste is two brands under the Insomniac umbrella: Factory 93 and Day Trip.




Factory 93 is the home for techno and every other sound that belongs below the ground, while Day Trip is all about funky house music and daytime fiestas.




These are separate entities with their own visual aesthetic, their own festivals, and event series. Factory 93 even has its own record label through which impressive artists like Will Clarke, Josh Butler, and Avision have released music.




Skyline is the event where these two brands came together for the first time, where house and techno coexist within an exquisite outdoor setting.




The first edition was held in Orlando in 2021, with an LA iteration in February 2022. Now the event is returning to Orlando with its most ambitious lineup to date.




Check out these ten standout artists from a lineup that is stacked from top to bottom:







Adam Beyer

Adam Beyer is always near the top, whether the lineup lists artists by first name or last name. Potential attendees see his name as soon as they see the lineup, and they know there is at least one set that is guaranteed to be masterful. Running Drumcode for over 20 years, Beyer is one of techno’s most reliable, most consistent, and most forward-thinking acts.




Follow Adam Beyer on Facebook | Instagram | Twitter




Hot Since 82


With Hot Since 82, it’s all in the name. His sets are hot. His productions are hot. The curation on his label Knee Deep In Sound is hot. Now he’ll bring all that heat to the hot Florida sun. Although it’s more likely, he’ll play after the sun goes down cause he’s always a prime closer.




Follow Hot Since 82 on Facebook | Instagram | Twitter | Tik Tok







TSHA

Curating a mix for the infamous fabric presents series is one of the highest honors in dance music, and the UK’s own TSHA is the latest artist to receive that honor. She’s also had the privilege of releasing music on revered labels like Ninja Tune and getting the remix treatment from legends like Floorplan. She honors the culture. She honors the sound. See her do so live in action at Skyline.




Follow TSHA on Facebook | Instagram | Twitter | Tik Tok







ZHU


The once enigmatic ZHU is now one of electronic music’s most in-demand acts. His ghostly rendition of dance music touches on house, techno, disco, and even some heavier beat-style music. At Skyline, ZHU will perform a DJ set instead of his epic live show, but that’s not a reason to be disappointed. He knows the house and techno crowd all too well from his earlier releases like “Faded” and his techno side project, Blacklizt.




Follow ZHU on Facebook | Instagram | Twitter | Tik Tok




Channel Tres


Coming off two stellar weekends at Coachella, Channel Tres will also opt for a DJ set at Skyline instead of his live show. As an artist who dances on the tightrope between house music and hip hop, his DJ sets are what allow him to dig back into four-on-the-floor. Although it wouldn’t be surprising if he still hit the mic for some live vocals.




Follow Channel Tres on Facebook | Instagram | Twitter







ANNA

What’s that thundering yet hypnotic sound coming from the stage? It’s four-on-the-floor mixed with breakbeats and even some chaotic ambient leftfield? That could only be ANNA. The Brazilian DJ savant defies definition. She’s been developing her sound since she was 14-years-old, running around her father’s nightclub in São Paulo, and those years of hard work can be felt on the dance floor.




Follow ANNA on Facebook | Instagram | Twitter | Tik Tok







J. Worra


Some people might be dumbfounded by the fact that it’s already May, but it’s more dumbfounding that J. Worra has already put out four releases in 2022. Starting in February, she’s had new music out each month on labels like Insomniac Records and Higher Ground. All the releases are different subgenres of house music, yet her precise sense of funk unites them.




Follow J. Worra on Facebook | Instagram | Twitter | Tik Tok







Anfisa Letyago

Throughout 2022 Anfisa Letyago has been traveling the globe playing music. Her extensive tour schedule has her hitting numerous dance music hotspots, including Brazil, Slovenia, Las Vegas, and Ibiza. She proves that music is a universal language (or maybe that everyone just loves to dance), so get ready to dance to her set at Skyline.




