As a core member of Dirtybird Records and a leading example of the power of personal transformation in global dance music, Mz Worthy (government name: Kristy Worthy) blazes her own path.


Kristy Worthy was part of Dirtybird Record’s first wave of founding artists — along with Barclay Crenshaw, Justin and Christian Martin, and Jessica Phillipe. Today, she remains one of the central artists relied upon by Dirtybird Records label manager Deron Delgado and Crenshaw to set the scene at Dirtybird’s signature live events.




Just two years after coming out as trans and beginning a very public personal transformation while adding the title of “Mz” to her artist name, she seems more sure of herself than ever. Adding to a hefty résumé of releases — including joints on Sweat It Out, he.she.they, Dirtybird, and Defected, Mz Worthy’s newest single, “All the Music,” is out now on Zeds Dead’s label Altered States.






“I thought [Altered States] is an interesting place to put some music out — this connection to the bass music and EDM world coming into the house music world,” says Mz Worthy. “I liked the idea of working with them and getting connected to a bit of a different audience.” It’s a fitting next step for an artist with a fundamental respect and wide purview of global house music who’s simultaneously focused on pursuing darker, more off-kilter sounds from a wide swath of bass music oeuvres.




Gray Area connected with Mz Worthy at Dirtybird Campout and again in December to learn more about where she finds herself in the current dance music scene.







Let’s start with your first experiences with electronic music.


In the late 90s, when I lived in NYC, is when I first discovered electronic music. The first party I ever went to in NYC was at a club called Carbon, and it was for a party called Funky Town. I believe it was Joeski and Onionz playing that night, along with Stretch Armstrong and probably Dieselboy or Dara in the drum and bass room. That night it was like I finally found my home!




The most memorable club from that time for me was Twilo which had the first Funktion One sound system in North America. Sasha and Digweed had a monthly residency there, and if I had the money, I would try and catch them. That club just had some amazing shows — I got to see Roni Size, LTJ Bukem, Deep Dish, Cassius, and Sven Vath. To this day, I wish I had gotten to play there!




It’s hard to remember all of the spots I went to back then. There were a lot of massive raves I attended as well as small parties at bars. I do remember going to an illegal rave under the George Washington bridge that was crazy too.










Can you talk about where you find yourself right now in global house music and your relationship with Dirtybird?


It’s crazy. I’m having this renaissance personally because I’ve been coming out and discovering who I am. I feel like I have this new freedom. This new expression of myself when I’m playing music — especially when I’m DJing. But on the opposite side, being in the studio is a lot tougher for some reason because I’m overthinking everything in some way. So it’s been really fun playing for everybody. I feel a better connection to my audience, which is super cool — especially with the Dirtybird audience. I feel this new connection and vibe I feel with everybody. It’s really fun.










How about your personal journey? What was it like being back at Dirtybird Campout?



Coming here the last two years when we started up Campout again after COVID, it’s been a place that’s so welcoming to me, especially last year when I came out, and I was newly out and everything. It was one of my first big festivals. Gosh, just riding my bike around, and people being like, “Hey, Kristy!” And I’m just like, ‘oh my gosh, someone’s calling me my name!’ [laughs]. It felt so, so good to feel [welcomed by] this family that I’ve had for so long.









What was it like coming out as an established DJ, producer, and artist?


Oh my god — thinking about coming out was so scary. What are people going to think? Are they still going to love me? Are they going to like me as a DJ? Is this the end of my career? Coming out here and being with the Dirtybird family with all these fans who are just so much fun and so accepting — and seeing how much more LGBTQ people there are here — we had the Queer Prom today. Trying to make these LGBTQ experiences available here is really awesome. There’s a bigger queer audience. I don’t know if it was always here or that the creation of these little things are bringing more of the queer community.






I felt like once I started figuring it out, I didn’t want anyone else to have to wait as long as I had to [come out]. I want to be visible, out there [for] people to see, and maybe I can give somebody else the courage to find themselves and come out. And I have. People have told me. I had a queer girl come to me and say, “Seeing you come out made me be able to come out to my parents.” And I was just like, wow, that’s amazing! I was not expecting to have that impact on people. That almost made me cry—so amazing. I’ve definitely had a lot of trans people who are in the closet come up to me and say, “I’m trans, but I’m not ready to come out.” And I’m like, “I totally understand.”










What comes to mind when you’re mentoring other queer folks and talking about what was important with your own experience coming out?


Just being visible — I wish I could’ve figured this out a long time ago! Life would’ve been really good. I feel like I missed out on part of my life, you know? Going to music and dance music [spaces], which are accepting spaces — I never felt comfortable with mainstream people or mainstream music. I was always on the outside musically — it was always just in me. [Now] I always like being visible and telling my story.

Mz Worthy on Being Visible

Berlin DJ, producer, and label owner Boys Noize transformed Parisian ravers into an unruly and unstoppable force at Peacock Festival. His high-octane techno set intensified as day turned to night at the festival's Park stage.









Created in 2013 during the French electronic scene's revival, The Peacock Society has rapidly grown to become one of France's most important electronic music festivals, attracting over 25,000 ravers to each edition.







Alex Ridha, aka Boys Noize, made his DJ debut at 15. He's since taken his passion for house and techno across the globe, with major shows at Coachella, Lollapalooza, and headline slots at Berghain, Fuji Rock in Japan, and Justin Vernon's Eaux Claires Festival in the woods of Wisconsin.




Rolling Stone named Ridha as one of "The 25 DJs That Rule the Earth" in 2012, while Beatport crowned him "Best Electronic Act" three years in a row.









Ridha has created an uncompromising and enduring sound and vision as an artist and producer. Respected in the scene, banging from underground to mainstream, he's made a habit of breaking convention and surprising his listeners. He's remixed a vast array of artists like Depeche Mode, Daft Punk, David Lynch, Feist, and Nine Inch Nails. He's also collaborated with Snoop Dogg, Erol Alkan, and Jarvis Cocker. Ridha also worked on Mark Ronson's "Uptown Special," and the soundtrack for Oliver Stone's "Snowden," as well as group projects with piano extraordinaire Chilly Gonzales (Octave Minds), Skrillex (Dog Blood), and Mr. Oizo (Handbrakes).




In 2005, Ridha launched Boysnoize Records. Founded as a self-release platform that retains complete artistic freedom, the Berlin-based anarchist collective —and its sub-label, BNR Trax— became a home for multidirectional electronic music. The label is now responsible for more than 150 releases, including his albums Strictly Raw (2015), Out Of The Black (2012), Power (2009), Oi Oi Oi (2007), and Octave Minds (2014).




Experience one of Ridha's incredible sets in person at his future shows: FESTIVAL LE BON AIR 2023 in Marseille, MELT 2023 at Ferropolis, Defected Croatia in Tisno, and many more clubs and festivals worldwide.

Techno Punk Boys Noize Unleashes a Hammering Set at Peacock Festival

Jamie xx has become a mythical figure in the wide world of music. He first made his impact known in the late 2000s with his Mercury Music Prize-winning band, The xx. With The xx, Jamie wove a technicolor tapestry of R&B, indie, and dance which soon caught the attention of industry heavy hitters like Adele, Florence+The Machine, and Gil Scott-Heron. In 2011, the Putney, UK native released his debut solo single, “Far Nearer/Beat For,” to high praise while notching production credits on Drake’s Take Care.





Eleven years later, Jamie xx is just as busy as ever working with artists ranging from Fred Again.. and Four Tet to Young Thug and The Avalanches. The only downside of Jamie’s in-demand production prowess is the scarcity of original releases. His solo library embodies the saying “Quality over quantity.” While his releases are few and far between, every time he drops, we listen. This week’s track of the week features the Grammy-nominated producer’s latest single, “KILL DEM.”



As one of Jamie xx’s most coveted IDs of late, anyone lucky enough to catch his set in 2022 may recognize this dancehall firestarter. Head-spinning vocal chops furiously sputter over pattering drum loops and powerful piano chords. Jamie’s experiences attending London's Notting Hill Carnival as a teenager inspired him to write the song. And this past summer, that experience came full circle as festival goers saw Jamie xx make his Notting Hill Carnival artist debut as a guest of drum n bass talent, Shy FX.







“KILL DEM” premiered on BBC Radio 1 and is Jamie xx’s second solo release of 2022. The first, “LET’S DO IT AGAIN,” was another club-ready hit coursing with soulful house euphoria and marked Jamie’s first solo release in two years. In an interview following the BBC Radio 1 premiere, the famously diverse artist mentioned that he likes to stay busy, working on multiple projects at a time, including his next album. His previous album, In Colour, was released in 2015 and received a Grammy nomination for Best Dance/Electronic Album.

