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The summit aims to bridge generational gaps, delving into four decades of electronic music, looking for the insights, values, and experiences that transcend eras, to inform the future of our industry and scene. IMS Ibiza offers an ambitious and innovative program—a true exchange of ideas, wisdom, and creativity across generations.
The theme of IMS Ibiza 2025 is INTERGENERATIONAL EXCHANGE, deepening the connection between different generations of the electronic music community, from artists and industry leaders to entrepreneurs, pioneers, and visionary thinkers. The summit will unite seasoned experts and veterans with young innovators of today, fostering collaboration between generations and merging wisdom and perspective with bold and disruptive ideas.
Journeying through four ground-breaking decades of Drum ‘n’ Bass, from its humble jungle roots in the UK to its global influence today, FOUR DECADES OF JUNGLE & DRUM ‘N’ BASS: THE MCS TO THE OGS TO THE NEW BREED will explore the genre’s profound cultural impact as both a movement and a community rooted in British multiculturalism. Shifting between the underground and the mainstream to uncover key insights into its enduring legacy as IMS looks to the future of this iconic genre.
Delving into Spain’s vibrant electronic music scene, MARKET FOCUS: SPAIN – FROM FIESTAS TO ITS FUTURE explores the country’s deep musical heritage, its profound impact on international trends, and its pivotal role in cultivating the next wave of talent, festivals, and creativity. With insights from key industry players, it highlights the opportunities and challenges shaping the future of one of the world’s most influential music markets.
As nightlife reaches a critical crossroads shaped by economic pressures, regulatory challenges, and shifting cultural dynamics, THE FUTURE OF GLOBAL NIGHTLIFE: HOW TO REBUILD A SUSTAINABLE ECO-SYSTEM confronts how these mounting threats make its future increasingly uncertain. This session will explore how the industry can adapt and thrive in the face of these threats to ensure that nightlife remains a transformative cultural experience that inspires and connects generations to come.
Hearing loss and tinnitus are on the rise in our culture, with many high-profile artists now using hearing aids – a topic still shrouded in taboo. THE SILENT EPIDEMIC: TINNITUS, HEARING LOSS & LISTENING RESPONSIBLY will highlight the importance of listening responsibly, using ear protection, and addressing the stigma that prevents many from speaking out. It will explore how untreated hearing issues can lead to Alzheimer’s and why it’s time to prioritize long-term health.
AFRICA IS NOT A COUNTRY: THE GROWTH OF ELECTRONIC MUSIC ACROSS AFRICA is an in-depth exploration of Africa’s evolving scenes, diving into the continent’s increasing potential in electronic music, the nuances involved between countries, and an exploration of how to engage ethically and sustainably with the markets. It will also focus on Africa’s broader cultural influence through guided listening, deep discussions, and genre storytelling.
The landscape for record labels has shifted. More and more artists favour releasing on their own labels, or only agreeing to short term licenses, often shunning the major label route while embracing major label distribution options that have swallowed up most large indie distro routes. SHAPING THE FUTURE OF DANCE & ELECTRONIC LABELS IN 2025: FROM DIY TO DISORDER TO DISTRIBUTION will enlist leading label visionaries, distributors, and managers to sketch out the future of the label – the lifeblood of our scene.
The USA is undergoing a rapid evolution; shifts in the ever-growing electronic music market, changes within performing rights organizations, and a shifting political landscape. These developments are setting the stage for disruption in license collection and distribution across North America. What does the next five to ten years look like for live performance revenue streams in one of the world’s most influential music markets? In GET PLAYED, GET PAID: USA THE FINAL FRONTIER HOSTED BY AFEM: ASSOCIATION FOR ELECTRONIC MUSIC we will examine how the industry can set the agenda, and create a fairer rights distribution ecosystem for all.
MENTOR MATCHMAKING: EMPOWERING THE NEXT GENERATION will connect the next generation of industry leaders directly with the industry’s most respected figures, including managers, agents, promoters, bookers, and label execs. Young talents aged 27 and under can apply for a ten-minute one-on-one session with their chosen expert to seek advice, share ideas, or discuss their aspirations. One standout mentee will receive ongoing mentorship after the summit.
Across three days, IMS Ibiza will unite innovators, creators, visionaries, and disruptors from across the global electronic music ecosystem all in one destination, presenting opportunities for delegates to explore best practices and innovation in music, technology, diversity and inclusion, education, and health and wellness. Co-hosted by leading BBC Radio 1 broadcasters Pete Tong MBE and Jaguar, the summit will deconstruct the topics and issues that really matter to the global electronic music community.
The development of the summit programming is overseen by the IMS Ibiza curation committee, who play a vital role in shaping the agenda of the event, ensuring that it remains relevant, engaging, and representative of the dynamic music industry landscape. The curation committee comprises (A-Z): Ben Turner (Co-Founder, IMS), Blaise DeAngelo (Co-Founder, The Art of Areté), Chloe Lula (Senior Producer, Resident Advisor), DannyWhittle (Co-Founder, IMS), Farah Nanji (Artist/Curation Manager, N1NJA/IMS), Grace Ladoja MBE (Co-Founder & CEO, Metallic Inc.), Jaguar (Co-Host/Broadcaster, IMS/BBC Radio One), Katie Sallows (General Manager, IMS), Kikelomo Oludemi (Artist), Pete Tong (Co-Founder/Broadcaster, IMS/BBC Radio One), Silvia Montello (CEO, Voicebox Consulting), Sofia Ilyas (Chief Community Officer, Beatport), Sophia Kearney (Co-Founder, HE.SHE.THEY., Steven Braines (Co-Founder, HE.SHE.THEY.) and Tracie Storey aka Tensuhi (Vibrational Sound Practitioner, Qigong Teacher & Sound Designer).