Follow Anfisa Letyago on Facebook | Instagram | Twitter | Tik Tok







Green Velvet

There is nothing like a Green Velvet set. The adept swapping between Chicago house and roaring techno. The convivial and sardonic live vocals. The green mohawk that doesn’t stop bobbing from the first beat to the last. He really is a legend, and every time steps on the decks, he provides a different history lesson in dance music.




Follow Green Velvet on Facebook | Instagram | Twitter 







Serge Devant B2B AMÉMÉ

Every good house and techno event features back-to-back sets, and this particular back-to-back between Serge Devant and AMÉMÉ will be far more than good. It will be outstanding because what makes a back-to-back remarkable is when a seasoned veteran spins with a rising new talent. Devant is one of the most seasoned veterans around, and AMÉMÉ’s take on Afro House is already rippling out to clubs and festivals worldwide.




Follow Serge Devant on Facebook | Instagram | Twitter

Follow ​​AMÉMÉ on Facebook | Instagram

10 Can't Miss Artists at Skyline Orlando

Techno titans Alan Fitzpatrick and Rebūke - aka Reuben Keeney - almost cracked the ground in two with an explosive B2B set at Terminal V last month. And thanks to DJMag, you can now experience the wall rattling energy of Scotland's largest electronic music event. Terminal V returned on Easter weekend and featured an array of global talent from Amelie Lens to Reinier Zonneveld, I Hate Models, and beyond.

Fitzpatrick and Keeney have collaborated before, playing a live B2B mix on Drumcode Radio in February, and releasing “Ultimate Distortion” in 2020. Based on Keeney’s Instagram, it looks like another collaborative track is in the works.











Born and raised in Southampton, UK, Alan Fitzpatrick churns out floor filling big-room techno aplenty. He runs a highly influential techno imprint of his own, We Are The Brave, and has maintained a close relationship with Adam Beyer’s Drumcode label for years.

Rebūke emerged from the Irish underground scene. Drawing inspiration from techno, house, and rave records from the early 90’s, he’s a frequent feature of the Beatport Top 10. After being named as one of three Future Fire BBC Radio 1 stars of 2019, he’s received regular rotation from the likes of Pete Tong, Annie Mac, Danny Howard, Mistajam, and Monki.



Fitzpatrick’s touring schedule remains as busy as ever, with appearances at Smolna in Warsaw and SAGA Festival in Bucharest. Keeney has just started his Australia/New Zealand tour. He's also set to play at many festivals and clubs in the coming months, including Life 22 Festival in Westmeath, Ireland, and Brooklyn Mirage in New York.



Early Bird Tickets are on sale for Terminal V 2023.





Follow Alan Fitzpatrick on Twitter | Instagram | Soundcloud



Follow Rebūke on Twitter | Instagram | Soundcloud





Alan Fitzpatrick B2B Rebūke Live From Terminal V:

https://www.youtube.com/watch?v=2zwd7Nx6KmQ

Alan Fitzpatrick and Rebūke’s Seismic Set from Terminal V

The legendary Detroit electronic music festival, Movement, returns May 28 – 30 to Hart Plaza, so we've selected some of the acts to catch from the stacked lineup of dance talent.



Movement, the legendary Detroit techno and house festival, is finally back, bringing the beat to Hart Plaza at the end of the month. Since 2000, the fest has celebrated the best of underground dance music talent and played an essential role in promoting the culture stateside.

The long-awaited Movement 2022 lineup announcement brought excitement to the scene, and soon we'll get to experience the stellar music and lovely Midwestern hospitality together, IRL.

While it's literally impossible to narrow down the Movement 2022 lineup to a short, concise list of must-sees because it's such a standout booking with so many acts we want to see, here is an incomplete list of the artists we highly recommend you check out.



Movement happens May 28-30, 2022, at Hart Plaza in Detroit, Michigan. Tickets for Movement are available now via the Movement Detroit website.

Follow Movement on Instagram | Twitter | YouTube

Jeff Mills



Jeff Mills is one of the architects of Detroit techno and has continued to shape, innovate, and deconstruct its sound with his visionary approach to electronic music and DJing. His music is otherworldly, bold, dark, and utterly entrancing. His nickname, The Wizard, becomes clear when witnessing his mastery behind the decks, helming multiple turntables.







