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Insomniac Reveals Artist Lineup For Second Edition Of Beyond Wonderland Chicago Festival

Insomniac, the world’s leading music festival and live events experience creator, and Auris Presents have unveiled the eagerly anticipated lineup for the second edition of Beyond Wonderland Chicago. Returning to Huntington Bank Pavilion at Northerly Island on June 7-8, 2025, the newest addition to the beloved Beyond Wonderland franchise promises an unparalleled immersive experience in The Windy City. Attendees will be transported down the rabbit hole into Alice’s whimsical wonderland, where a genre-spanning lineup awaits – including house and techno legends, bass music superstars, and melodic visionaries.
Headliners can look forward to electrifying performances across four stages, showcasing the best in electronic music. Among the standout acts is ILLENIUM, the Chicago-born superstar whose emotionally charged anthems have cemented him as one of dance music’s most beloved acts. Joining him are GRAMMY® Award-winning artists Afrojack and Cassian, and GRAMMY-nominated stars Marshmello, Slander, MEDUZA, and Audien. Additional EDM heavyweights include dubstep/trap hitmaker Crankdat, Dutch powerhouse duo Yellow Claw, and the GRAMMY-nominated duo SIDEPIECE.
With Chicago’s deep-rooted influence in house music, Insomniac Records and Day Trip will team up to host the Caterpillar’s Garden stage, delivering an unforgettable house and techno experience. Headliners can groove to the sounds of Chicago icons Green Velvet and Gene Farris, along with up-and-coming locals Dom Chap and Avi Sic, alongside globally renowned selectors MK, James Hype, Coco & Breezy, and Walker & Royce. A highly anticipated b2b set from Biscits and Martin Ikin will also take the stage, blending high-energy tech house with deep, driving basslines.
Beyond Wonderland Chicago 2025 also boasts a powerhouse bass lineup, featuring headlining performances from Subtronics, Virtual Riot, and Ganja White Night, plus a special b2b set from drum & bass standouts Hedex and Bou. Fans can also expect genre-defying performances from TroyBoi, Blanke, Mersiv, and Odd Mob, each bringing their own distinct sound to the festival’s diverse lineup. Other standout sets include AC Slater and Chris Lorenzo’s high-energy collaborative project Fly With Us, as well as iconic b2b performances from Jessica Audiffred and Nostalgix and Matroda and San Pacho. Additionally, Insomniac is set to keep the magic going both nights, bringing official after parties to more than five venues across the city. Full details on these shows will be revealed in the coming months.
In collaboration with Chicago’s premiere producer of experiential festivals & events, Auris Presents, the event showcases a diverse range of electronic sub-genres, including house, techno, trance, and bass. The four state-of-the-art themed stages – Queen’s Domain, Mad Hatter’s Castle hosted by Bassrush, Cheshire Woods hosted by Lost in Dreams, and Caterpillar’s Garden hosted by Insomniac Records and Day Trip – will provide the immersive experience the beloved Beyond Wonderland franchise is known for. The 119-acre venue on Northerly Island offers a stunning background for the live music, featuring unparalleled views of the city’s picturesque downtown skyline that sits pretty on the shores of Lake Michigan.
Two-day GA, GA+, and VIP tickets are available for purchase beginning this Friday, February 7 at 12 p.m. CT at Chicago.BeyondWonderland.com.
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2025 Electronic Music Report highlights £2.4 Billion contribution to UK economy

The Night Time Industries Association (NTIA) proudly presents the third edition of the UK Electronic Music Industry Report, in collaboration with Audience Strategies and supported by Amazon Music. This groundbreaking report highlights the undeniable economic, cultural, and community value of the electronic music industry in the UK.
The 2025 report underscores electronic music’s significant contributions to the national economy, detailing its impact across recorded music, publishing, and the vibrant live music sector, including concerts, events, and festivals. It also highlights the essential role of electronic music nightclubs in fostering community, inclusivity, and tolerance – values that are deeply embedded in the genre’s DNA.
Despite these contributions, electronic music continues to be sidelined from policy discussions and excluded from key support mechanisms within the Department for Culture. This marginalisation undermines not only the industry’s economic potential, but also its ability to nurture creativity, innovation, and future talent. The NTIA calls on the Government to acknowledge electronic music’s rightful place in the cultural and economic landscape, ensuring that it is no longer disregarded in national conversations about music and the arts.
A key focus of the report is the importance of education in securing the industry’s future. Addressing gaps in the talent pipeline is essential for sustaining growth and fostering the next generation of artists, producers, and industry professionals. By investing in education, innovation, and community engagement, the UK can continue to be a global leader in electronic music.
There are both challenges and opportunities ahead, but with Government recognition and meaningful support, the electronic music industry can thrive, creating jobs, driving economic growth, and enriching cultural life across the country. The NTIA urges the Department for Culture to embrace electronic music, provide it with the platform it deserves, and work collaboratively to unlock its full potential.
Key Highlights from the 2025 Report:

Economic Impact: Electronic music remains a dynamic economic and cultural cornerstone of the UK, contributing an estimated £2.4 billion in 2024 alone and recorded music and publishing together reached £133.9 million in domestic revenues.

– Global Recognition: £81.3 million: Estimated UK electronic music exports in 2024 (recorded music + publishing), up 3% from last year.

– Festival Frontiers: Demand for electronic music at festivals continues to thrive. 310 UK festivals in 2024 featured electronic music (up from 294 in 2023), drawing over a million attendees – a 14% increase.  This surge has pushed festival revenues up to £646.2 million

– Nightclubs Numbers: 851 nightclubs in 2024 (down from 875 in 2023). With a total revenue of £1,232 million: Total economic contribution from nightclubs in 2024, down 16% from £1,463 million in 2023.

– Recorded Music Publishing and Exports: £215.2 million Overall total for recorded music, publishing, and exports—rising 1.7% from £211.7 million last year.
Cultural Impact: 80%: The share of the top 30 global artists over the last year who have been significantly influenced by electronic music, up from 73% previously. Artists Exposure: 29% share of artists performing at UK festivals in 2024 are electronic—the highest of any genre (Rock 22%, Pop 20%). Events Audience Growth: 72 Independent festivals cancelled, postponed, or closed in 2024, despite overall attendance growth for the sector. Beyond the numbers, the ‘Electronic Beats, Economic Treats 2025’ report dives into the narratives that defined 2024, uncovers emerging trends for 2024, and celebrates the sector’s influencers through insightful case studies.

For a comparative perspective, take a moment to download and review “Electronic Beats, Economic Treats 2024.”
Download the 2023 Report


Unlock exclusive access to ‘The third UK Electronic Music Industry Report’ by entering your email address.
ThirdDown full 2025 report here

Michael Kill, CEO of the Night Time Industries Association, commented:
“Electronic music is one of the UK’s most significant cultural exports, contributing an estimated £2.4 billion to the economy in 2024 alone. Yet, despite its undeniable influence and growth, it remains hidden and marginalised by the Department for Culture, Media and Sport. This report reinforces the importance of electronic music having a seat at the table—DCMS must recognise this sector as a truly valuable commodity, not an afterthought.”
“From the rise in UK festivals embracing electronic music—310 in 2024, drawing over a million attendees—to its growing global influence, this genre continues to shape contemporary culture. 80% of the world’s top 30 artists have been significantly shaped by electronic music. The numbers speak for themselves: this is not just a niche genre, but a driving force in the creative economy.”
“For too long, the electronic music industry has been overlooked when it comes to policy and support. It is time for the government to engage meaningfully, acknowledging its vast economic and cultural impact. This is not just about music—it is about jobs, communities, and the UK’s standing on the global stage.”
Rufy Ghazi, Audience Strategies:
“As a lifelong fan of electronic music and a DJ, my love for this genre has grown even stronger through this research. The UK’s electronic music scene is a beautiful testament to resilience and creativity, especially during tough times. Adapting to economic pressures, artists and venues have discovered ways to connect with audiences, embracing fresh ideas and new formats to keep the music alive and thriving.
We spoke to 30 experts from the scene, and our research has revealed just how important this community is. It drives real economic value, from small grassroots venues to massive international festivals. These spaces are more than just places to dance; they foster a sense of belonging and ignite cultural innovation that enriches neighbourhoods across the country.
Despite challenges like venue closures and rising costs, we’re seeing exciting growth in areas like hybrid spaces, community-owned venues, and creative programming that reaches diverse audiences. The industry’s influence isn’t limited to the UK; it resonates globally, and the genre’s export value is undeniably strong.
With the right support mechanisms and policies, the UK can solidify its position as a leader in electronic music. The evidence is clear: supporting electronic music isn’t just about preserving nightlife – it’s about investing in one of Britain’s most dynamic cultural and economic assets.”
Dame Caroline Dinenage, Chair of the DCMS Select Committee:
“Electronic music is a vital part of the UK’s rich cultural tapestry, showcasing our nation’s creativity and innovation on the global stage. It has grown from grassroots communities into a world-renowned industry, generating significant economic and cultural exports.”
“Protecting and nurturing grassroots electronic music is essential—not only for supporting emerging talent but also for safeguarding this vibrant and influential part of our cultural heritage. It is a cornerstone of our creative identity and must be valued as a key contributor to the UK’s soft power and global reputation.”