For the second year, the summit will return to the Mondrian Ibiza and Hyde Ibiza hotels, located in the tranquil and idyllic Cala Llonga. Sharing facilities, bars, restaurants, and pool areas with direct access to the beach, both venues will be privatized exclusively for attending delegates to create an intimate, immersive setting for networking and presenting the summit agenda. Just 10 minutes by car or 15 minutes by ferry from Ibiza Town, the new summit venue is an inspiring destination that will unite the global electronic music community. Overlooking the crystal-clear waters of the Mediterranean Sea, and framed by pine-clad hills, this picturesque bay on the east coast of the island enjoys breathtaking sunrises and is perfectly placed for walks in nature to balance out the dynamic summit schedule.
IMS Ibiza is proud to continue its collaboration with climate action partner EarthPercent to unleash the power of music in service of the planet. 1% of all IMS Ibiza 2024 delegate badge purchases will be donated to the charity. In addition, the levy will be applied to all event sponsors. Co-founded by Brian Eno, EarthPercent identifies and supports some of the most impactful organisations addressing the climate and biodiversity emergency. Every grant they make is vetted by their world-leading Expert Advisory Panel – an international multidisciplinary, multi-generational, and diverse group of climate scientists, academic researchers, economists, climate communicators, youth activists, community organisers, and policymakers.
IMS Ibiza delegates will also be able to experience some of the hottest parties and events on the island, including the iconic IMS Dalt Vila closing celebration. Delegate Badges for IMS Ibiza are available to purchase now on the IMS website including concessions for Students, Under 27s, Ibiza Residents, and delegates using sustainable travel to arrive in Ibiza. Hotel accommodation at Mondrian Ibiza and Hyde Ibiza is also available to purchase, with a limited number of subsidised hotel rooms at Hyde Ibiza available for delegates who are eligible for Student or Under 27 badges, priced at €95 per person, per night, based on double occupancy. Contact [email protected] for more information.
Purchase tickets via here
The post IMS Ibiza returns for 2025 appeared first on Decoded Magazine.
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The first phase one roster for the Northeast’s leading immersive electronic music festival, Elements Music & Arts Festival, has been unveiled for its 2025 edition coming to Long Pond, Pennsylvania August 8–10. More than just a celebration, Elements is a limitless field of creativity, connection, and adventure where music, art, camping, and community naturally interact. Designed to pique interest and inspire awe, the festival provides a special refuge for inquiry and self-expression, therefore uniting like-minded people in a vivid celebration of freedom and imagination.
Against the backdrop of its magical, art-filled forest, spectators can expect the trademark mix of top-tier electronic talent that Elements Festival is renowned for, providing a wide spectrum of sounds and experiences that fit any taste.
Elements Music & Arts Festival lineup 2025
Headliners for the 2025 edition include celebrated chart-topping superstar Illenium, world-renowned electronic musician deadmau5, electronic visionary Rezz, Deadbeats label heads Zeds Dead, high priestess of hard techno Sara Landry, and energetic performance duo Sofi Tukker (DJ Set), among some of the most notable names in dance music.
The loaded billing spreads with the darker sonics of forward-thinking producer Liquid Stranger, the return of renowned house act Claude von Stroke, trip-hop pioneer Tipper, UK drum & bass flag bearers Chase & Status, and the bigger-than-life DJ Diesel aka Shaquille O’Neal.
Performances from in-demand collaborator Wax Motif, Dutch sensation Mau P, techno powerhouse Eli Brown, respected house production duo SIDEPIECE, piano-house icon LP Giobbi, techno new school selector Layton Giordani, and fast riser Max Styler will thrill house and techno fans.
Among the phase one slate are hard-hitting sonics including acts like rock-influenced dance pioneers Sullivan King B2B, meteoric electronic acts Levity and Tape B who will perform individual sets in addition to a B2B, drum & bass producer Reaper, and rising Toronto bass DJ and producer Canabliss.
The four stages
The four main stages of Elements Festival reflect the natural forces it honors. While Earth turns into a strange dreamscape of shimmering trees, cosmic mushrooms, and floating jellyfish, the Fire stage humbs with high-energy performances for thrill seekers. While Water becomes a sunlit playground with acrobats, playful characters, and festival attendees encouraged to embrace swimwear and delve into an immersive 360° stage experience, Air is a hidden sanctuary of sound tucked deep among the forests.
Elements Music & Arts Festival Thriving at its site at Long Pond in the woodlands close to the racecourse with an on-site solar farm to drive sustainability projects, Elements has become a unique multi-day camping event. Along with a Health & Wellness lineup including yoga, sound baths, aromatherapy, dance, comedy, and multidisciplinary workshops, fans can explore art cars reminiscent of Burning Man and rows of guest-created theme camps known as Vibe Villages among the grounds, large-scale art installations, interactive performances, and 3D video projection mapping.
Co-founder Brett Herman of Elements notes:
Village and sustainibility
One of the most unusual aspects of Elements is its participatory culture. From fans organizing interactive camps in the Vibe Villages, to curating pop-up events along the pathways and generating surprise happenings in the woods, the festival invites, embraces, and supports its festival family that strives to BE the Elements.
Designed to elevate underprivileged voices, Elements’ community spirit is further anchored on the Art of Change program. The program’s emphasis in 2024 was environmental change. Applications for the 2025 Art of Change program will open closer to the event; those for Vibe Villages, artists, and performers are now live.
Along with an all-new 2025 option called the “Entourage Pass,” which gives backstage access and more, Tier Three GA and VIP passes are available on the official Elements Festival website. Among the other lodging options available to attendees are car camping, glamping, local motels, ready-to-go RVs, or tents. For those who would rather not drive, shuttle passes—which give transportation from big Northeast cities—also abound.
The post Elements Music & Arts Festival Announces Lineup for 2025 appeared first on The Groove Cartel.
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2025 will see Dave Beer release his debut album under his own name, preceded by a number of top-notch singles. First up comes ‘For The Beloved’, which features some amazing soulful vocals from Chicago house music legend Robert Owens, recorded when he stayed over in Leeds.