Carl Craig / James Murphy B2B Carl Craig



Carl Craig is another of Detroit techno's forefathers, helping keep the genre and its hometown alive and thriving. At the last Movement in 2019, the city celebrated his contributions with the Spirit of Detroit Award, after which he took the crowd on a banging house and techno journey. You can catch him at the fest for a solo set, a captivating B2B with LCD System frontman James Murphy, and at his stacked Detroit Love official Movement afterparty.







E-Dancer

Kevin Saunderson is one of the other heads on Detroit techno's version of Mount Rushmore, with (to name just one project) his eternally classic tracks as Inner City introducing the world to some of the underground dance sounds back in 1989. He's had a profound impact on the scene with his many projects and KMS imprint. In 2021, he revived his impactful, experimental techno E-Dancer alias with the Re:Generate remix album of 1998 classic Heavenly. He served up two E-Dancer shows in 2021 and 2019, and his live set this Movement is a must-see. His sons, Dantiez (who helped him revive Inner City) and Damarii Saunderson, will also play at the fest and keep the Detroit family energy strong.







Stacey Hotwaxx Hale

Known as the Godmother of House Music, Stacey Hotwaxx Hale is one of Detroit's OGs and underappreciated gems. She's been bringing four-on-the-floor joy to Motor City clubs since 1989 (she was a key player on Detroit's lively radio and still slays the airwaves) and to hot spots around the globe for almost as long. For as long as she's had a platform, she's intentionally made space for the next generation, teaching DJ and production classes at the Detroit Institute of Music Education and the Girls Rock Detroit summer camp. Catch her at Movement to get down to some hothouse and pay the queen some respect!







DJ Minx

DJ Minx is another Detroit pioneer that made waves in the Detroit club scene and radio since the early '90s. She's always been an advocate for women in music, with the Women on Wax DJ collective and label that she founded in 1996 and the Sheometry Festival she and Hale started in 2019 to showcase yet-to-be-discovered women artists. Her productions and DJ sets are joyful, upbeat, and rooted in house and techno, so you better catch her vibe!







DJ Holographic

One of our 2022 10 Rising Black Artists You Should Know, DJ Holographic, represents the young bloods of Detroit, keeping the scene vibrant and the vibes flowing. Celebrated by OGs like Craig, who tapped her for the 2021 Detroit Love Vol. 5 compilation album on his Planet E Communications, she serves up a joyful blend of house, disco, and techno straight from her heart. She's a joy to watch behind the decks, and a true purveyor of positive vibes, so you'll feel the sun shining on you, regardless of the time of day.







Ash Lauryn

Another 2022 Rising Black Artist, Detroit-born, Atlanta-based DJ, producer, and music journalist Ash Lauryn is all about supporting and uplifting Black artists and music in everything she does. She started the Underground & Black platform when she saw a void of representation for Black millennial electronic producers and will be returning with its annual Movement party. Her sound is rooted in the rhythms and creativity of her hometown and her deep love for house music, and her Movement set is sure to be pure energy, grooves, and vibes.







Seth Troxler

Do we really need to remind you to check out Seth Troxler?! The loveable class clown of the underground grew up in the suburbs of Detroit and immersed himself in the rich techno scene there as a teen, putting out his debut track "Moment" with the legendary Omar S at 17. His personality shines through in his tracks and DJ sets. They're fun, upbeat, wacky, and rooted in the house and techno he grew up on.







Eris Drew B2B Octo Octa

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







Soul Clap w/ Amp Fiddler

Formed in Boston in 2001 by close friends Charlie Levine and Eli Goldstein, Soul Clap serves up funky rhythms rooted in their wide-ranging love of house, disco, drum and bass, jungle, and anything funkdifed. Amp Fiddler is a true Detroit legend, a singer, songwriter, producer and keyboardist whose worked with Prince, George Clinton, Too Short, Moodymann and J Dilla, to name a few. Soul Clap plus Amp Fiddler equals pure funk and soul, and we're stoked to witness this powerhouse matchup IRL.







