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Fresh off the release of their stunning Inhale / Exhale album, RÜFÜS DU SOL are now giving fans what they've been craving for years: a massive tour stacked with live performances across the globe. With an uncanny ability to blend emotion, connection and electricity on the stage, the beloved electronic trio's live performances are synonymous with euphoria. Fans in Australia, New Zealand, Europe, the UK and North and South America will soon be able to experience it. "The energy and passion we get from our fans in North and South America is incredible," RÜFÜS DU SOL said in a press release. "The US was the first place to really embrace us outside our home country, and in the past few years we’ve seen that love grow throughout Mexico and South America, it’s something we never imagined would happen! We’ve spent the past seven years living out here among you and being part of the music loving community here; being able to play our music to crowds like this all over the Americas is something we’ll never take for granted." RÜFÜS DU SOL today announced their global "Inhale / Exhale World Tour 2025," in which they will be "performing some of their biggest headline shows to date," according to a press release. Those include concerts at Pasadena's Rose Bowl Stadium and London's Crystal Park Palace, among many others. SG Lewis, Glass Beams, Neil Frances, Overmono and Sofia Kourtesis will provide support on various dates of the tour, which you can find below. Tickets for RÜFÜS DU SOL's "Inhale / Exhale World Tour 2025" will be available starting with an artist presale on Tuesday, October 22nd at 10am local time. Additional presales will run throughout the week ahead of the general ticket onsale Thursday, October 24th at 10am local time. RÜFÜS DU SOL Inhale / Exhale Word Tour 2025 Dates^ With Support From Glass Beams # With Support from Neil Frances & With Support from Overmono ~ With Support from Sofia Kourtesis * With Support from SG Lewis (Live) March 12 - Estadio 3 de Marzo - Guadalajara, MX (#) | NEW March 14 - Estadio Banorte - Monterrey, MX (#) | NEW March 19 - Costa 21 - Lima, PE ($) | NEW March 21 - Lollapalooza Chile - Santiago, CL | FESTIVAL March 23 - Lollapalooza - Buenos Aires, AR | FESTIVAL March 26 - Qualistage - Rio de Janeiro, BR ($) | NEW March 28 - Lollapalooza Brazil - São Paulo, BR | FESTIVAL March 30 - Estéreo Picnic - Bogotá, CO | FESTIVAL April 23 - Dos Equis Pavilion - Dallas, TX (~) | NEW April 24 - The Cynthia Woods Mitchell Pavilion - The Woodlands, TX (~) | NEW April 26 - Q2 Stadium - Austin, TX (~) | NEW April 27 - Walmart AMP - Rogers, AR (~) | NEW April 30 - Lakewood Amphitheatre - Atlanta, GA (#) | NEW May 1 - MIDFLORIDA Credit Union Amphitheatre - Tampa, FL (#) | NEW May 3 - FPL Solar Amphitheater at Bayfront Park - Miami, FL (#) | NEW May 6 - Ascend Amphitheater - Nashville, TN | NEW May 8 - Merriweather Post Pavilion - Columbia, MD (#) | NEW May 9 - Coastal Credit Union Music Park - Raleigh, NC (#) | NEW May 10 - Veterans United Home Loans Amphitheater - Virginia Beach, VA (#) | NEW June 11 - Plaza Mayor at Poble Espanyol - Barcelona, SP June 14 - Uber Eats Music Hall - Berlin, DE June 17 - AFAS Live - Amsterdam, NL June 21 - Auditorium Cavea - Rome, IT June 24 - Zénith - Paris, FR July 5 - Crystal Palace Park - London, UK July 25 - Red Bull Arena - New York / New Jersey, NJ (&) | NEW July 27 - Xfinity Center - Mansfield, MA (&) | NEW July 29 - Budweiser Stage - Toronto, ON (&) | NEW August 3 - Ruoff Music Center - Noblesville, IN (&) | NEW August 5 - Pine Knob Music Theatre - Clarkston, MI (&) | NEW August 9 - DICK’s Sporting Goods Park - Commerce City, CO (^) | NEW August 10 - Utah First Credit Union Amphitheatre - West Valley City, UT (^) | NEW August 12 - Hayden Homes Amphitheater - Bend, OR (^) | NEW August 14 - Shoreline Amphitheatre - San Francisco Bay Area, CA | NEW August 16 - Rose Bowl Stadium - Los Angeles, CA | NEW November 7 - RAC Arena - Perth, AU (*) November 11 - Adelaide Entertainment Centre - Adelaide, AU (*) November 13 - Rod Laver Arena - Melbourne, AU (*) November 20 - Qudos Bank Arena - Sydney, AU (*) November 25 - Brisbane Entertainment Centre - Brisbane, AU (*) November 29 - The Outer Fields at Western Springs - Auckland, NZ (*) Follow RÜFÜS DU SOL:X: x.com/rufusdusol Instagram: instagram.com/rufusdusol TikTok: tiktok.com/@rufusdusol Facebook: facebook.com/rufusdusol Spotify: spoti.fi/35b5FL4

Today, GRAMMY award winning electronic band RÜFÜS DU SOL has announced all dates for their global Inhale / Exhale World Tour 2025 in support of their latest album. Known for their emotive live performances and breathtaking visual production, RÜFÜS DU SOL will be performing some of their biggest headline shows to date, including Rose Bowl Stadium (Pasadena, CA), Estadio 3 de Marzo (Guadalajara, MX), Crystal Park Palace (London, UK), Uber Eats Music Hall (Beriin, DE), Red Bull Arena (Harrison, NJ), Budweiser Stage (Toronto, ON), and more. RÜFÜS DU SOL’s unique sound is rooted in a blend of organic and electronic elements, and Inhale / Exhale showcases this balance perfectly. The album draws from influences as diverse as house music and ambient electronica, resulting in a collection of tracks that are both uplifting and introspective. With early praise from top music critics and a #1 on Dance Radio, the album has already made an impact worldwide. Fans of RÜFÜS DU SOL know that their live shows are where the magic truly happens. With world-renowned immersive lighting and stage production, each performance is a shared experience that brings fans closer to the music. The series of tour announcements kicked off Tuesday with AUS/NZ dates, followed by UK & European dates on Thursday, and finally all North & South America dates were announced today. Artist Presale tickets go on sale Tuesday, October 22 at 10AM, Live Nation/Ticketmaster Presales begin Wednesday, October 23 at 10AM, and General On Sale starts Thursday, October 24 at 10AM. You can get more info and purchase tickets on the band’s website HERE. Tour Dates ^ With Support From Glass Beams # With Support from Neil Frances & With Support from Overmono ~ With Support from Sofia Kourtesis * With Support from SG Lewis (Live) March 12 – Estadio 3 de Marzo – Guadalajara, MX (#) | NEW March 14 – Estadio Banorte – Monterrey, MX (#) | NEW March 19 – Costa 21 – Lima, PE ($) | NEW March 21 – Lollapalooza Chile – Santiago, CL | FESTIVAL March 23 – Lollapalooza – Buenos Aires, AR | FESTIVAL March 26 – Qualistage – Rio de Janeiro, BR ($) | NEW March 28 – Lollapalooza Brazil – São Paulo, BR | FESTIVAL March 30 – Estéreo Picnic – Bogotá, CO | FESTIVAL April 23 – Dos Equis Pavilion – Dallas, TX (~) | NEW April 24 – The Cynthia Woods Mitchell Pavilion – The Woodlands, TX (~) | NEW April 26 – Q2 Stadium – Austin, TX (~) | NEW April 27 – Walmart AMP – Rogers, AR (~) | NEW April 30 – Lakewood Amphitheatre – Atlanta, GA (#) | NEW May 1 – MIDFLORIDA Credit Union Amphitheatre – Tampa, FL (#) | NEW May 3 – FPL Solar Amphitheater at Bayfront Park – Miami, FL (#) | NEW May 6 – Ascend Amphitheater – Nashville, TN | NEW May 8 – Merriweather Post Pavilion – Columbia, MD (#) | NEW May 9 – Coastal Credit Union Music Park – Raleigh, NC (#) | NEW May 10 – Veterans United Home Loans Amphitheater – Virginia Beach, VA (#) | NEW June 11 – Plaza Mayor at Poble Espanyol – Barcelona, SP June 14 – Uber Eats Music Hall – Berlin, DE June 17 – AFAS Live – Amsterdam, NL June 21 – Auditorium Cavea – Rome, IT June 24 – Zénith – Paris, FR July 5 – Crystal Palace Park – London, UK July 25 – Red Bull Arena – New York / New Jersey, NJ (&) | NEW July 27 – Xfinity Center – Mansfield, MA (&) | NEW July 29 – Budweiser Stage – Toronto, ON (&) | NEW August 3 – Ruoff Music Center – Noblesville, IN (&) | NEW August 5 – Pine Knob Music Theatre – Clarkston, MI (&) | NEW August 9 – DICK’s Sporting Goods Park – Commerce City, CO (^) | NEW August 10 – Utah First Credit Union Amphitheatre – West Valley City, UT (^) | NEW August 12 – Hayden Homes Amphitheater – Bend, OR (^) | NEW August 14 – Shoreline Amphitheatre – San Francisco Bay Area, CA | NEW August 16 – Rose Bowl Stadium – Los Angeles, CA | NEW November 7 – RAC Arena – Perth, AU (*) November 11 – Adelaide Entertainment Centre – Adelaide, AU (*) November 13 – Rod Laver Arena – Melbourne, AU (*) November 20 – Qudos Bank Arena – Sydney, AU (*) November 25 – Brisbane Entertainment Centre – Brisbane, AU (*) November 29 – The Outer Fields at Western Springs – Auckland, NZ (*) ^ Glass Beams support # Neil Frances support * Overmono support ~ Sofia Kourtesis support The post RÜFÜS DU SOL Announce All Dates for ‘Inhale / Exhale World Tour 2025’ appeared first on EDMTunes.