“‘For The Beloved’ is dedicated to all of my beloved and anyone who’s ever felt the love that comes from the dancefloor and behind the decks of Back To Basics,” Dave says. “It’s dedicated to those who you truly treasure and who you have real gratitude for for having them in your lives, and friends and family that make you feel blessed. Thank you, I love you.”
‘For The Beloved’ is the first single from Dave’s forthcoming album, ‘What Goes Around’, and is being followed by some remixes by none other than US House god Todd Terry, a Back To Basics regular over the years.
“I’m at my happiest when I’m making music, and it feels right to be getting this collection out now — the first music I’ve ever released under my own name,” Dave says. “For me, it’s essential that you make music from the heart, for the love of making music and people getting together.”
‘For The Beloved’ in its various iterations is a fine way to kick off the 2025 album campaign from a bona fide legend in the game.
A teenage punk rocker, Dave Beer began following The Clash and The Cure around until he fell into jobs as roadie and tour manager for various 80s indie bands. When acid house arrived in the late 1980s, Dave threw himself head-first into the movement and at the turn of the 90s started a club night with best friend Alistair Cook in their home city of Leeds in the north of England. With its punk rock attitude, Back To Basics was an instant success. Tragically, Alistair was killed in a car crash in March 1993 but Dave decided to carry the club night forwards in his great pal’s memory.
It was the friendly, community feeling and hedonistic aesthetic that made Basics one of the success stories of the 1990s. Musically, the award-winning nights were on-point: they gave UK debuts to US DJs such as Danny Tenaglia, Derrick Carter and Francois K, early opportunities to Daft Punk, Basement Jaxx and Groove Armada, and helped nurture resident DJs such as Ralph Lawson, Denney, Paul Woolford, Tristan Da Cunha, James Holroyd, Huggy and Burnski. At the centre of the dancefloor madness was Dave Beer — the life and soul of the party, always thinking of others before himself.
Hosting a long-running party is a talent in itself. What a lot of people haven’t realised is that Dave also became a great DJ himself, an artist (the edgy Basics flyers were all his own work), a surrealist painter of some repute, and has dabbled in producing music himself over the years — releasing tracks under a number of different pseudonyms like The God Squad, Out Of Order, and, more recently, The Blessed. He also remixed giants such as David Bowie and the Rolling Stones over the years, as well as Afrika Bambaataa and Manchester indie band Intastella.
As Back To Basics’s 33rd birthday approached, Dave was diagnosed with cancer. While the cancer was cut out during an operation in early November, Dave had to be taken to intensive care to have a blood transfusion, but he ultimately rallied — it’s not the first time he’s dealt so closely with death. Now recuperated, it’s time to refocus on his music, putting himself squarely in the limelight to receive the plaudits he so heartily deserves.
As he convalesced in the hospital, Dave was truly moved by the literally thousands of well-wishers who sent him messages. “I’ve been blown away by the love, and empowered by it,” he says. “This is the real me now. It’s a new chapter, I’ve been feeling enlightened by it all. I’m a different person now — stripped bare, it’s the true me. As my new monk friend says: ’It’s only when the tide goes out that people can see you’re swimming naked.’
Without the mask of intoxication, Dave is relishing this new chapter of his eventful life. “It’s taken all this time for me to escape being the prisoner of my own identity,” he says. “It’s hard to be taken seriously with my music, but I think the tunes speak for themselves. The album is honest in its innocence.”
Jack Said What co-founder Irvine Welsh has known Dave since the 90s, while other JSW cohorts Steve Mac and Carl Loben have also had long associations with the Basics man. When Dave said he wanted to send his album over, it was received at JSW HQ with some trepidation — in case it wasn’t up to scratch — but the guys needn’t have worried. The album is called ‘What Goes Around’, and a nice circular element to the relationship came when Jack Said What and Back To Basics jointly hosted a takeover of the main dance tent at Mucky Weekender in September 2024. Marshall Jefferson headlined, while Dave, Ralph Lawson and the whole JSW crew made it a night to remember.
And now for the music. The first single ‘For The Beloved’ has several iterations and, a few weeks later, will be followed by several remixes by house music pioneer Todd Terry. It’s a corking first package, a fine way to kick off a priority album campaign for 2025.
One of dance music’s true characters, and a fighter, this music by Dave Beer demands to be heard. Proper underground house music with an acid house attitude, Jack Said What is delighted to welcome another legend into the fold.
Stream / Download new single here
The post ‘The King Of Clubs’ Dave Beer announces debut album appeared first on Decoded Magazine.
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Electronic music visionary Matteo Milleri revealed his intentions to wrap up his ground-breaking Genesys project with a third album. The news arrives as the artist finishes his ground-breaking residency at Las Vegas’ Sphere, where he created history as the first electronic music resident following events like U2 and Dead & Co.
The announcement signals a turning point for Milleri’s Anyma project, which has stretched the limits between music, technology, and visual art. Milleri, standing in his Los Angeles house with his VR helmet on, frankly discussed the future while looking over visual material for his Sphere performances—a four to five-hour daily process as he reviews about twenty test visuals broadcast straight to his gadget.
“Human Now,” a piece bringing full circle the story of Eva, the AI creature Milleri created as an NFT in 2021 with visual co-creative director Alessio De Vecchi, will be the cornerstone of Anyma’s conclusion. “Eva is going to turn human to close the circle, and she’s going to be helped by a quantum being,” Milleri said, although he gently questioned the philosophical ramifications of such a change.
This third Genesys volume tracks its predecessors’ success, establishing Anyma as a trailblazer in melodic techno. From a digital art experiment to a stadium-filling phenomenon, the project’s development illustrates Milleri’s dedication to stretching creative boundaries—especially in the field of extended reality events.