Wes Saunders, CEO Defected Records:
“In the kaleidoscopic world of electronic music, where the sounds of tomorrow are constantly being shaped today, we stand at an extraordinary intersection of culture, technology, and commerce. As we venture into 2025, it’s essential to recognise the profound impact and transformative power of the electronic music industry – not just within the borders of the United Kingdom but as a pivotal force on the global stage.”

“Electronic music thrives through the interplay of live performances, digital streams, and the unyielding spirit of its creators and fans. From the underground clubs to massive festival stages, from the private studios of bedroom producers to the public playlists of global streaming platforms, electronic music weaves a tapestry of cultural exchange and economic opportunity.”

Steven Braines, Co-founder, HE.SHE.THEY, Board Member, NTIA:
“As an advocate for equality, diversity, inclusion, and innovation within electronic music, I am honoured to contribute to this year’s Electronic Music Report. The genre has always been at the forefront of cultural change, breaking boundaries and bringing people together through the universal power of sound. From the underground rave culture to the global festival stages, electronic music has continuously evolved, pushing the limits of what’s possible and inspiring countless communities across the world.”

“As we look ahead, I am filled with hope for the future of our scene. The next generation of artists, producers, and fans are shaping a more inclusive, creative, and dynamic environment. Let us all work together to nurture this growth, ensuring that the future of electronic music is brighter, more inclusive, and more innovative than ever before.”
The post 2025 Electronic Music Report highlights £2.4 Billion contribution to UK economy appeared first on Decoded Magazine.
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Eric Prydz’s Holosphere 2.0 to make debut with season-long residency at [UNVRS]

Ibiza’s latest venue, [UNVRS], announces the introduction of its latest residency: Eric Prydz’s Holosphere 2.0. This exclusive 14-week run will see the globally acclaimed artist debut a dramatically evolved version of his cutting-edge show, redefining the future of live electronic music experiences.
Eric Prydz’s Holosphere debuted in 2019 as one of the most technologically and visually ambitious live music shows in the world. Prydz performed inside an eight-tonne sphere that stood over two stories tall—so massive that Tomorrowland had to redesign its festival grounds to accommodate it. This summer, Prydz has announced that he will bring an even larger Holosphere show to Ibiza’s [UNVRS], staging the island’s biggest production, and most high-tech residency to date.  
Yann Pissenem, Owner, Founder & CEO of The Night League and Ushuaïa Entertainment,  goes on to say: “Eric Prydz possesses an extraordinary vision and talent for crafting otherworldly experiences—pushing the boundaries of innovation with every show. With Holosphere 2.0, he has reached an entirely new level, seamlessly blending cutting-edge technology with an ambitious scale like never before. I can’t wait to present this new chapter of Eric Prydz at [UNVRS], where audiences will witness something truly unprecedented—transforming this residency into a one-of-a-kind future-forward show that will redefine the global audiovisual experience in 2025.”
Prydz’s team has been working for over five years to bring Holosphere back, but, as with every new iteration of an Eric Prydz live show, its return depended on ensuring that technology had advanced enough to support the vision of a completely redesigned sphere and an improved concert concept. The first Holosphere, which took two years to build, was tragically crushed when a stage collapsed—after only ever being seen once. Now, Holosphere 2.0 is set to go beyond anything previously imagined.
Thanks to advancements in technology, Holosphere 2.0 will be vastly different from its predecessor—not only larger in size but also superior in every aspect. The iconic concept of Prydz performing inside an enormous floating sphere, requiring months of physical construction and engineering, will be elevated by a feature-film’s worth of brand-new original animation, 3D holographic effects, and never-before-seen multidimensional layers of custom transparent LED covering the interior, exterior, and internal volume of the sphere. This truly is a world first—an absolutely revolutionary spectacle.
Romain Pissenem, Founder, CEO & Show Director of High Scream LTD: “Holosphere 2.0 is the perfect match for [UNVRS]. We are thrilled to collaborate with Eric Prydz’s team on this visionary show, bringing his colossal sphere to life with next-generation technology and delivering an unforgettable, immersive journey for clubbers.”
[UNVRS] is one of the only permanent venues in the world capable of housing Holosphere’s expanded form factor on a weekly basis, which is astonishing and underscores the venue’s forward-thinking and technical innovation. For Prydz, it was crucial that the show be performed in front of a large audience, with the freedom of a dancefloor experience. The residency format will allow Prydz to experiment week by week, both musically and visually.
As Prydz continues to push the boundaries of audiovisual live performances, Holosphere 2.0 at [UNVRS] promises to be a dramatic evolution of its predecessor. Enhanced with next-generation visual animations and state-of-the-art production advancements, this show will take audiences on an unparalleled sensory journey.
Eric Prydz’s Holosphere 2.0 residency at [UNVRS] kicks off on 2nd June and runs for 14 weeks until the closing event on 1st September. Tickets and updates are available at unvrs.com.
The post Eric Prydz’s Holosphere 2.0 to make debut with season-long residency at [UNVRS] appeared first on Decoded Magazine.
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Dialled Industry announce free music conference 22nd Feb – London

Dialled In has announced it’s latest initiative combining a one-day industry conference, residency programme, and comprehensive mentorship scheme to support South Asian talent in the creative industries. The launch event will take place on 22 February 2025 at Big Creative Academy in Walthamstow, representing a significant step forward in empowering the next generation of South Asian talent in the creative sectors. This announcement comes following the launch of their open call for artists to apply for their new artist residency, Resonate. 
Dialled Industry Conference
Date: Saturday, 22 February 2025
Venue: Big Creative Academy, Clifton Avenue, London E17 6HL
Tickets: Free for all (with optional £5 / £10 donation to future Dialled Industry projects).
Dialled Industry specifically targets aspiring creatives aged 18 and over who face challenges breaking into the creative industries, offering practical pathways to success. Additionally, it serves emerging and established South Asian talents seeking to grow their presence in music, art, and culture while celebrating and advancing South Asian creativity on a global stage. The programme also welcomes creative industry professionals—labels, promoters, and curators—interested in discovering and nurturing diverse talent, and fostering meaningful mentorship and collaboration opportunities between established figures and emerging creatives.
Programming Highlights
The initiative launches with a landmark conference featuring workshops, panel discussions, and keynote presentations from industry leaders, including Raji Rags, Pritt, NAINA, Anu, Anita Chibba (founder of Diet Paratha), plus representatives from Pxssy Palace and more.
Key topics include:
Industry Leadership Panels: Insights into label management, venues, and agencies Creative Career Pathways: Tips on partnerships, funding, and artist development Professional Development: Exploring sustainability, polymath careers, and hands-on skills Technical Training: Artist development workshops Panels
Moderated by Tara Joshi + Thempress, panels featuring speakers including Anu, Balraj Samrai, Josh De Silva, Lucy Atkinson and more will cover topics such as, 
10 Years of Pxssy Palace What’s The Reality of Running A Label How To Get Into Radio, and more. Workshops
Facilitated by D-Lish, G33, Hark1karan, India Bharadwaj, Yushy and more, workshops will include,
Beginner DJ Workshops How To Win Funding How To Capture Authentic Stories Through Photography Intro To Music Production, and more. Mentorship 
Following the conference, Dialled Industry will launch its mentorship programme later this year, introducing participants to vital behind-the-scenes roles in the creative industries. This structured initiative aims to build sustainable pathways for South Asian talent while fostering cross-cultural innovation and collaboration.
The conference marks a partnership between Waltham Forest Council and Dialled In. Speaking on this, Councillor Rosalind Doré, Cabinet Member for Libraries, Culture and Sports and Leisure at Waltham Forest Council said: “It has been exciting to see how Dialled In has grown as a platform for South Asian creativity since their first festivals right here in Waltham Forest – in Uplands and Lloyd Park. Our shared commitment to empowering the next generation, particularly those who face added barriers, with the skills needed in creative careers is paving the way for a brighter, more inclusive future. The mentoring, insight and collaboration with industry professionals that Dialled Industry will offer are vital in creating more equitable routes into the creative industries.”
About Dialled Industry
Dialled Industry, Dialled In’s latest initiative, fosters equitable opportunities for South Asian creatives in music, art, and culture. Through a powerful combination of mentorship, training, and community-building, the programme advances South Asian artistry within global narratives. It marks a vital step in nurturing and empowering creativity while paving the way for a more inclusive and innovative future in the arts.
Resonate
Resonate, is new a 10-day residency at Migration Studios (March 2025), funded by PRS Foundation and Arts Council England. This opportunity will support emerging South Asian live musicians and producers, providing fully funded studio time and the chance to perform at Dialled In events/showcases. More information is available HERE. Prospective applicants must submit their ideas for the camp via this application form. 
The post Dialled Industry announce free music conference 22nd Feb – London appeared first on Decoded Magazine.
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Sasha and Marsh collaborate on a new single, “Dead Synthy”