Kaskade is bringing the magic of the holidays back with his highly anticipated 2024 Christmas shows. This December, the electronic music legend will visit Salt Lake City, New York City, and Los Angeles. These performances offer a unique way to get into the holiday spirit, combining dance music with festive classics for a one-of-a-kind experience. A Limited Run of Holiday Magic Kaskade’s 2024 Christmas tour begins on December 6 in Salt Lake City at Kingsbury Hall. After that, he heads to New York, performing at the Brooklyn Paramount on December 13. Finally, he wraps things up with a three-night residency in Los Angeles at The United Theater, from December 19 to 21. With only a few shows on the schedule, fans should act quickly to secure their spot. Holiday Classics with a Kaskade Twist These aren’t your typical holiday concerts. Kaskade will mix his signature electronic beats with beloved holiday songs from his ‘Kaskade Christmas’ album. Expect fresh versions of classics like ‘White Christmas’ and ‘O Christmas Tree’—all brought to life with high-energy production. A live band and guest vocalists will also join Kaskade, making each performance even more special and festive. A New Tradition for Fans Kaskade’s Christmas shows have become a fan-favorite tradition, and 2024 promises to elevate the experience. In his own words, “After last year’s Christmas shows in Los Angeles, I knew I had to get the band together and run it back again this year.” He invites fans to bring friends and family for an unforgettable holiday celebration, filled with community, music, and festive cheer. Tickets go on presale on October 23, 2024. Given the limited dates, you won’t want to miss this chance. Whether you’re a dedicated fan or simply looking to enhance your holiday season, Kaskade’s 2024 Christmas shows will deliver joyful, magical vibes.Tickets go on presale on October 23, 2024, and given the limited run of shows, this is one festive experience you won’t want to miss. Whether you’re a longtime fan or just looking to elevate your holiday plans, Kaskade’s Christmas 2024 tour is sure to deliver unforgettable holiday vibes. For tickets as well as more information be sure to check out the official Kaskade Christmas website, here. The post Kaskade Announces Christmas Shows appeared first on EDMTunes.

RÜFÜS DU SOL will play their biggest UK live show to date, at London’s Crystal Palace Park on 5th July 2025. The show is announced as part of the European leg of their Inhale / Exhale World Tour 2025. The band will bring their emotionally charged and sonically innovative live show to audiences across the continent, with stops in cities like Barcelona, Amsterdam, Paris and London. The European and UK leg promises to be an unforgettable experience, featuring a blend of fan favourites and new tracks from their album Inhale / Exhale. Notably, their performance at Crystal Palace Park will mark their biggest headlining show in the UK, featuring an expanded, immersive experience for fans in London. RÜFÜS DU SOL say: “Europe has always been a place that has inspired our music, we’ve spent countless hours on dance floors over there. We’re looking forward to bringing our new show to these cities and sharing this next chapter with everyone. There’s an energy in the UK and Europe that pushes us to keep coming back, and we can’t wait to feel that connection again.” Tickets will be available starting with an artist presale beginning on Tuesday, October 22 at 10am local time. Additional presales will run throughout the week ahead of the general onsale beginning on Thursday, October 24 at 10am local time on rufusdusol.com/live. Inhale / Exhale represents a new chapter for RÜFÜS DU SOL, who have spent the past decade pushing the boundaries of electronic music. This latest album is an exploration of the emotional highs and lows of life, capturing the tension between vulnerability and strength. With powerful vocals and evocative lyrics, songs like “The Life” and “Edge of the Earth” offer listeners a glimpse into the personal experiences that shaped this record. Known for their ability to craft deeply moving soundscapes, RÜFÜS DU SOL has drawn from an eclectic mix of influences for this album, incorporating elements from across the dance music spectrum. The production is both lush and dynamic, featuring tracks that range from introspective ballads to festival anthems. Inhale / Exhale has already received acclaim for its sophisticated sound design and emotional impact, with the lead single, “MUSIC IS BETTER.” already earning a #1 spot at US Dance Radio. Speaking on the album, the band said, “This record is very special to us. It’s crazy to think we’ve been collaborating on this project together for almost fifteen years, to know that we’re five albums deep now and we’re as excited about making music together now as when we started.” In partnership with Live Nation’s Green Nation team, RÜFÜS DU SOL will support sustainability initiatives on their tour, focusing on reducing single-use plastics, enhancing recycling, and minimising food and other waste. Tour stops at venues operated by Live Nation will additionally provide zero waste green teams to hand-recover organics and recyclables, donate food, and use eco-friendly alternatives to single-use plastic. As tour dates approach, fans are encouraged to check venue websites for more details.

Capping off a landmark 30th birthday year for the sunset institution, marked by unforgettable performances from Robin Schulz, Claptone and more, Café Mambo honours its Ibiza legacy with the announcement of iconic headliner Sasha for its 2024 closing party. Now in its 30th year, prime sunset spot and iconic San Antonio-based beach bar and restaurant Café Mambo announces the lineup for its 2024 closing party weekend. Headlining the event, which will take place across the 18th and 19th October, is electronic music titan Sasha who will be accompanied by revered DJ Simon Dunmore and DJ Oliver, as well as Café Mambo residents Jason Bye, Andy Baxter, Ryan McDermott and Juanito Chanclas. The iconic closing party kicks off on 18th October with an electrifying set from Sasha, whose long-standing relationship with Café Mambo has made him a beloved figure among its loyal patrons, and the perfect DJ to close the 2024 season. Set to bring 20+ years of dance music knowledge to the island, the Grammy nominee will set the stage for an unforgettable weekend. On 19th October, Café Mambo’s doors will open for the last time this year, welcoming heralded DJ Simon Dunmore into its coveted booth, as well as the impressive DJ Oliver, who’s known for being a crucial part of Spain’s club culture heritage with his captivating sets, spanning house, techno and disco. Both nights will also include sets from Cafe Mambo’s much-loved residents Jason Bye, Andy Baxter, Ryan McDermott and Juanito Chanclas. 2024 marked a significant milestone for the renowned Ibiza venue as Javier Anadon, AKA The Mambo King, was honoured with the Lifetime Achievement Award at The DJ Awards in Ibiza. The accolade recognises Javier’s dedication, vision and passion to the music industry, and serves as a testament to Café Mambo’s rich legacy and profound influence on both Ibiza and the global dance music scene. Having established itself once again as the white isle’s essential summer destination Café Mambo closes another iconic summer of parties this weekend, leaving us to dream about 2025’s sizzling party season under the legendary beach club’s roof.