Louie Vega

New Yorkers voted wrong in the last election because Louie Vega is the real mayor of New York. The GRAMMY-winning soulful house artist has produced and remixed far too many classics to mention, as part of Masters At Work with Kenny Dope and under his own name. If you have a soul, I'm sure you'll want to get lost in the rhythm of his sun-soaked blend of Latin drums and percussion, classic house, Afro-house, gospel house, and more.

10 Acts To Catch At Movement 2022

When it comes to powerhouse women of dance music, Aundy Crenshaw is an absolute force behind the scenes. Six years ago, she stepped into the role of COO, CMO, and CFO for the beloved dance music label, Dirtybird, and has played a prominent role in its indisputable ascension to the highest echelons of both industry and scene.


Dirtybird has a well-earned reputation for left-field sounds, and while we should know better than to assume, those themes typically fall in the broad realms of house and techno. But this week’s track of the week finds Crenshaw and Dirtybird doing what they do best—keeping us on our toes—with a wavy, buoyant breakbeat from Nala and Nikki Nair, “The World Is Always Ending.”




“‘The World Is Always Ending’ is a track that you wouldn’t think of coming from Dirtybird,” Crenshaw shares.


“The track’s melody and vocals, created by Nala, is easy to sing along with which I love to do, and Nikki Nair’s production reminds me of 90’s music. The topic is harsh, but I feel like we’re all living in this state of mind everyday‑trying to save water because of the drought, living with wildfires in California yet still loving our lives. It’s a weird dichotomy.”






Tackling troubling times with immersive, upbeat sounds—dance music in a nutshell. And if anyone knows how to maximize the offerings of dance music, it’s Aundy Crenshaw.

Aundy Crenshaw Queue’s Nala and Nikki Nair’s 90’s-esque Breakbeat Banger 'The World Is Always Ending”

It's mid-May, and more people are arriving on the island to enjoy arguably the most exciting season in recent memory. The energy is palpable, and you can't help but have a great time with so many different options to choose from. Gray Area makes it easier to make plans with our weekly digest of the best Ibiza parties, beaches, and activities.


Pacha has been an Ibiza institution since it first opened in 1973, keeping its distinctive and authentic casa payesa (country house in English) style and curating an avalanche of massive DJs and party brands. It is one of the most iconic clubs on the island and has evolved with Ibiza and its nightlife scene. This week, the Cherries club is hosting a few opening parties.






Thursday, May 12: Pure Pacha opening party with Robin Schulz




Open spirit, freedom, and fun go hand in hand with one of the oldest parties on the island. The German DJ and producer Robin Schulz will lead the opening party with his singular music style that combines house and pop.




Get tickets for Robin Schulz at Pure Pacha opening


Follow Robin Schulz on Twitter | Instagram | SoundCloud











Friday, May 13: Music On Opening Party

Ten years have passed since Marco Carola's party arrived on the island. Music On is one of the most successful parties in Ibiza and was previously at Amnesia, where it stayed for seven years. In 2019, Marco moved his brand to Pacha. Visit the legendary venue on Friday, May 13, for the best underground and techno sounds from Carola and friends.




Tickets available for Music On opening party


Follow Music On on Twitter | Instagram | SoundCloud












Saturday, May 14: The Masquerade by Claptone 

The mysterious DJ Claptone brings his genuine old-school house and dance music on Saturdays to Pacha for the second season, beginning on May 14.


There's so much to discover from the man behind the golden mask at The Masquerade, an event featuring otherworldly dancers, performers, confetti cannons, and more!


Buy tickets for The Masquerade by Claptone


Follow Claptone on Twitter | Instagram | SoundCloud












After Space closed in 2016, a new club was born. Hï Ibiza opened a new era in Ibiza, refurbishing the building that dates back to 1986 and shortly became one of the leading clubs in the world.