First premiered during their Anjunadeep Miami b2b set in 2024, ‘Dead Synthy’ marks the first collaboration between progressive house legends Sasha and Marsh.
This track is a quintessential slice of progressive house magic. Its calm, inviting atmosphere feels like a journey through little fluffy clouds, weaving in touches of electro and ethereal, angelic vocals. With golden-age vibes that nod to the genre’s roots, ‘Dead Synthy’ is as timeless as it is fresh.
Reflecting on the collaboration, Marsh shares:
“It was the week leading up to my set with Sasha in Miami. He gave me a call to see if I wanted to collaborate on something to hopefully play in our set… He sent over the initial draft called ‘Dead Synthy,’ I was drawn to the atmosphere, chords, vocals, and arpeggio. I got to work, found the main riff, bassline, and drums, and soon had a first draft we could test. Sasha said my riff sounded a bit ‘Jam & Spoon’… I’m ashamed to say I hadn’t heard of Jam & Spoon at the time. I have no idea how I missed them. I think he was referring to their track ‘Stella’ (Banger). I wondered if that was a dealbreaker on the collaboration, but we rolled with it! I sent the stems back to Sasha, and he beefed up the mix and continued crafting the idea. It was super close when he sent it back. I especially love the breaks in the breakdown – The processing is mental and adds something unique to the track’s journey! Needless to say, it is very surreal to have worked with such a legend as Sasha! I hope there is more to come!”
For Marsh, 2024 was a landmark year. He delivered a steady stream of standout releases and maintained a packed global tour schedule, which included the launch of his ARIA hybrid showcase. This showcase saw him sell out London’s Outernet and close Red Rocks under a blizzard. Marsh starts 2025 on a high note, bringing his signature All Night Long show to Fabric for the second year in a row on February 7th.
As for Sasha, his legacy as one of the world’s most celebrated DJs continues to evolve. Known for blending house, techno, and trance into his sets, he’s also made waves beyond the club scene. His score for the Da Vinci interactive exhibition, which premiered in Berlin in 2022, won multiple awards, including Best Immersive Experience (Art Directors Club, 2022) and Best Experimental Design (Creative Pool Awards, 2022).
Together, Sasha and Marsh have created something truly special with ‘Dead Synthy’ – a track that’s sure to resonate far beyond the dancefloor.
Sasha x Marsh “Dead Synthy” is out now on Anjunadeep. Stream / download here
The post Sasha and Marsh collaborate on a new single, “Dead Synthy” appeared first on Decoded Magazine.
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Dead Man Walking pt2: Zomboy Is Risen

From the Cornish coast to the Hollywood Hills, Joshua Mellody aka. dubstep hall of famer Zomboy, has come a long way from his days spinning head bangers in London. First plucked and guided by the watchful eye of the late Never Say Die’s; SkisM, the past decade has seen him steadily establish a career spanning cities, continents and concepts. A staple of and synonymous with the US bass music scene, the mighty dubmaster recently celebrated the release of sequel Dead Man Walking pt2 – a final installment of the pinnacle two part EP that doesn’t hold back, in a polished collection of gritty punk and metal electronica bass havens. 
But raging basslines aside, Zomboy brings the calm collectedness of a pro, to all his efforts. Now established on his own terms, proud owner of Rott ‘N Roll Records and most recently adding the strings of Designer and Animator to his bow, the maestro takes steps to ensure his peace is not disturbed; taking his time with each new project, crafting his own path and focusing on wellbeing above all else.
We caught up on the fresh SLANDER & Bring Me The Horizon ‘Wish I Could Forget’ Remix, music therapy, Adele and the goings-on of the US scene.
Congrats on the remix release! What does that track mean to you?
I’m very picky about what I take on as remixes. I’m picky about everything, haha, so this was special. First of all, I love Bring Me the Horizon; they’re childhood idols of mine. I love what they’ve done with their career and how they’ve evolved along the way. I fully support everything they’ve done. Just knowing I was going to be able to work with one of Ollie’s vocal tracks, I was like, “Yep, I’m in!” I love the energy of the original. SLANDER obviously kept it very breaksy and upbeat, and I thought, “There’s so much room to make this gnarly…”
Bringing some of that Zomboy ‘cinematic violence’ in…
Exactly. The vocal is also very fitting for the extremely personal experiences I’ve gone through over the last few years and the lead vocal being, “I wish that I could forget.” Very apt.
I love how much this resonated with you. It’s a powerful track. How did it feel to play it at Red Rocks, Colorado, in 2024?
It was a moment. The story is, firstly, I’m notorious for writing 90% of a song in the first hour. The other hundred hours are spent nerding out, tweaking, and doing stuff no one will ever notice. So when I got confirmed for the show and they asked me to play the remix, I was still finishing Dead Man Walking Pt. 2. I didn’t have time to start the remix earlier. It was actually the day before Red Rocks, and I was flying back from Germany to Denver. I finished making the song and the visualizer for it on that ten-hour flight!
I also played a little prank on the crowd and the SLANDER guys. Early in their career, they were playing right before me at a festival in Canada, not long after ‘Like a Bitch’ was popping off. Everyone was playing it at the time. They were on before me, and I heard them playing it! It was definitely a mistake; I think they just forgot to take it out of the set. I vividly remember my tour manager running onto the stage and pulling the fader down. So at Red Rocks, I thought I’d get my own back. I started playing the remix, but quickly I jumped on the mic to make it clear I was kidding and that it was totally planned!
Haha! Finally vindicated. Being well over a decade into your career now, what’s the most important lesson you’ve learned?
When I was becoming a young adult and touring, I didn’t have time to be an adult and figure out who I was. Luckily, I’ve been able to do that now. But inevitably, everyone has to come off the road. No matter how much you love it, after doing music for a while, it becomes a job like any other. It’s taught me that it doesn’t matter how incredible your line of work is eventually, it will feel like a job. Sometimes, you’ll wish for stability. It’s stressful. It’s tiring. It comes with all the negatives of a ‘normal’ job too. I still love it, but I want to talk about the other side of it as well.
Yes, it’s important to acknowledge all the unique challenges that come with working in this industry. There’s definitely no HR…
Can you imagine?!
So, we can’t not talk about the Dead Man Walking Pt.2 EP. There are some emotionally intense themes in there. What’s the story behind the sequel?
The theme of Dead Man Walking was triggered when Tommy, my former manager, SkisM, decided to call it quits, retire, and put Never Say Die to rest. He discovered me. He was the one who convinced me to be an artist. When he retired, I felt very lost. I wondered if I’d still be good without him being my guru, mentor, and tastemaker. I thought people might see me as an Old Western ‘dead man walking’. That phrase stuck with me. A ‘dead man walking’ is also a zombie, so it has a shallow meaning and a deeper one. The shallow meaning is obvious, but the deeper meaning is: what do people think of me without him guiding my career? Can I still do this without him?
This EP and its sister Pt. 1 hold a lot of deep meaning.
Yes, there’s a lot of depth to it. Post-pandemic, I’ve gone through a lot of personal growth, therapy and healing. It’s been an emotional and life-changing few years. Starting Zomboy 14 years ago, I was very young. All I knew was touring nonstop. So, yeah, there’s a lot of soul-searching and reflection. I tried to pour that journey into the music.
That is beautiful. It sounds like music has been very therapeutic for you.
Yeah, it’s a bit of everything. It’s both the antidote and the poison at the same time. It consumes your life in the best and worst ways.
Indeed. How do you create that ‘cinematic violence’ in sound?
‘Cinematic violence’ is a phrase coined by my photographer/videographer back in Los Angeles called Emma. I’ve always been fascinated by movie scores and orchestral music in general. To me, there was a big gap between emotion and bass music. Nothing evokes that feeling quite like movie scores and big orchestras. I wanted to bring as much of that emotion into my world as I could but in a very aggressive way. Hence, cinematic violence. In general, I tend to borrow inspiration from everything except bass music. I like to pull from cinematic elements and different genres, then meld them into bass music.
As for how I do it, most of the time it’s a rhythm thing. If I have a rhythm in mind, that will often kickstart the process whether it’s a rhythm that becomes the drop (which I can translate into a string section as the theme) or just something rhythmic that gives the track its DNA. Dubstep really lends itself to epic, cinematic, battle-themed music.
Agree! Epic scenes for an epic genre. I really love how you try to release only one record a year. What’s the reasoning behind that?
Very early on, I realized that everyone around me was flooding the scene with music. I get that it’s good to have a lot of content out there, but at the same time, there doesn’t seem to be much quality control. People feel like they have to release something constantly, and a lot of music comes out that, in my opinion, might have been better saved as an ID for live shows. Personally, I’ve always followed the ethos of releasing one solid record a year, with maybe a few remixes on the side. I know the fanbase would love more, but that’s just how I work.
You’re the Adele of bass music.
Oh, if only! One record every six years, luxury…
How can producers maintain that level of quality control?
The scene evolves so much, even within a single year, that newer artists often feel the pressure to jump on every trend and release content frequently. For some, that approach works especially for up-and-comers trying to build a name. But once you’re established, I think it’s important to focus on quality control. Ask yourself: what’s your brand? What do you want to achieve? Then try to stick to that vision. Doing so naturally brings a bit more restraint in deciding what’s worth releasing. That’s just my technique, though. There are valid reasons for putting out lots of content, but for me, I’ve chosen a different path.
Sound wisdom. Speaking of other creative pursuits, is it true you create your own visuals?
Yes! It’s all me: the artwork, the visualizers, and all the live show visuals. I do everything in Blender— all my own 3D animations— and it’s a lot of work. That’s also part of the reason I don’t release as much music. There’s so much planning and creativity involved beyond just writing the tracks. Honestly, if I wanted to produce more music, I’d probably need to hire a small army to keep up with everything else.
It all makes sense now! That’s incredible. Do you have a favorite project of all time?
Conceptually and visually, the Dead Man Walking Part One and Two saga stands out. It’s the first time I’ve felt confident enough to fully showcase my animation work and visuals. I’ve been doing that stuff for years, but I’d usually reach a point where I’d tell myself, “I’m too busy writing the music; I’ll let someone else handle the artwork.” It’s only in the last three or four years that I’ve built up the confidence to take full creative control. Now I don’t have to go back and forth explaining ideas; I just create them myself. This Part One and Part Two project has been an absolute blast. It’s been amazing to see how far I could take a theme, all while still being “just” a dubstep producer on the surface.
What do you want to do next?
With music, I want to go back to having fun with it— not taking things so seriously or sticking to heavy themes. It’s funny because some of my most-streamed songs are the ones I wrote purely for fun. I forgot about that when I got caught up in creating cinematic, dark, thematic pieces. I’ve done the drama; now I’m ready to just enjoy the process again.
More dancing. More dance music.
Exactly. The kind of music that makes me do this with my head. [Mimics a head movement.] People call me out on it all the time because I do it a lot on stage!
I feel that. I’ve been there with a sore neck from headbanging.
Try doing that for an hour straight, four nights a week, for 10 years. During the most intense touring seasons of my career, my neck got so thick from all the muscle I built up headbanging. When I’d be flying and sleeping upright on planes, I never let my head droop because my neck muscles were so strong they just held my head up while I slept. I was literally planted in my neck, just chilling.
That’s definitely going in the article.
Zomboy, the thick-neck zombie.
You’re, of course, very established in the US. What’s the scene like there compared to the UK?
The scene out there is just fucking incredible. That’s not to say there isn’t a good scene in the UK, but for the kind of music I do, aggressive, in-your-face dubstep, it didn’t have a long shelf life there. Whenever I get to play in London, it’s always so much fun, but the promoters lost confidence in dubstep. The scene influenced the promoters too much, and they got scared. Fair enough, business is business. If they didn’t feel confident, why would they take the risk?
But the reality is, the scene is still there. It’s just that no one had the guts to rebuild it. Meanwhile, America did. They ran with it, and they’re still running with it. That’s why I’ll always be eternally thankful for them. They invest back into the scene. The promoters in the US don’t just pocket the money and run; they reinvest it. They grow the community into something bigger and better, building it up instead of just chasing a quick cash grab.
It’s so important to invest in grassroots, especially now.
Absolutely. I feel I’ve been consistently lucky that everything I’ve done has worked out. For newcomers, I’d say that maintaining a sense of mystery, what I call the ‘old music magic,’ has been crucial for me. Back in the day, you couldn’t just DM your favorite artists. Being a little inaccessible adds to your aura. Not only does it protect your personal life, but it’s good for your mental health, too. Of course, I recognize that’s easier said than done, especially for me 14 years into my career. These days, things are different. Accessibility is part of the game now. But it’s all about balance.
More sound advice there, thank you. Finally, what’s your resolution for 2025?
Just to have some fun again. I want to go back to that feeling I had when I was starting out when it wasn’t so serious and I was just truly happy.
Full circle. We love to hear this, thank you for sharing! Do you have a message for your fans before we wrap up?
Just a massive thank you, really. Thank you for sticking with me all these years, especially during those moments when I’ve been quieter or when I’ve experimented with something new. I genuinely appreciate every single person who takes the time to listen to my music, come to my shows, or support me in any way. It means the world. And here’s to more head-banging, more cinematic violence, and a lot more fun in 2025!
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Jai Wolf creatively reimagines San Holo’s beloved ‘We Rise’