When organizing an event, the decision between a DJ platform can significantly impact the ambiance and enjoyment of the occasion. A custom crafted stage not only boosts the DJ’s presentation but also guarantees that the crowd will have a lasting impression. Factors such as dimensions, sturdiness, and simplicity of assembly are vital in selecting the platform for events. Checklist to Pick the Right DJ Stage for Your Next EventConsider Event Type and Location The type of event and the location play a role in choosing the proper portable DJ stage setup. When it comes to a festival setting, it’s essential to go for a sturdy and weather-resistant stage. A smaller indoor event may call for a more easily setup option. It’s vital to consider the unique requirements of the event to make sure that the stage matches well with the ambiance and surroundings. Assess Your Needs for Size and SpaceWhen selecting a DJ stage for an event space or venue, space assessment is critical. You want it to be big enough for all the equipment but not so big that it overwhelms the area where it will be set up! Be sure to measure the space available and think about how everything will fit in before choosing the right stage size and layout. It’s also important to consider the height of the stage so that everyone in the audience can see and enjoy the performance clearly. Focus on the Longevity and Reliability Choosing a DJ platform requires a focus on durability and reliability above all else, as it needs to bear the weight of the DJ and gear securely without any shaking or giving way. Opting for top-notch materials like steel or aluminum is key to ensuring the needed robustness and lasting performance of the stage. Additionally, having a non-slip surface can help avoid mishaps and boost safety at the event. Smooth and Convenient MobilityWhen setting up a stage for an event that needs to be moved, ease of installation and transport are key factors to think about. A lightweight stage that is simple to put is essential for relocation during events. Stages that have structures make it easy to set up and take down quickly without hassle. Including features like legs and built-in wheels can also add convenience when it comes to transporting the stage from one place to another. Exploring Extra Features and Add-OnsA variety of portable DJ stages come equipped with features and accessories that improve both their performance and aesthetics. Some platforms feature built-in lighting systems to enhance the experience during performances. Others provide customization options, like heights or interchangeable panels. Considering these features can assist in choosing a platform that not only fulfills basic requirements but also contributes value to the event. Considering the Budget ConstraintsFinances are a factor when making decisions. While choosing the option may seem appealing at first glance, investing in a top-notch stage often proves to be more economical in the long term. A sturdy and well-made stage decreases the chances of damage and replacement expenses. Striking a balance between quality and affordability is key to ensuring that the selected stage offers value without going over budget. Explore Options Prior to BuyingBefore buying a DJ stage, if you can test it out firsthand to get a feel for its features and performance, that can be really helpful! A lot of sellers provide demo units or samples for buyers to try before they make a decision. By using the stage, you can see how stable it is and check out how easy it is to set up. This helps event planners figure out if it’s fit for their particular requirements. Conducting this hands-on assessment can help avoid any problems and ensure that you’re happy with your selection. In Summary Choosing the DJ platform for an occasion demands thoughtful evaluation of various elements such as the nature of the event, location, size of the stages, resilience, and ease of assembly. When organizers carefully assess these considerations, they can guarantee that the selected platform elevates the DJ’s presentation and delivers a remarkable experience for attendees. Putting in the effort to pick out the perfect stage results in a rewarding and pleasurable event.

In a candid interview, rising artists Paradigm shared insights into the creative journey behind their latest single ‘Love In Vain’, a collaborative track with Lucas Estrada and Oaks. The song’s inspiration stems from a serendipitous moment of connection, captured in a cosy studio session filled with collaborative energy. Paradigm also opens up about their favorite studio gear, musical influences, and exciting plans for future releases and performances in 2025. Get a glimpse of what’s next for this innovative artist shaping the electronic music scene. Hi Paradigm, first of all, how are you today? Oh thank you. I’m doing very well. Today is great weather and we had a lot of good sessions where we made new music. You’ve just released your latest single Love In Vain in collaboration with Lucas Estrada and Oaks, could you tell us about the inspiration for this track? It was late in the day when we were in the studio together producing the song. The vibe was very cosy and the songwriter had a short intense and loving eye contact with a person on the way to the studio. This vibe and the story inspired us to write this song. How did this collaboration come about? Lucas had such a basic idea and sent us his version as we have known and worked together for a long time. Since we and Oaks liked the version, we went into the studio together. What was the writing process? As I said, the songwriter had this loving encounter and Oaks had a lot of good ideas and they wrote the verses with all of us, then the pre-chorus and then the chorus followed by a bridge.It was a very cosy session and atmosphere which I think was very important for the success of the song. What is your favourite piece of studio gear? So if I had to limit myself to one microphone, I would definitely go for the Neumann TLM 103. with this microphone, the singers have by far the most beautiful and warmest voice and the post-processing is significantly less. Which artists would you say are your biggest influences? In any case, there are several, so it is very difficult to limit it to one artificial one. I would definitely say Diplo, Chainsmokers, Lost Frequencies or Kygo, because these artists are always setting new standards and developing new styles. Do you have any exciting releases coming up? We will have a lot of new music coming up in the next months but I sadly can’t tell you the collaborations and the song names. What is the best club that you’ve played at this year? That was the club Index. It’s the biggest club in Germany. It was an amazing show. Where will you be playing next? Next I’ll play in Bavaria near Munich in a very special high end luxury club. The vibe there is incredible. What are your goals for 2025? Releasing a lot of great music with great artists for our listeners and performing shows all over the world to give people at festivals and clubs a night to remember.

