On a sunny Saturday, May 27, downtown Detroit's Hart Plaza kicked off three days as a rave mecca. While Detroit remains a rave mecca daily, Movement weekend is a singular celebration of techno energy unmatched in any other city.



Stacey Hotwaxx Hale's upbeat house sound beckoned me to the main stage as I entered. The main and Pyramid stages feature an amphitheater-style setup with cement stairs. It's a unique part of Hart Plaza's design, where many cultural and music festivals have taken place since it opened in 1975. To the right of the main stage was a square mat for dancers to show off their skills. Throughout the weekend, it was a beautiful treat to watch fellow dance music fans uniquely express themselves through movement. The Godmother of house music's set was a radiantly joyful mix of bouncy house and a touch of techno. And as she mixed in Cajmere's bubbling 1992 classic, she reminded us it's always time for the "Percolator."

Next up was master vibe-setter and Detroit house legend, Moodymann at the Stargate stage hosted on Saturday by Carl Craig and his Detroit Love brand. Feeling more at home in Detroit, he pulled down his oft-seen lacy mask early in his set. "If you're not from here, you know your girlfriend loves the D," he said with a smile, rocking a fresh Price shirt.



The Detroit Love takeover continued with rising Detroit queen, DJ Holographic, who had to be carried on and off stage because she injured her knee shortly after entering the fest grounds. After saying hi to her backstage, I spent the rest of my day at Stargate. Fun Detroit fact: the Stargate stage is a nod to the large, five-story stainless-steel arc sculpture by David Barr called Transcending adjacent to the stage. Erected in 2003, it is also known as the Michigan Labor Legacy Landmark. The United Auto Workers, other labor unions, and civic organizations funded the project as a monument to Michigan's contributions to the labor movement. Barr envisioned it as an "elegantly stylized gear emerging from the ground," but sci-fi fans see its resemblance to a stargate, where you can swiftly travel between universes. During Movement, the Stargate stage provides plenty of sonic space travel and transcendence.



While waiting for my turn for a chair massage in the VIP area on day two, I chatted with a pair of Michiganders who had been to many Movements. Both friends are DJs who live in Traverse City and bought VIP tickets right when they went on sale early in January.



Movement was a beacon of light in a challenging year, and they were overjoyed to be back. Tony has been DJing for 20 years and went to the first five years of Movement when tickets were still free. After a decade off, he started coming back a few years ago. His favorite Movement sets are from the early years when he saw George Clinton with P-Funk and Green Velvet.



Zeb's first Movement was in 2002, and he's also gone the last seven or so years in a row. His favorite part about visiting Detroit is its shining community spirit.



Sunday's lineup felt particularly stacked, with many difficult decisions to make. My friends love techno, particularly hard, driving techno, or as we call it, hard dick techno (Sorry, not sorry. To be clear, anyone can make it or enjoy it). So, it was Ben Klock o'clock. The sun was still out, but it's always time for techno in Detroit, as in Berlin. The main stage was packed as the German DJ served up his sexy brand of blistering techno.



Sunday also featured the first-ever live performance in Detroit of Cybotron, the genre-defining Juan Atkins electro project. Atkins stood in the middle of the main stage clad in all white, flanked by Detroit musician Tameko Williams and Laurens von Oswald, nephew of Moritz von Oswald, rocking all-black as they brought the still-futuristic robot music to life from their keyboards. Despite their legendary status, the first live Cybotron show only came in 2019 in London, almost 40 years after they released some of the earliest techno tracks. I hope there are more Cybotron shows soon; all the ravers of the world need this musical Stargate to ride through "Techno City" in "Cosmic Cars."



Ahead of the fest, the Detroit Metro Times interviewed Atkins and asked him who techno belongs to today. "I would say techno belongs to the world. Techno belongs to the world citizens," Atkins said.



As I walked with a friend back over to Stargate, I spotted Troxler and his crew outside of the chicken-on-stick truck—the unofficial fuel of Movement. He was about to head home to rest before he and DJ Minx helped Green Velvet take the kids to "La La Land" at Velvet's official Movement afterparty.



After stops for KiNK, Green Velvet, and Charlotte de Witte's absolutely slammed history-making closing set (she was the first woman to headline Movement's main stage), I spotted DJ Seinfeld leaving the backstage area. We were both heading underground to check out the end of Chris Liebing's set. I said hi, and he affirmed his love of techno. Dancing with my friends to Liebing's banging ass techno gave me at least another 30 minutes of energy and made me feel like I was in a cool club in Berlin.



My friend Lorenzo told me that Liebing's set gave him "some major techno tears" and took him elsewhere. "After it was over, I was like 'Where the fuck did he just take us?!'" he reflected after the set, one of his favorites of the weekend. When I asked what techno means to him, his answer moved me, as I'm sure it would for many others. "Techno is the heartbeat of life for me. Artists/DJs have made me cry (techno tears) because they have the ability to transport me somewhere else and remove my anxiety with those hard four-by-four beats!"



On day three, we began where we'd ended the night before, at the Underground. Rising Detroit techno act Henry Brooks was serving up hard dick techno as if he was continuing a set that began in the wee hours of the morning. Once I entered the Underground and let the lights and music take me away, the rest of the world disappeared, and I was briefly suspended in the in-between space of a dark, loud club—it didn't matter if it was light or dark out, it was techno time. We were still in Detroit, after all.



Like 2022, it was another rain-free Movement, and the weather was perfect, with Monday ranking the hottest. We found a little shade—and lots of fun—at Stargate for Giorgia Angiuli to serve up her playful, groovy brand of live techno and house. The Italian polymath was surrounded by her trademark synths, electronic wind instruments, and kooky stuffed animals she makes into electronic instruments—talk about all the bells and whistles!

As my friends and I cooled off in the shade at Don Julio's pop-up, where they passed out free mini margaritas and palomas, I chatted with a group visiting Movement from Los Angeles: Anthony, Jordan, Blade, and Cinthia. It was the second Movement for two of them and the first for the other two. They loved Detroit's friendly and easy-going people and Movement's inescapably unique energy. They felt it stood out from California fests. When asked what techno means to them, they paused, with Anthony providing the answer that resonated with the group. "Techno means freedom, and expression."



On the way to grab a bite, after a sweet 90's rave set from Dj Seinfeld, I saw a packed crowd losing their minds at Stargate for Dom Dolla and John Summit, who were doing one of their beloved B2B sets. I walked up as the dancefloor got sent to Dom's brand-new (then still unreleased) banger with Nelly Furtado. While in VIP, their set, Skrillex's mainstage set, and Mija's VIP stage takeover competed for my attention. As I ate my quesadilla, Skrillex's rapid multi-genre mix of dubstep and beyond took me back to my early-20s. That is a place I never want to return to, but I did kind of wish I was moshing with all the kids getting down to his high-energy set. Instead, I found solace in the glass cocoon of the artist lounge behind the main stage. Skrillex's banging mix softly echoed from outside of the lounge.



By the time Underworld took the main stage to close it all out, I was ready. DJ Seinfeld's lively set put us in the mood for '90s rave tunes, and Underworld brought us back there. Vocalist Karl Hyde sounded stellar as he bounced on stage to Rick Smith's immersive soundscapes. After =an immersive, earth-shattering hour-and-a-half of pure rave energy, they dropped their 1996 hit "Born Slippy (Nuxx)." What a way to end a weekend in one of dance music's most historic cities!

Movement reminded us that techno is still the future and can help us transcend to a brighter place. Techno is for everyone, whenever they need it, however, they want to dance to it and whatever they want to wear.

Movement Festival 2023: In Detroit, It's Always Time for Techno

NYC Pride season is here! The quintessential kick-off of summer has arrived, and the community is dusting off their leather, rainbow, and glitter rave fits in preparation for the marathon of LGBTQIA+ events the weekend of June 23rd-25th.

Gray Area’s Guide to Pride 2023, features the city's best queer house music parties. Each selected event is as colorful as the pride flag itself, with both mixed and targeted parties for gays, lesbians+, BIPOC, transgender, and beyond!

Each of the parties and venues below have multiple events, so be sure to check out their website for more info.



BLUE: TSHA, QRTR, and Guests | Saturday, June 24th | Superior Ingredients

Organized by yours truly, Gray Area is proud to host TSHA at the ethereal open-air rooftop of Superior Ingredients on June 24th. She is joined by femme+ queer DJs, such as QRTR, bringing arthouse meets basement rave sounds, RINAS, the queer Orlando duo serving timeless classics, purp providing authentic club music, and Toribio giving Papi soulful house. 

Time: Afternoon - 2 pm - 10 pm



ELSEWHERE’S PRIDE PARTY | Saturday, June 24th | Elsewhere

Iconic venue Elsewhere is hosting a wild lineup of queer femme+, trans, and gay DJs. Whorechata will be kicking off the lineup on the rooftop at 3 pm, followed by DJ Gay Panic at 10 pm in the Loft, a titillating performance by Rochelle Jordan at midnight in the Hall, and more DJs sets by the likes of BAYNK and Amorphous throughout the night. This party features diverse sounds and a mixed queer crowd and will sell separate tickets based on time slots.



Time: 3 pm-4 am



GLITTERBOX & HOUSE OF YES | Sunday, June 25th | Under the K Bridge

HOUSE OF YES is taking over the Brooklyn K Bridge alongside the Defected Records fabulous sub-label to host GLITTERBOX, an extraordinary one-day open-air festival where freedom and fierceness take center stage. Prepare to be enchanted by an exceptional selection of fabulously curated disco-tinged dance music from DJs Dames Brown, Dimitri from Paris, Rimarkable, and more. Embrace your inner glam, exude your radiance, and fully embrace the spirit of PRIDE.

Time: 3 pm-12 am



HOT RABBIT’S SATURGAY PRIDE PARTY | Saturday, June 24th | THREE DOLLAR BILL

If you are a lesbian+ queer, odds are you will be attending the annual Dyke March. The afterparty to the Dyke March will be hosted by Hot Rabbit, the lesbian+ circuit party taking place at Bushwick’s THREE DOLLAR BILL, featuring the likes of Ukrainian DJ MONSTAR, and legendary vogue performances by House of Oricci and House of Bayblon…after all, it wouldn't be pride without a death drop and a fierce dance competition.

Time: 10 pm-3 am



HAUS OF MERGE PRIDE | Friday, June 23rd | TBA Brooklyn

Merge is a techno-forward party devoted to nurturing collective queer spirit. With help from underground emerging DJs Elle Dee, Moreenxxx, Ne/Re/A, Noncompliant, Lydo, and more, this 24-hour rager is a celebration of sound with dance, self-expression, and immersive engagement (and a dark room for those who want to get freaky).

Time: 11 pm- 11 pm



HORSE MEAT DISCO | Sunday, June 25th | Knockdown Center

This foursome DJ collective hailing from the UK is globetrotting the international queer nightclub scene, capturing the nostalgic vibes of the peak disco era, and electrofunk.

Time: 9 pm - 5 am


GRAY AREA’S QRTR & FRIENDS ROOFTOP PARTY | Sunday, June 25th | Superior Ingredients


Gray Area is back at it again with an open air led by QRTR (aka Meagan Rodriguez) and a fellow sound sensation, Luzi Tudor. QRTR, who will be touring with Odesza this summer, will be serving her intensely creative soundscapes, while Luzi Tudor brings her emotionally stunning and technically savvy sounds for a ethereal melodic rooftop daydream experience.

Time: 2 pm - 10 pm





Whether you are an Ally or Member of the LGBTQ+ community, be sure to be respectful and responsible. Look out for your fellow ravers, and most importantly, be 100% authentically YOU, that's what Pride is all about after all.

The Gray Area Guide to NYC Pride 2023

Emerging as a counterculture movement from the predominantly Black and Latino queer underground scene of late-70s Chicago, house music has always been emblematic of equality, liberation, and power. This genre was evangelized by LGBTQ+ DJs, producers, promoters, and clubgoers of the era.



But the fact house music is rooted queer culture is more than a piece of trivia. It’s a detail intrinsically woven into the sonic and sociopolitical fabric of the now-prolific global genre. Here is a far-from-exhaustive list of 10 LGBTQ+ artists who have demonstrably left their mark on the house and broader dance music scene of the past, present, and future.

The Godfather of House, Frankie Knuckles

The late Frankie Knuckles (real name: Francis Warren Nicholls, Jr.), widely regarded as the creator of house music, famously said, “House music is disco’s revenge.” But to the many who knew Frankie, “vengeful" was the furthest thing from a descriptor of this iconic artist. Known as one of the humblest people to ever grace the dance music scene, Knuckles was regarded as one of the most innovative DJs, producers, and remixers in history. 

His soulful anthems including, “Where Love Lives” and Sounds of Blackness's "The Pressure" remix — among many others — still ring out across dancefloors today. Originally from The Bronx, the legacy of house music was borne out of Knuckles's leadership at The Warehouse, a small, three-story industrial nightclub in Chicago’s West Loop patronized primarily by gay Black and Latino men. The impact of Knuckles cannot be contained. It’s a legacy that will never stop expanding.

Paradise Garage Disco Pioneer, Larry Levan

A resident of the famous Paradise Garage — an LGBTQ+ nightlife haven in a post-Studio 54 New York City — Levan is lauded as a pioneer of the concept of modern DJing. A masterful artist, Levan was highly experimental, integrating drum machines and synthesizers into his live DJing sets. He is largely credited for introducing dub, an electronic music style that grew out of reggae, into disco music. This served as an important precursor to house music, which his longtime friend, Frankie Knuckles, would carry west to The Warehouse in Chicago.

New York House Maverick, Danny Tenaglia

Tribal. Rhythmic. Undulating. And characterized by drums, drums, and more drums. Such is a Danny Tenaglia set. Anyone who’s ever witnessed the masterclass that is Tenaglia behind the decks can hear how influential the artist was in the development of New York-style house, a genre marked by its deep rhythms, heavy basslines, and percussiveness. Well into his fourth decade as a professional DJ, Tenaglia still can be found lying down classic, soulful, rhythm-infused performances on some of the biggest stages in the world, from Brooklyn Mirage to Pacha Ibiza.