“I love how Jai Wolf brings new life to ‘We Rise‘ while keeping the nostalgic energy of the song alive,” says bitbird label boss San Holo of Wolf’s freshly pressed interpretation of the Gold-certified record. “I know a lot of people have very personal memories with respect to the song, and I know this remix will bring you right back to those special moments.”
One full decade after the original Skrillex-endorsed San Holo record landed on streaming platforms, Bangladeshi producer Jai Wolf has formalized his personal take on the chart-topping electronic anthem. Now streaming everywhere via SHINE LIGHT RECORDS, Jai Wolf’s official “We Rise” remix has hit digital shelves with a resounding impact. In maintaining the original’s melodic structure, the “Indian Summer” visionary has synthesized a refreshing rendition of a genre-defying masterpiece. Marking his first widespread release of 2025, subsequent to his November 2024-issued Red Eye EP, Jai Wolf’s “We Rise” remix arrives during a cutting-edge era in dance music.
Indulge once again in the timeless melody of San Holo’s contemporary classic by streaming Jai Wolf’s official “We Rise” remix below.
Featured image: RUKES
The post Jai Wolf creatively reimagines San Holo’s beloved ‘We Rise’ appeared first on Dancing Astronaut.
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Lonely Together: EDM Fans Find Connection While DJs Struggle With Isolation

This is an opinion column. The thoughts and viewpoints expressed are those of the author, Dr. Sunni Lampasso, a psychologist, executive coach and the founder of Shaping Success, where she helps EDM artists and industry professionals elevate their careers while prioritizing wellness.
As the author of "Level Up Your Influence: A Self-Awareness Guide to Maximizing Your Growth and Unlocking Your Inner Leader," she empowers artists to overcome mental roadblocks, avoid burnout and build a lasting legacy in the music industry.
Loneliness is a modern epidemic—30% of young adults in America feel lonely daily or several times a week, according to the American Psychiatric Association. For EDM fans, raves and festivals offer a place to connect, belong and feel alive. However, the experience can have the opposite effect for the DJs who bring us together.
As a psychologist who coaches DJs, I've seen how isolation impacts artists beyond what fans see. They constantly juggle creative demands, business pressures and expectations without the support system many professionals take for granted.
Before working closely with DJs, I didn't fully grasp their lifestyle's physical and emotional intensity. But I now see how deep the struggles run, from the small stage to the main stage. DJs need support, clarity and guidance to navigate the highs and lows while building a sustainable and fulfilling career.
Fans experience the art—the energy of the DJ's performance and the music they produce—but they don't see the hidden side: the loneliness, the stress and the intense pressure DJs experience behind the scenes. The very stages that unite us can isolate them and amplify loneliness, which causes an increased risk of anxiety, depression and physical health issues if not addressed.
Constant screen time and political divides contribute to a growing sense of isolation for both fans and artists. EDM events provide fans with community, but touring DJs often experience grueling travel, separation from loved ones and the pressure to consistently perform. The festival experience allows fans to recharge. However, many artists leave feeling drained and isolated as they rush to their next show.
Touring schedules can be brutal. Some DJs play around 300 shows each year, often with limited support and schedules that don't include much time for wellness. Combined with a lack of self-care, loneliness further increases the risk for burnout, substance use and mental health struggles.
We've seen it firsthand. Avicii's tragic death in 2018 was a wake-up call, and more recently, Alesso canceled shows due to health concerns and exhaustion. Many industry giants, including Armin van Buuren and Zedd, have spoken about using alcohol to push through performances.
The conversation about mental health in the music industry isn't new, but real change has been slow. The recent release of the intimate Netflix documentary I'm Tim, which chronicles Avicii's life and career, has reignited the mental health conversation, but more needs to be done. If we want our favorite artists to thrive, we need to rethink how the EDM industry supports its talent.
Some artists, labels, fans and festival organizers are beginning to recognize and address the challenges of artist loneliness, but we need more widespread action. Real change requires a collective effort from the entire EDM community:
Labels and managers
Prioritize sustainable careers over non-stop touring. Mandate rest periods and provide mental health, wellness and coaching resources. And always remember to treat artists as people first.
Festival organizers and club owners
Create backstage wellness spaces, normalize breaks and offer resources like therapists or performance coaches.
Artists
Build strong support networks inside and outside the industry, and prioritize staying connected when on the road. Speak openly about struggles to help break the stigma and push for better conditions. Try to limit traveling alone. Build a team that cares about you as a person and doesn't just view you as a brand.
Fans
Recognize that DJs are human. If an artist cancels a show for health reasons, show empathy and support rather than criticism and judgment. Show support beyond the music—treat artists as you would treat a friend.
EDM is built on a foundation of respect. And that respect must extend to the artists who create the music that fuels our best moments.
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Beyond Wonderland Returning to Chicago In 2025 With Subtronics, ILLENIUM and More