Jamie xx Taps Into Dancehall with Second Single Of 2022 ‘Kill Dem’

German collective Keinemusik reached a landmark moment in their career by taking the helm on the Mayan Warrior Burning Man art car. Their set was characteristically lush, uplifting, and melodic, driven forward by vocal and percussive elements by a clash of cultures around the world.




"Our first time ever on the playa was overwhelming,” the group explain. “We knew that our debut at Burning Man had to be as the group that we are: Keinemusik. Being given the huge honor to play the iconic sunrise set on the Mayan Warrior during the Robot Heart link-up was a dream come true for us.”









Hailing from Berlin, Keinemusik consists of DJs and producers Rampa, &ME, Reznik, and Adam Port, as well as artist Monja Gentschow. Both a collective and a label, the crew banded together in 2009 through shared musical aspirations.




&ME, a production intern, first connected with Rampa, a commercial composer, over a shared love for hip-hop in 2006. The two worked together at TRIXX Recording Studios in Kreuzberg, known for clients like Wu-Tang Clan and Wolfgang Tillmans.




“It was like being in a candy shop,” Rampa recalls in an interview with Crack Magazine. &ME would work 12–14-hour shifts, then invite friends who were too broke to afford their own equipment to experiment with the studio gear through the night. Before the studio manager arrived in the morning, everything was hastily sorted back to its original place, as if untouched. Then, &ME would jump straight into the next day’s shift.




Reznik, originally a music journalist, met Port during the same period. The two bonded over their teenage roots in hardcore and punk music. Port introduced Reznik to Rampa and &ME, whom he’d met at Nike parties in the city. In 2007, the gang played as resident DJs at Picknick and befriended one of the bartenders: their current visuals head, Gentschow. Two years later, Keinemusik became official.




Today, with collectivism and positivity at their core, Keinemusik are in high demand at clubs and festivals worldwide. Next up on the crew’s busy tour schedule is Rakastella in Miami, Hawã - Indoors in Düsseldorf, and Circoloco in Istanbul.

Keinemusik Drop a Mesmerizing Set Aboard the Mayan Warrior at Burning Man

ARTBAT's new label UPPERGROUND continues a hot streak with its latest offering.





ARTBAT emerged in 2015 when Artur and Batish, two experienced DJs and producers, decided to join forces and unify sounds. The Ukrainian pair soon played sets in the dance music hub of Ibiza, captivating audiences with their immersive melodic house and techno proclivities. ARTBAT’s overwhelming presence and contributions to dance music culminated in last year’s launch of their record label, UPPERGROUND.


UPPERGROUND’s latest release, “Tibet” by ARTBAT themselves, features Afterlife’s Argy, and Israeli composer and multi-instrumentalist Zafrir. They say two heads are better than one. In this case, four is just unfair. ARTBAT and Argy go to work concocting an abundantly dynamic foundation rich with glistening synths and roaring rhythms. Zafrir provides the ethnic twist that sets this tune apart, tapping into his well of ornate musical knowledge. This track is coursing with immortal power punctuated by layers as deep as the canyons and crevasses strewn about its namesake’s spectacular mountain ranges.


ARTBAT’s recruitment of Argy and Zafrir was crucial for the final product. Argy has thrived in the underground for almost a decade, but a sound as invigorating as his can only be contained for so long. His breakout singles, “Ketuvim” and “Tataki,” have now raised his deep-rooted brand of dance music to a new level of global demand.

Zafrir, a lifelong student of music, evolved his curiosity for traditional ethnic music from around the world into a unique electronic music experience hailed by artists like Armin van Buren, Alok, and Afrojack. His DJ sets, intermingled with a slew of traditional organic live instrumentation, are a remarkable spectacle to behold.


This new single from UPPERGROUND follows the release of the highly anticipated Ibiza ID, “Its Ours” by ARTBAT, Idris Elba, and David Guetta. The collaborating artists held a summer 2022 residency at the renowned club Hï Ibiza.

ARTBAT, Argy, and Zafrir Link Up On Mystifying 'Tibet'

It's the pivotal moment in the arts and culture calendar we’ve all been waiting for, the return of Art Basel Miami 2022.



This week, from Thursday, December 1 to Sunday, December 4, The Magic City will reignite with an abundance of art exhibitions, music festivals, and parties for its 20th anniversary. Set to be the most compelling edition yet, with more artists and creatives flying in than ever before, we couldn’t be more excited here at Gray Area.



It promises to be a treat for both your eyes and ears, and you’re going to have to pick and choose wisely, as we really are spoiled with options this year. Let’s just say, being in two different places at once would be a great superpower to have this week.



From day events on the beach to after-hours gatherings in the club, there is so much culture to be soaked up. Though it’s going to be impossible to fit in all of what Basel has to offer, we’ve picked five parties for you that we believe are an absolute must.

Elrow | Thursday, December 1 | Factory Town

First and foremost is elrow at Miami’s captivating new Factory Town venue. The party will boast the brand new Delusionville theme for its final North American show of 2022, an epic collaboration with wacky artisan Ron English.



This ingenious collaboration makes the perfect setup for two incredible stages of electronic music, both with fantastically curated lineups.



Stage one flaunts an eclectic mix of the globally renowned party brand's resident DJs, alongside some of the most sought-after tech house trailblazers in the game right now, including Blond:ish, Dombresky, Manda Moor, and very special guest, Paco Osuna.



Stage two will be hosted by Amsterdam label king Prunk and his profound PIV imprint, bringing you 12 hours of sultry two-steppers spun by the likes of Rossi, Archie Hamilton, Jaden Thompson, Ms. Mada, Natalia Roth, and wiz-kid producer Toman.



This outlandish extravaganza combining physical art and music promises to be one of the highlights of Art Basel 2022, setting the bar high for the rest of the parties coming up in the week.



Paradise | Saturday, December 3 | Club Space

Wherever you may be in the world, the Paradise party is always a must. It's arguably the most well-known fiesta in the underground scene, and DJ, producer, and father of the famed brand Jamie Jones is a musical force to be reckoned with.



Acclaimed for his productions like "Hungry For The Power" and "My Paradise," as well as for being an introductory mentor for new talent, his contribution to the house music community is unrivaled. If you haven’t seen him yet, Saturday, December 3 is your chance to catch the man in action alongside a host of incredible names.



Club Space is the Paradise promised land, where nine hours of unbeatable music will be right at your fingertips. It's a mammoth line-up, to say the least, and we couldn’t ask for much more in terms of the artists he’s reeled in for the occasion.

In alphabetical order, AMÉMÉ, ANOTR, Apollonia, Archie Hamilton, Ben Sterling, Chelina Manuhutu, Chloe Caillet, Classmatic, DJ Fronter, Ida Engberg, Jean Pierre, Jesse Calosso, Joseph Capriati, Manda Moor, PAWSA, Rossi, Serge Devant, and Toman will all take to the booth in true Basel style.

The famed party will roll on from 11pm - 8am, taking you right through to the last 24 hours of the yearly affair. It's definitely one for the diary.



Music On | Saturday, December 3 | Factory Town

With Saturday evening very much the main occasion in regards to parties, you will find many events taking place at the same time. Not to worry, you can’t make a wrong choice. Pop into a few to experience as much music at different venues as you can!

Over the road from Paradise, Italian adonis and reigning king of tech house Marco Carola will be making his mark on Factory Town with his mega Music On fiesta, from 7pm-7am.

Having just finished an incredible summer residency at Pacha Ibiza with his renowned imprint, this is a great opportunity to see Carola in his element. 

The head honcho will be headlining stage one, alongside London spark plug Micheal Bibi, the curator of Solid Grooves who's risen to number one stardom over the last year. Dennis Cruz, Mason Collective, and Miguel & TONS have also been selected for the occasion.

Stage two is governed by popular Argentinian DJ and Producer Guti. Boasting a unique sound that has been influenced by almost every musical genre you can imagine, he has remained a much-loved and respected figure in the dance music world for nearly a decade. Gerd Janson, Lauren Lo Sung, and Ms. Mada are also set for center stage.

FYI - you can also buy Basel Passes for Factory Town. If you’re planning on going more than once, why not save yourself some money?



Hurry Up Slowly presents Off The Canvas | Nov 30th - Dec 3rd | Toejam Backlot

One of the fastest-rising event series in the industry right now, Miami-based Hurry Up Slowly presents Off The Canvas for an Art Basel special. A whopping, four-night festival combining art, music, and the future of technology, Web3, the innovative festival has found itself in a lane of its own and we are here for it.