Music and Fashion Icon, Honey Dijon

The ascent of Honey Dijon (real name: Honey Redmond) has been nothing short of spectacular — but every bit of it earned. The DJ/producer, fashion icon (New York Times’ 93 Most Fashionable People of 2022), change-maker (Lifetime achievement award recipient at the Leslie-Lohman Museum), Dijon finds herself providing a platform on which other Black, trans, and queer artists can flourish. Approaching nearly 25 years as a DJ, the Chicago native has boldly stepped up from dance music’s underground and established herself as one of the leading purveyors of house music in the world.

Among her vast list of accomplishments in 2022 alone: Her accomplishments in 2022 alone included her first Grammy win as a writer and producer on Beyoncé’s album Renaissance, a contributor to Madonna’s Finally Enough Love, remix album, the release of her 15-track, collaboration-laden LP Black Girl Magic filled with house hits. All on top of approximately 180 festival and club appearances in 2022.

Fierce Queer Advocate, The Blessed Madonna

In 2016, The Blessed Madonna (real name: Marea Stamper) was honored as Mixmag’s first-ever female DJ of the Year. But that only cracks the shell of Stamper’s long list of accomplishments as one of the most acclaimed acts spanning classic house and modern dance music. Notably, in 2020, she released a remix album of British popstar Dua Lipa’s Future Nostalgia, featuring samples from Missy Elliott and Madonna, among others. An openly queer woman, The Blessed Madonna has used her platform to advocate for the advancement of women and LGBTQ+ individuals in the industry – including traveling to Uganda to work directly with aspiring queer women DJs.

Detroit Love Founder, Carl Craig

Hailing from one of the most sonically abundant cities in human history, Detroit, Carl Craig, an openly gay man, is a prominent figure in the second wave of pioneering Detroit techno. His admiration for his hometown — the birthplace of Motown, techno, and the launchpad for thousands of well-known artists — is immediately apparent in his brand. His party Detroit Love pays homage to the musical influence of the Motor City and has infiltrated nearly every corner of the globe, with stage takeovers at festivals including Defected Croatia, BPM Costa Rica, and others.

Multi-Hyphenate Creative, Kim Ann Foxman

Kim Ann Foxman’s trajectory as an artist is highly unique. The Hawaii-born and raised DJ and producer is likely one of the few modern musicians who can lay claim to the title of former Miss Teen Filipina Hawaii. An original member and vocalist of the acclaimed musical act, Hercules and Love Affair, Foxman, now based in New York, is known for her dynamic, cross-genre, and experimental underground style. Foxman, openly lesbian, continues to use her platform to promote visibility and equality for the LGBTQ+ community in the global club scene.

Trans and Transformative Artist, Octo Octa

A rising notable figure in the house and techno scene, Octo Octa (real name: Maya Bouldry-Morrison) has made an unmistakable mark on the New York music scene and beyond. 

The Chicago-born, Brooklyn-based artist came out as transgender in 2016. Meeting and combining forces with their now-partner DJ and producer Eris Drew, the couple became a formidable force and eventually founded their record label T4T LUV RNG in 2018, which they have expanded globally with curated events. “Our lives as trans people are better for the connection we have together,” said Maya and Eris in a 2020 interview with PAPER Magazine.



Queer Philosopher, DJ Sprinkles

DJ Sprinkles (real name: Terre Thaemlitz) is a transgender music producer and DJ who has made a profound contribution to the subgenre of deep house and ambient electronic music. Incorporating themes of gender, sexuality, politics, and identity into her work, Thaemlitz aims to create discourse around these subjects within the music industry. More broadly, the activist, educator, and queer philosopher have made significant inroads in advocating for the rights of trans people around the world.

Eclectic Crossover Artist, Jennifer Cardini

Cutting her teeth in the Parisian nightlife scene, Jennifer Cardini has spent decades building a globally renowned reputation for her unique techno and house crossover style. Cardini is openly gay and has made a significant impact on the LGBTQ+ music scene, particularly in her home country of France. She has graced some of the most prominent nightlife institutions in the world, including Panorama Bar in Berlin and LuxFragil in Lisbon, and her eclectic DJing style reflects her philosophy that the dancefloor should be rooted in equality and liberation.

10 LGBTQ+ Artists Who Indelibly Shaped the House Music Landscape

If you are a real clubber and party lover, the White Island is your summer destination. Ibiza has everything from the most famous DJs on the planet to the world's most breathtaking venues. As we move through June, a bevy of opening parties are still on the menu, alongside some of the island's most celebrated and iconic residencies. Read on to find the best of the following week on Ibiza.







HE.SHE.THEY Opening Party | Amnesia | Friday, June 16

The famed London collective HE.SHE.THEY (founded by Steven Braines and Sophia Kearney) aims to bring together ravers of all genders, sexualities, and ethnicities. After three events last summer, the international house and techno brand, record, and fashion label, is back at Amnesia for eight dates, beginning with the opening party this Friday. An open-minded event that gathers every electronic music lover regardless of background, age, race or sexual orientation, under the soundtrack of some of the strongest DJ and fresh talents out there. For this first gathering, the HE.SHE.THEY crew invites Âme playing a live set b2b with KiNK, Horse Meat Disco, DJ Holographic, and Merve, alongside the most uniquely sublime dancers.





Join the HE.SHE.THEY community this Friday at Amnesia.









Follow HE.SHE.THEY on Twitter | Instagram | SoundCloud





Flower Power Outdoors | Cova Santa | Saturday, June 17

Immerse yourself in the timeless spirit of Flower Power and dance to the great classics of rock, soul, funk, and pop from the '60s, '70s, and '80s at Cova Santa (check out the vibe by listening to this playlist). There is no better way to celebrate the island of freedom, peace, and love while the sun sets than immersing yourself in the island's longest-running residency in one of the most beautiful open-air settings. Besides hosting Monday nights at The Cherries club for the last few decades, Flower Power took place at Cova Santa on three occasions last season. This summer, the most hippie-chic party on the island returns to the hills in Sant Josep for four dates.




Enjoy happy, hippie vibes at Flower Power outdoors this Saturday.









Follow Cova Santa on Twitter | Instagram | Facebook	



Solomun All Night Long | Pacha | Sunday, June 18

Mladen Solomun has played at least twenty Sundays a year since 2013 at Pacha (Ibiza’s oldest nightclub). His residency, Solomun+1, has a simple yet stunning formula: invite just one guest to play every week, both Solomun and guest get solo sets, and end the night with a b2b. This season, Solomun will fly solo on a few all-nighters, taking clubbers on a musical journey for more than six hours. Head over to Pacha this Sunday to experience Solomun’s musical marathon!






Get tickets to Solomun All Night Long at Pacha this Sunday.









Follow Solomun on Twitter | Instagram | SoundCloud





Franky Wah presents SHÉN Opening Party | Club Chinois | Sunday, June 18

Over 16 weeks this summer, melodic mastermind Franky Wah takes over Club Chinois with his brand-new residency SHÉN. Taking its name from his label, fashion brand, and Franky's Chinese roots, SHÈN Ibiza will deliver his artistic vision with influences from trance, breakbeat, house, techno, and beyond, creating the vibe we all want to feel on the dancefloor: diversity and unity with a progressive outlook. Franky Wah kicks off a new and exciting path in his career this Sunday, inviting Richie Blacker (listen to their latest release, “Choose Your Own Adventure”), Kalismã, Sasha and John Digweed, to play the SHÉN opening party.




Buy tickets to enjoy the SHÉN Opening Party at Club Chinois.









Follow Franky Wah on Twitter | Instagram | SoundCloud





Nightmares On Wax Opening Party | Pikes | Monday, June 19

English DJ and record producer Nightmares On Wax, is a regular at the coziest Ibiza institution, Pikes hotel, since 1998. Following the release of the Shout Out! To Freedom (Live at Pikes Ibiza) album on vinyl last year (watch and listen here), Nightmares On Wax is back delivering loving vibes and a great combination of electronic sounds and hip-hop beats for a six-week residency, beginning this Monday at 10 pm in Freddie's Room.







Join the guestlist to experience Nightmares On Wax at Pikes.









Follow Nightmares On Wax on Twitter | Instagram | SoundCloud





Paradise Opening Party | Amnesia | Wednesday, June 21

Hot Creations and Paradise founder Jamie Jones has hosted parties in Ibiza since 2012. After an eight-year residency at DC10, he moved to Amnesia in 2022, and this season the British DJ and producer returns to the mega club in Sant Rafael. “Night of the Jaguar” is Paradise’s 2023 theme, providing the best in house and techno from Jamie and a curated selection of up-and-coming DJs and legends. The concept is held over 17 weeks, beginning this Wednesday, June 21, with Joseph Capriati, Ilario Alicante, Manda Moor, and Fleur Shore on the Terrace and Dan Ghenacia b2b Shonky b2b Traumer, Ben Sterling, and more in The Music Box (aka the Main Room).




Get your tickets to enjoy the Paradise Opening Party this Wednesday.









Follow Paradise on Twitter | Instagram | SoundCloud





Tale Of Us presents Afterlife Opening Party | Hï Ibiza | Thursday, June 22

Afterlife is the label and event brand led by Italian duo Carmine Conte and Matteo Milleri that first saw the light at Space Ibiza in 2016. Since then, Tale Of Us (their artistic name inspired by the Supermayer’s 2007 song “Two of Us”) has carried out a “journey into the unknown” every Thursday at the Platja D’en Bossa venue. Awe-inspiring visuals, lighting, and a mind-blowing production bring the iconic falling man to life with a soundtrack blending melodic, progressive, and trance in The Theatre and dark Berlin-style techno in The Club Room. Afterlife raises the curtains this season on Thursday, June 22 at midnight, featuring Tale of Us, Rüfüs Du Sol and Argy, Mind Against, Chris Avantgarde, and 8Kays.




Get your tickets to enjoy the Afterlife by Tale Of Us Opening Party at Hï.









Follow Afterlife on Twitter | Instagram | SoundCloud

This Week In Ibiza (June 16 - June 22)

In celebration of Pride Month, we're taking a rhythmic journey through time, tracing the transformative footprints of some of the world's most influential LGBTQ+ club spaces in the oasis of house music. From the disco-fueled dance floors of Chicago's Warehouse to the pulsing beats of New York's Paradise Garage; from Dublin's Mother, a cornerstone of Ireland's LGBTQ+ community, to London's pioneering Trade; and culminating in San Francisco's iconic The EndUp, these are the clubs that not only created a sanctuary for self-expression and inclusivity but also helped shape the sonic landscape of house music. 

These venues, through their innovative sounds and welcoming atmospheres, left an indelible mark on house music and gay culture, intertwining their destinies forever. Each club, though unique in its identity and history, shared a common purpose: to provide a space for the queer community to freely express themselves, and to allow the unifying beats of house music to permeate every corner.

1. The Warehouse (Chicago, US): The Warehouse nightclub, universally acknowledged as the cradle of house music, was inaugurated in 1977 in Chicago, under the helm of Robert Williams. This venue quickly gained renown, drawing in predominantly gay Black and Latino crowds who reveled in the club's unique brand of disco music, spun masterfully by the resident DJ, Frankie Knuckles. Knuckles, a New York native and a close friend of Larry Levan was well-versed in the vibrant gay scene of NYC, particularly through his frequent attendance of David Mancuso's The Loft parties.



With time, as Knuckles shifted his DJing style from East Coast records and Philly beats to a soulful tempo layered with intricate percussion, the music became the club's epicenter, leading to a significant increase in the venue's diversity. As such, The Warehouse's integral role in the genesis and evolution of house, coupled with its profound influence on gay culture, offers a fascinating lens into the rich tapestry of house music history.



2. Paradise Garage (New York City, US): Paradise Garage stands as a pivotal establishment in the history of house music, celebrated not just for its electrifying musical legacy but also for its inclusive ethos. Catering primarily to a gay and lesbian audience, the club also welcomed patrons of all backgrounds, shapes, and orientations. This openness distinguished it from other clubs of the era like Studio 54, even though Paradise Garage was ostensibly a members-only venue.

The club had a unique system that still allowed "average" people entry, provided they possessed a certain "look" or accompanied a member. This balance of exclusivity and inclusivity carved out a unique space for queer dance culture to flourish, giving birth to the diverse musical landscape we see today. At the heart of the club was Larry Levan, often hailed as one of the most gifted DJs of his generation. Levan was renowned for his impeccable taste, inventive style, and deep rapport with his audience.


3. Mother (Dublin, Ireland): Mother, established in Dublin in June 2010, and co-founded by Cormac Cashman, has been a significant catalyst in the city's LGBTQ+ scene, offering a safe space for the community to express themselves freely. With an emphasis on disco and a hint of nostalgia, the club nights at Mother have become a must-visit destination for disco aficionados across the city. While it initially began as a club night, Mother has since evolved to have a broader influence on Ireland's LGBTQ+ community.

The establishment is renowned for its participation in, and organization of, some of the most memorable events at Ireland's leading festivals. Two such instances are the Mother Pride Block Party and Love Sensation music festival, which Cormac also promotes and co-founded. The Mother Pride Block Party, an annual event held in tandem with Dublin Pride, is one of the highlights of the city's Pride celebrations. It features a blend of live music, DJ sets, and performances, all of which embody the spirit and joy of the LGBTQ+ community.



4. Trade (London, UK): Trade's impact on modern club culture is truly significant, as it paved the way for the evolution of gay clubbing since its establishment by Laurence Malice in 1990. As the first legally sanctioned after-hours club in the UK, Trade's influence served as a template for many others that followed. Nestled within the confines of Turnmills - the first UK club awarded a 24-hour license - Trade transformed a humble basement into a liberating sanctuary adorned with neon hues, providing a much-needed space for London's queer community to gather and express their identities openly.

In the sphere of house music, Trade occupied a distinct position as a pivotal player in shaping the genre's trajectory. The club was a beacon for the gay community and played an instrumental role in fostering the growth of house in the UK. Its history provides a fascinating narrative for those keen to explore the international progression of house music and its deep roots in queer culture.