Saturday, May 14: Black Coffee Opening Party

Hï Ibiza's first-ever resident was Black Coffee. It was also the South African DJs first booking on the island. This successful collaboration remains true to Saturday nights, and doors will open this season on Saturday, May 14, for 20 weeks.




Get tickets for Black Coffee opening at Hï


Follow Black Coffee on Twitter | Instagram | SoundCloud

















On top of these parties, one of the most entertaining cultural events of the year starts Thursday, May 12, the Ibiza Medieval Festival. After a two-year hiatus, Ibiza's old town travels back in time to celebrate its cultural heritage.




This exclusive event takes place in Dalt Vila (upper town in English) until Sunday, May 15, transforming the city into a vast open-air street theatre. Inside the most well-conserved acropolis in the Mediterranean (named a World Heritage Site by UNESCO in 1999), all kinds of characters such as witches, jesters, knights, princesses, princes, warriors, wizards, dragons, and diverse handcraft artists fill all corners with the sounds, tastes, and aromas of the Middle Ages.









This unique fair is reminiscent of an era in which a multicultural population lived in peace and harmony on the island. It features a wide array of daily events and activities and live music—an essential attraction for all ages. Get lost amongst the labyrinth of market stalls and antique treasures, chocolate and jewel makers, and savor typical food and drinks while enjoying live performances.




This is the best way to discover the multicultural patchwork of Ibiza and its roots.












If you fancy a swim without leaving the city, visit Figueretas Beach, located just 15 minutes away from the center. This popular beach consists of a pedestrian walkway with easy access and is one of the best equipped in the area, with a wide range of shops, bars, and restaurants to enjoy. We suggest you sit on Oli Beach's terrace to taste delicious Spanish tapas and sangria.

Robin Schulz, Marco Carola, Black Coffee & Claptone

If you’ve ever experienced the joy and whimsy of an All Day I Dream party thrown by Lee Burridge in scenic locations worldwide, you know the vibe is always sunny, dreamy, and pretty darn magical. Ahead of the first-ever All Day I Dream Festival, taking place at the Woodward Reservoir Park May 13 - 15, we check in with several of the talented ADID artist fam on the lineup to hear about their favorite magic moments from past ADID parties.




Read on to experience smile-inducing memories from Öona Dahl, Bona Fide, Makebo, Tim Green, Double Touch, Lauren Ritter, Dim Kelly, Gorje Hewek, and Christian Voldstad. 



You can catch them all at what’s sure to be a dreamy weekend, along with Burridge, Little Dragon, Cubicolor, Guy Gerber, Jan Blomqvist, and others.









Öona Dahl




My favorite memory (from an ADID event) is my first All Day I Dream (Of You) on a Brooklyn rooftop, which happened to be the second one ever in 2011. I met so many people there that are still my friends to this day. I remember yelling with one of my friends, “I love my life,” and this couple looked at us and said, “What did you say?” Then they showed us a tattoo they both had on their arms that said, “I love my life.”












Tim Green

I suppose, a bit selfishly, one of my favorite moments from a past ADID event was back in April 2016 at the ADID London show at Studio 338. Lee played my track “For A Memory” to an extremely electric crowd and packed room! The reaction to the final drop was amazing and something that I will always remember. It's why I write music like this, to see people react in this way. There is nothing better than All Day I Dream, in my opinion. ❤️💚







Bona Fide

I've had many incredible memories over the last six to seven years of all the amazing ADID events across the globe. I'd have to highlight the ADID Summer Closing event at the Brooklyn Mirage in September 2019 with the unreal lineup of Powel, Gab Rhome, GHIZ, and Lee Burridge. As the sun was going down, Lee dropped Tim Green's remix of “Without” by Baile and Felicia Douglass. I was left speechless. At that exact moment, almost everything in the universe aligned and made sense. It was an incredibly surreal sensation that tingled my whole body, but at that exact moment, I felt incredibly fulfilled. It was something I'd never felt before.