Taking place at Wynwood’s Toejam Backlot, the quirky inside-out venue makes the perfect backdrop for the immersive, musical and artistic experience Hurry Up Slowly embodies.

Definitely the promoter to watch out for in the future, the ironically named brand is quickly establishing itself in the electronic music landscape, through collaborations with the biggest DJs and support from brands all over the world.

The lineup features an array of artists performing over the four nights, with headliners Blond:ish, The Martinez Brothers, GORDO, and CamelPhat to choose from. 

Blond:ish will kick things off with her Abracadabra party on Wednesday, November 30, where the music will be coupled with next-generation tech and a variety of Web3 activations.



Zamna Miami | 1-3 December | Island Gardens

A Zamna Miami debut awaits. What’s Zamna, you ask? Renowned for bringing jungle party vibes and world-class DJs to the heart of Tulum, Mexico, the unique festival brand is hinting at the start of cross-country domination with its first-ever show in Miami.

Miami's outdoor venue Island Gardens is the perfect backdrop for Zamna to take place. Surrounded by the aqua-blue waters of Miami's marina, the one-of-a-kind waterfront event space will be transformed into a seductive labyrinth for three nights of musical madness, where nature, free spirits, and cutting-edge production technology will become one.

The series of parties will be headlined by the likes of electronic duo The Chemical Brothers, superstar DJ Diplo, and Ukrainian duo ARTBAT, alongside melodic tech pioneers CamelPhat and maestros Mathame, plus many more.



With special guest announcements to come, as well as many more huge names on the lineup, Zamna is a name that'll be familiar within the house music community very soon.


With many more incredible events on the roster, Art Basel Miami 2022 really is a melting pot of dreams for house music lovers.



This is an incredible opportunity to nurture your love for everything arts and culture, in a variety of unique venues across the stunning 305.

Top 5 Party Picks - Art Basel Miami 2022

Quite literally the holy grail of house music, if you’ve yet to visit the motherland that is Ibiza, we may have the perfect opportunity for you to do so. While mid-October marks the end of summer and the typical closure of clubs through the winter months, the beautiful Baleric island has a surprise in store for us this year.

NYE is usually a low-key festivity on the White Isle. However, this year is quite the opposite. Some of its most iconic venues will reopen the doors for an epic New Years celebration like no other. And we’ve got four exclusive events for you to pick from, so let’s get into it.

Pyramid | Amnesia | Friday, December 30

On Friday, December 30, from 8 pm-6 am, Amnesia and in-house brand Pyramid celebrate another mold-breaking year with The Last One of 2022.

For those not so familiar, Amnesia is the clubbers club, Ibiza’s OG mega venue, and one steeped in history. The enormous dance factory opened in 1976 before house music became its bread and butter. Ever since, it has remained one of the island’s most sought-after venues for DJs and music fanatics alike, who travel from all over the world to experience it in all its glory.

It’s essentially a warehouse consisting of two humongous rooms. The Main Room is a dark, tempting chamber, and the Terrace, an expansive glass-roofed dance hall that fills with light at sunrise.

The legendary club has hosted some of the island’s most beloved events, including Sven Vath’s Cocoon, Music On, elrow, and Paradise. Its eclectic programming attracts massive crowds every day of the week in the peak summer season.

As for Pyramid, it is an original Amnesia night boasting a packed-out dancefloor every Sunday. This comes down to its sole focus on the music, curating line-ups that no other Ibiza night offers.
The fiesta hones in on minimal and techno artists, having invited some huge names to the famous booth this year alone. Friday, December 30, Pyramid reels in yet another massive line-up for a proper 2022 send-off, including Cuartero, Deborah De Luca, Enzo Siragusa, Stella Bossi, and 2vilas. You don’t want to miss this.

Music On | Pacha | Sunday, January 1, 2023

Pacha is considered Ibiza’s most prized possession. From its beginning as the first superclub of Ibiza, it’s now a global enterprise with clubs in various countries worldwide. It’s become more than just a party. Pacha has established itself as the most affluent clubbing brand in the world.

First founded in 1973 as a traditional Ibizan finca, it is now a sophisticated, hi-tech party venue worshiped by locals and tourists. Many of the biggest DJs in the world call it home, with Pacha renowned for adding a hint of VIP vitality to the ordinary clubbing experience.

The club hosts an array of sought-after parties every day of the week in summer, with one, in particular, standing out from the crowd—Italian adonis Marco Carola’s renowned Music On.

On NYE, Carola returns to the island for this one-off fiesta. Fellow tech house mastermind Andrea Oliva will join him for six hours of mouth-watering electronic music. Expect plenty of rolling groovers, with the prestigious dance floor filled with the most avid house music fans.

A New Year’s countdown at the iconic venue is a rarity guaranteed for the history books.

elrow - Nowmads | Amnesia | New Year's Day

To say this party is one of a kind would be an understatement. Wildly explosive decor, outlandish costumes and makeup, and larger-than-life production make elrow the epitome of an immersive outerworld experience, where reality becomes a distant memory.

The colorful extravaganza has traveled all over the globe and remains unrivaled wherever it lands. Think confetti cannons, flying inflatables, and jaw-dropping theatrics. Both DJs and ravers highly respect the Ibiza staple. Not only does the brand attract a hefty crowd at every party, its line-ups never fail to miss a beat. Whether at a festival or a club, elrow reigns in a host of leading DJ talent, making it like no other party in the world.

While renowned for its pumping tech house sound, elrow line-ups always represent the underground properly. This time, elrow’s resident DJs Toni Varga, Marc Maya, and Bastian Bux, join an array of international stars, including Adam Beyer, Arielle Free, Eats Everything, Fleur Shore, Francisco Allendes, Ilario Alicante, Manda Moor, Marco Faraone, Mason Collective, Matthias Tanzmann, and Silvie Lotto.

The theme for this Balearic bonanza is Nowmads and will roll for a solid 12 hours from 5 pm - 5 am.

Circoloco | DC10 | Sunday, January 1, 2023

Lastly, Circoloco at DC10—the club that defines what the island represents - authentic underground music returns for one more stomping day-to-night event. From humble beginnings to becoming the most coveted house music venue on the planet, DC10 has come a long way since its opening in 1999.



Quite literally a shack at the end of the island’s airport runway, it has blossomed into a quirky inside-out venue that has become famous for its off-beat clown face logo, iconic red walls, and infrared light beams that shine onto the crowds in the garden.


Purposely, the name comes from the McDonnell Douglas DC10 aircraft, as the al fresco dancefloor is the island’s best plane-watching spot.

Without a doubt, the venue’s most synonymous party is Circoloco. One known for its hedonistic nature and wild day-to-night Monday sessions. You may think that this is an odd day to host one of the island’s biggest nights, but it started a global clubbing revolution, shaping modern club culture.

On New Year’s Day (Sunday, January 1), from 6 pm-6 am, a pool of resident DJs and special guests will fly in to perform. So far, the line-up includes big dons Archie Hamilton, Cassy, Dennis Cruz, Sweely, and Tania Valcano. Just wow!



There we have it, your New Year’s trip to The White Isle sorted. Not only is it a beautiful place to visit all year round, it really is the epicenter of house music. Be warned. Once you go, you may never come back!

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New to the whole concept of Ibiza? You’ll be hearing much more from us about the magical island shortly, ahead of the 2023 summer season.

New Year's Eve in Ibiza - The Ultimate Fiesta Guide

EDC Orlando 2022 has officially come and gone. This year over 200,000 festival-goers reunited “Under the Electric Sky” for Insomniac’s flagship East Coast event. The threat of Hurricane Nicole, which passed through the Orlando area the day before the festival, left many with flight cancellations. However, the festival grounds remained unscathed, and those who could arrange other travel plans experienced an unforgettable weekend.






Each EDC Orlando stage encompassed a unique vibe and genre. With more than five to choose from, there was a little something for every dance music fanatic. But for the house heads and techno tourists, all feet were glued to the dancefloor at the neonGARDEN with acts like Charlotte de Witte and CamelPhat throwing down.




On Friday, in-house underground house and techno brand, Factory 93 partnered with Patrick Topping to bring his legendary Trick brand to the United States for the first time. And on Saturday Green Velvet presented his La La Land party brand and stage takeover where attendees were lucky enough to witness a rare triple b2b as Green Velvet, Dom Dolla, and John Summit closed out the stage.

As we predicted, Insomniac repurposed the neonGARDEN stage from this year’s EDC Las Vegas. Out with the old hangar-style tent and in with the new open-air warehouse setting. Shipping containers splattered with graffiti surrounded the stage in a one-of-a-kind 360-degree fashion, offering an exclusive urban jungle experience.