5. The EndUp (San Francisco, US): The EndUp, a legendary LGBTQ+ friendly club in San Francisco, was opened by Al Hanken, a would-be gay club impresario, in November 1973. Positioned in an old 22-room hotel at the corner of Sixth and Harrison Streets, the club was initially designed to ride the disco wave with its light-up dancefloor and impressive quadraphonic sound system. From its inception, The EndUp has been known for its eclectic programming, hosting a myriad of parties and events spanning various genres, including reggae, techno, hip-hop, and the birthplace of Hi-NRG in the '80s. Significantly, the club also served as the heart of the city's deep house scene in the '90s, providing an American home for Berlin-style techno in the 2000s.



A magnet for a diverse crowd from the onset, the club played a crucial role in shaping the dance culture history of San Francisco. By consistently showcasing house music and fostering new talent, it extended its influence beyond the local community, having a profound impact on the global house music scene. In this way, the EndUp has provided a vital, inclusive space for the LGBTQ+ community and their allies to openly share their identities without restriction. This contributed significantly to the evolution and popularity of house music within the queer community and beyond.

Rhythms of Revolution: The Intersection of House Music and Queer Spaces

Robin Ebinger says witnessing the energy and unity on the dance floor at his first drum and bass Happy Harcore Party in the early 90s was transformative. Falling in love with electronic music inspired him to organize and promote events that embodied his vision of the ideal party.




“When I was at the first drum and bass Happy Hardcore Party, I realized that what’s happening on the dance floor is something I’ve never seen before,” Ebinger recalls. “This energy, these people from all over the place falling into each other’s arms and going crazy and just celebrating the moment and the music. I was infected by this virus. I am still. Gladly.”

This profound impact inspired his journey and led him to become the Managing Director of Electronic Events, responsible for Sonus Festival, and the Marketing Director of Cosmopop, the company behind Time Warp. Both festivals are renowned for their cutting-edge production and world-class techno offerings, contributing significantly to dance music culture.

Time Warp

Originally held in Mannheim, Germany, Time Warp has achieved legendary status in the realm of techno events. To describe the festival to someone unfamiliar, Robin shared Laurent Garnier’s words, who described Time Warp as “the only rave that manages to maintain the true spirit of raves, bringing a diverse group of people together to celebrate the music.” Over the years, Time Warp has expanded its reach globally to Buenos Aires, New York, São Paulo, and more.




Running from early Saturday evening to late Sunday afternoon, Time Warp features an extensive lineup of world-class techno DJs and producers. To quote Carl Cox, “Time Warp is for the long haul. It’s a long distance and it’s a marathon.” The festival creates intimate and captivating environments through its innovative use of fabrics, lighting, and technology, making it a truly immersive experience for attendees.




“Although it’s huge in scale, for example [in] Mannheim we have 20,000 people from all over the world, it makes you feel comfortable and cozy, like being in small clubs because we try to decorate the entire room, the entire dance floor.” Ebinger says about the flagship event. “We try to make it feel very intimate and bring down the ceilings, make it special.”

Each floor has its distinct ambiance, housed in halls, warehouses, tents, and even a glass pavilion providing breathtaking moments during sunrise. Ebinger credits their technical director, Anatol, as the driving force behind these advancements. Anatol’s innovative ideas and extensive network of artists allowed them to constantly experiment, break boundaries, and set trends in production.

Time Warp’s Manheim edition is truly an international affair, with attendees hailing from all corners of the world. He noted that the encounters with like-minded individuals from different backgrounds add to the festival’s charm. And in an age of rapidly rising prices and rampant commercialization in the events space, Time Warp remains reasonably priced and authentic. Its organizers always think about how it feels to be on the dancefloor because they are ravers.

“My partners and I, we are people that come from the dance floor,” Ebinger explains. “Of course we’re businessmen, we need to make money because we have to pay the people in the agency. But still we are not businessmen who said, okay, let’s do raves, we are ravers who said, let’s do business.”

Upon congratulating Robin on the fast-approaching 30th anniversary of Time Warp, he expressed his disbelief at the journey they had undertaken. “If somebody would have told me like when I first was on a dance floor that I could make one’s living with it and that techno would bring us around the world, I would have said, ‘well, I don’t think so.’ I believe it’s very rewarding to understand that our team is making people happy by offering places to celebrate and to have a good time.”

Sonus Festival

Sonus Festival had its humble beginnings thanks to an encounter between Ebinger and his long-time friend Dalibor. Dalibor, who is of German and Croatian heritage, shared his vision of hosting a beach party on a picturesque island in Croatia with open-air clubs playing music all night long. Intrigued by the idea, Robin and his team decided to invest in Dalibor’s vision, despite the tight time frame of four or five months before the festival’s scheduled date in August.

The first year of Sonus Festival proved to be an immense challenge. Unlike previous festivals they’d organized, Sonus was a destination festival. Convincing fans to spend several days partying in a far-flung region required the team to adapt their marketing strategy.

“I remember that everything was just trial and error not only with communication but also with the first shows. We had day parties and night parties, and obviously it was too long. We started day parties at noon, where it was very, very warm and very early. Nobody came. We realized, okay, no, I wouldn’t go to the beach party now at noon. Why? It’s too warm, I would rather go to the beach.”

Sonus Festival has played a vital role in fostering the development of the dance music scene in Croatia and has become a platform for showcasing local talent from Croatia, Serbia, and Slovenia. Known for its breathtaking seaside location, Sonus also attracts a diverse range of renowned techno and house artists from around the world, such as Dixon, ANNA, Charlotte de Witt, Jaden Thompson, Mochakk, Marco Carola, and Ben Böhmer.

Reflecting on the festival’s evolution, Robin acknowledges that the journey from the first festival to its current status as both imaginable and unimaginable. The festival’s association with Time Warp played a crucial role in Sonus Festival’s early growth. The unique blend of stunning natural surroundings, immersive stages, and unforgettable music experiences set Sonus apart from other festivals.

The clubs themselves are open-air and have an arena-like structure, creating an energetic space where the music and fans converge. The festival’s timing, with the transition from daylight to twilight and the sunrise over the beautiful mountain range, add to the magical experience. Additionally, the emerging trend of destination festivals, where attendees could combine their holiday with a festival experience, added to Sonus Festival’s appeal.




Sharing some memorable moments from the festivals, Robin recalls a particularly intense situation during the first year of Sonus Festival. On the last night, as Ricardo Villalobos was playing his set, a sudden thunderstorm struck, drenching the outdoor club. Robin and Ricardo sought shelter beneath the DJ table, only to realize they were surrounded by cables and in a potentially dangerous situation. After relocating to a small, makeshift area, they battled the rain and worked together to keep the music going.

“It started to rain very heavily and there was this small, patio-like place and we decided to move there, a very small area but it was pouring with rain,” he remembers. “We jumped out and then we went to this patio place. This was like a small shelter for maybe 70 people covered with wood, but it was raining so hard that the rain came through the wood. And so basically we had to stretch some plastic foils above the DJ. Another guy and I were fixing this plastic foil above the DJ underneath this wood construction and we were standing there for about an hour just for him to continue to play the music.”

Moments like these, where the forces of nature collide with the energy of the festival, exemplify the challenges and excitement inherent in organizing such events. Looking ahead to the tenth anniversary of Sonus Festival, Robin remains tight-lipped about specific plans but hints at the introduction of another stage or club.

Sonus Festival and Time Warp hold a special place in dance music culture due to their commitment to pushing boundaries in production, curating exceptional lineups, and providing unforgettable experiences for techno enthusiasts.


Robin expresses the joy of losing track of time while immersed in his work when asked about his favorite aspects of his job. The flow of merging with tasks and situations is a privilege he cherishes. Additionally, he appreciates the opportunity to collaborate with creative individuals from diverse backgrounds, cultures, and time zones. Working outside the constraints of predefined rules allows him to navigate the industry with a sense of freedom and autonomy.

Robin’s involvement in the music scene includes supporting local artists in both Croatia and Germany. He emphasizes their commitment to providing a platform for upcoming talent alongside established names across various events. Balancing audience expectations, brand identity, and introducing new talent presents an ongoing challenge, but one that Robin and his team embrace. Acknowledging the utopian nature of festivals, Ebinger emphasized that dance events like Time Warp and Sonus Festival are not just about escaping daily life but also about promoting democracy. On the dance floor, everyone is equal, transcending differences of nationality or social status.

Robin Ebinger: Reflecting on the Journey of Time Warp and Sonus Festival

Without a shadow of a doubt, Ibiza is the party location where world-famous
super clubs and enchanting Mediterranean-style venues, host events by
leading DJs from across the spectrum of dance genres. We’re approaching
mid-June with a curated selection of day and night parties to enjoy the White
Island beginning this Friday, June 9!



Storytellers presents Puppetry Opening Party | Cova Santa | Friday, June 9


LunArts is back this season with Storytellers events at Cova Santa for eight
dates throughout the summer. As part of the team, Guy Laliberté (co-
founder of Cirque du Soleil) and many others feature “Puppetry”, a new
magical theme that blends music, art, performance, and
technology in an other-worldly locale within the hills at Cova Santa.
Storytellers is a live fairytale where the crowd is part of the adventure. For the opening party this Friday, music will be curated by the Canadian DJ, producer, brand boss, and environmental activist BLOND:ISH, Brazilian artist Kalisma, French-Canadian melodic maestro Gab Rhome, life partners Kate Elsworth and Nicolas Blistène aka Lunar Disco, and Nicolas Sasson.



Get tickets for Puppetry by Storytellers at Cova Santa.






Follow Storytellers on Instagram | SoundCloud



El Fabuloso | Cova Santa | Saturday, June 10


The most fabulous party on the island is back at Cova Santa for three Saturdays this season. You'll want to dress up in your tropical and colorful best for this one! El Fabuloso delivers the very best disco, 80s, funk, soul, rock, and indie music with a Spanish touch, being played, sung, and danced by humorists Carlos Areces, Eduardo Navarrete, the punk rock queen Silvia Superstar, and many other hilarious artists. Join the laughs and dance under the sun on Saturday, June 10 from
5pm!


Get your tickets for El Fabuloso Opening Party at Cova Santa.





Follow El Fabuloso on Instagram | Facebook



Pyramid Opening Party | Amnesia | Sunday, June 11


Pyramid events bring back the type of party for which The White Island is
known to demonstrate that electronic music has always been a space where
there are no boundaries, nationalities, flags, or passports. Amnesia’s flagship
party (since 2019) showcases the biggest underground DJs and emerging tastemakers playing thumping techno in two separate rooms. The
legendary venue is dressed up in creative materials and features hundreds of
luxurious geometric pyramids dangling from the ceiling, the latest
technology, lighting, and beautiful dancers. For the opening party this Sunday, Pyramid invites Cuartero, Ricardo Villalobos, Deborah de Luca, Kobosil, and many more. Appreciate the past, live the present, and dance into the future at Pyramid!


Buy tickets for the Pyramid opening party at Amnesia.






Follow Pyramid on Instagram | SoundCloud | Facebook



Biöxial | Hard Rock Hotel Ibiza | Monday, June 12


Formed by Luis Delgado on flute, Akra 7K8, Manuel Moore and Ruben Moran
on sax, and Micah the violinist, Biöxial is a band that blends electronic music with live instruments and vocals to deliver improvised shows. Discover music in a completely different way and connect with the artists and dancefloor. After a buzzing first season at Cova Santa last summer, this talented group of Ibiza veterans return Mondays this season at The Ninth Ibiza, the spectacular rooftop sky lounge at Hard Rock Hotel in Platja D’en Bossa. This free open-air event from 7 pm-midnight.






Follow Bioxial on Instagram | SoundCloud



The Martinez Brothers Opening Party | Hï Ibiza | Tuesday, June 13


Following a huge debut season at Hï nightclub last summer, the most stylish
brothers on the scene are back with their weekly residency this Tuesday, June 13 through October 3. Spanish techno figurehead Paco Osuna repeats his vibrant Club Room residency under the name Now Here. Chris and Steve Martinez are two kids from The Bronx, New York, who grew up playing music in church with their pastor father, but nowadays, their sound transcends any religious boundaries. “Me and my brother’s relationship is a total yin and yang”, says Steve. Their music style has become more of a state of mind, very recognizable and unique. Both are ready to write a new chapter hosting a self-named party in their beloved Ibiza for the second year in a row.


Listen to The Martinez Brothers latest single "KILO" with remixes by Major Lazer & Ape Drums.




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





Follow The Martinez Brothers on Twitter | Instagram | SoundCloud



Disco Disco Opening Party | Pikes Ibiza | Wednesday, June 14


The most exciting way to enjoy rare disco sets by top-line international artists
is at Disco Disco events at the charming Pikes venue. The Disco Disco brand
was born in London back in 2018 with the idea to gather an amazing disco-loving community worldwide. Disco music was crucial in the development of
electronic house, techno, hip-hop, and many other genres and Disco Disco
pays homage to its roots in the 70s and 80s. After four sell-out
shows in 2019, Disco Disco is back at Freddies with very special guests invited to the opening party this Wednesday (past guests have included Patrick Topping, Skream, and The Martinez Brothers), are you in?


Join the guestlist for Disco Disco at Pikes Ibiza.






Follow Disco Disco on Twitter | Instagram | SoundCloud



Thursdays with Rhadoo | Ibiza Underground | Thursday, June 15


Rhadoo, DJ, producer, remixer, label owner of [a:rpia:r], and one of the first Romanian artists on the roster of Ibiza’s Underground scene, Radu Cilinca headlines Thursdays at Ibiza Underground again., Rhadoo’s music style
goes from deep melodic house to the most uplifting and seductive techno.
Since he started his music career back in 1995, Rhadoo has been playing
in clubs and festivals like Sunwaves all around the world and soon became a
regular at the mythical Zoo Project and DC10.



More info and guestlist on Underground's Facebook page.





Follow Rhadoo on Instagram | SoundCloud

This Week In Ibiza (June 9 - June 15)

As evening sunset drenches the LA Coliseum in a bath of warm magic hour light, Dirtybird Records artist and Mi Domina founder Nala strides amiably under the Olympic cauldron and across the concrete stadium pavilion. As she nears the guardrails overlooking the cavernous inner stadium, she pauses at a wooden picnic table to sit for an interview with Gray Area. From there, she soaks in the colorfully psychedelic sights, sounds, and splendor of Desert Hearts Los Angeles while talking shop.