The announcement comes amid Anyma’s innovative Sphere residency, which has already sold over 130,000 tickets across eight events. Featuring collaborations with artists including FKA Twigs, Empire of the Sun, Ellie Goulding, and Grimes, the residency highlights the trademark mix of melodic techno and modern graphics.
Milleri is already investigating new boundaries in quantum computers and quantum worlds, ideas that have started to show up in his latest performances, as he looks ahead. Still, he stresses the need to give the Genesys chapter a “glorified ending,” noting its vital part in his artistic growth.
“When ideas get recycled a bit too much, I’m the first person to wonder, what’s next?” Milleri muses about. “I wish to keep going ahead. But since it was such a significant component of my music and life, I want to present a very glorious finish for it.
The post Anyma Set to Close ‘Genesys’ Chapter with Third Album appeared first on The Groove Cartel.
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Skrillex shared the exciting news on X, responding to Ultra’s birthday post for the artist, sparking a wave of excitement among fans. This marks a significant moment in the festival’s history, as Ultra has been known for bringing back legendary headliners almost nearly a decade after their last performances. Similar returns in recent years include Hardwell in 2022, Swedish House Mafia in 2023, and Calvin Harris in 2024.
The last time Skrillex graced the Ultra Miami mainstage was in 2015 during a astonishing Sunday night closing set. That unforgettable performance saw Skrillex join forces with Diplo as Jack Ü, bringing out surprise guests such as Kiesza, Kai, CL, and even Justin Bieber. The set became a milestone in Ultra’s storied history, leaving fans with memories that still resonate today.
Following a six-year hiatus from electronic music, Skrillex has made a triumphant return with a string of diverse singles and multiple album releases since 2023. Fans are eagerly awaiting his Ultra performance, which is expected to feature a mix of unreleased tracks, classic bangers, and his latest musical ventures. While it remains unclear whether he will close out the festival once again, one thing is for certain—the set is poised to be one of the most anticipated and historic moments in Ultra Music Festival’s 25-year legacy.
Don’t miss out on what promises to be an incredible experience at Ultra Miami this March. Skrillex’s return is just one of many exciting moments in store for festival-goers at this milestone anniversary event!
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At this point, Skrillex is not on the Ultra lineup and there is no surprise slot being teased either. Could Skrillex be a huge Phase 3 shocker? Another avenue for him to appear at Ultra would be alongside Four Tet, who will join Solomun for his Diynamic takeover of the Megastructure.
We’d have to assume that the chick hatching emoji was used because Skrillex recently wiped all social media and left one photo of his own hair, that was recently cut, on the floor. Something’s brewing and something magical is about to come out in March. Hopefully we hear of some teasers to make the time go by faster! We’ll let you know as soon as possible once more info about his legendary return to the iconic festival and for 2025 festival season!
As we’re typing this up, he has tweeted some more!
“if you like my music leave me your email at: skrillex.com/FUS and i’ll send you some things – Sonny Moore”
If you head over to the website, there is a spot to enter your email address. Nothing yet has hit our inboxes. We’re also very curious as to what the “FUS” might be or stand for.
This seems very similar to what Skrillex did in 2014 with his Recess album. Skrillex masterfully employed viral marketing to generate hype and anticipation for his 2014 album Recess. He began by dropping cryptic clues and hints on social media, sparking curiosity and fueling speculation among fans. Then, Skrillex launched a unique mobile app called “Alien Ride,” which gamified the album release. The app featured a spaceship dodging asteroids, and as players progressed, new tracks from Recess were unlocked. This interactive experience created a sense of exclusivity and urgency, driving further engagement. Simultaneously, Skrillex partnered with popular YouTubers and social media influencers to leak snippets and teasers, amplifying the album’s reach exponentially. This multi-faceted viral campaign culminated in a surprise album drop, catching fans off guard and generating massive buzz across the internet.
The post Skrillex Hints at Ultra Return & Something Big appeared first on EDMTunes.
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The dubstep icon revealed the news after Ultra's organizers wished him a happy birthday, writing, "See you in March."
Skrillex's upcoming headlining set will be his first solo performance at the storied Bayfront Park festival in a decade. He DJed alongside Boys Noize under the duo's collaborative alias, Dog Blood, in 2019.
Ultra has always been a playground for culture-defining moments, and fans are already speculating about what Skrillex's 2025 set might entail. Whether it's a nostalgia-laden journey through his greatest hits or a showcase of his long-awaited new albums, one thing is certain: his return is shaping up to be one of the most talked-about performances of the year.
Skrillex is set to join a lineup featuring Martin Garrix, Hardwell, Zedd, Alesso, Armin van Buuren, Axwell, Charlotte de Witte, Above & Beyond, Afrojack, Tiësto, Anyma b2b Solomun and deadmau5 b2b Pendulum, among other electronic superstars.
Ultra is scheduled to return to its longtime home of Bayfront Park from March 28-30, 2025 and tickets are on sale now. Check out Skrillex's announcement below.
Follow Skrillex:
X: x.com/skrillex
Instagram: instagram.com/skrillex
TikTok: tiktok.com/@skrillex
Facebook: facebook.com/skrillex
Spotify: tinyurl.com/naka2dyv
Follow Ultra Music Festival:
X: x.com/ultra
Instagram: instagram.com/ultra
TikTok: tiktok.com/@ultra
Facebook: facebook.com/ultra
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The dubstep icon revealed the news after Ultra's organizers wished him a happy birthday, writing, "See you in March."
Skrillex's upcoming headlining set will be his first solo performance at the storied Bayfront Park festival in a decade. He DJed alongside Boys Noize under the duo's collaborative alias, Dog Blood, in 2019.
Ultra has always been a playground for culture-defining moments, and fans are already speculating about what Skrillex's 2025 set might entail. Whether it's a nostalgia-laden journey through his greatest hits or a showcase of his long-awaited new albums, one thing is certain: his return is shaping up to be one of the most talked-about performances of the year.