The success of neonGARDEN wouldn’t have been possible without the help of stage-curators Factory 93. In fact, it was one of their most memorable stages yet. Each year they explore the depths of creativity and innovation while preserving the authenticity of the underground. Since they began curating the neonGARDEN stage in 2018, their love and appreciation for house music has ignited a country-wide movement and mass admiration for its distinctive culture. Outside of EDC Orlando, they have hosted stages at other Insomniac festivals like EDC Mexico and one-off events at their warehouse in Los Angeles.



Factory 93 has risen to be one of the reigning brands for all things house music. Last year, Insomniac announced another addition to their evolving catalog of record labels, Factory 93 Records. Honing in on the worldly sounds of underground house, techno, tech house, and even disco, listeners can discover established and rising artists from across the globe. Factory 93 Records is the next big step in achieving its goal to grow its platform and the culture within it. Insomniac founder, Pasquale Rotella, released the following statement in a press release:




“Factory 93 represents the beginning of Insomniac. Underground dance music will always be the roots of everything we do. Factory 93 is a very passionate part of the Insomniac portfolio worldwide, which makes this new record label even more exciting for us. With the addition of Factory 93 Records, our team will be able to carry over its vision from the live events side into a carefully curated catalog we can’t wait for you to hear.”




Factory 93’s involvement with Insomniac doesn’t stop there. Last May, they teamed up to premiere a brand new two-day festival dedicated to underground house music called Skyline. Taking place at Lot 54 at The Vanguard, festival-goers experienced a mesmerizing display of digital & street art exhibits, graffiti murals, and of course, non-stop heart-pumping house and techno beats.

Inspired by EDC’s neonGARDEN concept for its second edition this year, Skyline did not feature a single LED wall. Instead, they enclosed the main stage with their graffiti-laden shipping containers. By focusing on the basics and providing an intimate environment for attendees, they cultivated the ultimate underground experience. Skyline even expanded to the West Coast in Los Angeles, so no matter where you’re from, Insomniac and Factory 93 have got you covered.




Since Factory 93 was founded, they have shown no signs of slowing down. As our underground community continues to grow increasingly popular across the country, we are excited to see what the future holds for Factory 93’s impact on the neonGARDEN stage and the festival community.

Factory 93 Continues to Bring House & Techno Heat to EDC Orlando

If you set foot in a club this summer, there’s a good chance you heard Future Looks Bright” by UK up-and-comer Max Dean. One of the most sought-after IDs of festival season, this ripper was a premiere piece in the sets of many of dance music’s heaviest hitters, including Michael Bibi, John Summit, Hot Since 82, East End Dubs, Andrea Oliva, Nic Fanciulli, and Lee Foss.





With just one spin, it becomes abundantly clear why so many Reddit threads and online forums clamored for this single all season. “Sanam Re” by Indian multi-hyphenate Mithoon and singer/composer Aright Singh gave us the viral vocal loop that took the internet by storm with its use in CJ’s “Whoopty.”



Max Dean repurposes the swirling sample as the staple for this dance floor stepper, proving that some samples have god-tier staying power. A trusty four-on-the-floor kick package keeps things pressing forward. At the same time, synths swim and bounce before clearing space for the reflective monologue by house music guardian Mr. V on the next generation of house music enthusiasts.



Mr. V states, “The future looks bright,” and Max Dean certainly seems to be evidence of that. While only 22 years old, the London-based young gun has put together a handful of impressively strong grooves in one year of official releases culminating in this 150th release of notable label, Repopulate Mars. And we know there’s something to look out for if an artist like Mr. V is in his corner.



Mr. V has had a front-row seat to the evolution of house music since he first entered the industry in the late 90s as Louis Vega’s assistant at the world-famous Masters At Work label. In 2004, he established Sole Channel Music and later a second label, Muzik 4 Tomorrow. In addition to releases on his labels, he’s dropped hundreds of tunes on esteemed imprints like Ultra, Toolroom, Armada Deep, Defected, Musical Freedom, Vega, and Dopewax.

Max Dean Unveils Highly Anticipated Summer ID 'Future Looks Bright'

When Juliet Fox hopped a plane home to Australia for the first time in two years in January of 2022, she thought she was just coming back to visit family. She'd left there over a decade ago, seeking a proper audience for her hard-hitting techno. Instead, her visit lined up with the country reopening its clubs, and during her two last-minute gigs there, she realized that her music could finally come home as well.



She was moved to tears on the plane, hearing an Australian accent for the first time in so long. And when she found in the final week of her stay that she could DJ there again, she was excited to see how far Australia had come in its appreciation for proper techno.







It's been a landmark year for the London-based artist whose releases on Drumcode, Kneaded Pains, and her TREGAMBE imprint have found their way into sets by Adam Beyer, Deborah De Luca, UMEK, and Charlotte de Witte. Since her stint in Australia, she's been on a whirlwind tour of the world that's taken her to Tomorrowland, fabric in London, Glastonbury,  Watergate in Berlin, Zurich Street Parade, CRSSD, OFFSónar, Space Miami, and the first Berlin Love Parade in nearly a decade.



"I didn't realize how much I missed, not just the traveling part, but mostly going and connecting with people worldwide. I must have been lacking that a lot," she says about her return to touring.



Fox has lived in several cities over the years and is a confessed travel junkie, so being on the road again and soaking up the culture and energy of the global dance music community has been a return to form. It's been a life-affirming year, reminding her how impactful her music truly is. "Having these major events happening, it's been really good for myself to get back in and to build up the confidence and also to be able to see the reaction from people, and also to interact again with crowds and energy, which has been superb."



Throughout the pandemic, Fox felt like her sound went more introspective and experimental. It was part of why she started TREGAMBE, creating a home for her more emotional side. However, after time spent back at dark clubs and in cities like Copenhagen, where she can come out of the gate at 145 BPM, has brought her back to the heavier sounds. Yet, one thing that has remained true is her ability to inject meaning into her music.





With each release, there is a story. Often taking a queue from her more spiritually reverent yoga-loving side, she finds inspiration in life's frequencies and inherent vibrational nature. For example, the phrase "Humans tend to overthink" was the impetus for her hypnotic recent Drumcode release "Evolution of Thinking." These tiny nuggets of wisdom make their way into so much of her music, offering brief moments of meditation for the dancefloor.



"I don't think I do it intentionally, it does just come naturally," she says about the introspective refrains that have become a hallmark of her music. She says the lyrics "harmonize with, the track I'm building, and it creates the melody in itself."



And while she explains that she's not against the odd cheesy vocal or catchphrase, she wants to send a (somewhat subliminal) message to the listener. "For me, it's more important to have something that's a bit more impacting, that means something to me at the time and hopefully [to] other people."



Philosophical footnotes aside, 2022 has been an absolute stomper that included some legitimately historic moments. In July, she opened up the festivities for Rave The Planet, the first Love Parade event in Berlin since 2010. She had the honor of playing on the lead float directly after the iconic event's founder Dr. Motte, spoke to kick things off. Love Parade's history is thick in Berlin. The event has been the stuff of legend since it began in 1989 as a political demonstration for peace and understanding through music.

"I didn't actually realize it until the end of the day. It kind of sunk in that I was on the first float you know, Dr. Motte's float, the first DJ to perform and play the first track. It gives me goosebumps talking about it now. Just to be asked to be in that position basically making history. It feels incredible. I'm still buzzing about it."



It was a heartwarming moment for an artist who is so dedicated and inspired by creating love on the dancefloor. One where her inner raver was on full display, "Just to see how everybody was connecting. All ages, nationalities, sexual identities, everybody was there for one reason: to be there for the music and to just enjoy themselves."



A thread of unity and service runs through everything Juliet Fox does. As a global techno ambassador, she loves nothing more than finding ways to connect people through music. It's her love language. And on her way to Amsterdam Dance Event (ADE) this year, she joined other industry folks in yet another act of service, the Bridges For Music bike ride from London to Amsterdam.



"Bridges For Music are a nonprofit organization that had built a school in Langa, which is in South Africa outside of Cape Town. [It's] a music center, creative center where underprivileged children can go [to] learn an instrument, mostly music production, DJing, singers… I've been to South Africa four times. And it's just incredible to be able to go there and to provide something and to keep this school moving and monetized."