As a central producer and artistic driver in the ever-evolving North American tech house scene, Nala’s resume overflows with accolades and accomplishments. She’s an oft-featured Dirtybird player, collaborated with label head Claude VonStroke, and enjoys a close advisory relationship with both Barclay and Aundy Crenshaw after being officially managed by the dynamic Dirtybird founding duo throughout her initial professional years. She also works closely with major artists like Walker & Royce, the trio dropped “Not About You” on Chris Lake’s Black Book Records last September to widespread acclaim.

“My entire goal is to emphasize that my contribution to dance music is coming from a rock perspective, an indie-dance punk perspective,” she tells Gray Area. That focus on marrying punk and indie-rock with dance music is a genuine, deliberate choice to pursue her unique tastes. “I get annoyed when something is too common — I rebel instantly,” she says.




Even the recent wardrobe choices for her DJ performances mirror that rebellious predilection. “I was wearing a lot of black. A lot of my friends are wearing black. The techno community wears all black,” she notes. “And I was like, I can't do this anymore. Imma wear all white [when performing] so I could separate myself, my own identity. I just feel better that way. But now I call it my work uniform. It's getting ready for the job, twisting knobs and stuff. [My] suit of armor.”




Nala’s ongoing dedication to sculpting a unique artistic identity is undeniable. Coupled with ever-sharper production skills and an uncanny ability to cleverly tap into the cultural zeitgeist with her lyrics, it’s not surprising that DJ Mag North America nominated her for breakthrough producer of the year.




“Part of me is an Aries, so I'm a little competitive,” she ponders as she considers her nomination for the coveted award. “But I'm just grateful to be considered for my work. I've fought a really long time to be acknowledged in this way.”




NEW IDENTITY

“I still work with [Barclay and Aundy Crenshaw], [but] I am trying to branch out,” Nala says of her working relationship with Dirtybird. “It took me a couple of months to figure out where my footing was as an artist outside of Dirtybird, even though I'm still touring and releasing with Dirtybird.




“I was talking about this with Walker & Royce — [Barclay] has the best taste. He knows how to hear things and make them the best they can possibly be. It was through his vision that I was able to really level up. Now, I'm like, 'how do I take that and go even further?'”

Nala’s upcoming releases may hold the answer to that question. She's again turning her gaze inward and critiquing broader cultural and social norms. “A lot of the music I’m releasing this year is growth-oriented. I have a song that’s on Club Sweat in Australia [called 'Growth']. The whole lyrical theme is growth and being a better person — acknowledging that you have wrongs and being an adult about it.




“On the opposite side, I have a song called ‘Me Me Me’ with Catz ‘n Dogz. That song is just about sex, wanting and desiring someone. I try not to dabble too deeply into that — I don’t want to only ever write about sex. But once in awhile is fine,” she says with a laugh.




“Then I have a song called ‘I Don’t Mind’, which is more interpersonal relationship stuff. This year I’m doing a lot more relational writing based on the most pressing issues in my life," she explains. “Friendships that I’ve outgrown. [Experiences] that you just have to write about when you’re going through it.”




CONFESSIONAL ARTISTS




Nala's energetic, adroitly cutting social commentary vocals are a hallmark of her music. And she's more recently begun to incorporate them live into her DJ sets.




“[Vocally], I do a lot more punk, spoken-word, indie stuff. I consider my vocals and the way that I sing like an indie boy band — like I’m the boy band lead singer," she says with a bright laugh. "I’m not Ariana Grande — I’m not doing some crazy vocal runs. I’m like some cute little indie boy.”

“With my label [Mi Domina] I'm trying to curate a very specific niche, which is really palatable, fun acid house or punk,” she says. “Punk rock is real. It’s relevant to how we experience our lives. Unless you're living in a bubble of perfection — then congratulations!” she says with an incredulous chuckle.

In this way, Nala is reframing late 90s/early 2000s pop-punk and indie-rock conventions through her current perspectives. Forward-thinking artists have utilized a similar tact across various emerging subgenres in recent years — most apparently by pioneering hyperpop artists such as 100 gecs, Dorian Elektra, and glaive. The central difference between such artists and the rest is that many songs get created in a cultural vacuum, resulting in inauthentic, caricaturesque lyrics. It’s not that Nala thinks generic dance music featuring empty-calorie lyrics shouldn’t exist. That’s just not the type of experience she hopes to provide with her music.




“I’m not here to be escapist [with lyrics],” she says bluntly. “The instrumental itself is the force of escapism.” Accordingly, she pursues a definitively different approach to writing electronic music — one that’s decidedly personal and smartly subversive.




“Confessional artists,” Nala tells Gray Area. “It's something I learned based on how Gwen Stefani writes. It’s also part of my philosophy — part of our job as artists is to dissect the human experience and make it palatable for everyone else. So the driving force behind my lyricism is: ‘How can I say what everyone is avoiding and make it so it's not offensive, [but] we can still dance to it?’ However you digest them, it could apply to your life [in] a number of ways.”

As for the bottom line of her ongoing work in electronic music? “My main thing is trying to touch on the human experience,” she says. “Why else would I make art?”




As for the “main message for the next few years” that she seeks to convey to her rapidly growing legion of dancers and punks?




“Just pay attention to the fact that I’m bringing rock into dance music again.”

Pay Attention, Nala’s Bringing Rock Back into Dance Music.

Returning to reality after the Electric Daisy Carnival can be almost as surreal as being there. Even the most jaded of ravers can become delightfully overwhelmed by the scale of the world Insomniac Events creates at the Las Vegas Motor Speedway. Now that there’s been time to rest and recoup, this veteran kandi kid, along with DJ/producers Anabel Englund, Christopher Lawrence, and Kaleena Zanders, reflect on the memory-making moments we experienced at EDCLV 2023. The year 2023 was also a celebration of the 30th anniversary of Insomniac, started by Pasquale Rotella with his first parties back in 1993.



Besides being Insomniac's 30th anniversary, 2023 marks my 15th EDC, and my twentysomething raverversary (I started raving in the late '90s in Vegas). From the first time walking down those LA Memorial Coliseum stairs in 2008 to descending the stands and entering LVMS each year the fest has been in Vegas, the world that awaits beyond the gates is always a mesmerizing moment, never failing to leave me happily awestruck at how far the once underground subculture of outsiders has now obtained mainstream acceptance.

As we arrived on Friday, May 19, the perfect amount of light, misty rain was a refreshing way to kick off the festival as the sun set on the surrounding mountains. For a few brief moments as we approached the Circuit Grounds for Anabel Englund, the droplets amplified the beams of music-synced lights to create an effect not even the biggest budget could replicate. Add to that aesthetic the excitement of Englund premiering her new single “Strangely Sentimental,” complete with live vocals, and the first big EDC 2023 memory of the weekend set the bar as high as the desert sky.


“The Circuit Grounds was the biggest stage I’ve ever played in my life, and it was incredible,” Englund tells Gray Area. “It really showed me what I am made of.” Englund definitely noticed fans' extra enthusiasm during both sets for her originals. “My own songs like ‘Lightwaves’ and my new track ‘Strangely Sentimental’ got the most love,” says Anabel, who also dropped her collab with Oliver Heldens, “Midnight Rapture,” which reworks the Blondie hit, “Déjà Vu,” and her Hot Natured collab “Reverse Skydiving.”




“There were a few absolute bangers that went off as well, of course, but when I played my first personal record, I heard the whole crowd scream.”

Englund also got to spend time checking out other sets as a fan, citing her favorites as Camden Cox closing out Camp EDC (where Englund also spun an earlier set), and Westend and Noizu's B2B. “My girl Kaleena Zanders was interviewing people for Insomniac Radio and I love it and I love her,” adds Englund of another favorite EDC 2023 memory made.




We caught up with Kaleena Zanders after she pulled double duty with two sets as well. “Overall, my EDCLV 2023 was filled with a lot of warm and fuzzy feelings,” says Zanders. “This was my first EDCLV where I played one of the mainstages, and that was Stereo Bloom. Last year I played that Femme House art car takeover—shoutout to LP Giobbi for having me—and this year, I graduated!” she says. “During my set, I was met with nothing but love! And I also got to play Titanic's End art car later on in the night, and that was so much fun!” 



Highlights of her EDC include when she dropped "I Will Survive" by Gloria Gaynor, recalling, “I could see that people didn't expect that, but then their hearts exploded, and they sang their hearts out! Also, I had this fire dark rave edit of ‘This Is How We Do It’ by Montell Jordan and everyone was singing along and getting down! Was so cute!”

Zanders got in a little bit of raving too. “I got to check out Camden Cox, a fellow singer/DJ in the community hailing in from London, and I loved it, she says. “She had ethereal verse parts and then dropped into something hard; I loved the juxtaposition. Then I saw Will Clarke, and he blew my mind joining that techno and soul together; Man, he's got it down! I also saw James Hype to see what the ‘Hype’ was about, and my man’s is extraordinary!”

Zanders brought a few EDC virgins along for the weekend adventure, too. “I took my friends… to EDC Downtown within the festival, and we rolled up to all the people getting married!” she says. “It was so cute and hilarious, and I swear EDC has done that area up even more now.”

Indeed, the interactive experiences at EDC grow every year. “Instead of one area to get married, it seemed like there were four or five marriage stations, and all of them were a spectacle. Shoutout to all the ‘Headliners’ getting married,” laughs Zanders.

For intimate vibes, we were sure to check out the Parliament 2.0 30th Anniversary Art Car hosting numerous DJ legends who’ve been in the scene since the early days of Insomniac Events to celebrate the roots of raving. While we would have loved this whole lineup to be on a bigger stage to educate people newer to the scene, those in the know supported—even being allowed to climb aboard the art car to dance alongside their heroes, no VIP/guest wristband required.




Christopher Lawrence made a seamless transition from DJ Dan despite their genre differences. Unlike the sets on the larger stages that take breaks between each artist, the DJs on Parliament kept it old-school by mixing into each other. This helped keep the crowd from wandering away for a proper continuous party. After Lawrence’s set, one of the nicest guys in the biz tells Gray Area how EDC LV 2023 was an amazing time for him as a DJ and a fan.




“It was incredible to be a part of Insomniac’s 30th anniversary and to have played in all of the past three decades,” says Lawrence. “I was blown away at how far EDC has come since the early events in the ’90s. The production this year was phenomenal.”

Lawrence says he spent the weekend exploring the Speedway with his brother. “I really enjoyed taking laps around the venue, stopping at every stage and taking in the variety of styles being played,” he tells us. “I also made a point of hearing DJs I had never heard before or hadn’t heard in a long time. My favorite set of the weekend had to be Kaskade at Circuit Grounds on Saturday night. His set was super powerful and driving.” 



Beyond the artists on the stages, Lawrence adds, “One of my favorite things was watching all the people, the passion for the music, the costumes, the diversity, and the pure excitement of being around over 200,000 people celebrating music together!”

Discovering a new favorite artist just by being lured by their beats has always been one of our favorite festival pastimes, and as we approached the Stereo Bloom stage during Hannah Wants’ set, it was like a moth to a flame.

She laid down infectious house grooves, catchy—but not cheesy—lyrics and vocals, plus the right amount of classic sampling. Additionally, we discovered our new favorite song, in her yet-to-be-released ID, with the hook “…It only hurts when I breathe…” (get a taste of the track on Hannah Wants’ Facebook, and fingers crossed we can hear the whole song again soon!)



Cosmic Meadow is the first stage ticket holders see upon arriving and curates a smorgasbord of need-to-know DJs. Such was the case Sunday evening when Capozzi dominated the grassy dancefloor. While the petite producer may have been hard to spot behind the massive Cosmic Meadow DJ booth and stage, her fierce energy could be felt by the people all the way in the back and stopped many with plans to beeline to other stages. The only bummer was Capozzi not getting the final rousing cheers she deserved when what looked like a tech person interrupted the end to prepare for the next DJ, leaving us a bit miffed. Fortunately, fans could follow Capozzi to her next set in the Rave Hangar right after and keep the energy going.



The Allegiant Rave Hangar’s (sponsored by the airline, one of the many corporate sponsorships at EDC—a little weird for this old-timey raver)
indoor cool zone channeled old-school warehouse vibes (but with air conditioning! IYKYK…). We wandered in to ODDKIDOUT, who wowed us with dope drum ‘n’ bass.



EDC was an endurance test for all in attendance, but no more than a nine-months pregnant Alison Wonderland playing on the festival's mainstage Kinetic Field, who joked that she was going back-to-back with her baby. All precautions were in place just in case her little one premiered during her set, including a crew and ambulance backstage. And while there were rumors that she gave birth at EDC (at the time of this writing, she’s shared that the bun is still cooking in the oven), another woman went into labor six weeks early during Zedd’s set.

Regarding the Kinetic Field, it takes a lot to convince this writer to brave the sea of people at the mainstage. We’d spent so little time there at first that we didn’t appreciate the full level of detail this year’s design incorporated. The stories-high hands framing the booth wore kandi and moved slowly together and apart! Animatronics? Yes, please. This stage only gets more impressive every year. Intentional or not, the equally skyscraping goddesses that framed the Kinetic Field entrance were reminiscent of the 80s classic, A Neverending Story, and created a pleasant feeling of nostalgia.




Gareth Emery commanded the stage with a set packed with near-perfect original productions and the ability to curate that sought-after magical journey, read a massive crowd, and hold the attention of those just waiting for the drop. Balancing those big adrenaline rush peaks while incorporating his trance sensibilities had to have attracted a swath of new fans to the sometimes stepchild of EDM genres. “We got some Trance Family in the house tonight and we’re gonna show EDC what the greatest genre is all about!” Emery said during his set, later adding, “EDC changed my life!” He also paid tribute to the late Avicii, saying, “I still miss him to this day,” while dropping “Seek Bromance,” much to the delight of the attendees.