Skrillex joins a lineup featuring Martin Garrix, Hardwell, Zedd, Alesso, Armin van Buuren, Axwell, Charlotte de Witte, Above & Beyond, Afrojack, Tiësto, Anyma b2b Solomun and deadmau5 b2b Pendulum, among other electronic superstars.
Ultra is scheduled to return to its longtime home of Bayfront Park from March 28-30, 2025 and tickets are on sale now. Check out Skrillex's announcement below.
Follow Skrillex:
X: x.com/skrillex
Instagram: instagram.com/skrillex
TikTok: tiktok.com/@skrillex
Facebook: facebook.com/skrillex
Spotify: tinyurl.com/naka2dyv
Follow Ultra Music Festival:
X: x.com/ultra
Instagram: instagram.com/ultra
TikTok: tiktok.com/@ultra
Facebook: facebook.com/ultra
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Set against panoramic views of the Dubai Marina, Palm Jumeirah and Ain Dubai with touches of Ibiza glamour throughout the venue, the residency demonstrates the label’s growth in UAE, following the success of their two Defected Dubai festivals in 2023 and 2024.
Launching the residency on Saturday 22 February 2025, Defected recruits UK house mainstay Hot Since 82 and America’s breakout house talent and electrifying selector HoneyLuv to kick off the series of shows, supported by Bohemia resident Fabrice.With more shows to be announced, Defected’s partnership with Bohemia Beach Club is set to be an unmissable experience for house fans in Dubai this year.
Be sure to secure your spot on the dance floor by booking your tickets now.
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The journey to Anjunachill reads like electronic music mythology: three producers who conquered trance (Anjunabeats) and deep house (Anjunadeep) find themselves playing yoga sets at Burning Man’s Robot Heart stage. That 2014 sunrise session sparked “Flow State,” their RIAA Gold-certified meditation album that proved electronic music could heal as effectively as it could move bodies.
Fast forward through 250 releases and 150 million streams under the Reflections banner, and suddenly that spontaneous desert moment ushered in destiny.
Now re-named Anjunachill, the refreshed imprint’s inaugural release “Shall We Begin,” was first teased to 15,000 devotees at ABGT600 in Mexico City. The track exists in that ethereal space Above & Beyond carved out with classics like “Sun In Your Eyes” and “Tri-State” – all patient builds and emotional payoffs that hit harder precisely because they whisper instead of shout.
The label’s future looks equally compelling: Planet of Souls (a new project from NERD/Gorillaz collaborator Paul Rogers), South African neo-classical duo Ad Harmonium, and Anjunadeep favorites like Luttrell exploring their contemplative side. Between Glastonbury showcases and BBC 6 Music cosigns, Anjunachill isn’t just preserving dance music’s meditative heart – it’s proving that sometimes the most revolutionary acts in electronic music happen at 0 BPM.
As Above & Beyond prepares for their Coachella debut this April, Anjunachill feels like perfect timing – a reminder that the same producers who mastered main stage euphoria have always been equally fluent in introspection.
The post Above & Beyond’s Third Act: The Launch of Anjunachill appeared first on Dancing Astronaut.
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After performing together for the first time in a decade back in the fall of 2023, the influential producers have been not-so-subtlety teasing their studio reunion. Now, they've officially confirmed a new collaborative album.
In honor of this monumental work-in-progress, Skream and Benga created a joint Instagram account and have been regularly posting updates on the project. Fans can hear snippets of unreleased music, watch the duo blow off some steam in their downtime and even see what they had for dinner on some of their workdays.
This behind-the-scenes account has been a delight for longtime fans and gives them an intimate glimpse into the creation of one of the year's most anticipated electronic albums. Neither Skream nor Benga has announced a title or release date of the album at the time of this writing.
In the meantime, you can watch their footage recorded from London's Miloco Studios below.
Follow Skream:
X: x.com/i_skream
Instagram: instagram.com/skreamizm
TikTok: tiktok.com/@skreamizm
Facebook: facebook.com/pg/skream
Spotify: spoti.fi/38vLBWo
Follow Benga:
X: x.com/iambenga
Instagram: instagram.com/iambenga
Facebook: facebook.com/iambenga
Spotify: spoti.fi/3q2b4A1
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For those somehow unfamiliar, Superstruct is the powerhouse behind some of the world’s biggest festivals, including Sziget, Sónar, Flow Festival, Øyafestivalen, and elrow. They’re a major force in the live events industry, known for large-scale productions and mainstream appeal.
Boiler Room, on the other hand, has built its reputation on showcasing emerging talent and underground sounds from across the electronic music spectrum. Its intimate, often raw DJ sets, streamed live from unique locations around the globe, have become legendary. It has been an important launch pad for countless artists, and a cultural touchstone for fans of cutting-edge electronic music.
So, What’s the Deal?
While details of the acquisition are still emerging, the core question on everyone’s mind is: will Boiler Room retain its underground ethos under the ownership of a festival giant like Superstruct?
Potential Positives:
Increased Resources: Superstruct’s backing could provide Boiler Room with the resources to expand its operations, improve production quality, and reach even wider audiences. New Opportunities for Artists: The connection to Superstruct’s vast network of festivals could create exciting new opportunities for Boiler Room artists to perform on larger stages and reach new fans. Enhanced Platform: Superstruct’s experience in event production and technology could lead to improvements in the Boiler Room platform, potentially offering a more immersive and engaging viewing experience. Concerns and Questions:
Maintaining Independence: Will Boiler Room be able to maintain its curatorial independence and commitment to showcasing underground talent, or will it be pressured to cater to more mainstream tastes? Commercialization: Will the platform become overly commercialized, with a focus on maximizing profits at the expense of its original mission? Shift in Focus: Will the focus shift from intimate, underground sets to larger, festival-style productions, potentially diluting the essence of what made Boiler Room unique? The Verdict?