After last year's momentous debut in Chicago, Insomniac's beloved Beyond Wonderland festival is returning to the Windy City with a massive lineup.
The Alice In Wonderland-themed EDM festival will feature ILLENIUM, Subtronics, Afrojack, Marshmello, SLANDER, Ganja White Night, Crankdat, Virtual Riot and TroyBoi, among many others.
In an homage to the birthplace of house music, Insomniac Records and Day Trip are hosting the Caterpillar’s Garden stage to produce "an unforgettable house and techno experience," according to a press release. Attendees there can groove to four-on-the-floor beats from Chicago icons Green Velvet and Gene Farris as well as Walker & Royce, James Hype, Coco & Breezy, MK and more.
The lineup also features a handful of compelling b2b performances. Jessica Audiffred and Nostalgix are set to team up for a heavy-hitting DJ set while Hedex and Bou will join forces for a can't-miss drum & bass set. AC Slater and Chris Lorenzo will also perform together under their collaborative alias, Fly With Us.
Beyond Wonderland Chicago is scheduled for June 7-8, 2025 at Huntington Bank Pavilion at Northerly Island. You can check out the full lineup below and purchase passes here starting Friday, February 7th at 12pm CT.
Insomniac Events
Follow Beyond Wonderland Chicago:
X: x.com/beyondwlandchi
Instagram: instagram.com/beyondwlandchicago
TikTok: tiktok.com/@beyondwland
Facebook: facebook.com/beyondwlandchicago
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Solomun To Headline London’s Newest Open-Air Series, ‘Labyrinth On The Thames’

Global electronic music icon Solomun will headline Labyrinth on the Thames, London’s newest and most exciting open-air series, on August 8th, 2025.  
Taking place at the historic Old Royal Naval College, Greenwich, this massively anticipated event is set to bring Solomun’s signature deep and emotive sound to this breathtaking venue, in a London summer exclusive. Solomun will play a mammoth 5-hour set through his expansive record collection.
Old Royal Naval College, Greenwich Renowned for his ability to craft immersive musical journeys, Solomun has redefined the art of DJing. His “Solomun +1” residency at Pacha Ibiza has become legendary, prioritizing intimacy, connection, and storytelling through music. His performances transcend the typical DJ set, blending deep house, techno, and melodic elements into a transformative experience that resonates long after the final track.
For this special event, Solomun will bring his unparalleled energy and artistry to Labyrinth on the Thames, delivering a set that encapsulates his ethos: music that speaks to the soul. The night will be further elevated by world-class production, stunning visuals, and the immersive atmosphere that Labyrinth is renowned for.
Pre-sale tickets go on sale on February 7th at 10am GMT. Fans can sign up HERE.
The post Solomun To Headline London’s Newest Open-Air Series, ‘Labyrinth On The Thames’ appeared first on EDMTunes.
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Hoang Releases Emotionally Tugging Debut Album ‘Heartstrings’

Vancouver-born pianist and producer Hoang has finally unveiled his debut album, Heartstrings, out now via Lost In Dreams Records. This 10-track collection blends melodic bass and dance-pop, offering an intimate exploration of love, loss, and personal growth through Hoang’s signature sound. Get ready to have tissues at your side because this album will have you tearing in no time.
Heartstrings features a series of collaborations with notable artists. ‘Better Now,‘ created with Tampa-based producer VLCN and Los Angeles vocalist Casey Cook, explores finding positive outcomes even in difficult times. Cook’s emotive vocals soar over a rich arrangement of guitar-driven synths, delicate piano, strings, and a gentle melodic bassline, with VLCN adding his dynamic touch. VLCN expresses his excitement about the release, noting his long-standing friendship with Hoang and their plans to tour together.
The album showcases previously released singles like ‘Already Gone’ (with Danny Olson), the introspective ‘5 Years’ (featuring Dia Frampton), and the cinematic ‘Crashing Down’ (with raph), all praised for their honest storytelling and intricate production. Other collaborators include niko rain, CHENDA, Oliver The Kid, and Britt Lari, each contributing to the album’s emotional depth and sonic variety.
Heartstrings marks a defining moment for Hoang, showcasing his dedication to crafting music that resonates universally. Through intricate production and emotional storytelling, the album is a powerful statement, inviting listeners to embrace vulnerability and celebrate transformation.
To bring ‘Heartstrings’ to life, Hoang is set to embark on the album’s eponymous North American tour, with stops at renowned venues such as The Vermont Hollywood and Bowery Ballroom. He will Fans can expect an immersive experience that bridges the gap between his studio work and the raw energy of live performance. Complementing the release, Hoang will also unveil exclusive ‘Heartstrings’ jerseys as part of his commemorative merchandise collection.

The post Hoang Releases Emotionally Tugging Debut Album ‘Heartstrings’ appeared first on EDMTunes.
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Eric Prydz’s Holosphere 2.0 Residency At [UNVRS]

Ibiza, the island connected with electronic music and innovative ideas, is about to see a revolution in live entertainment. Eric Prydz’s Holosphere 2.0 will premiere this summer during an exclusive 14-week residency at [UNVRS], the most technologically advanced venue on the White Isle. Called “the biggest show production ever undertaken in Ibiza,” this innovative residency promises to alter what spectators anticipate from live music events. Insiders in the business refer to Prydz’s return to the field as not only a turning point for him but also a leap forward for worldwide audiovisual innovation with his fresh images, next-generation technologies, and larger-than-life concept.
What Makes Holosphere 2.0 Revolutionary?
Should the original Holosphere be regarded as innovative, Holosphere 2.0 is destined to be revolutionary.
1. A Larger- Than-Life System
Since it is far larger than its predecessor, the new sphere requires months of careful design, engineering, and construction. Its sheer enormity means it can only be hosted in facilities with modern infrastructure, which makes [UNVRS] especially suitable for its residency.
2. New Generation Animations and Graphics
Holosphere 2.0 boasts the brand-new original animation value of a feature film, comprising multidimensional layers of special translucent LED screens and 3D holographic effects Covering the interior, outside, and internal volume of the sphere, these advances provide a completely immersive experience whereby every position presents a different viewpoint. Imagine standing under a huge brilliant sphere vibrating with coordinated beats and multicolored images—an experience unlike anything else witnessed before.
3. immersive technology for audio
Apart from its visual ability, Holosphere 2.0 features next-generation audio technologies meant to surround guests in perfect acoustic environments. Whether stationed far back or dancing near the stage, Prydz’s trademark progressive house tracks will carry you into another world.
4. weekly Development
Unlike conventional residences, Prydz intends to innovate musically and visually each week of the 14-week run. Attending several gigs means that fans may come across completely varied setlists, animations, and interactive components, therefore assuring that no two performances are exactly like each other.