Though logistics can be a nightmare (2023 was probably the worst traffic ever for EDC thanks to a zillion construction projects along key routes) and us OGs may end up with aging sore muscles (over 20 miles of steps counted!), every time this raver thinks each year will be the last time attending the Electric Daisy Carnival, FOMO always hits hard, and the vibes woo us back. It might be time to get our UFOs and kandi collection out of storage after all, so look forward to seeing you on the dancefloor again in 2024… or at least in the back of the crowd somewhere with a knee brace bouncing along. P.L.U.R. is life!

3 DJs and a Rave OG Reflect on Their Top EDC Las Vegas 2023 Moments

June may not spell peak season in Ibiza, but you wouldn't know it from the packed dancefloors and early sell-outs. The party calendar is packed with options to enjoy paradise at its fullest. June is shaping up to be one of the best months of the season, and we've got a selection of our favorites for the first week.




Destino Grand Opening Party | Music On | Destino Pacha | Friday, June 2

Pacha’s resort located in Cap Martinet kicks off the party season this Friday with Music On at 5 pm. Marco Carola will be on the forefront before heading to Pacha at midnight, accompanied by Loco Dice and Joey Daniel, to deliver one of the best alfresco events of the summer. This is the first of just 12 parties at Destino Resort during the summer and one of the eight chances to enjoy Music On open-air in Ibiza.




Tickets to Destino Grand Opening this Friday









Follow Music On on Twitter | Instagram | SoundCloud





Black Coffee | Hï Ibiza | Saturday, June 3

The first ever Hï Ibiza resident (from 2017) and Grammy award-winning artist and producer Black Coffee, continues his revolutionary Saturday night residency at the Platja D’en Bossa night club, together with Crosstown Rebels boss Damian Lazarus. Expect Afro, tribal, and evocative house music by many of the scene heavyweights and talented emerging DJs, surrounded by Hï ’s impressive production.

“For me, every Saturday night in the number one club in the world is a moment to reunite with family while working to bring residency to next level, each year is always better than the last!!” says Black Coffee.





Get tickets for Black Coffee this Saturday, June 3 at Hï.








Follow Black Coffee on Twitter | Instagram | SoundCloud






Club Chinois presents Luciano PORTSIDE | Ibiza Port | Sunday, June 4

Island Hospitality (the group behind Club Chinois) has surprised electronic music lovers by announcing a PORTSIDE takeover with resident DJs Luciano, Franky Wah, and Ibiza-born Manu Gonzalez this Sunday from 7 pm. A free one-off event to welcome an exciting start of the summer by Club Chinois, which is celebrating its second year. The after- party continues at Club Chinois from midnight.

Head to this exclusive free open-air at Ibiza port and secure your tickets for the after-party.






Follow Luciano on Twitter | Instagram | SoundCloud






Zero ’23 Opening Party | Underground Ibiza | Tuesday, June 6

The London-based Zero Logistics agency was founded in 2014 and is celebrating its sixth season this summer at Ibiza's coziest nightspot. Zero parties feature new talent with fresh, high-quality underground music, this is why Ibiza Underground, located within Amnesia and Privilege, became Zero’s spiritual home. For the opening party this Tuesday, you can enjoy showcases by long-standing Zero family member from Argentina, Franco Cinelli, avant-garde NYC-based selector O.BEE and local residents A.M. Project.




More info about the event and tickets.









Follow Ibiza Underground Club on Twitter | Instagram | SoundCloud






Mystik by Ida Engberg | Club Chinois | Tuesday, June 6

Swedish DJ and producer Ida Engberg is back at Club Chinois this season with Mystik. Ida’s new party concept takes place at the Marina Botafoch newest club every Tuesday through September and promises to break prejudices, stereotypes, barriers, and myths, inviting international artists of the highest level to join her on this adventure of self-realization. Engberg is the first woman to take the reins of a long-term party residency in Ibiza and her music style is predominantly techno with special touches of house, disco, minimal, acid techno, and pop.




Experience Ida’s brand-new concept at Club Chinois this Tuesday.









Follow Ida Engberg on Twitter | Instagram | SoundCloud




FISHER Opening Party | Hï Ibiza | Wednesday, June 7

The Aussie superstar FISHER headlines Wednesday nights at Hï Ibiza after a pioneering residency that exceeded all expectations last season. Paul Nicholas Fisher has become one of the most prominent figures on the scene thanks to his hilariously upbeat persona and unstoppable energy. With no doubt, he will offer a musical revolution every Wednesday, moving around tech house and big room anthems, accompanied by a great selection of guests and Hï's amazing production. The Club Room will be hosted again by Brazilian DJ and producer Vintage Culture. Fatboy Slim and Little Fritter are invited to the opening party to play the Theatre Room and next door, Joris Voorn, Ashibah b2b Viot will share the Club Room’s booth.




Tickets available for the FISHER Opening Party at Hï Ibiza.







Follow FISHER on Twitter | Instagram | SoundCloud





	

Solid Grooves Opening Party | DC10 | Thursday, June 8

The London label and party brand Solid Grooves led by Michael Bibi, returns to Ibiza’s underground mecca DC10 with “Casino Motel” after a great debut season last year. Expect a curated selection of deep tech, minimal, and techno sounds that will drive you to an authentic clubbing experience. This distinctive Casino Motel will be open every Thursday from June 8-September 28 and some of the most notorious names on the scene are invited. Are you in? 




Purchase your ticket for Solid Grooves opening party at DC10.









Follow Solid Grooves on Twitter | Instagram | SoundCloud

This Week In Ibiza (June 2 - June 8)

Danny Whittle’s phone starts ringing the minute he sits down to speak with Gray Area over video chat. “The life of a promoter,” he laughs before picking up to tell them he’ll call back.




The interruption elicits little reaction from Danny. At various other points throughout his nearly three-decade career, though, he’s received calls that set him on a course through key moments in dance music history.




Ibiza is gearing up for its busy season. Danny knows better than most that the hustle and bustle come with the territory this time of year. Since his first visit to the White Isle in 1996, he’s played key roles in such storied brands as Renaissance, Ministry Of Sound, Home, Pacha, and International Music Summit. Danny has made a career of sizing up dance floors and figuring out how to turn them into profit machines. His judgment is seldom wrong.



Born and raised in Stoke On Trent in the U.K., Danny Whittle had no designs on becoming a nightlife impresario. “I never ever thought I’d have a career in music,” he says, although he “loved music beyond belief.” He initially served in the military, sailing in aircraft carriers in the early ’80s. “My only comfort was reading books and listening to music,” he says.




Danny’s mother raised him on American soul records by the likes of Marvin Gaye, Al Green, Diana Ross, and Stevie Wonder. Everyone else in his mess deck only listened to rock and roll, though.




“I remember one guy coming up to me one time when I was listening to George Benson,” Danny recounts. “He said, ‘There’s another ‘f****t in the next mess.’ You know, it was that typical, macho military bullshit.”




“I went looking for him, because I thought, ‘I need to meet this guy,’” Danny says of the rumored fellow George Benson fan. The two did meet — on an aircraft carrier on Christmas Eve. The man’s name was Paul Whitehouse, and to this day, he and Danny remain best friends. “He’s the godfather of my son, and I’m the godfather of his son,” Danny says.




The two traveled the world on that aircraft carrier. Danny recalls, “While everyone else went off getting drunk and going to rock concerts, we went out and found the local discos.”




On one occasion, Danny and Paul went into a Black club in Jacksonville, Florida, oblivious to the racial divide still lingering in the Southern United States. “We were looking like we were gonna get murdered,” Danny says. “But then we spoke English with an English accent. Suddenly, it was like we were Black. They loved it.”




“We were so naïve, we didn’t know that was not a done thing in 1981,” he continues. “But we were on the dance floor with them moving and grooving and having a great time through naïvety — but mostly through the love of music.”




After the military, Danny Whittle joined the fire brigade. Ten years of firefighting later, he developed corneal ulcers in his eyes. He went to the local job center, hoping to find a new career path. Instead, they signed him up for six months of financial assistance.




Six weeks later, Danny received one of his career-defining phone calls. It was Geoff Oaks, the founder and main promoter of the iconic Renaissance event brand. Danny declares Geoff “one of the best promoters of the late ’80s and early ’90s,” noting that Renaissance billed “people like Sasha & Digweed, Dave Seaman. He followed a sound — some incredible music.”




“Geoff said, ‘Why don’t you come work for us? Why don’t you do logistics on our tours, events, festivals, and so forth?’” Danny recalls. “So I said, ‘Okay, I’ll do it.’ What I quickly realized was that I had the ability to get out of bed in the morning and actually make things happen, to apply the professionalism of the military and Stoke Fire Brigade, in a young electronic music world of cowboys.”




“Not in a bad way,” Danny clarifies of the UK dance music landscape in the wake of the acid house explosion. “I mean industry people finding their feet, becoming successful quicker than they thought, and not realizing that when you tell a venue you’re going to be there at 7:00 in the morning to start production you can’t rock up at 10:00 saying, ‘Sorry, I lay in.’”




Danny had visited Ibiza on holiday years before, but working on Renaissance afforded him his entree into White Isle nightlife. The Ibiza incarnation of Manchester-born event brand Manumission drew 10,000 revelers every Monday in its heyday. One such occasion saw them partner with Renaissance and, in turn, Danny.




“I remember we had to hang a load of these fake clouds on from the roof of Ku, and you know how Ku is,” Danny says. “It’s like a football stadium. We had these ladders but nothing to lean them on, so I had four guys at the bottom of the ladder holding it up while I went and hung up these massive clouds. They were aluminum frames of chicken wire covered in this white, fluffy stuff, and then we dropped strobe lights in them. That night we created a thunderstorm in the club.”




“It looked amazing,” Danny grins, “but again, no health and safety. Zero professionalism — outside of getting there on time — but 10,000 people in the club that night having the times of their lives. That was 1996. It was my first introduction to Ibiza, which I absolutely loved. At that point, I knew, ‘I’ve got to live there. That’s my kind of place.’”




Renaissance would send Danny Whittle back to Ibiza for weekly Wednesday events at Pacha the following summer season. “I fell more and more in love with the island, with the whole concept of what Ibiza was,” he recounts. “I got into the history of the island, and I went back again to work. Then, I sort of got poached by Ministry of Sound, running their event at Pacha on Friday night.”




Ministry of Sound was, at the time, booking Chicago house figureheads like Frankie Knuckles and Derrick Carter as well as NYC and UK talent such as David Morales and Jazzy M, respectively. Danny aided in the London superclub-turned worldwide mega brand’s Ibiza operations until he was plucked away by yet another historic clubland player.




“I went back to the UK, and then I got headhunted by a company called Home, who were building a big club in London’s Leicester Square at the time,” Danny says. “They asked me to work on their festivals. I didn’t particularly believe in the club in Leicester Square, but the festivals I loved — and I love Darren Hughs. Darren was the main man for Home, who used to be one of the owners of Cream, and he asked me to work on his outdoor events.”




Danny oversaw Home’s Winchester Bowl, which drew roughly 40,000 attendees, as well as gatherings in Dublin and Edinburgh. To his delight, the brand also sent him back to Ibiza to manage their newly launched event series at White Isle superclub Space.




“At the time, Space on Sunday was legendary. It used to open at 8:00 in the morning and close at 7:00 in the evening — but then everyone would go to Bora Bora or La Escollera,” Danny explains. “I said, ‘I think I can get Space from 7:00 in the evening on Sunday until 6:00 in the morning. Then we can do a 22-hour party all the way through. All we have to do is drop in Paul Oakenfold, Carl Cox, Sasha, Laurent Garnier, some big name, and I thought we could create the first 22-hour Ibiza party to run on a regular basis.”




Danny continues: “By week three, it was a roadblock. Oakenfold was a roadblock. Carl Cox was a roadblock. It just exploded, and anybody who was around at that time will tell you that’s what happened.”




What came next? “Then, Home went bankrupt,” says Danny.




The space occupied by Home was rebranded as We Love. Now a free agent, Danny Whittle celebrated the turn of the millennium helping throw a 20,000-strong party called Mobile Home at Bondi Beach in Sydney. During a layover on the way home, he received a call that marked the biggest turning point in his career.




“It was Ricardo Urgell from Pacha,” Danny says with a smile from ear to ear. “He’d obviously seen what happened at Space, and so he said, ‘Listen, why don’t you come to live in Ibiza and run Pacha.’”




Danny goes on: “It was like all my stars just aligned right there. That moment was everything I dreamed of since 1996. Four years later, one of my heroes, the owner of Pacha, calling me saying, ‘Come and live in Ibiza. Come program Pacha — the whole nightclub. I’ll give you a villa. You can live there. I’ll pay you good money. You can book what you want. You can do what you want. Will you come and do it?”




“I just went, ‘Yes,’” Danny says. “‘I’m going.’”




Danny Whittle argues that he helped Pacha usher in a new era of prosperity. He refined the statement made by Pacha as a brand, which partly meant putting the DJs front and center. “They didn’t understand that content was king,” he points out. “At that point, you could put Carl Cox in a skip down the road and it would be packed. You could put somebody else in the best nightclub on the planet and it would be empty.”




This meant cutting third-party organizers out of the equation. “They had this goose that lays golden eggs, but they didn’t really realize it,” Danny explains. “They were letting too many promoters come in and steal the thunder of their brand and their venue. I cut that out. I changed it to where we booked DJs direct.”




Under Danny Whittle’s leadership, artists like Pete Tong, Erick Morillo, and Luciano held residencies. Ditto for superstars like David Guetta and Swedish House Mafia, whose radio and festival-ready interpretation of dance music would soundtrack the EDM movement of the following decade. Amnesia and Space soon followed suit. They wouldn’t be the last by any means.

“Within three years, they all started to do it. They started to realize that they didn’t need the promoters anymore. The DJs, agents, and managers started to understand that if you’re not paying a middleman promoter, you can pay the DJ more, which means the agent gets paid more, which means the manager gets paid more, and so on. So, DJs and agents and managers quickly swung onto the idea,” Danny says.




The ripples of Danny’s influence reached far beyond the White Isle. “About 2003, 2004, all the guys from Vegas and New York all came over to Pacha — and the whole landscape of Vegas changed,” he argues. “They watched what was going on in Ibiza. Instead of doing big shows with names like Celine Dion, when I went out there a year later, all the bills had Tiësto and Swedish House Mafia.”