The four-day cycle came amid a chaotic weekend of gigs. After flying back from Dubai to London the night before it left, Juliet woke up before dawn to set out across London to Dover, where they took a ferry to France for the culmination of the ride in Amsterdam. Despite the challenge, the beauty of riding through the streets of London with a group of selfless industry professionals as the sun peeked over the horizon made for a beautiful and inspiring moment.



It's experiences like these that set Juliet apart from her contemporaries. Throughout our conversation, I'm touched by her vulnerability, joy, and honesty. These qualities shine through in her music and acts of service. While making music intrinsically uplifts the artist, her brilliant dose of altruism exemplify how selfless sharing your talents can be.

The Fantastic World of Juliet Fox

Aduma is a dance music collective based in Kenya whose focus and dedication is to showcase up-and-coming talent in the African house music scene. The concept was derived from the fusion of music and dance. They play African house music and wanted a unique name that would highlight how the African roots of dance relate to what they play.




Aduma Kenya was founded in October 2018 by Kori-K and OneDown. Motivated by their passion for African-inspired dance music and giving emerging DJs a platform to showcase their talent, Aduma Kenya was born.




The word Aduma is derived from a Massai word, referencing a revered style of indigenous movement. And although it's a bit of a misnomer, it encapsulates the spirit of their events.




I'm really excited to have you with us today. Can you tell us about how Aduma Kenya came to life and what inspired it?




Yeah. Aduma Kenya came to life in 2018. We were very young DJs back then, and we never used to get bookings. You're from Nairobi, [so] I'm sure you know how it works. It was always the same DJs on the lineups, so if you were an upcoming guy, it [was] hard to penetrate. We just sat and thought, why not start our own thing? And that's how Aduma started at Captain's Terrace. It started there, and now we are about to celebrate our fourth anniversary.




For those who don't know, can you tell us what Aduma means and why the name was fitting for your collective?




Aduma comes from the name Adumu. The name Aduma was actually a spelling mistake at first because it's a Maasai name, and I'm not a Maasai. Both me and Kori didn't know how to spell it. Adumu is a traditional Maasai dance. The dance that they do for tourists at the airport, the jumping. That is called Adumu. It was meant to be named that. If you've seen our posters and everything to do with Aduma, there is a Maasai theme. By the time we learned Aduma was a spelling mistake, there was already a company in existence.




For those who don't know the Maasai are a tribe here in Kenya. They are an indigenous tribe. They have this amazing dance where they jump around and jump really high. It's really cool. It makes sense because this is a dance music collective and they always throw events where that's the theme. Everyone is always on their feet.




We actually bring actual Maasai at times.









Walk us through a night at Aduma. What can a person who has never experienced one of your gigs expect?




Aduma is home. It's the one place where we don't even charge, so we are not discriminatory of whether you have money or not. We just have a good time and learn about electronic music. It's also somewhere where you discover a lot of new DJs because we don't have the commercial aspect. It's always about growing new talent. Aduma is the one day of the month that I wake up very excited because these are people I've seen for the last four years every month.




I have borne witness to the massive success at your events like we've just spoken about. What are some of the challenges you've faced in organizing for Aduma?




The biggest challenge we have now is venues in Nairobi because I think with the growth of events, [certain] events are starting to not make sense for club owners. [We] are trying to sell music and entertainment. The owner is just trying to sell alcohol. You find that you're not paying attention to the same things. That is why you see most of the events in Nairobi are just going the charging route. You'd rather just detach from the club and charge because the scene needs to grow. We are no longer young DJs at this point, and we need to keep moving.




Venues need to understand that entertainment and whatever they're doing can work hand in hand. In Nairobi, the biggest clubs are commercial clubs or mainstream clubs. We are aware that we are a minority, so sometimes [when we try] convincing someone [that] "with this weird music, I'll bring you this many people." They don't buy it.




Hopping off of that, what are your thoughts on how African dance music is being embraced? We are seeing it embraced everywhere right now. It started in West Africa with Afro beats, and then in South Africa, they always had Afro tech and Afro house, but they've brought in a new sub-genre, Amapiano. In East Africa, we have a little electronic music system that is growing by the day. How do you feel about that?




To be honest, I'm so impressed because we are not where we used to be. African music has gotten to places that we have never gotten to before. I mean we have a Grammy for African house music at this point. Every festival in Europe has been invaded by African music. Our boys and girls, the producers, and DJs are doing so well. I was watching a set by the Keinemusik crew at Burning Man. They're playing Idd Aziz at Burning Man! That is beautiful.




Also, look at Ibiza. The biggest DJs in Ibiza or most of the residences [are] Afro house. African music has residences in Ibiza. I don't even think the mainstream world has that. So again, kudos to everyone in Afro house and African dance music and anyone who's pushing.









What kind of artists play at your gigs, and what do you look for when you are getting artists to play at your events?




You have to be good at what you do. I have to have listened to you somewhere and heard you've been good. It's not about making money. You don't have to be famous. You just have to be good at what you do. That's it. With that, the kind of community we've built, the people coming to Aduma know whichever DJ they see there will be good.




Let's talk about the famous slogan, "May the Oontz be with you." How would you describe the Oontz to someone who has never come across this?




I feel like you can't describe the Oontz to someone. If you came to Aduma by the time you are leaving, you'd be like, "Yeah, I feel like I get what this oontz oontz is." Oontz just came from house music. You know how house music sounds like oontz oontz oontz?




The context that is now being used out here is just to mean electronic music. But when I started that whole thing of "may the oontz be with you," it was because of people asking me what I play because sometimes it can be very confusing. You will find me on Anjunadeep playing some deep house, and then you'll find me at Aduma playing some Afro house, so I started getting this crowd from online, and then when they came to my shows at Aduma, they would be like, this is not the music you play online. This is different. So instead of telling someone I play deep house or afro house, I just tell them I play Oontz, and the mainstream world is picking it up. I feel like, nowadays, everyone in Nairobi has heard of the word Oontz.




Do you have any great memories from being at the event?




I remember we were the first people to bring up Amapiano to Kenya, like international acts Kenya. We brought Major League DJz back in 2021. The likes of Enoo Napa, Caiiro. For most of these artists, it's always their first time coming to Kenya, so it's always a moment. Caiiro has been a personal favorite, so when I actually get to see Caiiro blowing up and coming to Kenya and people actually get what he's doing, it's special.







Can you tell me what we can expect from Aduma in the near future and beyond?




Yeah. Aduma will just get bigger and bigger cause I think, at this point, the movement is not getting any smaller. We had taken a break from big events, but we are actually now going back there starting with our anniversary. Covid is no longer an excuse. Aduma is about to get back to doing the big things. We are working on other things. We are trying to invest in the event industry in terms of the infrastructure needed to make the dance music events a success. If it comes to ticketing all the production equipment and everything, that's the world we are going into.







Follow Aduma Kenya on Instagram | Facebook




Follow One Down Live on Instagram, Facebook, Twitter

Event Organizer Spotlight: Aduma Kenya

Joshua Mannie, better known as Barry Can’t Swim, turned heads with a playful, jazz-infused house set from the heart of Mixmag’s The Lab LDN. The Edinburgh-born, London-based DJ and producer has experienced a meteoric rise in popularity since his debut EP in 2021; earning a coveted spot on Billboard’s 10 Dance Artists To Watch in 2022 and being supported by the likes of Pete Tong, Danny Howard, Jaguar and beyond.









Mannie gravitated towards jazz music at a young age, learning piano from the age of nine before working in a range of jazz bars throughout his teenage years. At university, he delved into a broader range of instruments from guitar to bass and drums before working as an intern at Glasgow's SOMA Records, which introduced him to the city’s underground electronic scene.




After moving to London, Mannie became further submerged in dance music culture, prompting him to kickstart his solo electronic projects. The lush textures, warm vocal samples, and sweeping orchestral elements of his productions came to a head in 2021 with his debut EP, Amor Fati, on Bristol-based label Shall Not Fade.




Soon after, Mannie teamed up with rising talent Anish Kumar to release Blackpool Boulevard on legendary Ninja Tune imprint Technicolour Records. The critically acclaimed single received widespread support on BBC Radio 1 from Sarah Story, Jack Saunders, and Mixmag, who highlighted the tune as one of their Best Tracks of the Year.










Barry got 2022 off to a bang with More Content: a four-track EP that reflects the musical diversity of the English capital with an amalgamation of jazz, house, techno, and jungle.




"Living in London you hear so many different styles of music just walking about, out of cars or flats and shops" he explains. "I wanted to channel that energy and appreciation of those genres."




Be sure to catch Mannie at a torrent of clubs and festivals worldwide, including Phonox in London, Loft in Durham, and Elsewhere in NYC.