I truly felt like I was having this gorgeous dream filled with positive auras and emotions. That's what made me pursue this “dream” of being part of this community. It’s moments like these, where you leave the real world behind and create a magical experience that you will remember forever. I'll carry that memory for the rest of my life, and I believe this track will firmly remain my favorite track of all time.







Makebo

ADID showcases are always something special for me! You are in anticipation and pleasant excitement [before the event]. After the event, there is a long trail of pleasant memories from meetings with friends who love your music and from smiles of happiness and boundless freedom. It’s always only the most positive emotions and a breath of fresh air that charge you and bring inspiration to create new music!




Lauren Ritter

The first-ever ADID I went to was in 2011 on a rooftop somewhere in Brooklyn. Lanterns were swaying in the wind against the backdrop of the most gorgeous sunset I had ever seen. Lee played all day and dropped this amazing track called “Milk & Honey.” It was magical!




Just before my first track, “Glass Hours,” came out on the label, Matt Dekay played it during his ADID set in Brooklyn. Standing in the crowd, watching people dance and smile while listening to my music, truly blew me away.




When I played my first ADID in 2015, my friends made a banner for me saying “All Day We Dream of Lauren Ritter '' and held it up during my opening set. It was such a sweet moment!




There was an ADID in Oakland with Öona and Lee a few years back that had such good energy with everyone in full party mode. Honestly, lots of good memories over the years. I can’t wait to reunite with everyone at the festival!! Catch me at the Holorealmz Dome on Friday night and the Circus Tent Stage on Saturday night!














DOUBLE TOUCH

Our favorite moment would be the whole experience at our very first ADID event, which was at Golden Gate Park in 2019. We always wanted to attend one of these events, so playing at our first one was an extra bonus!




We met a bunch of the ADID crew for the first time here–Roy, Junior, and Hoj. Van-Anh also met Lee for the first time that day. It was a marathon of a day, from playing the opening slot at the day event to grabbing kebabs with Roy and Junior before closing the after-party at the club.




Roy’s massive banger “The Biggest Heart” had just been released the week before, and when Lee dropped it, we saw Roy and Junior pop up in the crowd, dancing in the front row. It was just an epic day of smiles and great music!











DIM KELLY

The most memorable moment with ADID was probably my first meet with Lee. It was at COVA SANTA in Ibiza in 2021, I had already released a title on the ADID winter sampler, and we were preparing to release my first EP.




It was important for me to feel the human dimension of the person with whom I was about to work closely, and I immediately understood that I was in good hands and that Lee understood my music with his heart.




Then he played my track "Display," I saw his soul filled with enthusiasm and joy, and I said to myself, "Ooowkey! Let's make things happen."







Gorje Hewek

I have tons of magic memories from ADID parties, but if I choose only one of them, it’s New Year's Day in Los Angeles. It was in Chinatown, which I personally love so much because it’s a cozy atmosphere. Besides a fantastic crowd and the huge love that Los Angeles always shows, it was a perfect moment to spend the first day of the year. It was truly festive. Confetti and crackers were flying everywhere, the air was charged with love, and there was a feeling of the beginning of a new chapter, with which each new year begins. One of those moments that, after a while, you want to return to again and again.









Christian Voldstad

All Day I Dream has been one of my favorite event series since its inception. I remember attending the first ones on a sunny rooftop in Brooklyn called Officeops, which used to literally shake when things got energetic, it probably wasn't the safest, but it sure was fun! This was back when Mike Khoury was opening, Dain was making tacos, Larry did the sound, and Karen would never stop dancing...ever.




All Day I Dream has always struck me as the most blissful, beautiful way to spend the last few rays of weekend sunshine. The music, venue, and production have always been spot on, but most importantly, everyone is dancing with a smile. Lee Burridge and the entire team do a fantastic job, and you can tell the amount of effort everyone puts in every time. I still sometimes have to pinch myself when I remember I'm involved now, and I get horribly nervous before I push any buttons or twist any knobs, but I'm so incredibly grateful to be able to contribute at the same time. When you love something, it's incredibly rewarding to be able to help, and while it is a lot of work, it is a great pleasure as well.