Las Vegas made a grand entrance into the conversation on dance music leading up to and during the EDM boom. According to the Bar & Restaurant Expo, in 2014 nine of the highest-grossing nightclubs on earth were based in Sin City. “It wasn’t club brands. It was presenting the artist like the artist mattered to, say, Live Nation,” Danny says.




Clubland eras are famously ephemeral, and Danny Whittle’s tenure with Pacha came to an end in 2013. For that, he blames “a little argument with my hero, which was the stupidest argument ever.”




The jury isn’t out on whether exorbitant DJ fees have equated to a net positive or negative for club culture. In 2013, Ricardo Urgell, the Pacha founder, decided it was the latter. “At the end of the day, it was just hard for Ricardo — somebody who had run nights since 1964-1966 since the death of [Spanish Dictator Francisco] Franco — to understand why a DJ would get paid €50,000 for two or three hours of work,” Danny says. “It wasn’t hard for me to understand, because the night was making half a million.”




Danny continues: “As much as he liked the bank accounts and all the rest of it, he came into my office one day and went, ‘Right, I need you to halve all the DJs’ salaries for next summer.’”

“I said, ‘Ricardo, I can’t do that. If I do that, they’ll all leave. There are five other nightclubs on Ibiza that will pay them that money. Managers will tell them to leave. Agents will tell them to leave. Please, I cannot do that. We already get a really good deal. They want to play Pacha. We’re an iconic brand, an iconic nightclub. We make a huge amount of money. Don’t ask me to do that,” Danny recounts.




“He said, ‘Well, if you don’t agree, maybe it’s time that you left,’” remembers Danny. “And that’s exactly what happened. I went, ‘Okay, I’ll fucking leave.’”




According to Danny, Ricardo had to pay him a substantial severance, and the club lost money hand over fist. “Remember,” he says, “Luciano left with me, Defected left with me, Pete Tong left with me, Erick Morillo left with me. So, four of the biggest nights all went, and they had to pay more for the ones they kept.”




Danny says that he and Ricardo have since resolved their differences. “Now we see each other, and he hugs me like a long-lost son,” he says. “He knows that it was stupid what we did.”




While still at Pacha, Danny Whittle helped launch an electronic music conference that would go on to serve as an annual mile marker of the industry: the International Music Summit (IMS) in Ibiza.




This time the catalyst was not a phone call, but a “drunken idea,” according to Danny. “Me, Pete Tong, Ben Turner, and Martin Netto were up on the roof of Pacha like we were pretty much every Friday when Pete was DJing. Well, we were up there every night for about 130 nights in a row. But every Friday, the roof of Pacha was like an English pub, basically, and everybody from the industry was up there.”




Danny says that the four of them got to talking about how Winter Music Conference (WMC) had, in their opinion, dropped off as an industry gathering. Miami Music Week, which coincided with WMC, began to draw more spring breakers than industry professionals.




“It was an amazing time, but we saw it was tailing off as a conference. We were like, ‘Oh, let’s do an Ibiza music conference, let’s do an Ibiza music summit. And we were like, ‘Ohh yeah, let’s do it, let’s do it,’ and instantly forgot the idea the next day,” Danny laughs.




They eventually pieced the idea together again and discussed it off and on for a couple of years. Then, in 2007, Danny Whittle, Pete Tong, Ben Turner, Mark Netto, and Simeon Friend each finally put in $30,000 towards the following year’s inaugural event.




For the first IMS, they partnered with Hotel Fenicia in Santa Eulària and held their grand finale at the tennis court of Pikes Ibiza. “The first one lost a fortune. About 90 people showed up,” says Danny. “But there was a really cool vibe about it and everybody was so happy they were at the first one. The finances weren’t ideal, but it just felt really good.”




The sophomore edition marked a turning point. IMS 2009 moved to the Ibiza Gran Hotel, and the town hall allowed Danny and company to hold the finale in Dalt Villa, a 5th-century district built atop fortified walls now protected as a UNESCO World Heritage Site. “Then, everything changed,” he says.




“We’re still the only people allowed to do anything there outside of the medieval fair and a sit-down jazz thing they do. We’re the only ones who can do a rave,” Danny explains. “When you stand up there onstage and you look at 3,000 people raving like that, you think, ‘What were the Romans doing here 2,000 years ago? Or the Phoenicians, or Arabs, or whoever?’”




IMS, which Beatport acquired in 2023, has not only succeeded but continued to expand. The event often sells out all the rooms at participating hotels, but attendance isn’t the only metric that matters to Danny and his partners. He says that IMS hasn’t been connected to “a single arrest” throughout its history so far, “or a medical issue or anything.”




Now, Danny has a new project: Club Chinois. 1930s Shanghai jazz clubs inspired the space’s decadent decor, not the least of which is a disco ball hanging down from a giant, circular chandelier over the dance floor. Delays caused the club to open in July of 2022, forcing them to scramble for bookings. The owners nonetheless managed to lock in a Saturday residency with Luciano, who put them in touch with Danny.




“I got introduced to Sid and Sofijah, who are the owners. Amazing people. There’s a great team, they just opened late,” Danny says. “I spent The first sort of month fire fighting, just trying to fix the problems that they had already because of bad timing … And I think once I got involved they could see me sort of steady the rocking ship, make sure that things got dealt with. A bit at a time, the ship stopped rocking.”




Danny continues: “Once you start finding stability and people start talking about you in the right way — and not the wrong way — then you start to gain momentum. By the time we got to October, the club was just getting busier and busier, and by Halloween, we literally turned 2,000 people away.”




Club Chinois is smaller than the world-famous superclubs on Danny’s extensive résumé, to be sure. “In reality, it’s a 1,300-capacity club,” he points out. “It’s not a huge nightclub, which is partly why I took the job. I didn’t want the job of a 4-5,000 capacity club anymore. It’s just too much pressure.”




That’s fair, considering Danny Whittle’s accomplishments in dance music leave him with nothing left to prove. What adventures may come are bound to find him, though. As the tides of the industry turn, it’s only a matter of time before duty calls, and he finds himself drawn to the next dance floor.

Industry Spotlight: Danny Whittle

In the ever-evolving oasis of dance music, change is the only constant. Dutch duo Jim Taihuttu and Nils Rondhuis, have ventured into intriguing sonic territory, a shift heralded by their alias: €URO TRA$H.



No strangers to risk-taking, the duo's music has always had an element of diversity, a nod to their European roots and the genres they've explored over the years. €URO TRA$H, however, is a step into the realm of house and techno music, two genres that remained a constant in their hearts despite their heavier sound under the Yellow Claw moniker.



Born amidst the global events of 2020 that left many artists reflecting on their craft and exploring new directions, €URO TRA$H sprang to life as an unexpected but exciting venture. With a collection of house tunes that simply demanded to be released, the pair embarked on this new journey, infusing the €URO TRA$H brand with the same energy that has become their trademark.



€URO TRA$H caters to the smaller, more intimate venues, where old-school house music reigns supreme, providing a deeper, groovier alternative for those willing to step into the darker side of the room.



The name €URO TRA$H, a tongue-in-cheek nod to wealthy, carefree Europeans, perfectly encapsulates the project's energy and tone. It's a cheeky wink at their European roots and the flamboyant, sun-soaked, champagne-fueled lifestyles of the "newly rich." It's less about ostentation and more about the liberating act of not taking oneself too seriously, embracing the vibe and spirit of their music.



This chapter in their musical journey is not without its challenges, but it also carries its share of rewarding moments. It's about proving themselves anew, not just as musicians, but as tastemakers. It's about revisiting the past while crafting the future. It's about shattering genre barriers and championing the fluidity of dance music.



Whether it's through their unique version of a "trashy" mix made for HÖR BERLIN, collaborations with artists like Bonnie Strange and Psycho Boys Club, or their pioneering album ¥€$, €URO TRA$H is unapologetically bringing all the heat and grooves.







As artists who have been successful in one genre, what made you decide to take the risk of venturing into new territory with €URO TRA$H?

I didn’t feel like that at all. All our albums have always contained at least one decent house music song. Check out a song like “Run Away” we did almost ten years ago. They just never ended up in our DJ sets because we like to go hard with the Yellow Claw sets.

But in essence, all our stuff has big European ‘90s house music roots, because we are both ‘80s kids that grew up in Holland in the ‘90s when there was so much happening music-wise. At a certain point somewhere in 2020 without playing any shows, we suddenly found ourselves with four to five house tunes that we just really wanted to drop. So we did it. 

But it wasn’t until we made “1F2F” that we made a connection on a specific sound connecting to the €URO TRA$H brand and energy. And from that one, we made a whole bunch more and just put it on an album exploring that specific sound.



€URO TRA$H was named after a slang term for wealthy Europeans. How has this applied to your new alias, and what led you to choose this name with this meaning for your project?

The Urban Dictionary says this: "A person, male or female, from Continental Europe who spends most of the time partying and jet-setting around the globe in the most conspicuous (sometimes rude) manner to seek fun and sunshine. Often seen sporting fashion from designer hoses like Versace and Dolce & Gabanna with bold colors and animal prints. Too tanned and always adorned with excessive 18K gold jewelry and sunglasses. Far from subtle and often newly rich. Eats caviar and drinks champagne like water just because they’re expensive while having no idea or appreciation whatsoever." I mean, who has been spying on us? That’s like our Twitter bio right there.



What are some specific elements from your previous music experiences that you've brought into the €URO TRA$H project?

Just growing up in Holland in the ‘90s and going to those early raves as teenagers. Just really seeing that whole thing grow into what it is right now.



How would you describe the transition from your signature sound to house and techno? What challenges did you face during this process? What were the best moments?

I think the biggest challenge was not relying on a certain slot time at a festival or big groups of fans that are coming to hear some of the more known Yellow Claw songs. I think going back to square one and trying to prove yourself as a DJ and tastemaker behind the decks. Even convincing that one guy in the back of the club decided that he was a techno connoisseur eight months ago after deleting his @dubstepwarriorbro1 Instagram account. 

Nah just kidding, but people tend to be so serious about these genres and imaginary genre rules. Dance music has already proven itself to move in circles, all feeding off the same sounds and loops. They are just presented differently. I remember seeing a great set by Amelie Lens a few years ago and just thinking, ‘Wow, this whole set, the sound of it is so close to what an early rave gabber DJ would have played in Rotterdam back in the day.’ That whole idea of that circle is such a beautiful thing.



How has the public perceived this transition? If there were any mixed reactions, how did you address them?

There is no transition we still drop new hard-knocking Yellow Claw rave music every month and play the biggest festivals in the world with that name. We do, however, have another one in which we play small intimate afterparty rooms with trashy and sexy old-school house music. If you are into that, I would advise you to come check it out, if that’s not your thing and you are not open to new musical experiences with us, I would advise you to not come. It’s that easy. And, if you don’t like it, that is perfectly fine too. No biggie. But genre thinking has been dead for a while and will never come back from that. Look at which people are working together now, and what crazy lineups festivals and clubs dropping.



In terms of music and aesthetics, were there any other artists you drew inspiration from for this project?

Not that much in aesthetics, the whole idea of the €URO TRA$H aesthetic is that it’s not about overthinking. That is why there is a non-visual show, no effects, no co2, and no smooth artwork. It is just about the music and feeling the vibe in the club. It is not an EDM spectacle. It’s just going back to the roots. And yes, some super inspiring artists are balancing vintage with those new sounds. People like Sosa, Westend, Clonee, Wax Motif, and so on.



What has been the most “wow this worked" moment or turning point in the development of €URO TRA$H so far? How have those differed from your Yellow Claw performances?

I think when we first made "1F2F" and played it that same night in the Bootshaus club, that was the ‘yeah this connects, this is what it should sound like when it all comes together.’ Another moment was when we played a surprise set at House of Wax at the Palladium in Los Angeles last year, that’s a big venue with a lot of history, and it was filled up with house music fans of Wax [Motif]. That is when we got them not relying on the Yellow Claw brand. We felt like this could become a thing, not knowing that soon after we would be playing shows in New York, Tokyo, and Bangkok. Now sometimes we have a show request for YC and ET on the same day in different parts of the world, and hard decisions must be made.



Were there any moments you were hesitant about launching this project? If so, why, or why not?

No, we just wanted to do it right, because we initially made the songs to DJ them, and we know it’s a tough transition in a DJ set going from 160 bpm hard techno or trap, and then suddenly going back to this super groovy and vibey 126 bpm song. We didn’t want it that way and just really were excited about playing these long sets where you play all the drops of a song, not just the first.



In 2020, you released a video on YouTube named “Yellow Claw presents €URO TRA$H: The Art of €URO TRA$H.” Where did the inspiration for dressing like the '1700s come from?

Ahh, that was merely a joke, I kept seeing this meme on all these techno accounts of these three guys from this vampire movie looking down on the people from this balcony. We recreated that meme and did a DJ set like, just to f*ck with the people and their perceptions. I’m surprised you don’t know the meme hahaha. No judgment though.



How did working with Bonnie Strange and Psycho Boys Club contribute to the first LEGIT TECHNO BANGER, “Trust You”? Can you share any interesting stories from the making of the track and its music video?

All of us were hanging out in Bali for a while, and we wanted to create this Berlin-style techno banger with Bonnie. The video is in the same aesthetic too, and was just super fun to do. Looking back at it now, I feel the song was still too hard and loud for what €URO TRA$H would later become. It is way closer to a Yellow Claw thing. Maybe we should remix it ourselves.

What was the motive and interest behind the ¥€$ album, and how did you manage to maintain a consistent theme centered around wealth, partying, and ego throughout the entire record?

Well that wasn’t easy, but we kept on repeating the same mantra in our minds. All this music is made for the first Miami strip club that only plays real house music. That was the holy grail. House music for strippers.

On the Record: Unraveling the €URO TRA$H Phenomenon

When dance music aficionados think of Germany, the mind drifts to techno. Scenes of dark, sprawling clubs filled with the bonging bass and metallic high-hat ticks of peak-time warehouse music go hand in hand with the German dance music landscape, but that landscape is experiencing change. In fact, it has been changing for some time; as music streaming and sharing blurs the geographic and thematic elements of genre, a new generation of German artists is blazing new trails and modern sounds. One such artist is Cologne-based beatsmith Kolter.