It’s too early to say definitively what the future holds for Boiler Room under Superstruct’s ownership. The acquisition presents both exciting possibilities and potential pitfalls. It could be a chance to elevate Boiler Room to new heights, while preserving its core values. Or, it could lead to a gradual shift away from its underground roots.
One thing is certain: the electronic music community will be watching closely. Boiler Room has played a vital role in shaping the scene, and its future trajectory will undoubtedly have a significant impact.
What are your thoughts on this acquisition? Will Superstruct be a good steward of the Boiler Room legacy? Let us know in the comments!
The post Boiler Room Acquired by Festival Giant Superstruct Entertainment: What Does it Mean for the Underground? appeared first on EDMTunes.
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Other plans that strengthen the ticket resale prices cap policy
The legendary British electronic music legend Fatboy Slim even said, “Great to see money being put back into fans’ pockets instead of resellers.” Other plans that strengthen the ticket resale prices cap policy would be implementing legal obligations for these resale websites and apps so they can continue to uphold trading standards. Additionally, the resale websites should also adhere to the competition watchdog to ensure that they provide accurate information to buyers who expressed strong interest in purchasing the tickets.
UK Prime Minister Keir Starmer chimed in to the new policy and stated via his post on X that he had promised the British people that he vowed to stop the rip offs that consumer had previously suffered from the ticket touts. He then added that his government has “set out plans to cap resale prices and ban ticket hoarding”. The cap on ticket resale prices is a great step to save people from spending more than what they should spend for their entertainment pleasures. The ticket reselling companies have expressed in the past that having the cap will “lead to an increase of outright ticket fraud”. Throughout this whole year of 2025, and perhaps other upcoming years, event consumers should continue to keep an eye out for ticket resellers so that those resellers can keep their promises in upholding this policy.
The post UK Government Is Placing a Cap on Ticket Resale Prices appeared first on EDMTunes.
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The lineup will be announced at a later date, and as usual, the night will be staked by some of LA’s best promoters curating multiple stages inside the venue. Previous LA GIVES BACK lineups have included ZEDD, Bonobo, Madeon, Flying Lotus, TOKiMONSTA, Boys Noize, A-Trak, SNL’s Sarah Sherman, JPEGMafia, Louis The Child, Tim Heidecker & Weyes Blood, Eric André, and more, and the event series has collectively raised over $250,000 for LA-based charities and initiatives.
“There’s nothing the IHEARTCOMIX team and I care about more than our Los Angeles community—it’s what made us who we are,” said Franki Chan of IHEARTCOMIX. “Over the past few days, it has been extremely painful to witness so many close friends, family members, and colleagues lose their homes. Even more heartbreaking, is knowing the road to recovery will be long. In moments like these, we believe it’s our duty to channel our best talents to support those in need. LA Gives Back has always been that vehicle for us, so we hope this event will make a meaningful contribution in providing some relief to our community.”
Stay tuned for more details in the coming weeks. For more information on LA GIVES BACK click here.
The post Brownies & Lemonade, IHEARTCOMIX, & More To Host Fundraiser Concert, ‘LA Gives Back: Fire Relief’ appeared first on EDMTunes.
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The bass house track is an electrifying blend of dark, energizing beats and smooth vocals from Bipolar Sunshine. While her two previous singles "Don’t Keep Me Waiting" and "Show Me Love" explored a period of darkness in her life, "Power" was written as Nostalgix began to step into her strength, and you can feel the transformation.
The official music video, which she directed, follows the pair along the LA skyline in a retro Mercedes, the same one seen at the end of the "Show Me Love" video. Fans who watch the videos for her last two releases, she says, will "see the beautiful storyline and transformation that happens within those records, along with some hidden messages in the videos."
Watch the official "Power" music video below and find the new track on streaming platforms here.
Follow Nostalgix:
X: x.com/nostalgixmusic
Instagram: instagram.com/nostalgixmusic
TikTok: tiktok.com/@nostalgixmusic
Facebook: facebook.com/nostalgixmusic
Spotify: spoti.fi/3l98zsw
Follow Bipolar Sunshine:
X: x.com/bipolarsunshine
Instagram: instagram.com/bipolarsunshine
TikTok: tiktok.com/@bipolarsunshine_
Facebook: facebook.com/bipolarsunshine
Spotify: spoti.fi/39MNyip
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He achieved the title after "Forever Young," his October 2024 track with Ava Max, topped the chart last week. The song, additionally created in collaboration with Alphaville, is a rework of the German synthpop band's 1984 hit of the same name.
Behind the two dance music juggernauts is Rihanna with 12 and The Chainsmokers with 10. The chart "measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 60 top 40-formatted reporters" and has been monitored since 2003, per Billboard.
Watch Guetta perform "Forever Young" below live from the DJ's iconic "F*** ME I’M FAMOUS!" residency at Ushuaïa Ibiza. You can stream the track here.
Follow David Guetta:
X: x.com/davidguetta
Instagram: instagram.com/davidguetta
TikTok: tiktok.com/@davidguetta
Facebook: facebook.com/davidguetta
Spotify: spoti.fi/3fHbpAC
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This party comes a week ahead of her new album ‘Never Walk Alone’, releasing on 14 February 2025 on Insomniac Records and offering a great window into her club-ready sound.
As well as leading the way with her music, BLOND:ISH is also a keen environmental activist who founded the nonprofit charity Bye Bye Plastics to eliminate single-use plastics from music venues and events. Playa Pacha at FIVE LUXE will amplify the volume of BLOND:ISH’s message through its 100% solar powered parties and LEED Platinum rated green entertainment venue.
Backed by 50 years of party expertise from the legendary Pacha Ibiza, this is an unmissable event with another of the world’s most sought after DJs. Availability on the dancefloor is limited, so secure your spot now.