Last week, we dived into the early days of dubstep with an exclusive extract from Georgina Cook’s Drumz Of The South, capturing the raw energy of FWD>>, DMZ, and the pioneering artists that shaped the scene. If you missed it, don’t sleep on that one—go check it out! This week, we’re turning our attention to another seismic moment in bass culture: jungle. For week three of our Black History Month series, we’re excited to present an entire chapter from State of Bass by Martin James, a deep exploration of jungle music’s relationship with Black culture. You’re in for a treat with this one—it’s time to sink your teeth into a full chapter. State of Bass breaks down how jungle and drum and bass were unlike anything the world had seen before: a genre that was both black and white, urban and suburban, blending old school attitude with fresh innovation. It was the sound of early ‘90s Britain—broken, diverse, and ready to take control. A sociocultural melting pot, jungle was the heartbeat of a generation seizing the wheel and driving change. This chapter takes a close look at jungle’s deep connection to Black culture and how it became the soundtrack to a fragmented society. Ready to explore how jungle tore up the rulebook and made its mark? Let’s get into it. An Extract From State Of Bass by Martin James 4: ARMED AND DANGEROUS RAGGA JUNGLE TAKES CONTROL ‘Wicked, wicked junglist massive. Big up the original junglist massive. The original dancehall junglist… Incredible.’ ‘Incredible’ by M Beat featuring General Levy Ragga was the sound of defiance. A solidification of cultural unity in the face of the dominant white British parent culture. The music presented a barrage of militant breaks with half-time reggae basslines and sound effects mutated from the heart of the old school dub soundsystem. The lyrics, which seemed indecipherable to anyone not ensconced in the culture, were a redeployment of the patois language of resistance. It was a free-flowing street slang that used overtly sexual phrasing coupled with the confrontational posturing of hip hop and dancehall MCs. In the dancehall environment of Britain’s Caribbean communities, ragga was the main sound. So popular was it that specialist shops reported import sales that challenged even the national top twenty with its ability to sell (although that in itself might have been a typically boastful exaggeration of the truth). Ragga’s roots are placed firmly in the reggae soundsystem and dancehall tradition. Dancehall emerged through a need to get music to lower-class Jamaicans who didn’t have access to radios. The soundsystem enabled these communities access to music through the technological advancements in soundsystem technology. The term ‘dancehall’ initially referred to a physical location. The venues invariably were open-air which enabled mobile soundsystems to set up in locations with ease. For many Jamaicans these travelling soundsystems appearing at the dancehall event were the only way to hear the latest sounds. Eventually, the people who ran the soundsystems would become a major draw to the event. As Jamaica pioneered remix culture, paramount importance was placed on the production and sound qualities of both music and soundsystem. As a result, technology was especially important to the dancehall with punters demanding high-powered bass and crisp treble to bring the sounds to life in the open-air spaces. An important aspect of this was the sound engineer who would build the soundsystem to suit the space in order to get the finest sound. The music would be provided by the DJ (selector), the MC (confusingly known as the deejay) as well as the producer who had created the dubplates as weapons for soundsystem deployment. From the late 1960s, artists would voice new lyrics over already known recycled tunes. However, during the 1970s instrumental versions of new tracks (riddims) would be given to the DJ as an acetate dubplate, a format that had limited playability. Originally made of clay compound, the quality would deteriorate after only a few plays, but that was enough time for the producer to see if the newest riddims worked on the crowd, for the MC to place their identity onto the riddims and for the DJs to lock down a new battle weapon. Dubplates by the top producers would have enormous kudos value with DJs and MCs begging the top studios for the upfront sounds. To get one meant you’d been acknowledged as a face on the scene, a potential tastemaker. To be given one without having to pay would be an affirmation of your status in the eyes of the top producers. It was a form of hierarchy that was taken on board lock, stock and barrel by the junglists with producers providing the chosen few DJs with DAT tapes of their latest tunes which would immediately get pressed up as a dubplate if the DJ approved. The primary organisation for pressing up dubplates for the UK’s junglists was Music House in north London, a space that buzzed under the pressure of DJs getting the futures of music cut on to a dub. With the acetate of an instrumental riddim playing on the soundsystem, the reggae MC would chat their own lyrics over the tune, thus creating a different track. The MCing style was initially given the name of ‘toasting’. Perhaps the best known of these vocalists was U-Roy whose 1969 recordings with producer King Tubby have been hugely influential ever since. U-Roy is often referred to as ‘the originator’, thanks to his distinctive style that found an exaggeration of phonetic structures of words being redeployed as rhythmical instruments. Distorting words and rhymes to suit his own needs, U-Roy’s combination of highly melodic and rhythmically precise toasting eventually spawned a generation of imitators. I-Roy, Big Youth and Dennis Alcapone emerged with a whole new style of reggae. The relationship between all black identified forms of music and technology is inescapable. Just as soundsystems rose to prominence through the technological developments of studio craft and live sound, so too the technology available for making music was quickly embraced by the reggae fraternity. This became particularly evident in the 1980s when raggamuffin music (ragga) emerged within the dancehall. Similar to its cousin hip hop, ragga relied heavily on tech-based music and the use of samples. It was typified by Wayne Smith’s Under Mi Sleng Teng. Ragga became increasingly prevalent. Its terminology was adopted as the anti-system, oppositional language of the street, adapted to suit each new generation of user. The authorities were totally confused by a linguistic style that the black, white and Asian youth populations of inner-city Britain were fully conversant with. It became the true language of opposition that crossed the race barrier and had come to provide a street level lexicon of disenfranchised youth – the junglists. Throughout 1992 and 1993, dancehall had become entrenched as a technology driven subgenre in its own right. The scene rocked to the vibe of the ruling MCs – Buju Banton, Top Cat and Shabba Ranks. However, dancehall wasn’t entirely in step with the tastes of the younger generation of inner-city youth who had been attracted to the clarion call of the hardcore raves, taking dancehall with them and mutating it in the shape of SL2’s On a Ragga Tip and The Ragga Twins’ Spliffhead. Ragga licks increasingly became synonymous with hardcore and by 1993 breakbeat jungle became intertwined with dancehall. It was almost inevitable that the combination of160 bpm breaks and 80 bpm basslines would bring people to the ragga vocal. The two styles complimented each other and unlike vocal samples, the ragga vocal was already pitched at the right tempo. However, the first tracks to emerge that employed ragga vocals simply used samples rather than employing live MCs. An increasingly dominant studio production tool was the sample CD of factory sounds. A series of commercially produced discs containing a library of sounds, they became an integral part of any studio set up. These were ideal for an engineer knocking out tracks in a few hours for DJs and perfect for the lone producers cooking up breakbeat alchemy in their bedrooms. The sample sounds included would range from the latest bass drone to more exotic selections like monk chanting or versions of the Qur’an. Inevitably the ragga lick became a staple of sample CDs. As producers explored the studio sample CDs looking for the hook to lift their tune above others, they would stumble on a series of ragga samples ready to drop in. With the pressure of studio cost to record live vocals, the ready-made samples were a quick, easy and cheap option. Producers started to exploit these CD samplers fully, and a flood of so-called ragga crossover tracks emerged. Ragga refrains by complete unknowns would subsequently sit next to all of the scene’s best-known names on jungle dubplates, but the crowds at raves often didn’t care. It was the ragga vibe they wanted, and this substandard version actually helped push the euphoria, so the quick-buck engineers and producers continued to push standardised tracks at the scene. Not all of the ragga jungle tracks were pale imitations, however. Among the first tracks to emerge included A Guy Called Gerald’s 28 Gun Bad Boy series on his own Juice Box Records imprint. Initially a series of singles, the tracks were eventually collected on an album and have been credited as being the album that brought jungle out of the rave. The 28 Gun Bad Boy series inspired tunes such as Potential Bad Boy’s 1994 classic Warning (Remix) on Ibiza Records, a reworking of Firefox & 4 Tree’s The Warning on Philly Blunt and the startling Leviticus (aka Jumping Jack Frost) tune Burial, also on Philly Blunt. ‘Basically I made a record called Burial which was probably one of the biggest kind of reggae influenced jungle tunes made,’ explained Frost to Joe Muggs. ‘And I got the vibe to do that. I mean there were tunes that had reggae going way back before that. I’m not claiming that it was some radical idea to do it – but I think (the soundsytem background came out in jungle) when I made that record.’ Among the best known of the ragga jungle tunes was Original Nuttah by Shy FX and rising Asian ragga star UK Apache. Essentially a reworked version of Shy’s Gangsta Kid that featured vocals by Gunsmoke and had been released in 1993 on DJ Only, the label that became renamed SOUR (Sounds of the Underground Recordings). Excited by the huge potential in combining jungle with live vocals, SOUR A&R man Vini Medley had been inspired to put Apache and Shy together after hearing the former’s tracks that had been released by Ibiza. By coincidence, Apache had apparently been using Gangsta Kid as a loop in one of his own tracks, so when the idea of a collaboration was suggested he jumped at it. In the event, Apache’s vocals to Original Nuttah were recorded in only one studio take with the end results being put out as a white label at the end of 1993. It was given to selected DJs like Hype and Ron, who instantly dropped it into their sets. The response to Original Nuttah was amazing with punters hanging around DJ booths desperately trying to work out who the tune was by. Once word got out, specialist shops were inundated with requests for the tune. Kool FM rinsed it out, playing it on just about every show and subsequently pushing demand even higher. Vini Medley recalled going into record shops with a box of white labels only to see people bartering for copies. An auction room atmosphere prevailed with copies of the white label fetching up to £30 apiece. Vini recalled, with a glint in his eye: ‘It was just totally insane, man. People just wanted the tune so bad. A lot of demand came from that year’s [Notting Hill] Carnival. It was being played constantly: people shouting for rewinds all of the time. The jungle soundclashes helped as well. In fact, Kenny Ken won one of these soundclashes with Original Nuttah. Shy had recorded a new version for him that went ‘You never know the article, genuine in the jungle, you never know Kenny Ken, he rules the jungle’. They went fucking insane when they heard it and he got ten rewinds on it. Actually he beat Rap who got seven rewinds with the same tune. But she hadn’t got the special version! Actually, every DJ played Nuttah that night!’ By the time Original Nuttah was released in October 1994 it was one of the most sought after records on the scene, and as a result, it went straight into the national charts at #39. However, by the time Original Nuttah had hit the mainstream it had already had its jungle thunder stolen through the infamous coupling of M Beat and General Levy on Incredible. Coming out of the house of Renk Records, the white label had shown all of the signs of blowing up. But they could hardly have envisaged what would happen next. Pre-sale demand was high however on release in June 1994 it only reached #39. But heavy airplay and full-on representation at jungle soundclashes gave the track an even greater push, so a re-release in August 1994 saw it hit the top ten and spend twelve weeks in the top 75. The success of Incredible also heralded a growing mainstream interest in jungle with the media immediately tagging the summer of 1994 as ‘The Summer of Jungle’. The distinctive cry of ‘booyaka, booyaka’ that featured heavily on Incredible seemed to be everywhere all of a sudden. By the time of that summer’s Notting Hill Carnival, the ‘booyaka’ call of ragga jungle had taken over the streets of London, providing an overwhelming catchphrase for the nightlife culture of city life. Inevitably the popularity of the ‘booyaka’ call spread like a meme and before long the mainstream appropriated it. Indeed, Channel 4’s Big Breakfast show puppets Zig and Zag even started to use it. By late 1994 the puppets had released their own ‘Zaggamuffin’ record called 1994 Them Girls, Them Girls, produced by DJ Erick Morillo and featuring backing vocals by Jocelyn Brown and Althea McQueen. The irony of the fact that the word was an onomatopoeic expression used to imitate the sound of a gunshot was lost on the daytime TV producers. It wasn’t all jungle cash-in though. The period from October 1994 through 1995 experienced a series of superb mixes like Buju Banton’s Champion – Miami Mix, reworked for the jungle raves to startling effect by an unaccredited source. Or there was DJ Ron’s London Some ‘Ting remix of Champion DJ by Blackstar featuring Top Cat. DJ Ron’s involvement in any remix project was an affirmation of authenticity. Ron’s DJ career was synonymous with the rise of jungle music. He had hosted a radio show on Kool FM as part of the A-Team Supreme Team with DJ SL, MC Moose and MC 5ive-0 since 1992 and was considered a key tastemaker on the scene. Ragga jungle’s popular success was less well received by the dark fraternity who watched a host of outsiders jump on the bandwagon. Producers like Rob Playford regarded ragga jungle with contempt declaring much of it to be devoid of any real creative talent. To him jungle producers were using a sound that he and his contemporaries had already dropped as far back as 1992. ‘Personally, after doing the ragga jungle thing,’ said Playford. ‘There were all these people taking really obvious elements and sticking something even more obvious over the top to try and make a pop record. The sound they were trying to copy was something very close to our hearts, very deep underground and it just pissed everyone off. I just felt like I had to get out of it at that point.’ Not surprisingly, with Playford et al denouncing ragga jungle they’d already returned to their sonic laboratories and had started revealing what would be the next future sound with a production that would become increasingly known as drum & bass. Not that this affected the jungle cognoscenti though, the jungle raves were on fire. JUNGLE RAVES Until 1994 the hundred percent jungle raves had been relatively sporadic. In reality, the numbers of people into the scene just couldn’t warrant a high number of major events, although those that did happen would guarantee crowds of over a thousand punters. By 1994 the numbers of people embracing the jungle raves soared. Randall Among the first of the jungle raves was X: By Any Means Necessary at the Brixton Academy. Featuring Micky Finn, Grooverider, Randall and Ron, the vibe was much darker than the atmosphere witnessed at the hardcore raves. According to one punter on the night ‘there didn’t seem to be one person smiling in the whole place’, but he added ‘the atmosphere was still electric, with the music rather than the drugs carrying things.’ There had also been occasionally smaller events such as Kool FM’s first birthday party at Arcola Street in Stoke Newington in 1992. In 1993 Kool teamed up with pirate station Weekend Rush FM to put on Jungle Book – The Rave at The Rocket, Holloway Road in North London. The success of the collaboration had shown the potential impact provided by the greater reach offered by the two stations. Buoyed by the success, they again paired up the following year for Kool’s third birthday event at the 2,000-capacity venue The Astoria on Tottenham Court Road. Kool and Weekend Rush promoted the event over the airwaves around the clock leading to an estimated 5000 punters turning up on the night. Talking to Vice, Eastman said: ‘We had our third birthday at the Astoria, and we shut down the whole of Tottenham Court Road. We had 3,000 inside, and there was something like 4,000 or 5,000 outside. They had to close the club next door for the night because nobody could get in or out.’ Kool FM mainstay Brockie confirmed the sell-out, although his numbers differed slightly. ‘When we saw the turnout, it was unbelievable! Everybody was there with this music, jungle, something was happening. There were about 2,000 people inside and out on the street there were about 3,000 people. There were people ranging from eighteen to forty, all ages. The police had never seen anything like it.’ Another Kool FM collaboration, this time with Ibiza Records resulted in the launch of Jungle Fever in August 1993. The event promised the best DJs, MCs, soundsytems, lasers and set design and offered a guarantee that every DJ printed on the flyer would play. Furthermore, they also guaranteed payment in full to their artists and even employed their own security staff. The ethos of self-professionalisation presented by the Jungle Fever team was quite simply one of mutual respect between promoters, artists and punters alike. The first Jungle Fever was like a statement of intent to the entire scene. The venue was decorated like a graveyard with tombs, coffins and gothic statues in a move that exaggerated the dark moods of the times. The first in a series of themed events that travelled from venue to venue around London and as far north as Milton Keynes, Jungle Fever cemented jungle’s popularity in the minds of punters and presented a paradigm of how events should be managed. ‘Before us, people were putting on events but they were afraid to call it jungle,’ said one of the team in 1995. ‘We wanted to present jungle as it should be presented, and not water it down by mixing it with… techno and house. We said to our DJs “this is Jungle Fever, you go ahead and take jungle music to where it’s going to go”.’ Soon after the first Jungle Fever rave the Roller Express in Edmonton opened its doors to the regular Jungle Splash events. An extremely important breeding ground for the burgeoning MC presence in jungle, Jungle Splash boasted a steady diet of live ragga chatting and more than a few jungled up soul divas. It may have taken place on a trading estate on the edge of London, but Jungle Splash at Roller Express was massively popular with punters and DJs alike. A typical line-up would include Randall, Micky Finn, Brockie, Darren Jay, Jumping Jack Frost, Ray Keith and Hype; a VIP line-up that echoed AWOL at its finest Paradise days. Jungle Splash proved to be the turning point for two people who were to become inextricably linked to the scene: Dave Stone and Cleveland Watkiss. For Stone, it was an eye-opener that was to change the direction of his DJ Only imprint that had already released classic hardcore tunes like Bass Selective, aka T Power’s Southern Fried Chicken featuring Elizabeth Troy. Stone rebranded DJ Only as junglist label SOUR (Sound of the Underground). Until Jungle Splash events in Edmonton he admits he simply hadn’t got jungle. The tunes he’d been sent left him cold as without a kick drum he simply wondered how people could dance to it. But so many people he respected were into the sound he agreed to go to Jungle Splash with Shy FX so he could try and understand what the fever was all about. Stone recalled: ‘I went out with Shy FX to a few of the raves in Edmonton, like Jungle Splash and Jungle Soundclash and I really liked what I saw, I really liked the vibe. It was different from hardcore. There was like, a fifty/fifty mix of black and white but you could really feel the black influence with the ragga samples and the reggae basslines. The DJs who were mainly black were pushing a real skanking feel, which I instantly understood because I was into reggae. It was the bassline, which gave the half time dance rhythm of the bpms. It quickly made sense to me in the context of the rave.’ Soon after Stone sanctioned the release of T Power’s extremely experimental Lipsing Jamring and Shy FX’s Gangsta Kid. SOUR Recordings became home for the entire spectrum of breakbeat, from jungle to drum & bass; ragga jungle to artcore. Indeed, the label would even go on to champion UK hip hop in the shape of Blak Twang’s Dettwerk South East album – a set where a hint of the future, grime, can be heard germinating in the production. For Cleveland Watkiss the discovery of jungle was far more accidental. A stalwart of the jazz scene thanks to his days with the Jazz Warriors, he had very little to do with the rave scene. His days of clubbing were far more based around Gilles Peterson’s Dingwalls jazz floorshakers. Having lived in London’s East End for a number of years, he could hardly avoid the sound of jungle blasting everywhere, and it wasn’t long before he decided to check out a jungle rave. Jungle Splash converted him to the cause. ‘My first Roller Express was when jungle actually clicked for me,’ he said in 1996. ‘I’d been listening to this stuff for maybe two years, but I’d never been to these raves, and as soon as I did, the music just grabbed me, man. I hadn’t heard anything like this since I first heard be-bop. I knew immediately I was going to be involved. I had been hanging around the jazz scene, and people were like, “What are you doing listening to that shit”. But the jungle scene is a real integration of cultures on a level which I’ve never really experienced before. It’s a product of multiculturalism.’ Watkiss soon started to work with Goldie becoming an MC for the Metalheadz events as well as at Goldie’s live shows in the late 1990s. By 1994 the jungle raves were flourishing. Another event that would have a huge impact on Stone was Jungle Soundclash, again at Roller Express. Talking to Brian Belle-Fortune he exclaimed: ‘… it was fucking amazing. The decks in a boxing ring, Moose and 5ive-0 wearing dicky bows – ringing a bell. The crowd controlling the DJs – screaming for the rewinds and getting them. It certainly was a spectacle. Rap got death threats on her answering machine warning that if she played Incredible, she would get killed. The BBC had been told to stay away. Rap started off her set with Incredible and finished with the rewinds of Nuttah. Kenny Ken went on to win drawing freshly cut Congo Natty dubplates. The atmosphere, the vibes. I’ve never felt such togetherness.’ In early 1994 jungle club nights in central London were also regular fixtures. Already a haunt for junglists, Sunday Roast moved to The Astoria after a short run at Linford Film Studios in Battersea, south London. It proved to be a hugely significant event as it was becoming a rarity for young black men to be allowed in access to central London’s clubs thanks to the open prejudices of door staff and club owners. Everton Taylor, who promoted the Astoria events alongside Wayne Roast explained to True Magazine that ‘it was really difficult for black men to get into West End clubs then. Roast broke down some barriers.’ In a move that seemed to take Everton’s comments to heart the line-up of London clubs devoting nights to jungle soon increased. A London Sumtin alternated between Samantha’s on Burlington Street and the Vox in Brixton and featured residencies from Brockie, Bryan Gee, DJ Ron, Trace and Stretch with regular MCs 5ive-0 and Det. Thunder & Joy took over Raw on Tottenham Court Road every other Sunday. A basement set six floors beneath the YMCA, Raw offered the best in subterranean clubbing. Thunder & Joy brought together people from all over the south-east of England to enjoy the booming 24K soundsystem and a line-up that included Rap, Nicky Blackmarket, Darren Jay, Brockie, SL and the Demolition Kru. Meanwhile, the unlikely surrounding of legendary rock venue the Marquee opened its doors to what was described as featuring ‘the original dub tribe junglists’. Called Electrybe, the event was aimed at a mellower form of jungle that had been bubbling away in the background since LTJ Bukem and dropped Demon’s Theme in 1991 and would eventually become referred to as drum & bass. Electrybe was an anomaly however; as in the majority of the capital’s clubs the mood was still hard. Nowhere was this more evident than in south-east London where the ragga jungle centric Lazerdome in Peckham Rye dominated. Lazerdome tapped into the large Caribbean population of the area and developed into a rudeboy swagger. It was an outward statement of pride, a south-east London thing. The event proved to be the perfect setting for Desert Storm, the jungle offshoot of Sandy Jarvis’ Biology promotions. Desert Storm put on two events in Peckham, The Lick and Simple Tings. While both were marred by violence, they proved to be stunning nights with the vanguard: Grooverider, Hype, Randall, Ray Keith, DJ Rap, Cool Hand Flex, DJ SS, Tonic and Jumping Jack Frost all tearing up the dancefloor. Beyond the music, perhaps the most noticeable thing about the jungle raves was the style. Quite the opposite to the dress down utilitarian wear of the rave scene, junglism demanded an image that combined powers of designer clothing and overt sexuality. The style reflected the music itself with the bass tapping into a raw sexuality that aimed at the pelvis while the high sheen of the designer band reflected the extreme technological structure of the breaks. Naturally, the fashion sought to reflect these elements in a style that drew heavily on the sexual overdrive of the dancehall. Women dressed in the smallest and tightest shorts, known and ‘batty riders’. Legs would be adorned in thigh-length leather boots while leather waistcoats were also de rigeur. The colours: black and gold. With the style order for the day for women being tight, small and revealing, it was inevitable that dancing styles too would exaggerate the sexuality of the music. Through the promiscuity of bogling interspersed with slower pelvic gyrations that flowed to the groove of the basslines. It was a style that depicted the sense of empowerment that junglism instilled in women. The sexuality wasn’t for the benefit of men, but an outward display of their own independent power. Jungle raves offered bodily empowerment for women. The men, on the other hand, adopted a less physical dance style that played second fiddle to the women’s performance. However, there was a clear show of masculinity through two-finger mimes of gunshot and fists thrust in the air. Theirs was a far more predatorial style, the streetwise look of a bad boy on the prowl. They’d be far more likely to stand around checking people out than actually dancing. The guys would also be dressed to kill in their designer gear with (often fake) Versace, Moschino and Armani offering the choice cuts. The crowd was incredibly loud. To them the jungle rave wasn’t just about dancing; it was a complete involvement. It was an extension of the expectation of total commitment, or way of life, that defined junglism. So crowds would holler ‘rewind’ at the DJs, foghorns were basted, whistles blown – when the MC shouted for them to make some noise the cacophony was deafening. A wild and violently loud euphoria gripped the jungle rave. The Independent newspaper described it as being ‘to music what Mortal Kombat is to video games. Aggressive, violent, but totally compulsive’. Similar stories were run in almost every broadsheet newspaper and style magazine as an apparent about-turn saw them jump on the jungle gravy train. MTV too increasingly gave interview time to the stars of the scene. In reality though, the rave generation were now making their way as journalists and this new workforce were operating from the inside to get recognition for the junglist underground. Following the success of Incredible, the editorial gatekeepers felt the scene now had some value and allowed their younger staff to get the stories. A large number of dance music magazines caught up in the bright lights and coke lines of house and techno were less open to the cultural value of jungle and in an attempt to get in touch with the most important UK phenomenon in twenty years went straight to General Levy for their stories. In a scene where DJs and producers were happy to be relatively anonymous, in keeping with the original ethos of the rave, the space was left wide open for MCs to take the limelight. These were the people whose voices were carried across the soundsystems of the clubs and the airwaves of the pirate stations. The mouthpieces behind endless streams of psycho-babble, shout outs and buzz phrases. For many, they were the catalysts who translated the energy of the music into the language of the rave. Looking out towards the crowd, mics firmly to lips, the MCs would ride the ebb and flow of the rolling beats, working the audience with their lyrical dexterity, pushing the vibe to intensified crescendos while spreading their patter across the smoother passages. The MCs carried the message to the audience, boasting about the jungle massive and supplying a stronger sense of identity. Each different personality on the mic would push their own catch­phrase. MC Moose would holler his feelings that jungle was ‘like malaria, it’s contagious’, while 5ive-0 pushed his own version of jungle’s cultural significance describing the movement as ‘the biggest thing since England won the World Cup’. If jungle seemed to have an at times overly high sense of self-esteem, then surely it came from the MCs and their irrepressible excitement. It was something which outsiders viewed as arrogance, but insiders would define as street attitude. With jungle, these rebels had a very real cause to fight for, and the MCs were the unelected spokesmen. Jungle’s adoption of the MC from the reggae soundsystem and the hip hop block jam tied the scene even deeper into a sense of history. Little surprise then that every man, woman and dog wanted to emulate the MCs they’d grown up listening to. After all, they’d been singing along to these reggae riddims and hip hop jams for years, just how difficult could it be? In the event, MCing proved to be an art form that few could master. DJs would increasingly complain that MCs egos took over as soon as their words were amplified. The power of hearing themselves over the soundsystem would open the sluice gates on an unending barrage of words, riding over the beats and crushing the vibe of the music. Quite simply, once they’d started, they couldn’t be stopped. Furthermore, the increasing celebrity status of the MCs, with some getting a higher billing on the flyers than the DJs themselves, created a very real friction. For the DJs the music was paramount. Although individuals were allowed a certain underground celebrity status, no DJ was more important than the scene that they were representing. As such, no individual could take any credit for things. Little more than an unwritten rule, it was, however, accepted by everyone involved out of respect for the scene they’d stuck with, protected and subsequently nurtured. These workings (or ‘runnings’ as they are often referred to) were the glue that held things together. However, with MCs slowly being elevated as the ‘chosen spokespeople’, the media were finally able to cover this sound while adhering to a star system that demanded figureheads. It was this ideology that was in line with dancehall and hip hop. The US and Jamaican scenes celebrated individuals and accepted that these special few would seek stardom beyond the confines of their scenes. In many ways, mainstream stardom represented the ultimate battle, with a mass media, industry and public response demanding a commercial hierarchy. Jungle had always previously universally rejected the commercial hierarchy and, until this point, most publications were shy of any movement without its figureheads. Sure Fabio, Grooverider and their ilk were able to pack out the raves and bootleggers could sell enormous quantities of mixtapes of their sets but, as individuals, they resolutely refused to play the media celebrity game. Suddenly the MCs provided faces for the photos and quotes for the articles. The ripples of dissatisfaction spread throughout the scene, with many DJs openly condemning the shameless fame-hungry acts of these new stars of the microphone. MC 5ive0 ‘MCs are people who chat over records to help with the vibe so people can have a good time in a club, that’s it, full stop. I mean if I want vocals on a track I put them there. But some MCs started thinking they were more important than everyone else and because a lot of producers aren’t interested in talking to the press the MCs started coming forward,’ argued Dego McFarlane. This tension was starting to become an increasing feature in the clubs as MCs flexed their self-proclaimed importance at every opportunity. More and more some MCs started calling for rewinds, not because the crowd had shouted for it but because they personally liked it or had new words they wanted to spit over the beats. DJs complained bitterly. Microphones would be unplugged in disgust, and increasingly DJs would only allow their own chosen MC partner on the mic. As a result, many of jungle’s partnerships started to emerge: DJs teaming up with MCs who understood about the spaces in the music quickly rising to the top of the pack. For Cleveland Watkiss, better known as the Metalheadz MC, this understanding of space was paramount to a good vocal delivery. ‘If I’m going to chat or MC on top of someone else’s music, I have to respect it first. The thing is you’ve got your MCs, and they’ve just written some bad lyrics and they want to run them, which is understandable. But you have to find the right space first.’ Unfortunately, not all of jungle’s MCs had the humility or musicality of Watkiss and, as such, the tensions between vocalist and DJ just grew. By 1995, the only MCs still getting major respect from the scene were the ones who understood the vibe and pushed it, rather than using the mic as an extension of their own individual egos. People like Conrad, Watkiss, MC Det, 5ive-0, Navigator and GQ who remained intent on pushing the scene forward. RECOMMENDED LISTENING Limb by Limb – Cutty Ranks (Suburban Base) Unity – Remarc (Kemet) RIP – Remarc (Suburban Base) Armed and Dangerous – Cutty Ranks (Fashion) Burial – Leviticus (FFRR) Tear Down (Da Whole Place) – Dillinja (Conqueror) So Simple – Potential Bad Boy featuring MC Det (SOUR) Incredible – M Beat featuring General Levy (Renk) Original Nuttah – UK Apachi with Shy FX (SOUR) Warning – Ibiza (white) Code Red – Conquering Lion (X-Project) 28 Gun Bad Boy – A Guy Called Gerald (Juicebox) Gangsta Kid – Shy FX (SOUR) Wheel Up – Lion Man (Lucky Spin) Runnin’ For Years – L Double Presents Liccle D (Little Rollers) Connections – Skenk Gee (Suburban Base) Ruffest Gunark – Top Cat Meets DJ Rap (Fashion) Special Dedication – DJ Nut Nut (Hard Step)The Licence – DJ Krome & Mr Time (Tearin Vinyl) State Of Bass