Kolter is no rookie. He’s been releasing music since 2014. However, his output since 2020’s Covid-19 shutdown has reached a new level with a staggering twenty-nine releases in 2022 alone. Kolter is on pace for another massive year with eighteen releases so far in 2023, and today we highlight a stand-out track, “Bust A Beat.”

You best watch out because there’s no stopping the thumping groove of this roller. This ain’t your daddy’s techno, and it ain’t your mama’s house. Leave your genres at home and bust out those dancing shoes as thumping kicks get you stepping left, right, forward, and back. Tac on the offbeat cymbal punch, a furious, attitude-filled bass line, and some sassy lil’ synth licks, and you got yourself an absolute fire starter. While Kolter wields those foundational elements handily enough to get the dance floor bouncing, he doesn’t stop there. The HOOVE label head keeps our focus and keeps it fresh with a piano-laden bridge that takes this beat to the heavens.


"Bust A Beat" and the rest of the Bust A Dream EP mark the debut of his new label, Koltrax. The new imprint will focus on releasing his most in-demand unreleased tracks. We’d say he’s starting on the right foot.

'Bust A Beat' With Kolter’s Funky New Roller

We welcome the last week of May in Ibiza with a variety of old and new club nights. There are many opportunities to hit the dancefloor, whether you like to do it under the sun, by the beach, poolside, or beneath the LED lights at one of the island’s super clubs. Read below for a selection of happenings you shouldn’t miss this week.





Calvin Harris Opening Party | Ushuaïa | Friday, May 26

Scottish DJ, producer, and songwriter Calvin Harris reclaims Fridays at the impressive outdoor venue in Platja D’en Bossa, Ushuaïa. New weekly resident Tyson O’Brien joins him every Friday afternoon on warm-up duties, followed by house music legend MK and other big names as special guests. For his first party of the season, Calvin Harris invites the Patrick Topping protege and "Tell Me Something Good" producer, Ewan McVicar.




Grab your tickets for Calvin Harris at Ushuaïa









Follow Calvin Harris on Twitter | Instagram | SoundCloud





Cova Santa Opening Party | Cova Santa | Friday, May 26

Located on the top of an ancient cave in the San Jose area, Cova Santa is the open-air hilltop club and high-end restaurant that fuses dancing, theatrical performances, gastronomy, and mixology. For the opening of the season this Friday, Amnesia’s sister venue brings performances by French multi-disciplinary artist and DJ Agoria, Tel Aviv-based producers and DJs Red Axes, Ibiza regular Alex Kennon, Spanish duo Los Suruba, and Cova Santa resident DJ John Woods. Night Evolution, the team behind Amnesia, Cova Santa, and Pyramid, is known for throwing incredible parties and creating unforgettable atmospheres in beautiful locations. Don’t miss out on this daytime opening!




Buy tickets and check all events at Cova Santa this season







Follow Cova Santa on Twitter | Instagram | Facebook	



Children of the 80’s | Hard Rock Hotel Ibiza | Friday, May 26

One of the most popular retro events by Hard Rock Hotel starts its season on Friday, May 26, from 7 pm-midnight. Children of the 80s features the best pop and rock tunes from the 80s and 90s. Get ready to enjoy uplifting live acts with breakdancers, bands of the time (think Vengaboys, Sabrina, and Seguridad Social), and live performances by Ibiza-based singers Rebeka Brown and Mimi Barber. Early in the evening, enjoy resident DJs Dream3Team Reload and Petit and Vazquez, better known as La Movida Ibiza.






Get tickets to Children of the 80s opening party at Hard Rock Hotel Ibiza








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Pablo Fierro presents We’re Here Opening Party | Club Chinois | Friday, May 26

After an incredible 2022 debut, Pablo Fierro's We're Here returns to Club Chinois every Friday from May 26-September 29. Fierro has been a longtime champion of Afro house. His residency allows him to take his worldly sound to even more people showcasing his incredible mix of Arabic, European, Latin American, Caribbean, and African influences. The Spanish artist (born in the Canary Islands) is more than just a DJ. He also owns Vida Records and is a composer, musician, vocalist, multi-instrumentalist, and songwriter, giving the We're Here parties a fresh and unique perspective.




Join Fierro and guests to celebrate We’re Here this Friday









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elrow Opening Party | Amnesia | Saturday, May 27

elrow features colorful themes, street theatre, wild costumes, lots of confetti, and a team of resident DJs who have been part of the family for years. The weekly circus begins this Saturday for 19 dates at Amnesia. The Nowmads New World theme kicks things off to immerse you in an interstellar world where diverse cultures and tribes come together, blurring time and space. Spanish DJ Wade will kick off the season alongside Shermanology, Tini Gessler, George Privatti, and Chelina Manuhutu.

Buy tickets for elrow at Amnesia









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Solomun + 1 Opening Party | Pacha | Sunday, May 28

After seven seasons of success, two heavyweights on the scene join forces every Sunday on the White Island. Solomun is an inseparable part of Pacha and vice versa. He will again dominate the red cherries dancefloor for more than 20 Sundays this season under his Solomun +1 concept. The kick-off features Polish duo Catz N’ Dogz starting at midnight, then Solomun will take control of the booth, and they’ll close the night out with a massive back-three-back session. Expect melodic grooves and the magic of the Polish duo, who usually move towards disco, soul, and deep house. Get ready to dance non-stop!




Purchase your entrance for Solomun + 1 opening party with Catz N’ Dogz









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WooMoon Opening Party | Cova Santa | Sunday, May 28

Combining music, art, and gastronomy for the whole family is something that WooMoon knows how to do. The Ibiza-born concept from LunArts, celebrates the beginning of the summer season, coinciding with the new moon. From this Sunday, May 28, Cova Santa hosts a weekly surreal mix of theatrical performances, circus, live art, interactive experiences, and body painting, all topped with nomadic and mystical sounds. The event kicks off at 6 pm outdoors and moves inside after midnight.




Get tickets in advance to enjoy WooMoon opening party at Cova Santa








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Sven Väth Catharsis | Las Dalias | Thursday, June 1

Last season the Catharsis party series (taking its name from Sven Väth's last solo album) at Las Dalias and Akasha were amongst the most beloved of the summer. Once again, Papa Sven gets up close and personal with the crowd for more than 10 hours, beginning outdoors in Las Dalia's garden at 7 pm and moving inside Akasha at midnight.



Join the Catharsis opening party by Sven Väth at Las Dalias










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This Week In Ibiza  (May 26 - June 1)

To all the destination ravers out there, time to add one more country to your list: Israel. For decades, a thrumming dance music scene in Israel has churned out some vital offerings to global dance music culture.




Venues like Haoman 17 in Tel Aviv regularly host European favorites like Adriatique and Henrik Schwartz, while larger festivals and outdoor events also have a strong presence. Damian Lazarus hosted his famed Day Zero party in Masada back in 2019. The Netherlands staple festival, DGTL, has also produced an iteration in Israel as far back as 2017, bringing artists like KiNK and Jayda G.




But in Israel, like with any scene around the world, the lifeblood is the artists, and along with the impressive events, Israeli artists have been championing unique dance music sounds for years. Check out five Israeli artists who are making waves in house and techno.


1. Red Axes

Dori Sadovnik and Niv Arzi of Red Axes are internationally known for their fluid approach to dance music. On tracks like “The Phone Call,” they flex the sample chops of the most revered hip-hop producers, but their knack for different grooves, as heard on their albums like 2020’s self-titled effort, makes them a shoo-in for headlining slots at any type of party. Whether DJing or manning the hardware for one of their epic live sets, they demonstrate the kind of widespread musical influence enmeshed into Israel’s scene.


2. Guy Mantzur

The landscape of Israel is generally one of desert. Within the long stretches of sand lie scattered oases wherein this dance music culture lies, but due to the sweeping nature of the country, many artists, like Guy Mantzur, hone to a cinematic, mysterious sound.



Actively releasing music since the mid-’00s, Mantzur has shared the sonics of his home country in all the notable dance music hotspots from London to Chicago to Ibiza and even to new sprouting markets like India. Put on tracks like “Tremolo Man” and let the wispy synths and tight-groove basslines soundtrack an imaginary journey across an Israeli Desert.


3. Sahar Z

Sahar Z is a resident of the aforementioned Tel Aviv nightlife establishment, Haoman 17, so he’s one of the artists playing a deciding role in the sounds of the country. But at the same time, he only decides his own sounds in the moment.




Having won DJ of the year three times in a row (decided by Israel’s most popular music magazine), his talent for curating bespoke musical journeys is widely celebrated, and his own tracks represent this versatility as well. One of his most celebrated, “Zikaron,” channels the mystical energy that punctuates the traditional dance music of Israel, but a keen ear will also hear an interpolation of the oft-sampled Incredible Bongo Band track “Apache.”











4. Jenia Tarsol

Jenia Tarsol is a relative newcomer, but major players in the scene are already paying attention to him for a reason. The most prominent example is undoubtedly Tale of Us, who signed two of his tracks, “Panic Attack” and “Do You See It Yet?” to their momentous record label, Afterlife, back in 2021.




What’s intriguing about Tarsol’s career is that he has developed a couple of consistent production partners. The Afterlife cuts were made in concert with the Greek rising star Echonomist, and Tarsol also frequently works with another Israeli-born artist named Chaim, as he did on their joint single, “Lazy Evil.” It seems as fast as he’s rising, Jenia Tarsol is committed to bringing his friends up with him.


5. Lonya

If there is still any doubt about the vitality of the Israeli dance music community, consider the veteran artist, Lonya, who has over 400 production credits to his name. No one could achieve that kind of statistic without an unshakable work ethic, and with that kind of statistic, there is no chance his catalog is anything less than eclectic.




Frequently working with Israeli-born record labels like Asymmetric Recordings and labels helmed by Israeli artists like Guy Mantzur’s Plattenback, this consistent stream of music touches on organic house, melodic techno, deep house, and everything in between.

5 House and Techno Artists Making Waves in Israel

Releasing what we once were is the key to unlocking our full potential. Letting go of the past, shedding the limitations of what we once knew, and embracing growth with open arms is a transformative act of liberation, especially as an artist. Circus Recordings founder, Yousef, has never been afraid to explore beyond his comfort zone, in fact, he’s made a career out of it. It’s one of the reasons he is consistently in DJ Mag's Top 100 DJs. Unafraid to do what must be done to bring justice to his audible artwork, Yousef recently took a knife to his 2022 single, “Learn To Fly,” and emerged with a new remix bright with kinetic, glitched-out energy.

Free from the weight of orchestrated synths, this latest flip instead charges ahead on the back of thunderous percussion. While largely unchanged, Afronaut Zu’s vocals reach new heights as its layered support assumes new chordal responsibilities. The one piece keeping this track from total USDA all-organic certification is the digitized glints breaking the chains of preconceived boundaries and limitations. Classic Yousef—imbuing the sounds of the future with human connection while injecting progress into the sonics of humanity.

As a DJ, producer, label owner, and events organizer, the Liverpool native stays busy. Summer is right around the corner, and you know that means a world-renowned curator like Yousef will be making the rounds in Ibiza and the global festival circuit. While many artists slow their release schedule in these times, he and Circus Records continued to roll out new material last summer despite a hectic season. This comes as no surprise considering many of the world’s top DJs count on the latest material from Yousef and Circus to keep their sets on the cutting edge. Will we see another fruitful summer of releases from the camp? Time will tell, but be sure to check back here for news on that front.

Yousef Harnesses a Liberated Power on New 'Learn To Fly' Flip

The opening parties continue this week, alongside exclusive events, gathering people from the worlds of culture, art, and fashion all over the island. No matter what you are looking for, there is sure to be an option for you! 





It’s All About the Music Opening Party | Amnesia | Friday, May 19

After a one-off event last summer, Ibiza-born radio show and party brand It’s All About The Music returns to Amnesia, launching four exclusive parties through May and June under the concept "Electric Garden." Celebrating ten years, It’s All About The Music has hosted parties beyond the Pityusic Islands in London, Holland, Italy, and The States featuring up-and-coming DJs and producers alongside well-established names from the tech house and deep tech scenes such as Audiofly, Proudly People, Richy Ahmed, Nic Fanciulli, Marco Faraone, and Yousef.

The men behind the concept are Italian entrepreneurs and promoters Ernesto Senatore and Roberto Postiglione, formerly of Music On. They are inviting a wonderful blend of emerging and well-known Ibiza artists to the opening party, including, Latmun, De La Swing b2b Caal, Anna Tur, Proudly People, and support from Ukranian-born Ibiza-based Alev Tav. Let the music do the talking!




Buy tickets to It’s All about The Music at Amnesia this Friday.







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III Ibiza Inclusion Fashion Day | Hï Ibiza | Friday, May 19

Fashion and music are universal languages that celebrate and promote freedom and diversity. The third edition of Ibiza Inclusion Fashion Day tales over Hï Ibiza with its groundbreaking 100% inclusive catwalk. Fashion Day showcases the creations of talented designers from the island and beyond, including Oscuro Ibiza, Jose Perea, Delfina Bianco, Trinidades Ibiza, Origens Pomar, Alfonso Sanchez, Etikology, Lina Rojas, and the Escuela de Arte de Ibiza y Formentera. Also scheduled to attend are influential leaders from the world of fashion, music, culture, and media, such as the plus-size modeling ambassador Raquel Villadiego, international model Krys Pasiecznik, journalist, author, and para-olympian Irene Villa, and international singer Rebeka Brown.



Entrance donation is 20€, and tickets are limited based on capacity. All proceeds will be donated to ADDIF Adapted Sports Association of Ibiza and Formentera.







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Ants Day & Night Edition Part 3 | Ushuaïa & Hï Ibiza | Saturday, May 20

The final part of ANTS Day & Night edition takes place this Saturday, kicking things off open-air at Ushuaïa then moving across the street to Hï at midnight. On its 10th anniversary, the Ants colony welcomes Adam Beyer, Chelina Manuhutu, East End Dubs, and more to play daytime. Get a double dose of Davide Squillace, Francisco Allendes, and Andrea Oliva playing both day and night, alongside German rising star Melanie Ribbe, all playing the Theatre room. Completing the lineup, the Club Room will feature wAFF, Archie Hamilton, and Mahony B2B Wheats.