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The first question I have for you has to do with Neon and just performing in Thailand. So you’ve performed here multiple times and you’re back in Thailand but this time you’re back for Neon Countdown’s pre party. How does it feel to return to such a vibrant fan base and bring your energy to a unique event but this time at Void club?
It’s always a good time. I’ve never played at Void so let’s see how it will be. As tonight is part of Neon Countdown, it’ll be good and the crowd in Bangkok is good as always.
Now, the next question I have is for you Thom. So, you’ve recently ventured into Techno with your solo project Thomm. What inspired the creative exploration and how do you balance it with the high-energy sound that is Blasterjaxx?
It’s funny cause so far we’ve released only one track but we also uploaded a live set. It’s more up-tempo. The older we get, music changes, it evolves and sometimes we just enjoy making different sounds. We’ve been doing that for sometime now but with Blasterjaxx you’re a bit stuck in a commercial bubble so you have to deliver things that hit an X amount of streams or an X amount of targets. But with the Thomm project, we’re starting from scratch and starting something new. For the past 7-8 months we’ve been making a lot of music and mostly music for Thomm because we had finished many Blasterjaxx tracks already so we had some time to focus on the Thomm project. Other than that, I would say that it’s like going back to basics for us because we had no expectations and no rules. We just did whatever we wanted without any pressure.
You’ve actually been doing this whole thing of making music for a very long time.
Yep. That’s true. Sometimes it happens where we’re in the studio and working on Big Room, where it happens where we’re like we’ve done a lot of the classic Big Room stuff, we’ve played it out so sometimes it’s very difficult to come up with something new. That’s why I love exploring a new sound and just seeing where it goes. Honestly, we will see wherever it will go. Maybe after a year we’ll say this is nothing for us and we’ll pull back but we don’t know yet. For now everything looks good and we have a lot of great tracks coming up and a lot of great collaborations coming up with Techno artists for the Thomm project so let’s see how it goes.
I’m intrigued now to see how things turn out because I’ve never been a techno fan, but lately I’ve become super interested in hard techno, is that something you’ll be incorporating too?
The hard techno thing is something I personally like but to make it, we’re more along the lines of being somewhere in between big-time driving techno and a bit of hard here and there but I wouldn’t say we’re hard techno..
Now since you’ve talked about your music evolution, I’d like to talk about how Big Room has remained as a cornerstone of your identity so what I’d like to know is how you keep the genre evolved, and there’s also the expectation that fans have so how do you stay true to that?
Well it’s funny because the fans consider it Big Room, but I think we don’t really identify the name as Big Room as we’ve sped up the BPM, used different kicks and changed directions where we’ve used less of the classic Big Room elements but people still say it’s Big Room. I would say that we are Big Room that way, we never made it to sound like Big Room that way, but we just love music that’s energetic and over dramatic and stuff like that. It’s how we like it but for some reason, some people call it Big Room.
The next question I have is about how you’ve played all over the world at many legendary venues and festivals, so can you share one unforgettable moment from the stage that has stuck with you even if you look back 10 years from now, it’s still going to be a core memory?
One of my best memories was when we played on the EDC mainstage in 2014. It was funny cause we were so new in the scene and had no idea what EDC was back then and we were playing peak time on the mainstage at EDC with 60-80 thousand attendees and we had no idea what to expect. So we prepared the set the way we usually do and I remember when we walked on stage, we were in shock. We were like what is this. It was great. Other than that, Tomorrowland Brasil was great. We felt like we were on a natural high because it was so good. But at the same time I would also have to say that Tomorrowland (Belgium) was great last year because we played on the mainstage after a long time and we played early. We were like we’ll see how many people show up cause it was pretty early during the day but it was packed for that time and it gave us goosebumps.
This is my last question for, so I would like to know what’s your advice for rising talent seeing as you’ve been in the scene for a while now and you’ve had a lot of collaborations so what’s one piece of advice you could give to new talent?
Well I have two pieces of advice that I think are very useful. First of all, I would say make sure that whenever you get a contract for anything that’s longer than one release, make sure you have a lawyer to look over it. It might cost you a bit of money but trust me, it’s worth it because before you know it, you might end up being stuck in a 360 deal for the next ten years and it could stop or slow down your career. Other than that, my second advice would be to make music according to whatever you are feelling. Don’t think that just because this sound is hype right now so I’m going to make it but by the time you get really good to release some stuff, the genre might no longer be in trend. As long as you make something you really like and it gives you joy, one day it could become something and then that’s your moment to shine.
So in short you’re saying to take a risk but also to be careful of the risk you’re taking?
Basically, don’t follow the hype but do what you feel like doing and what you feel like making such as whatever genre you feel like making music in because one day that genre might be taking over the world.
Well, thanks so much for speaking to me on behalf of EDM House Network.
You’re welcome.
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On the "Antagonist 2.0 Tour," he will be flanked by a philharmonic orchestra for two ambitious concerts. The performances make a bold statement but, more importantly, bring fans closer than ever to his vision.
Apashe’s unique electronic blend introduces under-appreciated classical music to new listeners. Furthering that mission is the driving force for his upcoming shows. He's set to perform with the philharmonic orchestra at Seattle’s Wamu Theatre on January 24th and Paris’ Zenith on February 8th.
The scale is impressive, certainly, but it’s about more than pageantry. Working with a philharmonic orchestra allows Apashe to communicate the beauty of classical music still lost in translation.
"It's definitely another step, another level… The goal is to bring live on stage something closer to the recordings of how the music is made," Apashe tells EDM.com. "Both of my previous albums were symphonic recordings that were then mixed with electronic music."
"I wanted to bring that part of the making of that music to the stage. Now that we’re playing with a full philharmonic, it’s definitely closer to the source of those recordings. You get all these musicians. You get the real sound and the mix that is destroyed with the electronics."
The scale of Apashe’s philharmonic orchestral show is unlike anything the musician has attempted before. He admits it’s a difficult mountain to conquer.