Martin Garrix & Sem Vox ft. Jaimes – Gravity Martin Garrix has officially dropped his long-awaited collaboration ‘Gravity’ with longtime friend and fellow Dutch DJ/producer Sem Vox. Featuring vocals from rising talent Jaimes, who could also be heard on ’Empty’, ‘Gravity’ already become a fan favorite after its premiere at Ultra Music Festival Miami earlier this year and earned a permanent spot in Garrix’s festival sets over the summer. Sebastian Ingrosso – Flood After an eight-year hiatus spent on groundbreaking projects with Swedish House Mafia—earning 2X Grammy Awards nominations—and collaborations with Steve Angello and Axwell, Sebastian Ingrosso returns with his new solo single, ‘Flood’. Released via imprint Superhuman, this anthemic dance track marks a significant return for Ingrosso and sets the stage for more exciting releases to come. David Guetta, Alphaville & Ava Max – Forever Young Today, Grammy-winning global icon David Guetta teams up with chart-topping singer Ava Max and 80’s hitmakers Alphaville to revive their smash-hit ‘Forever Young’. Much like Guetta’s huge 2022 hit ‘I’m Good (Blue)’ with Bebe Rexha, which now has over 3 billion streams, the story of ‘Forever Young’ started on TikTok. The track has garnered over 3 million TikTok creations this year, resulting in a huge boost across streaming platforms. Patricia Zavala, Aura, Emanuele Esposito & Gianni Romano – Pop The Low ‘Pop The Low’ brings together Patricia Zavala, Aura, Emanuele Esposito, and Gianni Romano for a sultry vocal afro house single. With infectious rhythms, tribal percussion, and hypnotic basslines, this track creates a deep, groovy vibe. Zavala’s vocals add a smooth and captivating layer, making ‘Pop The Low’ a perfect fit for both late-night club sessions and afro house enthusiasts. This collaboration showcases a seamless blend of vocal-driven energy and pulsating house beats. Cosmic Gate & James French – Take Me Grammy-nominated duo Cosmic Gate joins forces with rising star James French for their latest single, ‘Take Me,’ on Sony Music Germany‘s noted. records. This collaboration marks a bold step into new territory for both artists, blending Cosmic Gate’s electronic mastery with French‘s emotive vocals. Honorable mentions: Tungevaag Ft. Liamoo – Hey DJ NOTD Ft. Inji – Bruce Wayne Breathe Carolina & Wasback & Ale Mora Ft. Babz Wayne – Scream Moguai Ft. Wukong & Crazy Donkey – My Immortal William Black Ft. Jazara – Collide Jerro Ft. Soleil – Need You Close Borgore – Find Someone Zedd Ft. Dora Jar & Mesto – Descensus DVBBS Ft. Bad Nonno – Upside Down Gabry Ponte & Naeleck – Not Alone Mau P – MERTHER Eli Brown & LUSU (Wiwek & Mike Cervello) – Escape From Planet Monday Farius & Liu Bei – Running Jesabel – Feel Le Shuuk & Dada Life – Fcking Vibe Gareden & Against All Ødds – Agartha Allen Watts – Soulsearcher Dr Phunk & AVAO – The Sky Is Rumbling. Lucas Estrada Ft. Besomorph – Rain Your Love On Me Stream all these tracks and more in our New EDM Friday playlist – follow here.