Do not miss the last chance to dANTS to 12 hours of the best underground house and techno sounds!




Tickets available to enjoy Ants day & night experience part 3









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Matinée Gold | Amnesia | Saturday, May 20

Matinée Group was born in Barcelona in 1999 and quickly captured the heart of Ibiza nightlife with its provocative shows. Expect joyful house music, the best tech house tunes(the Matinée Gold Music playlist is the perfect primer), and Matinée Gold Classics. The Matinée All Star DJs are leading the dancefloor for this edition. Enjoy the sounds of Juanjo Martin, Taito Tikaro, and a live performance by Rebeka Brown. Although it was born as a party made for the LGBTQIA crowd, it soon became a welcoming event that transcended cultural and sexual boundaries. This Saturday, May 20, Matinée returns to Amnesia, its new permanent home in San Rafael (after a few glorious years leading Space Ibiza mornings), to recapture ‘the gold old’ years with a special one-off event. 

Get tickets to enjoy Matinée Gold at Amensia this Saturday









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Flower Power Opening Party | Pacha | Monday, May 22

Pacha’s flagship throwback party (and the longest running on the island) is back this Monday, celebrating over ten years of parties. Flower Power is synonymous with Ibiza celebrating its unique spirit of peace, love, and freedom with anthems from the 60s, 70s, and 80s. Pacha is celebrating its iconic 50th anniversary this season, so the opening party promises to be unique, featuring interactive performances and many surprises. Pacha resident DJs Victor Nebot and Sergio Vicedo will make you feel the real essence of Ibiza!




Celebrate freedom, peace, and love at the Flower Power Opening Party








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Camelphat Opening Party | Pacha | Tuesday, May 23

After successful seasons at Hï and Ushuaïa Ibiza, Liverpool duo Camelphat now takes on hosting Tuesday nights at the legendary Pacha. Mike Di Scala and Dave Whelan became Camelphat in 2010, and have remained Ibiza regulars since. This season, the British duo moves to Pacha on its fiftieth year, delivering a great mix of house and melodic techno, accompanied by an incredible weekly line-up of international guest DJs and live acts. For the opening party, they bring Agents Of Time and Massano.




Get tickets for the Camelphat Opening Party at Pacha






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Bedouin presents SAGA Opening Party | Pacha | Wednesday, May 24

After a great debut last summer under The Cherries' roof the mesmerizing melodies of Bedouin return to Pacha with SAGA. Tamer Malki and Rami Abousabe, better known as Bedouin, are two Brooklyn-based, Middle Eastern-rooted artists who have traveled the world with their unique musical vision, fusing their Eastern influences with melodic, shamanic, deep house and the most sophisticated techno sounds. A new chapter begins this Wednesday night at Pacha.





Purchase your ticket for SAGA by Bedouin.








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This Week in Ibiza  (May 19- May 25)

From his early years immersed in piano studies, to his evolution into a multi-instrumentalist and innovative live electronic performer, Eelke Kleijn has continually exhibited a profound love for music. His journey, distinguished by his gratitude for traditional musicality and his perpetual pursuit of new sounds, has led to a distinctive style that is rich in harmonic complexities and melodic nuances. Eelke's unconventional practices, such as performing barefoot to feel the music's vibrations, and his successful ventures into Hollywood film scoring, all play a role in his innate persona in the music world. This portrait of an artist going beyond the bounds of his craft sets the stage for a deep dive into the life and work of Eelke Kleijn.



The Early Years of Eelke Kleijn

As a child, Eelke Kleijn exhibited a deep passion for music. At the tender age of 12, he began learning the piano. This foundation in traditional musicality would later prove invaluable, forming the bedrock of his distinctive style as an electronic music producer. Instead of solely relying on synthetic sounds, Eelke's tracks are often richly layered with the melodic nuances and harmonic complexities that his early piano training afforded him.



The Multi-Instrumentalist Journey

Eelke’s thirst for music mastery didn't stop with the piano. As his career progressed, he found himself wanting to incorporate more natural instruments into his work. To achieve this, he decided to learn guitar. Picking up a new instrument at an older age was challenging, but Eelke’s dedication to his craft saw him through. Today, the subtle strums and distinctive timbre of the guitar often find their way into his productions, adding an extra layer of depth and originality.





A DJ Without Shoes

One quirky fact about Eelke is his preference for playing barefoot during his DJ sets. No matter where he performs, he always ditches his shoes, preferring to feel the vibrations of the music through the soles of his feet. Despite occasional mishaps with spilled drinks and glass shards, Eelke has stuck to this ritual, which he believes helps him connect more deeply with the music.



Scoring for Hollywood

Eelke Kleijn has not confined his talents to the club and festival scenes. He has also made a name for himself in Hollywood, composing scores for various movie trailers, television series, and adverts. This includes major projects like "Rush," "Parker," and "This Means War." Working in film scoring requires a different mindset and skill set, and Eelke enjoys the challenge of shifting between these two worlds.

Innovating Live Electronic Performance

Eelke has a unique approach to live performances that sets him apart from many other DJs. In an effort to combine the best elements of live and DJ setups, he developed a hybrid show. This performance setup includes two Pioneer DJS 1000 samplers and two keyboards, allowing him to trigger sounds on the spot and even improvise entire tracks. This innovative setup underscores Eelke's commitment to pushing the boundaries of electronic music performance.

From Piano Prodigy to Pioneer: Unraveling the Unconventional Journey of Eelke Kleijn

In recent years topics surrounding mental health have received increased attention in dance music. However, it's still something that's largely kept in the dark. More often than not, the flashing lights, endless bottles of 1942, and cryo-blast accented drops get the most attention, while the aftermath of bender culture is woefully ignored. Dillon Nathaniel and Sacha Robotti are flipping the script with their 23-stop See The Light tour.




Taking its name from their recent collab released on Solotoko, the tour promises incredible music and an uplifting message for their fans. In an Instagram post, Nathaniel said, "We want to spread our love for house and techno music and celebrate life with every single one of you." He added that they would donate a share of every ticket sold to MusicCares, the charitable arm of the Grammy's that provides a health and welfare safety net for musicians.

Nathaniel said they partnered with MusicCares because they "help artists make the right choices for themselves." What often doesn't get talked about is that while DJing can be glamorous, it comes with actual financial and mental costs. There's no union or healthcare plan for DJs, and returns diminish after paying your team and expenses. Despite the constant push to stay relevant in an increasingly competitive field, he says, your health should always be paramount.




"Even if you have a management team and agency, and you're successful in your career, and they're pushing you to keep going, you have to take a step back and realize when it is time to take a break—time to stop listening to everybody else and listen to yourself."




Robotti and Nathaniel's in-studio chemistry was evident when they started working together. They both carry a sound that bridges the chasm between straight-up tech house and warehouse-driving techno. They've quickly found common ground with a darker, sexier sound leading to a stack of unreleased tracks and hopefully more to write on tour. They've also found mutuality in their mental health journeys.




During the COVID lockdown, Robotti says he was living with another DJ, and after years of riding nightlife to the rails, he'd developed some unhealthy habits. The initial lockdown period only saw those habits magnified.




"After six weeks of lockdown, I was just like, 'Okay, if I continue doing this, I'm not gonna survive." So he used the time in isolation to stop using drugs and drinking for six months. A regular regimen of exercise, sleep, and sunlight was the reset he needed.




"Honestly, every DJ kind of had an epiphany," he continues. "You're constantly on the move. It's hard to take that time to self-reflect and realize that your life choices are affecting the way that you think. On a daily basis, we're always plugged into this matrix of social media gratification ... it's hard to take that time to sit back and actually reflect on the things that we need to do as human beings and not just as artists."




Nathaniel says that COVID was also a significant reset for him. But his biggest gains have been through therapy. He's a big-time champion of the mental healthcare app BetterHelp which makes sticking with a mental healthcare regimen much more effortless.




"I was raised in a family where nobody talked about anything. No one talks about their emotions, nobody. It was very taboo to be like, 'Hey, I'm feeling this way.' Or 'you made me feel this way.' Because it was always shut down," he explains, adding that his journey through therapy has taught him to be more open, honest, and present with himself and his family.




Cleanses and psychology are obviously great ways to clean out the cobwebs. But you can't ignore a resource many in the scene can access quickly. The use of drugs therapeutically has been proven to be incredibly effective. Putting the inherent risks of recreational use aside, psychoactives like MDMA, psilocybin, and ayahuasca can be used in clinical and spiritual settings to help defeat years of trauma.




Sacha tells Dillon and I that two clinical experiences with ayahuasca relieved years of unresolved trauma left over from the death of his mother when he was 15. In 2019 after holding his aunt's hand as she passed and the suicide attempt of a close friend, he decided to find a way to clear the emotional blockage.




"I went to space. I felt like my mom and my aunt who had both never met each other were sitting there at a table drinking coffee, and laughing," he remembers about his journey. "They saw me come in and they were like, 'don't be sad, you know, we're always with you. Look over your shoulder.' And then I looked over my shoulder. And there were all my ancestors, like millions of ancestors, standing there... And then I woke up the next morning, and I found peace."




These powerful experiences have contributed to a rich understanding of how they carry on and forward with a renewed sense of self. Robotti and Nathaniel also say that taking control over how they party has been instrumental in their journey. After thousands of nights out, they both recognize that sometimes it's necessary to understand that the party doesn't need to last until after sunrise.




"When I was younger, I used to let my friends and my peers influence how long I stayed [at] a party. When you're younger, you're easily persuaded to do these things," Dillon explains. "Then, as an adult, you realize you don't owe anyone anything. You don't need to do anything that you don't want to do. Just learning how to say no is huge."




That's not to say that the excess of the scene is all bad. On the contrary, their life-long commitment to the dance music community and the many beautiful and eye-opening experiences it's given them were life-changing. In many ways, they say, dance music has gifted them a brilliant mental health revalation. It saved their lives.




"Growing up as a young kid, I was abused heavily by my mother, to the point where it just got dark. I was pretty much a very damaged kid, on the wrong path, heading towards suicide, heading towards jail, heading towards just all the wrong decisions," he begins. "When I ended up moving back to California with my dad to get away from my mom, my dad took me to EDC when I was 16. And it changed my whole perspective of what I wanted to do. So dance music saved my life in that aspect. It means so much more to me than just a place to go party. This is my entire world. This is what I eat, sleep, and breathe. This is everything to me. And I know, with the power of electronic music, I can help change other people's lives too."




Sacha discovered dance music at a similarly pivotal time. When he lost his mother at 15, it was after a five-year battle with lung cancer. He was living in Belgium, and his dad was working in Switzerland, and coping with the void left while grieving was only compounded by feeling completely alone. His dad asked him to move to Switzerland, but the rebellious teen refused and started living independently. And then he discovered house music and techno.




"It was just like a family. My family was these people and the music. I saw Jeff Mills and Green Velvet and all these amazing guys from Detroit and Chicago in Belgium. We had a club where I always went, regardless if it's me and my friends or just myself, I would just go...I was just like, 'Oh my God, I want to do this so bad.' And then I started buying records. We didn't have a lot of money, so we shared decks. We had this room in the back of a church where we could listen to records and smoke weed. It's funny, because I'm still doing that now but now I'm the guy at the decks, and that's just like, a beautiful full circle."




The mission of the See The Light tour is to add some much-needed focus to all the alternative ways we choose to take care of ourselves both on the dancefloor and off. And while these can sometimes delve into heavy territory, Nathaniel says they'd still like to do so without taking themselves too seriously.




Certain sectors of rave-ready social media have recently turned to glorify bender culture in a way that, while entertaining, isn't necessarily healthy.




"We want to give a good idea of what it looks like to be healthy on tour," Nathaniel laughs, while Sacha adds, "We're going to try!"




"All the other people are raging showing videos of them pounding bottles, like running around doing the craziest shit ever," Nathaniel continues. "Sacha and I are like, Let's go like get a smoothie. So we can kind of change the narrative a little bit about what it means to be cool on tour but also be healthy."




"I'm 43 now," Sacha explains, not looking a day over 32. "I want to do at least 10 years, you know... 20 years, 30 I don't know. I want to be able to still do that and be healthy, and fit, and in shape."




The See The Light Tour runs May 19-July 29. Tickets are on sale now.

Dillon Nathaniel and Sacha Robotti's See The Light Tour Puts the Focus on Mental Health

When Tom Howie and Jimmy Vallance met in high school, no one could have guessed the musical journey that was to come. Fast forward eleven years and the Canadian duo, known to millions of listeners as Bob Moses, has become one of the most universally acclaimed acts in electronic music even picking up a Grammy Award for the smash hit, “Tearing Me Up.”

Last year, Howie and Vallance dropped their third studio album, The Silence In Between, to critical praise. The project explored the deeper points of the duo’s music tastes while making space to honor the sounds that catapulted their careers to the top. One year later, and The Silence In Between (Remixed) arrives to deliver a fresh look at some of the project’s peak tracks, including the positively rave-ready stand out, “Hanging On.”

The tune’s assigned remixers are German electro-house duo, Digitalism. An accomplished pair in their own right, Digitalism has even remixed for the likes of Tiga, The White Stripes, and The Presets. This latest flip finds the duo injecting space into the immersive orchestration of the original, instead favoring a collection of kinetic drum machines and fluid synths to cast rejuvenating waves of euphoria over listeners near and far.

This remix joins seven other new takes from The Silence In Between. “Remixes are always a fun part of the process,” Bob Moses share. “It’s exciting to hear how some of our favorite producers reimagine our music, and we’re always stoked to have fresh versions for our club sets. This EP is a collection of all of the remixes created during our The Silence in Between period, and it’s chock full o’ bangers. A big thank-you to all the talented people who spent the time making these beauties.”



With artists like Vintage Culture, Amtrac, and Kasablanca also contributing, this remix EP will surely be doing the original project justice.