“Proportionally, it’s becoming such a complicated thing to logistically put together,” Apashe admits. “It started as a dream. Now that it’s a reality, no one in my team or I expected this to be so complicated or so expensive. It’s very intense but I’m glad it’s working out really well. Everyone is happy. But let’s just say it’s different than coming on stage with a USB and doing a DJ set.”
DJing is not a flawless act. For every time you’ve caught a DJ blundering, there are countless times they’ve pivoted without raising suspicion. Apashe is more than capable of adjusting on the fly, but the nature of his orchestral shows leaves little room for error. Surgical precision is required for this unique undertaking.
“Since I’m launching all the clips and structure, I can’t skip measures,” Apashe explains. “If I trigger the wrong part, the musicians will be lost from the music sheets. Everything is fairly well-timed.”
“We’re playing with very professional musicians. They’re able to play anything in front of them if the music sheets are well-written. It’s really important once the set is decided that we make those sheets and it’s very clear for everyone.”
Karel Chladek
Apashe’s special blend of electronic and classical music resonates with millions. His growing success—highlighted by the scale of his upcoming philharmonic orchestra shows—is remarkable when you learn that he didn’t envision this life.
Before Apashe’s full-time music career, John De Buck was a sound designer producing music as a hobby. He worked in sound design for AAA video game franchises like Assassin’s Creed, Far Cry and Watch Dogs.
“I’d work nine to five sound design, then stay after five—sometimes way to late—to work on my music," De Buck says. But I did it for fun… The fact that it was fun for me, and not stressful, really helped me not get sick of it, and a pleasure."
“It’s important to mention that it was a hobby for me. I never saw it as a real career path necessarily. I was always putting myself in a situation where I wasn’t closing any doors. It’s different for everyone. For me, I needed to feel secure so I wouldn’t be stressed. Feeling good made it easy for me to spend time doing my hobby because I knew I had a stable job that was close to music.'
Every artist’s motivation is different. Many pursue a music career as an all-or-nothing venture. For Apashe, music needed to always remain a labor of love.
“The day I switched from one to the other was because I had no choice,” he recalls. “I was starting to tour during the weekend. I started asking for extra days off so I could leave on Thursday instead of Saturday. At some point, I had a full tour where I had to take three months off. That’s when I jumped in the water.”
“But it’s different for everyone. I needed that stability and I probably should’ve quit way before to only do music. But I knew my mindset would be stressed and the outcome of the music wouldn’t have been as good. But other people are different.”
Xavier Cyr
Apashe acknowledges that different artists require different motivators to push their creativity. One concept the “Majesty” producer struggles with, however, is why any musician would sacrifice art’s joy.
“Listen to yourself but keep it fun,” he recommends. “I don’t see why you would do that if it’s not fun. If it’s not a hobby. I never quite understood people who stopped making music or playing an instrument once it’s not for the job anymore. That means you were just doing it for the money or dreaming of having a famous career or whatever? They have to do what they want but I never related to that personally."
“The day that I quit music, if that happens, I’m never going to fully quit. I’m still going to make music. My dad built a studio in his basement. He’s 60-something. He’s never had a job in music. He just loves music and that’s something I relate to, that he probably shared with me.”
Fortunately for Apashe’s fans, there's no end in sight. You can purchase tickets to his philharmonic orchestra shows in Seattle and Paris, plus other dates on the "Antagonist 2.0 Tour" here.
Follow Apashe:
X: x.com/apashe_music
Instagram: instagram.com/apashe
TikTok: tiktok.com/@apashemusic
Facebook: facebook.com/apashe.official
Spotify: spoti.fi/2CSiT5C
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2024 was big for Fisher as he cracked into the top 10 of the DJ Mag Top 100 DJs list becoming the highest ranked house DJ along with releasing a slew of great tracks. Most notably he released a remix of Gotye’s classic ‘Somebody That I Used To Know’ with the remix having now received over 150 million streams on Spotify making it one of Fisher’s most streamed songs. Now this year he’s already added to his many accolades after bringing his crazy onstage antics and addictively groovy house to Victoria Park in New Zealand where he earned his Guinness World Record certificate.
The Aussie DJ is flying higher than ever before which is evident from all the videos from his sets which show the size of the crowds and the unbelievable crowd control he has. There’s not a soul in sight who isn’t moving or singing along and to be able to achieve that when there’s a crowd of 24,000 people in front of him is wild. 2025 is already looking like a very bright year for Fisher as he’s looking more energetic than ever on stage and sounding better than ever in the studio.
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This Friday February 17 we see the release of Con*Natural, an album celebrating his unparalleled artistry, the genre takes a moment to reflect on his legacy while propelling his influence into the future.
The album is being released by friend and collaborator Makoto, and all the proceeds will be going to his family and the MC Conrad Foundation.
The foundation was established in honour of MC Conrad to support young and emerging artists and aims to fill gaps in musical education covering topics such as intellectual property, PRS, and how to set yourself up as a self-employed artist.
This posthumous collection arrives as both a tribute and a revelation, weaving together a tapestry of never-before-heard tracks and collaborations that span the sonic spectrum. With contributions from some of the finest names in the scene, including DJ Marky, Makoto, Digital, and DJ Prime Cuts, Con*Natural is a powerful reminder of why MC Conrad’s lyrical prowess resonated so deeply.
Con*Natural isn’t merely an album; it’s a living document of Conrad’s journey as a pioneer of drum and bass. It highlights his ability to marry lyricism and rhythm in a way that feels as vital now as it did during his earliest recordings. The album’s collaborators clearly approached the project with a sense of reverence, resulting in tracks that honor the past while embracing innovation.
For fans and newcomers alike, Con*Natural serves as both an entry point and a deep dive into the essence of MC Conrad’s artistry. It’s a celebration of a voice that gave the genre its soul and a reminder of the community his work fostered within electronic music.
You can pre-order the album here.
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