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Sebastian Ingrosso is back with a new single, "Flood," a masterclass in tension and release that drowns listeners in haunting house music. The influential Swedish House Mafia producer says his latest single is emblematic of a renewed sense of artistry. "It's been a very long time since I worked on something of my own that represents who I have become since then," Ingrosso said in a post on Instagram. "I am on a journey of traveling inwards and this is one of the many stories I hope to tell." "Flood" is one of Ingrosso's best tracks in years. The track's undeniable highlight is its break, which emerges as a moment of eerie calm as the lyric, "Only for the flood to rip through you" hovers ghostlike over mesmerizing chords. It's here where his production truly shines with cinematic swells that conjure visions of underwater cathedrals, their stained glass fracturing under immense pressure. As fluttering arpeggios then warp and twist, the tension ratchets up notch by notch in a beautifully claustrophobic build. But just when you think your lungs might burst, the drop hits, a euphoric release valve unleashing waves of pent-up energy. Listen to "Flood" below and find the new single on streaming platforms here. Follow Sebastian Ingrosso:Instagram: instagram.com/sebastianingrosso TikTok: tiktok.com/@ingrosso X: x.com/ingrosso Facebook: facebook.com/sebastianingrosso Spotify: spoti.fi/3Xn23ij

Just like Martin Garrix's many soaring dance anthems of yesteryear, his latest, "Gravity," transports listeners to a place where weight doesn't exist. Out now under Garrix's own STMPD RCRDS banner, the track was produced with Sem Vox and features a powerful vocal performance from Jaimes. Fans of Garrix will remember the Rotterdam-based singer-songwriter from his stellar work on "Empty," a collaboration with DubVision that appeared on the duo's debut album Another World, which released on STMPD back in July. The Dutch producers have delivered a surefire festival hit that feels both comfortingly familiar and thrillingly new, a vintage progressive house anthem for those who long to let go of their burdens. Jaimes' escapist lyrics evoke a desire for self-discovery as he belts, "What if I could let go? / Both feet off the ground / What if there's a place / Where all my troubles can't be found?" Meanwhile, the euphoric energy of Garrix's and Vox's production rises gradually like a sunrise over the horizon, sparking the sense of freedom that comes with the idea of breaking away from the weight of the world. The synths swell, carrying us higher through a tense build, and when the drop eventually hits, it's like stepping off a cliff—weightless yet electrified with possibility. Listen to "Gravity" below and find the new single on streaming platforms here. Follow Martin Garrix:X: x.com/martingarrix Instagram: instagram.com/martingarrix TikTok: tiktok.com/@martingarrix Facebook: facebook.com/martin.garrix Spotify: spoti.fi/2YszVxQ Follow Sem Vox:X: x.com/semvox_ Instagram: instagram.com/semvox Facebook: facebook.com/semvox Spotify: tinyurl.com/uwutm7r2 Follow Jaimes:Instagram: instagram.com/jaimesmusic Facebook: facebook.com/musicbyjaimes Spotify: tinyurl.com/2rj4s7rj

Eli Brown is handing out one-way tickets to escape into the rave with his new single, "Escape From Planet Monday." Arriving on his own record label, Arcane, the track sees him teaming up with LUSU and Sarah de Warren for an intense journey into the heart of underground techno. From the rip, "Escape From Planet Monday" plunges into the depths of a galloping bassline as otherworldly vocal chops drift in and out of focus like fleeting memories, hypnotically pulling us deeper into the track’s orbit. As the music pummels forward, there's no resisting its pull. The track aptly channels the chaotic thrill of letting your mind go wherever the night takes you. It's the sound of dopamine coursing through your veins, of being fully alive in the present and riding the high of the moment. The sinister, gritty production that has become a hallmark of Brown's style is fully present here, echoing the raw, visceral energy of his underground roots. Check out "Escape From Planet Monday" below. Fresh off his sold-out show at Rockefeller Center—where he became the first-ever techno artist to grace the iconic stage—Brown is proving once again his ability to move beyond creative boundaries with effortless determination. Whether he's dominating the decks at legendary venues or embarking on lifestyle endeavors like his 90s rave-inspired streetwear brand, he continues to leave an indelible mark on rave culture at every turn. His track "Be the One" was also named one of EDM.com's best techno songs of 2023. You can find "Escape From Planet Monday" on streaming services here. Follow Eli Brown:X: x.com/elibrownbeats TikTok: tiktok.com/@elibrownbeats Instagram: instagram.com/elibrownbeats Facebook: facebook.com/elibrownmusic Spotify: spoti.fi/2POQMKy