Barry Can’t Swim, But He Can Get Londoners Dancing

The Keinemusik staple casts a tribal light on this new electronica staple











One of dance music’s defining traits is its inherent ability to unite. It unites people of different races, ethnicities, religions, and sexual orientations. This week’s Track Of The Week traverses generational lines as its artists combine years of cross-genre experience with invigorating new energy to create a deeply powerful experience that’s felt as much as it heard.



“Impossible,” an electronica-focused single, was released earlier this year by Röyksopp and Alison Goldfrapp. Goldfrapp and the Röyksopp duo of Torbjørn Brundtland and Svein Berge first came to prominence at the turn of the century with the rise of electronica and electro-pop. Two decades later, both talents are still actively contributing to the musical landscape while partnering with fresh forward-thinkers like German producer, &ME.



& ME’s reimagining of Röyksopp and Goldfrapp’s “Impossible” finds its way to us this week for its dream-inducing tribal take on the buzzing mid-tempo original. Sustained synths and organic percussion build over rumbling bass as Alison’s siren song beckons to love, feeling, and pensive euphoria. This is nine minutes of meditative empowerment.



& ME’s production talents are recognized by the most prominent names outside of dance music as well, having just registered production credits on the latest Drake album, Honestly Nevermind. &ME is also one of the founding members of the prolific German label and collective, Keinemusik. The group, made up of Rampa, Reznik, Adam Port, David Mayer, and Adre Boadu (aka &Me), grew from independent label to cultural tastemaker as their reach expanded from events at Ibiza’s DC10 to collaborating with global brands like Nike and Converse on exclusive footwear. 




The Keinemusik event series is now a global happening, with events taking place from Zurich to New York, Istanbul to Mykonos, even joining the transformative fun on the playa of Burning Man. Their bi-weekly radio show has also become a can’t-miss stream for any lover of house and techno.

&ME Delivers a Dream-Inducing Take on Röyksopp and Goldfrapp’s 'Impossible'

While house and hip hop were born from similar threads and hold their roots in Black culture, how they were historically expressed couldn't be more different. House music became a refuge for the Black and brown LGBTQ community and created a safe space where sexual freedom, hedonism, and radical inclusion were the norm. Conversely, hip-hop's hyper-masculine blustering made it a strong outlet for understanding the struggles of the inner city and  a powerful socio-political statement. At times this seems to put them at odds creating an invisible chasm between the two divergent genres.




Despite their differences, mutual respect has long existed between them. Both skillfully exploited sampling technology to borrow from the past and make groundbreaking music. They exist as a means to express inner struggle, the need for freedom, and form a foundation for community and counter culture. And so it should be no surprise that hip-hop and house have a long history of crossing over.




We pulled together a short list of our favorite hip-hop and house crossovers.




1. Jungle Brothers - I'll House You




The Jungle Brothers were part of Native Tongues, a New York collective of conscious MCs that included De La Soul, A Tribe Called Quest, and Queen Latifah. They were well known for jazz-sampling boom-bap offerings, so the 4/4 thump of "I'll House You" appearing on a vinyl reissue of their 1988 album Straight Out The Jungle may have seemed a bit leftfield.




The Todd Terry produced record came about when the Brothers were in the studio with Idlers record label owner Tony D who suggested they make a house record to capitalize on New York's then-growing fascination with the Chicago sound.




Todd Terry's "Can You Party" provided the perfect backing track, and within a few takes, the song was born. Others at the label laughed it off and, instead of a legit release, only offered it on vinyl. Nevertheless, it became a hit in the clubs, and later that year, Warlock Records re-released the album with "I'll House You" included. Over 30 years later, it remains one of their most popular songs.




2. Kid Cudi - Day N Nite (Crookers Remix)

The Crookers remix of Kid Cudi's "Day N Nite" is one of those tunes whose popularity almost eclipses that of the original. Its ubiquity in 2008 was unprecedented. The Italian duo made up of Andrea "Bot" Fratangelo and Francesco "Phra" Barbaglia was asked to remix the song by A-Trak for his then-fledgling record label, Fool's Gold. Initially released as a free download, it made the rounds on blogs before getting signed to Ministry of Sound, where it caught fire and peaked at number two in the UK Singles chart, tailing Lady Gaga's "Just Dance."




Despite its upbeat tones, “Day N Nite” was originally born from a dark period in Cudi’s life. And the Crookers dingy club vibes elevated the juxtaposition between tragedy and triumph.




In 2021 Bot recounted that when they first played it in Italy, it seemed like a dancefloor flop, and they vowed never to play it again. Yet, somehow they had caught the beginning of a movement. Its grungy wobbling bassline defined the early sounds of the blog house era, helping pave the way for the dance music explosion of the following decade.








3. Wax Motif & Diddy - Divided Souls

"I hate when a motherfucker play a four-minute version. You can't even get into your thing. You know? You can't even get into your thing on a four-minute version. You know what I'm sayin'?"




Diddy's passionate profanity-laced plea for DJs to take a chance on the extended mix punctuates a dark, bouncing beat courtesy of Aussie-born G house stalwart Wax Motif. The 2019 release marked the start of his Divided Souls label, which pulls its name from Diddy's speech. For Wax, who masterfully blends the swagger of hip-hop with the shuffling groove of house, it was a fitting proclamation.




This Diddy speech has been making the rounds in dance music for years. A shortened version originally appeared in a collaboration Felix Da Housecat did with Diddy in 2005 called "Jack U." And much to Felix's ire, DJ Hell used the acapella for "The DJ" in 2009.




Wax told Billboard in 2019 that he'd had the acapella sitting on his computer for years. After creating a loop for it, he sent it to Diddy via a mutual friend, and Diddy loved it. Diddy's plea for DJs to play a 20-minute version for "the two motherfuckers that understand it" went ignored for nearly two decades until Wax caved and released an ultra-extended version of "Divided Souls." It stretches just long enough for the DJ to put it on, use the bathroom, have a smoke outside, and still have time to spare to watch the dancefloor lose it before mixing in the next tune.









4. LION BABE - Harder (Shermanology Remix)

LION BABE's 2021 collab with Busta Rhyme's starts with a sneaky vocal interpolation of his 1998 track "Gimme Some More" over a sultry deep house beat before ripping into a duet that features the quickfire MC dropping a hot 16m that's punchy yet more romantic than for what most know him.




Brother/sister duo, Shermanology's penchant for lacing up tech house beats with soulful swagger made them the perfect choice to flip "Harder" for the peak hour dancefloor. They masterfully retain that Chicago-infused deep house aesthetic, building it into a dark, warbling bassline-fueled club monster that pulses beneath Busta's flow. It's a blissful modern clash of genres.

Four Times When Hip Hop and House Collided

Whether you love or hate to see it, there’s no denying that 2022 marked a period of significant commercial interest in house music.



The genre has had its fair share of moments in the mainstream spotlight since it coalesced in the gay, Black, and Latino nightlife communities of Chicago in the ‘80s, to be sure. Crystal Waters’ 1994 classic “100% Pure Love” hit #11 on the “Billboard Hot 100,” and #1 on the publication's “Dance Club Songs” chart. More recently, FISHER’s 2018 tech house track “Losing It” topped the latter.



2022 saw notable pop superstars join the party. Within weeks of one another, Drake and Beyoncé each dropped albums that included numerous house-inspired songs. The former artist tapped producers like Black Coffee, &ME, and Klahr for his effort. The latter enlisted dance music acts like Honey Dijon and Nile Rodgers for hers.



Some argue that these influences will only dilute house, which has already arguably suffered from recurring identity crises as each new generation of talent offers its own interpretation of the genre. Others are more optimistic, projecting that the increased attention will trickle down into opportunities for artists at every level.



We here at Gray Area decided to gather the opinions of house artists themselves. Some are elder statesmen who helped guide the course of the style early on. Others are up-and-coming acts who represent the future of the genre. Read on what they have to say about the matter and arrive at your own conclusions.



1. Todd Terry







Todd Terry’s career extends back to house music’s genesis in the 1980s. He’s in favor of mainstream house music hits as long as artists bring original ideas to the table.



“We need a Robin S. We need a Crystal Waters. We need a Snap! - ‘I Got The Power,'” he told Gray Area during our Spotlight interview. “We need something that helps us a little bit here, makes us come to the dance floor. We need to get something out there to mix it up a little bit.”



"Break some new records,” he went on. “Stop catering to the same piano sound all the time. We got enough piano records. Okay, you guys found the piano in the last three years. Good job. There's other shit.”