One of my favorite ADID events was the New York boat party that sailed through a thunderstorm, no one left the dance floor, and everyone was a sopping wet smiling mess. The one at BPM in Playa del Carmen was amazing. Flip-flopping around in the sand to the music was absolutely perfect. Really any of them are going to be highlights just because they're so much fun. This photo from the Well in Brooklyn popped up in my feed recently, and I think it captures things perfectly. :)

All Day I Dream Festival Artists Share Their ADID Magic Moments

You can't help but stare in amazement at this mesmerizingly beautiful live set from Giorgia Angiuli. Produced by PhEST – The International Festival of Photography and Arts - and the Municipality of Monopoli, Turning The Dawn was a performance that took place in Angiuli’s native town.

It was a particularly special event for Angiuli as Monopoli is where her mother spent her childhood in the 60s. Angiuli chose to dedicate the live stream to her memory.



The set unfolds as dawn breaks across the Adriatic Sea. For Angiuli, "Dawn symbolizes a new beginning, especially during these dark times. Dawn gives a sense of hope to the cultural industry."

Her live improvisation on a Moog synthesizer, a steel tongue drum, and an array of other instruments, combined with enchanting vocals and hypnotic drum patterns, make this a performance that you can’t take your eyes off.

Born in Puglia, Italy, Angiuli is a classically-trained musician, composer, and multi-instrumentalist. She developed a passion for electronic music early in life, later creating tracks that move between techno, house, and pop. Her idiosyncratic sound comes from a unique blend of elements, blending toy instruments, theremins, keyboards, drum pads, and her own voice, to give her music a dreamy aura.

Angiuli has graced the decks at some of the world’s most famous clubs. From Berghain in Berlin to Output in New York, Rex in Paris, Oval Space in London, and beyond. She’s seized the attention of festival crowds at Extrema Outdoor in Belgium, Electrowave in Florence, Fusion in Lärz, and more. Her 2018 debut album, In a Pink Bubble, was met with critical acclaim worldwide.

Angiuli recently launched a contest on her Instagram where you can win free tickets to some of her upcoming shows. Catch her this Friday at Time Warp Brazil 2022, Ritter Butzke in Berlin this June, and Amnesia for Paradise Ibiza this September.



Follow Giorgia Angiuli on Twitter | Instagram | SoundCloud

Watch the Sunrise With Giorgia Angiuli’s Set From Monopoli

Heading a record label has become a necessary part of the evolution of a dance music producer. Franky Wah—aka Luke Storrs—has more than hit his stride in 2022 as he adds yet another label project to his resume with the launch of his second imprint Terracotta Records. The debut release is a soul-soaring new single, “Under The Sun,” featuring electro up-and-comers AR/CO.





Whirring synths purr beneath a steady kick like a loaded engine waiting for someone to punch the gas—cue AR/CO. A full choir of swelling vocals emerges to call forth a vibe that radiates sunset dance party while rapid-fire plucks glisten above a relentless low end like the infinite stars in the endless black of a summer night sky. When the songwriting carries this much passion and the production emits this much power, it’s only a matter of time until we hear this sweet single played on main stages the world over.



“Ever since I began playing this record out in my live sets it always brings the dancefloor to a standstill,” Franky says. “It’s always stood out for me and instantly when producing it, I knew exactly where it needed to go. I spoke in depth with AR/CO about the vocal until we were all happy and after that everything else just fell into place. AR/CO were an absolute pleasure to work with on this release and I cannot wait for it to soundtrack everyone’s summer.”



Terracotta Records and “Under The Sun” mark a massive milestone in his career. Terracotta emerged intending to house the more forward-facing, accessible sounds of Franky (and friends) catalog. While this venture aims for a slightly more mainstream approach, Franky’s first label, SHÈN, launched in early April, will push deeper, underground-focused themes.

Magazine