Why [UNVRS]?
One of the few permanent venues in the world able to hold such a bold show is [UNVRS]. Built with future-forward technology in mind, the arena features unmatched technological capacity that exactly complements Prydz’s vision.
Furthermore, the residency structure allows Prydz to interact with a large audience while preserving the vitality of a dance floor. Many admirers find Holosphere 2.0 especially enticing because of this mix of intimacy and spectacle.
Eric Prydz, the visionary behind Holosphere and the most cutting-edge show
Long praised for his ability to combine amazing visual narrative with complex soundscapes, Eric Prydz From his legendary EPIC (Eric Prydz In Concert) series to the original Holosphere, which debuted in 2019 at Tomorrowland, Prydz has regularly pushed the limit when it comes to combining artistry with technology. The first prototype of Holosphere was very spectacular—an eight-tonne floating globe hanging above festival attendees with immersive animations projected across its surface while Prydz performed inside. Tomorrowland needed such great engineering that it had to alter portions of its grounds to fit the construction. Sadly, the first sphere was destroyed by a stage collapse during just one performance, grieving viewers yearning for its resurrection.
Five years later, Prydz is back with Holosphere 2.0, a project born of unrelenting commitment and technical development. Yann Pissenem, owner, Founder, and CEO of The Night League and Ushuaïa Entertainment, says, ” Eric Prydz possesses an extraordinary vision and talent for crafting otherworldly experiences—pushing the boundaries of innovation with every show. “With Holosphere 2.0, he has reached an entirely new level, deftly mixing cutting-edge technology with an ambitious scale like never before. ”
Eric Prydz’s Holosphere 2.0 Residency At [UNVRS] poster The post Eric Prydz’s Holosphere 2.0 Residency At [UNVRS] appeared first on The Groove Cartel.
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Bayfront Park Fountain Returns to Life For Ultra

Incredible news just in time for Miami Music Week. The Bayfront Park fountain in Downtown Miami was brought back to life and it’s ready for Ultra Music Festival happening March 28-30, 2025. The official Bayfront Park social media recently posted the finished renovation of the fountain, including the new features.
Bayfront Park Fountain
According to the official social media of the park, the water feature returns after two decades, with a new redesign. The fountain now has over 500 lights, 800 jets and it can project images and videos on a central water screen. We know Ultra will take full advantage of this! Moreover, the renovation was estimated at $5.5 Million, with an operating cost of $20,000-$30,000 a month, according to Axion.
History
The fountain has been inactive longer than one would think. The original designer Japanese-American architect Isamu Noguchi created the blueprint for the fountain, opening in 1990. After a short-lived run, the fountain stayed closed fo a long time, only opening as a hot air balloon base in 2007. Now, we can enjoy the full glory of the state-of-the-art technology and architecture the fountain presents.
Ultra Music Festival
Ultra Music Festival is the premiere event in South Florida for EDM. With eight stages and multiple genres, the festival captives tens of thousands of attendees every year. It includes multiple stage takeovers by our favorite djs, top-notch production, and a week filled with music. Ultra is a staple in the industry with multiple events all around the world. The return of the fountain makes it an extra special edition. Furthermore, Music Week involves mutiple parties in eight days, including events at Factory Town, Club Space, multiple label hosted pool parties, radio shows, pop ups, and more. The official Resistance venue M2 is yet to announce its lineup for Music Week.
Tickets are still available here and are currently on Tier 4 pricing. They will most likely move onto the next Tier once Phase III of the lineup is revealed, what are you waiting for?

The post Bayfront Park Fountain Returns to Life For Ultra appeared first on EDMTunes.
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Beam Falls From Ceiling At Radius Chicago; Security Guard Fired

Radius Chicago is down bad. This past weekend a beam fell from their ceiling hurting 2 concertgoers. The 2 were hospitalized and are in good condition. On top of this, a video surfaced of the guard shoving a concert attendee into a door and kicking them while on the ground. Owners of the venue fired this guard.
During Levity’s performance, a wooden beam attached to the interior steel frame of Radius detached from the structure and fell on two concert attendees around 1:20 a.m. Saturday. A 29-year-old man sustained minor injuries to his neck and shoulders and was taken to Stroger Hospital in good condition. A 26-year-old woman was hit in the back of the head and began to bleed.
Videos surfaced of the security guard forcefully ejecting a person through the door. It is unclear what led to the person being forcibly removed from the premises. Radius released a statement about both incidents. Owner Nick Karounos opened Radius in 2019 as a 55,000 square foot music venue in a former steel factory just west of the Chicago River. The venue has a capacity of almost 4,000 people.
The post Beam Falls From Ceiling At Radius Chicago; Security Guard Fired appeared first on EDMTunes.
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Sounds Good Festival Unveils A Star Studded Line-Up Headlined by Kevin de Vries

Indian underground patrons, brace yourselves to witness the line-up of the year (till now)! The trailblazing return of an iconic entity in the country’s underground music territory is on the cards. Sounds Good by sLick!, India’s dominant name in electronic music and live entertainment, is thrilled to announce the debut edition of the Sounds Good Lifestyle and Music Festival 2025. A start studded roster will descend to Mumbai on the 15th & 16th of February at its epochal NESCO Center.

Sounds Good will be characterized by 3 immersive stages: the Main Stage, the Vendetta Stage and the House Stage. These are set to grace host to a congregation of more than 30 artists spanning across the weekend. The first-of-its-kind festival promises an extraordinary blend of music, lifestyle, and culinary experiences. With a lineup that pushes boundaries and sets trends, attendees can expect a musical journey like no other.
Kevin De Vries will be returning to the Indian shores after a hiatus of 5 years exclusively at SGF. The Afterlife sensation has been on an astronomical ascent with performances laced around the globe & major festivals in recent years. The ‘Dance with Me’ & ‘Metro'(with Mau P) hitmaker has been part of an impressive spree that range across the stages of Tomorrowland, Coachella, EDC Las Vegas, Awakenings & Time Warp. Kevin’s sets decipher the singular energy of his own music into extended journeys.

The line-up also oversees the presence of Shimza. A pivotal torchbearer of afro-house music across the globe, the South African prodigy needs no introduction for fans of the genre. Afro admirers will also be excited about the presence of Kilimanjaro. Progressive house titans Jeremy Olander, Simon Doty and Qrion are set to return to their ever swelling list of admirers in the country. Techno monarch Patrice Baumel has carved a niche of his own through his haunting yet groovy basslines & synths. He is poised to emerge at SGF along with the likes of Arapu, FJAAK, Oguz, Boston 168, Lauren Mia & others. Also set to appear the first time in the country are Elli Acula & Priku.

SGF is also set to witness the Indian Anjunadeep heavyweight Anyasa for an exclusive B2B with the legendary Ankytrixx. The techno pioneer of the country, Arjun Vagale will be on deck duties as well. Bullzeye & Dotdat are masters of their craft that is sure to reverberate across the corridors of the festival. The full line-up could be accessed here.

Sounds Good, formerly known as sLick, has undergone a dynamic rebranding to reflect its expanded vision. Under the leadership of Prateek Pandey, the founder of Sounds Good, it has introduced globally acclaimed platforms like DGTL, Boiler Room & Elrow to India. It has also been the driving force behind debut performances of iconic artists such as Solomun, Tale of Us, Charlotte De Witte and Peggy Gou. While music remains their forte, the rebranding allows to step into the realms of lifestyle and diverse event experiences. This evolution is aimed at catering to a wider audience across all age groups, blending music with lifestyle in innovative ways.
Tickets for witnessing this extraordinary spectacle could be secured here.
A congregation not to be ignored. A line-up not to be missed!

The post Sounds Good Festival Unveils A Star Studded Line-Up Headlined by Kevin de Vries appeared first on EDMTunes.
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Sasha & Marsh Collaborate On New Single, ‘Dead Synthy’

First premiered during their Anjunadeep Miami b2b set in 2024, ‘Dead Synthy’ marks the first collaboration between progressive house legends Sasha and Marsh. This track is a quintessential slice of progressive house magic. Its calm, inviting atmosphere feels like a journey through little fluffy clouds, weaving in touches of electro and ethereal, angelic vocals. With golden-age vibes that nod to the roots of the genre, ‘Dead Synthy’ is as timeless as it is fresh.
Marsh himself remembers the instance the song was born:
For Marsh, 2024 was a landmark year. He delivered a steady stream of standout releases and maintained a packed global tour schedule, which included the launch of his ARIA hybrid showcase. This showcase saw him sell out London’s Outernet and close Red Rocks under a blizzard. Marsh starts 2025 on a high note, bringing his signature All Night Long show to Fabric for the second year in a row on February 7th.

As for Sasha, his legacy as one of the world’s most celebrated DJs continues to evolve. Known for blending house, techno, and trance into his sets, he’s also made waves beyond the club scene. His score for the Da Vinci interactive exhibition, which premiered in Berlin in 2022, won multiple awards, including Best Immersive Experience (Art Directors Club, 2022) and Best Experimental Design (Creative Pool Awards, 2022).
Together, Sasha and Marsh have created something truly special with ‘Dead Synthy’ – a track that’s sure to resonate far beyond the dancefloor.