2. East End Dubs





East End Dubs is a name that has grown more and more ubiquitous among London house fans over the past decade. In his Gray Area Spotlight interview, the “bRave” producer expressed optimism that house-inspired tracks in the mainstream could offer new fans a point of entry leading to the underground.



“Recently, people have said, ‘Oh, this is going to bring uneducated people into the scene.’ For me, I think people can start with Beyoncé or Drake and then fall in love with house music,” speculates East End Dubs, who also praised the tracks by the aforementioned artists. “It's a beautiful thing. Why not? House is something that we share together, so I don't mind people getting to know our music that way and then going a little more underground to discover us.”



3. SYREETA





SYREETA stands out as a more recent house music artist who still represents the queer, Black, underground roots of the genre well. She nonetheless believes that her world can coexist with the mainstream.



“There's no judgment on this,” she said during Gray Area’s Spotlight interview. “House music started underground, and it will always be to me. It hits everybody’s souls differently and is inspired in different ways, so each artist will have their own stamp on what they have taken away from it, whether it be more on the commercial side or more underground. Not everybody has to like it. People will move with what they prefer.”



4. Iglesias





Fast-rising UK house DJ and producer Iglesias also posits that commercial interest in house has little bearing on what he does. In his Gray Area Spotlight interview, he pointed out that most consumers of those releases likely don’t even associate it with house music.



“I don't really care, to be fair," he said. "What they're doing is not what we're doing, let's put it that way. They're making commercial stuff. Who they're appealing to, I don't even think that person would even know that that's a house beat or whatever. They would just be like, 'Oh, it's another Drake track.' Do you see what I mean? So it never really fascinates me that much because I don't feel like they're stepping on our toes. What we're doing is way cooler than what they're doing."



5. Harry Romero





During his Gray Area Spotlight interview, longtime NYC DJ and producer Harry Romero expressed optimism about house music’s popularity in the past few years. He did, however, have choice words about how the EDM movement impacted the culture over a decade ago.



“I hate to say it, but that EDM thing really threw us all through a curveball. We were like, ‘What the hell is this?’ he said. “The mechanisms changed. The way of doing business changed. The EDM thing really commercialized the industry, and for them to claim that they were house music was just strange."


"The reality is that it became a business," Harry went on. "It was pop music all of a sudden. A lot of people steered away from what they loved, which was the roots of house music. I understand evolution. I’m not mad at technology or the times. What I at least try to do is scratch my head and figure out how to put my own twist on it.”



6. ACRAZE





ACRAZE is enjoying an enviable breakthrough as an artist thanks to recent covers like “Do It To It” and “Believe.” With his recent good fortune, it perhaps comes as little surprise that he sees the genre’s recent popularity as a good thing.



“I think it's cool, man. I think seeing new faces in the industry is just special,” he said during Gray Area’s Spotlight interview. “Massive artists like Beyoncé and Drake getting into house music only helps the genre explode even more. I guess it becomes more commercialized, but now there’s also a bigger goal for artists. Drake’s in house music—it's my dream to even collab with him. Now I know, there's a chance. I didn't even know he was into that shit. Beyoncé too, like, that's so sick.”



“Some people will think differently and say, ‘They don't know anything about the music, the culture,’ he went on. “I think people read way too deeply into those kinds of things. If people are putting out good music and pushing the genre, I think that's what matters, you know?”



7. Shermanology





Dutch-Caribbean outfit Shermanology are also enticed by the prospect of working with more commercially successful acts. In their Gray Area Spotlight interview, the brother-sister duo named one hip-hop artist in particular.



“What we wanna do in the near future is collaborate with artists you wouldn’t expect us to collaborate with,” said Dorothy. “For example, if I could dream big I’d say Anderson .Paak. That would be someone who would excite me.”



Andy added, “I wanna work with people who may have said, ‘I will never do a house record,’ and get them to do a house record. Just mix and blend different genres.”



8. Tim Green:





Count longtime DJ and producer Tim Green among the artists who feel Beyoncé and Drake’s interest in house music has no bearing on the underground. Why? Because he doesn’t consider it house.



“I literally couldn't care,” he said in his Gray Area Spotlight interview. “You can call a car a tree if you want, and that's your prerogative, but each to their own opinion. When you start to get down to the finer details of what something is, who knows—and really, who cares? It doesn't matter.”



“I understand, of course, the negative connotations that it kind of has, and it's not right,” Tim continued. "But for the people that know the kind of music that they're into and want to listen to, I think that's enough.”



9. Kyle Walker





Breakthrough tech house artist Kyle Walker, on the other hand, does think mainstream artists dabbling in house will affect the underground—but in a good way.



“[House music is] definitely headed to the top 40 chart, I would say, like Billboard and such,” he said during Gray Area’s Spotlight interview. “I could see more dance records being in the top 10, even. It's definitely a good thing for everyone—even the underground. It's a good thing that more ears and eyes are gonna be on the scene. I just think everyone's gonna start with this wave of just having house music producers come onto their albums, which in turn is just going to create more house music fans.”



10. LOVRA





Rounding out this list is the perspective of LOVRA. The German DJ and producer agrees that the increase in attention to house music has created new opportunities for artists.



“It's super interesting, but it also shows that the people understand this music right now,” she said during Gray Area’s Spotlight interview. “They're more open to it. Back in the day, sometimes you couldn’t play in a club because it was too commercial or you were too underground. But now, I feel like the people and the club promoters are way more open to trying it out a little bit more, and this is a good thing.”

10 House Artists Weigh in on the Genre's Recent Mainstream Popularity

EDC Orlando, Insomniac’s flagship East Coast festival, returns to Tinker Field for its 2022 edition on November 11th-13th. Festival-goers from all walks of life travel far and wide to reunite “Under the Electric (Florida) Sky.” Insomniac raises the bar higher every year; this year is no exception. With a stellar lineup, jaw-dropping visuals, captivating art installations, and mesmerizing stages, EDC Orlando is a singular, transcendent festival experience.




The wonder of the EDC Orlando stages largely contributes to the success of Insomniac’s top-tier festival production. Insomniac takes pride in its ever-evolving stage designs, crafting each to have a distinct sound, ambiance, and architecture. Although their appearance transforms yearly, they’ve always kept their original names. Dating back to 2005, Insomniac officially introduced the OG stages as kineticFIELD, circuitGROUNDS, and neonGARDEN.




The dense atmosphere at each stage allows attendees to break out of their comfort zone and absorb the multi-sensory impressions around them. Unlike the other stages, neonGARDEN takes a stripped-back approach, toning down production and pyrotechnics while paying homage to the warehouse roots of Insomniac and a subculture that preaches music is all you need. From techno to house and every underground sound in between, it is the home for all house music lovers. Let’s take a look at the evolution of neonGARDEN.




2015

Over the years, Insomniac has made several advancements in the overall production of neonGARDEN. In 2015, they constructed a golden Buddha and placed it at the center of the vibrant structure. Surrounding Buddha was 245 LED tiles that illuminated across the wooden exterior. At the time, neonGARDEN also featured trance. Legendary trance acts performed, including Paul van Dyk and Ferry Corsten.












2016

In 2016, neonGARDEN received a long overdue upgrade. Instead of a giant Buddha blocking the main LED screen, Insomniac brought in the neonGARDEN from EDC Las Vegas. They installed a 150-foot circus-style tent that provided a club-like atmosphere. Jam-packed with lasers, eclectic beats, and deep rhythms, the energy of neonGARDEN was unmatched











2017


neonGARDEN returned as a massive neon circus tent in 2017. Insomniac is not one to cut short on lasers, and their heavy arsenal of hypnotic beams only added to the clubbing ambiance. With a glimmering disco ball at the heart of the stage, it truly encapsulated the nightlife vibe. 2017 saw another stacked lineup, with renowned artists like Jamie Jones and Green Velvet performing on this electrifying stage.









2018



In 2018, Insomniac’s underground house and techno brand Factory 93 started curating the stage, thus rewriting the history of neonGARDEN forever. Factory 93’s new and improved stage took shape as an open-air enclosure. This major redesign provided a more intimate environment, one that mirrored a festival within a festival. Factory 93 aims to enhance neonGARDEN’s production while maintaining its organic underground experience. By offering more space for techno and house music than in previous years, Factory 93 sparked a collective appreciation for the house music scene.









2019




EDC Orlando 2019 was Insomniac’s biggest year yet, expanding the two-day festival to three and hosting over 200,000 festival-goers. With the addition of 10.5 more acres, they also premiered a new stage, stereoBLOOM. Now that a fourth stage was in the picture, Factory 93 hosted only house and techno acts at neonGARDEN, such as Adam Beyer, CamelPhat, and Charlotte de Witte. Once again, a large tent enclosed the stage, which kept attendees dry from the Florida rains.