Sasha x Marsh ‘Dead Synthy‘ is out today on Anjunadeep.
The post Sasha & Marsh Collaborate On New Single, ‘Dead Synthy’ appeared first on EDMTunes.
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Max Styler’s Don’t Stop EP Delivers a Trio of Dancefloor Anthems

California-based producer and DJ Max Styler returns with his latest offering, the Don’t Stop EP, released on January 31, 2025, via Diynamic Music. This electrifying collection of three tracks showcases Styler’s adeptness at blending high-energy beats with melodic elements, solidifying his place in the electronic music scene.
Track-by-Track Review
1. Let Em’ Know
The EP opens with ‘Let Em’ Know‘ a track that takes listeners on a journey with its mysterious groove. The song gradually builds tension through a pulsating bassline and intricate percussion, leading to an explosive climax that sets the stage for the rest of the EP. This opener highlights Styler’s ability to craft suspenseful arrangements that pay off in a big way.
2. Don’t Stop
The title track, ‘Don’t Stop‘ shifts gears with a smooth, grooving bassline that hypnotizes with its deep rhythm. The combination of the bassline and alluring female vocals creates a trance-like state, keeping listeners locked into the track’s relentless groove. This song exemplifies Styler’s skill in blending melodic elements with dancefloor-ready beats.
3. Inferno
Closing out the EP, ‘Inferno‘ brings back the drive, reigniting the energy that runs through the entire collection. This high-octane track ensures the EP’s pulsating vibe lasts long after the music stops, leaving listeners craving more. ‘Inferno’ serves as a powerful conclusion, highlighting Styler’s knack for creating tracks that resonate with both club-goers and casual listeners alike.
Final Thoughts
Max Styler’s Don’t Stop EP is a compelling showcase of his production versatility and ability to craft tracks that captivate and energize. Each song offers a unique experience while maintaining a cohesive sound that ties the EP together. Whether you’re a longtime fan or new to Styler’s work, this EP is a must-listen for anyone seeking fresh, dynamic electronic music.
Listen to Max Styler’s Don’t Stop EP below:
The post Max Styler’s Don’t Stop EP Delivers a Trio of Dancefloor Anthems appeared first on EDMTunes.
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Flux Pavilion and Doctor P Announce First Collaborative Album

Flux Pavilion and Doctor P have never been ones to ask for permission. As pioneers of the modern dubstep sound, they've spent over a decade bending bass to their will, shaping a movement with anthems that still detonate underground venues and major festivals alike.
The producers have now announced their first full-length studio album as a duo, and if its lead single "WDGAF" is any indication, they're making it clear that they’re here to do things their way.
"The central thesis of the album is not caring what people think of the music, just making it," Doctor P said in a statement.
Few artists have left an imprint on the dubstep genre as deep as Flux Pavilion and Doctor P, who started out as childhood friends before launching the influential Circus Records. Tracks like "Bass Cannon" and "Sweet Shop" helped cement their status as icons, and after years of solo creative endeavor, they’re reuniting for a rare album that promises to bring the genre back to its rawest form.
Doctor P (L) and Flux Pavilion (R).Fiona Garden
The rollout of the self-titled album will see a steady drip of new music, with one single dropping each week leading up to the full release on March 27th, EDM.com has learned.
The lead single, "WDGAF" is a track that reaffirms everything fans love about the duo: unapologetic lyricism, unrelenting bass and a crushing kick-snare rhythm. It's dubstep at its purest—no frills, no compromises, just unfiltered energy.
"A timeless statement that echoes through the ages," Flux Pavilion said. of the track, which releases Friday, February 7th. "Sometimes I think it's good to get to the heart of something as quickly as possible. This track was the first one we wrote and set the tone for the rest of the album."
With a highly anticipated set at Ultra Music Festival on March 30th, Flux Pavilion and Doctor P are gearing up to remind the world why their sound has endured the test of time. Until then, you can pre-save the duo's self-titled album here.
View the original article to see embedded media.
Follow Flux Pavilion:
X: x.com/Fluxpavilion
Instagram: instagram.com/fluxpavilion
TikTok: tiktok.com/@fluxpavilionofficial
Facebook: facebook.com/fluxpavilion
Spotify: spoti.fi/37dBZ1f
Follow Doctor P:
X: x.com/doctorpcircus
Instagram: instagram.com/doctorpcircus
Facebook: facebook.com/doctorpcircus
Spotify: spoti.fi/2J6euyv
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“Let’s not confuse what real techno is:” Nicole Moudaber talks the evolution of techno music, her diverse background & more aboard Groove Cruise 2025

Who says techno music can’t be tropical? Certainly not techno queen Nicole Moudaber, who brought her percussive, loopy style of techno to the stages of Groove Cruise 2025. EDMHouseNetwork caught up with the techno icon about the evolving state of the genre, her affinity for racing, and more onboard Groove Cruise 2025. Read the full interview below:
Q1: “Just to start off, what’s the unique experience of playing at Groove Cruise compared to your typical festival? Your Tomorrowland, or where you got to play with Carl Cox earlier this year? Playing those sets in a typical club or festival setting?”
Moudaber: “It’s a city on the sea. It’s almost like Vegas on water, so I don’t know. I’m just gonna check it out later, today and tomorrow and get a feel for the place. I’m not gonna probably play my typical kind of techno on this boat. I’m just gonna keep it a bit groovier and sexier. And a bit lighter.”
Q2: “How does the atmosphere kind of change your set in that sense? Compared to when you’re playing in a club setting, or playing in a London or Ibiza nightclub, compared to playing on a cruise ship. How does that kind of change your set selection and building process?”
Moudaber: “The music that I’m gonna play is the same. It’s just the way that I’m gonna put it together, really. So, yeah, if I know if I’m gonna play tech house, I will be going through certain records. I’m gonna be doing a back to back with Layton [Giordani], and so that’s going to be a bit of melodic techno, and I have all the ammunition. I just need to put it together basically, and for it to make sense.”
Q3: “How incredible has it been to kind of see a resurgence in techno this year? Whether it’s Anyma playing in The [Las Vegas] Sphere with melodic techno or even, you know, with women? With Sara Landry being the first hard techno artist on the Tomorrowland mainstage, and you this year with the back-to-backs with Carl Cox killing it in your own right. How great has it been to kind of see techno get a little bit more of that mainstream attention?”
Moudaber: “It’s got so many different styles. Now, let’s not confuse what real techno is. What I played with Carl Cox at EDC is like the real underground techno. Melodic techno, it was definitely Prague, what we know as Prague. And what Sara is playing is pretty much hard pop, probably. Which is good in its own right. And I love to listen to it, and she’s excellent. I love that girl. But, yeah, let’s not confuse techno with the other stuff, because they’re not the same.”
Q4: “How great has it been to kind of in your own right, preserve that true style of techno. You know, with these other genres of techno kind of popping up, being able to really represent that old style that really still rings true.”
Moudaber: “It’s not really old, because there are tons of new records like that at the moment with incredible labels releasing that sort of music. It’s just for me, I prefer that, you know, the big kick, kick drums and the loopy kind of hypnotic, heady kind of techno. You know, not the massive drops and the fluffy stuff. You know, we need to keep it serious a little bit in techno.”
Q5: “I know the only thing that rivals your passion for techno music is racing. How is it kind of similar, you know, the thrill of being behind the wheel on a race track and being, you know, up on the decks in front of 1000s, 10s of 1000s of people?”
Moudaber: “It’s actually the same kind of adrenaline rush when I’m on the wheels. Probably, it’s more intense than being on stage, being on the wheels, going at 300 miles an hour, you know? Yeah, you can’t beat that. That is the ultimate rush. But, yeah, obviously being on stage with all this energy coming back at you, it’s just an incredible feeling and that’s what I live for, really.”
Q6: “Just to finish off, also, I know you come from a lot of diverse backgrounds. Growing up in Nigeria, Lebanon, and now being based in London, how do all those unique backgrounds really show in your style of music and kind of blend in the influences in your production?”
Moudaber: “It has influenced me a lot, especially my childhood in Nigeria, where I grew up with a lot of rhythmic and percussions and all about beats and grooves. You can hear it in my production. [It’s] Very percussive in a way, and it’s got funk and soul in it. Even if it’s like the hardest techno that I play, it’s always soulful in a way, and it’s got that sexiness in it. You know, even if I’m playing at 145 BPM, you can still dance to it, so it does reflect in my music. And I’m quite lucky to have experienced all sides of these worlds, and I’m still learning wherever I go all over the world. I absorb their culture, and I try to, I don’t even try. It just comes naturally to me, and I hear it.”
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"Biggest Show Production Ever Undertaken In Ibiza": Eric Prydz Reveals Holosphere 2.0 Residency

Eric Prydz has announced a "dramatically evolved version" of his acclaimed Holosphere production, which will debut as part of an exclusive residency at Ibiza's tech-forward venue, [UNVRS].
Revered for pushing the boundaries of audiovisual experiences, the Swedish electronic music icon is set to unveil an ambitious update of the groundbreaking concept, which he first introduced in 2019. The arena-scale Holosphere 2.0 show will be the "biggest show production ever undertaken in Ibiza," according to a press release shared with EDM.com.
Holosphere made headlines when it debuted at Tomorrowland, featuring an eight-ton, two-story-tall sphere so massive that the festival had to redesign its grounds to fit it. Despite its awe-inspiring impact, the original Holosphere was tragically crushed when a stage collapsed, leaving fans with just one chance to witness its spectacle. Now, after five years of technological advancements and meticulous design, Holosphere 2.0 promises to surpass its predecessor in every way.
The new version isn't just bigger—it's smarter. Holosphere 2.0 incorporates a "feature film's worth" of original animations, 3D holographic effects and custom transparent LED layers covering its interior, exterior and even the internal volume of the sphere.
Designed to create multidimensional visual experiences that evolve in real-time with his music, the immersive production is "a world first," according to [UNVRS]. The venue is said to be one of the few worldwide capable of supporting the show's scale and technical demands.
"With Holosphere 2.0, [Prydz] has reached an entirely new level, seamlessly blending cutting-edge technology with an ambitious scale like never before," said Yann Pissenem, Founder and CEO of The Night League and Ushuaïa Entertainment. "I can't wait to present this new chapter of Eric Prydz at [UNVRS], where audiences will witness something truly unprecedented—transforming this residency into a one-of-a-kind future-forward show that will redefine the global audiovisual experience in 2025."
Prydz, meanwhile, called the residency "our most technically advanced show ever attempted." It is scheduled to kick off at [UNVRS] June 2nd and run for 14 weeks until its finale on September 1st.
You can watch the trailer below and purchase tickets here.
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IIMW 2025: India’s First-Ever Global Music Trade Festival Arrives in Goa

The India International Music Week (IIMW) 2025, an initiative by the India Music Exchange (IMX), is set to take place in Goa from February 4-6. This first-of-its-kind global music trade conference and showcase festival will feature artists and industry professionals from over 30 countries spanning over various genres such as Electronic, R&B, Indie and Drum n Bass.
This inaugural event aims to bridge India’s music industry with global markets, fostering collaboration among artists, record labels, event promoters, and music enthusiasts. The 3 day running event will feature live performances, panel discussions, networking sessions and one of a kind opportunity to connect with like minded people.
The festival kicks off on February 4 with the IIMW 2025 Curtain Raiser at Rockpool (W Hotel, Goa), featuring performances by Asian Electronica pioneer Talvin Singh, Shillong-based Blues/R&B artist Tipriti Kharbangar, and Goa’s own Roz Angon.
From February 5-6, the IIMW trade conference at The Westin Goa, Anjuna will offer insightful discussions on India’s evolving music scene, open to artists, industry professionals, and fans alike.
Evenings will transform into a musical spectacle, with the IIMW Music Showcase Festival taking center stage at Echo, Vagator from 6 PM onwards. Emerging and established artists from around the world will perform, followed by intimate late-night showcases at Vamos, Vagator, offering a personal and immersive experience.
Artist Line-up for IIMW 2025
This year’s lineup features a diverse mix of Indian and international talent, including:
India: Anoushka Maskey, Anushka, Carissa, Farhan Rehman, Hamza Rahimtula & Rajasthan Folkstars, Jatayu, Madboy/Mink, Nate08 Live, Ox7gen, Rafiki, Shanka Tribe, Shantam, Stalvart John, Tsumyoki with Goa Trap Culture
International: Bratri (Czech Republic), Kimyan Law (Austria), Mother’s Cake (Austria), Naaz (Netherlands), Rosa Cecilia (England), Tracy De Sa (France)
IIMW 2025 goes beyond performances—it’s a platform for industry growth, collaboration, and global exchange. Whether you’re an artist, professional, or music lover, this event promises an unforgettable cultural and musical experience.
Grab your tickets here: https://insider.in/india-international-music-week-echo-feb4-2025/event
For more details, contact [email protected].
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UNVRS Ibiza Announces Eric Prydz HOLOSPHERE 2.0 Residency

Eric Prydz is taking his groundbreaking HOLOSPHERE show to the next level with the announcement of HOLOSPHERE 2.0, set to debut during his brand-new Ibiza residency at UNVRS. This marks a historic moment for the Swedish visionary, as he brings an upgraded version of his mind-blowing visual experience to the island’s nightlife scene.
Set to take place at UNVRS, a brand-new mega club opening in Ibiza, this residency will be the exclusive home of HOLOSPHERE 2.0—a reimagined and even more immersive evolution of Prydz’s iconic holographic spectacle. Known for pushing the boundaries of audiovisual technology, Prydz promises a next-level experience, blending cutting-edge 3D visuals with his signature progressive and techno soundscapes.
The original HOLOSPHERE made waves at Tomorrowland, where its massive, sphere-shaped LED structure created an unmatched sensory experience. Prydz performed inside an eight-tonne sphere that stood over two stories tall—so massive that Tomorrowland had to redesign its festival grounds to accommodate it. This summer, Prydz has announced that he will bring an even larger Holosphere show to Ibiza’s [UNVRS], staging the island’s biggest production, and most high-tech residency to date.  
Prydz’s team has been working for over five years to bring Holosphere back, but, as with every new iteration of an Eric Prydz live show, its return depended on ensuring that technology had advanced enough to support the vision of a completely redesigned sphere and an improved concert concept. The first Holosphere, which took two years to build, was tragically crushed when a stage collapsed—after only ever being seen once. Now, Holosphere 2.0 is set to go beyond anything previously imagined.
Thanks to advancements in technology, Holosphere 2.0 will be vastly different from its predecessor—not only larger in size but also superior in every aspect. The iconic concept of Prydz performing inside an enormous floating sphere, requiring months of physical construction and engineering, will be elevated by a feature-film’s worth of brand-new original animation, 3D holographic effects, and never-before-seen multidimensional layers of custom transparent LED covering the interior, exterior, and internal volume of the sphere. This truly is a world first—an absolutely revolutionary spectacle.
[UNVRS] is one of the only permanent venues in the world capable of housing Holosphere’s expanded form factor on a weekly basis, which is astonishing and underscores the venue’s forward-thinking and technical innovation. For Prydz, it was crucial that the show be performed in front of a large audience, with the freedom of a dancefloor experience. The residency format will allow Prydz to experiment week by week, both musically and visually.
Eric Prydz’s Holosphere 2.0 residency at [UNVRS] kicks off on 2nd June and runs for 14 weeks until the closing event on 1st September. Tickets and updates are available at unvrs.com.
The post UNVRS Ibiza Announces Eric Prydz HOLOSPHERE 2.0 Residency appeared first on EDMTunes.
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tesh Unveils Lead Single ‘FINGERTIPS’ From Forthcoming Debut EP ‘CYCLES + REPETITIONS’

Visionary electronic artist tesh has already begun to make a name for himself, creating innovative electronic music, fusing elements of house, UK garage, and techno together, that moves effortlessly between gentle atmospherics and powerful club tracks. He’s also garnered support from influential platforms like Spotify’s Fresh Finds Dance (cover), Fresh Finds, and Chilltronics, while earning airtime on Sirius XM Chill, BBC Radio 1, and Zane Lowe.
He’s set to make a 2025 his biggest year to date with the release of his debut EP ‘CYCLES + REPETITIONS’ via San Holo’s bitbird imprint. But, before we can get to that, tesh is building the anticipation by releasing the lead single titled, ‘FINGERTIPS’.
‘FINGERTIPS’ perfectly showcases that signature sound that we described previously. For this single, he merges house and indie rock influences to craft a vivid reflection on memory, longing, and physical connection. With a pulsing rhythm and bittersweet lyrics—”feel you on my fingertips, love it when the feeling hits”—the track encapsulates the fleeting nature of intimacy, balancing sensuality with introspection.
“FINGERTIPS is a snapshot of bittersweet nostalgia. The song unfolds as part of a larger theatrical narrative, weaving through my personal journey of love, loss, and emotional duality. It explores those tender moments of intimacy that live in our memory – moments that carry both the warmth of happiness and the ache of knowing they’ve passed. FINGERTIPS reflects on the fleeting nature of beautiful things, and how their temporary existence makes them all the more precious.” – tesh
Set against the backdrop of Oroboro – a fictional sprawling dystopian metropolis that fuses the frenetic energy of London, NYC, and LA – ‘CYCLES + REPETITIONS’ promises to weave a dark narrative through the lens of its protagonist. Drawing from a rich palette of electronic influences, the EP chronicles a deeply personal journey through love, loss, addiction, and societal decay.
‘FINGERTIPS’ serves as both a compelling introduction and a defining moment in tesh’s 2025 vision, showcasing his ability to navigate multiple genres while crafting a cohesive and thought-provoking experience
T
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