2021


In celebration of EDC Orlando’s 10th anniversary in 2021, Insomniac made history, hosting over 300,000 music lovers. neonGARDEN remained the only covered stage on the grounds but was upgraded to a megastructure-style, almost reminiscent of Carl Cox’s Ultra Resistance stage. It was also the only stage with a comfortable platform underneath your feet, built to withstand the weight of thousands of shufflers glued to the dancefloor.












2022



So what do Insomniac and Factory 93 have in store for us this year? Unfortunately, we won’t find out until we’re inside the festival grounds. Still, suppose we assume Insomniac will reproduce the same stage as EDC Las Vegas. In that case, neonGARDEN will be completely revamped, ditching the hangar-style tent, and remodeling itself into an open-air warehouse party reminiscent of Europe’s iconic outdoor festivals. Surrounded by shipping containers embellished with graffiti, you will experience a real-life urban jungle.





















(https://www.insomniac.com/magazine/the-best-of-edc-las-vegas-2022/)







(@edc_orlando Instagram)

EDC Orlando 2011-2022: The Evolution of Neon Garden

Shanti Celeste brought a healthy dose of endorphins to Mixmag’s The Lab LDN with a bouncy and vivacious set, adding a signature UK twist to classic house and Detroit techno. Celeste has become well-renowned for an array of addictive releases and slots at some of the world’s most coveted clubs and festivals from Berlin's techno temple Berghain to Corsica Studios in London, the Dutch festival Dekmantel, and the Bulgarian indie festival Meadows in the Mountains.

Born in Chile, Celeste relocated to the United Kingdom when she was 12. She first connected with dance music attending raves in the Lake District from age 15. After finishing high school, Celeste moved to Bristol for an illustration course at the University of the West of England, where she met Chris Farrell, a Bristol-based DJ and head of the imprint Idle Hands.




Celeste and Farrell joined forces in creating a new label, BRSTL, on which Celeste dropped her debut single, "Need Your Lovin' (Baby)," in 2013. In 2015, Celeste was nominated Best Newcomer DJ in the DJ Awards. The following year, she relocated to Berlin before launching her imprint, Peach Discs, alongside DJ and producer Gramrcy.




The Peach Discs roster has grown to encompass electronic music’s new wave – like Ciel and Chekov – and established artists like Call Super and Hodge. An artist in high demand on the airwaves, Celeste also runs a regular NTS Radio show that has given her the opportunity to showcase a plethora of talented artists.




The release of her debut album, Tangerine, in 2019, marked a transitional point in Celeste’s career. For the first time, she chose to expand beyond the parameters of club music in her productions.




“It was just nice to have that freedom, whether it came out as an experimental piece of work or just a Shanti Celeste album,” she explains in an interview with Crack Magazine.




Celeste’s latest release and debut single on Hessle Audio, Cutie / Shimmer, has already gripped the UK club scene and earned the coveted Resident Advisor RA Recommends seal of approval. She’s set to continue her busy touring schedule with shows at Corsica Studios in London, Polaris Festival in Lausanne, and Lost Paradise in Sydney.
















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Shanti Celeste Douses Mixmag’s The Lab LDN with Radiant and Uplifting House

A luminescent rework for a sobering single




Since his 2011 breakout performance at Fusion Festival, Jan Blomqvist has been unshakable. His works prove timeless as 2016’s “Back In The Taxi” catches the interest of One Tribe captain AMÉMÉ for a 2022 remix flowing with futuristic vigor. AMÉMÉ has accrued a reputation for imbuing his work with the energy of his West African heritage, an ability he fully displays here.


Blomqvist’s original thrives on a haunting energy of distorted drones and strategically minimal percussion. AMÉMÉ first fortifies the entire rhythm section with a variety of organic instruments. This accentuated pattern provides a hardy foundation for the leading synth line to elevate this track into a laser-focused melodic power. The spine-tingling drones live on in the breakdown, bridging the gap between one generation and the next—giving an immersive experience that feels both familiar and fresh.



This new reimagining comes courtesy of the ever-prevalent Armada Records. It was AMÉMÉ’s first release with the Dutch label but not his last. This “Midnight Remix” was accompanied by a more percussion-focused AMÉMÉ rework, and two months later, he released the indomitable “Balafonerra” with the Armada team. The One Tribe founder has been on a tear in 2022, releasing three EPs and a host of singles and remixes.



For decades, Jan Blomqvist has been a multifaceted force in the European music scene. The ’90s saw Blomqvist perform punk, hardcore, Britpop, and rock & roll. As modern music evolved to include increasing amounts of experimentation with electronic instruments, Jan’s interest evolved with it. In university, he immersed himself in Berlin’s techno scene and the art of DJing. He eventually bridged the gap between band leader and DJ and perfected the concert techno sound bringing the stage presence of rock n roll to the dance floor of the clubs.

AMÉMÉ Flips Jan Blomqvist’s 'Back In The Taxi' Into A Neon Midnight Mix

Inner City’s performance at Loveland Festival is a reminder of the immortality of their music. Over 30 years on from their debut release, the Detroit outfit – consisting of techno pioneer Kevin Saunderson, vocalist Steffanie Christi'an, and his son Dantiez – continue to dominate clubs and festivals worldwide. On stage, their synths ring out alongside decks, keyboards, live percussion, and vocals to birth a colorful and soulful sound brimming with melodic uplift.









Inner City was born in 1987 when Kevin Saunderson sought to rework the dark and mechanistic form of Detroit techno into something new. Teaming with Chicagoan vocalist Paris Grey (née Shanna Jackson), the pair created music that was neither too upbeat for the underground, nor too gritty for commercial success.




Combining Detroit techno’s driving rhythms and pop’s shimmering major keys, the duo’s earliest releases were met with immediate and massive success. “Big Fun” and “Good Life” dominated the clubs and charts, sweeping top 10s across Europe, and starting a run of four consecutive No. 1s on the US Billboard Dance Chart.




Today, their legacy continues, as a plethora of classic Inner City tracks continue to gain extensive radio play and DJ support across the globe. After a hiatus spanning the 2000s, the group reemerged to the delight of fans in the early 2010s with gigs at key clubs and festivals internationally, featuring both Paris Grey and Ann Saunderson on dual vocal roles. In 2017, a further chapter to the Inner City saga began with the addition of Kevin’s son Dantiez.




Since 1995, Loveland has been producing a range of hugely influential dance and lifestyle events across the Netherlands. Fueled by a tireless love for music, the company now organizes six annual events: Loveland Festival, Loveland Van Oranje, Loveland ADE, 909 Festival, Diynamic Festival (with Solomun), and Music On Festival (with Marco Carola).




To experience the greatness of Inner City in person, keep your eyes peeled for their upcoming shows. The group are set to play the 40th anniversary of legendary venue Hacienda at The Warehouse Project in Manchester and a TBC location for Flash-OFF in Washington DC.

Detroit Icons Inner City Bring the Classic Sound of House to Loveland Festival

Leave it to living legend to show us less is more with this new remix of HoneyLuv’s “365 (Thr33 6ix 5ive)”





House music maven, Honeyluv, has had a breakout year, living up to the expectation thrust upon her when named one of Billboard’s 10 Dance Artists To Watch In 2022. This year has seen her rip across a loaded festival and club gig schedule and drop a breakout single, “365 (Thr33 6ix 5ive),” on Chris Lakes’s renowned Black Book Records. The track has become a coveted addition to many a flash drive, one of those coveters being the one and only Harry Romero.



Harry Romero’s name has become synonymous with timeless talent, unstoppable grooves, and, as he so fondly says, “Dope drums.” You know you’re doing something right if you’ve caught his attention. And if he signs on to remix your track, you know you’re definitely doing a lot right. Last week, HoneyLuv’s “365 (Thr33 6ix 5ive)” was treated to a Romero remix that packs in the percussion for a double dose of hip-shaking fun.



Romero commented on the remix, saying, “I knew as soon as I heard Honey Luv’s ‘365’ that I would have a blast making my remix and putting my own spin on it. So happy how it came out and, as always super flattered to have been asked, especially by an artist I’ve been following for a while since I first heard of her when she sent a video of her playing one of my classic tracks out, so it feels good to be full circle with this remix.”



Harry was already tearing up New York’s club scene when Taylor Character (HoneyLuv) was born. This remix represents a beautiful meeting of veteran and up-and-comer and speaks to both Romero’s perennial ear for a hit and Character’s commitment to developing herself into a highly refined talent.