If there's one thing Kaleena Zanders is known for, it's serving a piping hot slice of house groove in every release. Her new EP, GLORIFIED, is no exception. The soulful release showcases Zanders' dynamic sound through a fresh lens, while staying true to her authentic brand. She's referred to the EP as "spiritual journey of self-discovery and rebirth." The EDM.com Class of 2022 star teamed up with Tchami on one of the record's best tracks, "Daddy Keeps Calling," which draws inspiration from gospel music. The energizing track expertly pairs euphoric vocals and drums to deliver a disco-influenced club heater. "In our heads, we imagined the dancefloor being the dominant force in our lives that drives us to create dance music and the force that so many people gather around," Zanders said in a statement about the collaboration. "With that said, in this case playing off of sensual role-play, Daddy is the dancefloor and the nucleus that binds us all." The titular track, "GLORIFIED," acts as the "ultimate musical mating call to a lover that you are obsessed with and want to impress even more," she added. The song marries disco elements with impassioned vocals and groovy synths, setting the tone for a spicy night on the dancefloor with a loved one when the rest of the world fades away. In other Zanders news, she recently kicked off a tour alongside another EDM.com Class alum, DJ Susan. They will perform in New York, Colorado, Texas and more from now through December. Listen to GLORIFIED below and find the new EP on streaming platforms here. Follow Kaleena Zanders:X: x.com/kaleenazanders Instagram: instagram.com/kaleenazanders TikTok: tiktok.com/@kaleenazanders Facebook: facebook.com/kaleenazandersmusic Spotify: spoti.fi/3aOqHSI

There's nothing more hair-raising than a paranormal encounter. Whether it be a visual appearance or a disturbing sensation, these mysterious occurrences can be a traumatizing exposure, leaving anyone in distress. Usually, these instances fade into the depths of one's memory banks, a casualty to time like most other human experiences. However, every year, as the temperatures drop and the nights grow longer, an appetite grows to share one's scary stories for others to feel that chill up their spines. In the spirit of the spooky season, we scoured the roster of America's largest Halloween EDM festival to find the most frightening stories from their nights on the road. From sinister sleep demons to creepy cannibal lodgings, these are the terrifying tour tales from some of the acts performing at this year's Escape Halloween. Escape is scheduled for October 25-26 at San Bernardino's NOS Events Center. You can grab your tickets for the 18+ festival here. Ghastly Ghastly.c/o Press "One time while I was touring in Germany, I was completely exhausted from having to go to the airport directly after the show. When I landed and finally got to my hotel room, I laid at the foot of the bed with my head facing the door and drifted off, thinking I was falling into a dream. I realized I was actually wide awake when my hotel room door opened, and a large shadowy monster made of static began crawling toward me. As it approached my face, the noise grew louder—static mixed with screaming and horrifying, negative words like "this is it, you're going to die." I was completely frozen, unable to move, overcome with terror to the point of insanity. Finally, the sleep paralysis broke, and I could move again. In terror, I screamed, "GET AWAY FROM ME!" To my surprise, there was someone standing in the doorway — an cute older German housekeeper with a look of confusion and shock on her face. She hesitantly said she would come back later as I tried to apologize and explain what I just saw, but that only seemed to scare her more. I'm still not sure if the sleep paralysis demon was real or not, but it's safe to say that I completely freaked out the housekeeper." Softest Chyl Softest Hard (L) and CHYL (R).c/o Press Softest Hard: "T-Pain had me come play a DJ set on his Wiscansin Tour and the last stop was in Milwaukee, Wisconsin. We were all recommended to stay in this hotel that was right across the street from the venue so it was easy to commute to the show. We had arrived the day before the show and we just hung out in the hotel since it was the middle of winter and it was freezing outside, me and my tour manager walked into our room and it was already feeling a little off, the bed frame was very weird and it had these odd upside-down symbols on it that had us looking at each other in confusion. The hallways felt eerie and the light was yellow and the hotel was very old fashioned. My tour manager felt very unsettled so she took out one of those bibles that some hotels provide and we blessed the room. Later on we got hungry so we walked down to the diner that was in the hotel, after we ate our food we made small talk with our server and asked her what’s Wisconsin famous for and she proceeds to tell us that we were staying in the infamous hotel where Jeffrey Dahmer would lure his victims to and we stayed in the room right below the room he was murdering people in. Not only that, just down the street was where Dahmer’s apartment was where he did all the horrific acts of cannibalism and murder, we were told that apartment building was no longer there anymore and it was just an empty space. The next day at the show the liaison was taking me and my tour manager to the green room and to get there you had to go down stairs to the basement and past this humongous indoor pool that was empty and filled with graffiti, we were told that the venue we were playing at was also haunted and that a little boy and a man hung themselves down stairs by the downstairs/pool area. I love the friends that I made there but sorry Wisconsin I don’t think I will be coming back anytime soon.” RayRay RayRay.Uli Zhung "After a show in Vietnam, I stumbled back to my hotel around 3am, drained from the night. As soon as my head hit the pillow, I heard it—a steady flow of water. I looked over and saw the bathroom faucet running full blast. Weird. I wanted to get up and turn it off, but I was too exhausted. As I rolled back over, something felt wrong, like I wasn’t alone. But sleep pulled me under before I could figure it out." FOLLOW ESCAPE HALLOWEEN:Facebook: facebook.com/EscapeHalloween X: x.com/EscapeHalloween Instagram: instagram.com/escapehalloween

Kaskade is making the most wonderful time of the year even more magical in 2024 with the return of his beloved Christmas shows. The intimate series is known for marrying the old with the new by threading Kaskade's electronic renditions of timeless Christmas classics with audiovisual production for a wholesome holiday experience. A total of nine events will take place in Salt Lake City, New York and Los Angeles between December 6-21 at Kingsbury Hall, Brooklyn Paramount and the United Theater on Broadway. The events in New York and Los Angeles include both matinee and evening times. The festive performances will feature a live band, vocalists and, of course, joyful tracks from Kaskade's fan-favorite Christmas albums, like his interpretations of "White Christmas" and "O Christmas Tree." "After last year’s Christmas Shows in Los Angeles, I knew I had to get the band together and run it back again this year," Kaskade wrote in an announcement share on his social media. "I am bringing this one-of-a kind live intimate show to you. Bring your family + friends; start a new Christmas tradition with me." The presale will kick off October 23th. For more information and to sign up for early access, head here. View the original article to see embedded media. Follow Kaskade:X: x.com/kaskade Instagram: instagram.com/kaskade TikTok: tiktok.com/@kaskade Facebook: facebook.com/kaskade Spotify: spoti.fi/3fHaUGk

Zedd, Alesso and countless others from the global music community are paying tribute to Liam Payne following the One Direction singer's tragic death. Payne, 31, passed away October 16th in Argentina. The singer was pronounced dead after falling from a third story balcony at the CasaSur Palermo Hotel, according to Buenos Aires emergency services chief Alberto Crescenti. In comments translated from Spanish, he said that Payne suffered "a fracture at the base of the skull," per Argentine news channel Todo Noticias. "I can't believe this is real… absolutely heartbreaking," Zedd, with whom Payne collaborated to release 2017's global dance-pop hit "Get Low," wrote in a post on X. "Life is short and fragile… You never know what people are going through," the DJ added. "We live in times where being rude, divisive and mean is normal; sometimes even celebrated. It doesn’t have to be this way. We should do our best to be kind, supportive and mindful." Life is short and fragile… You never know what people are going through. We live in times where being rude, divisive and mean is normal; sometimes even celebrated. It doesn’t have to be this way. We should do our best to be kind, supportive and mindful. — Zedd (@Zedd) October 16, 2024 Swedish EDM superstar Alesso, who in April 2020 collaborated with Payne to release "Midnight," mourned his death in a heartfelt Instagram post. "Can’t believe you're gone Liam," Alesso wrote. "I'm grateful we got to create magic together on 'Midnight' and even more thankful for the friendship we had. We shared many laughs and great memories that I’ll carry with me always. Rest easy, my friend." View the original article to see embedded media. Artists and fans of Payne are mourning the chart-topping artist's death en masse on social media. "Beyond sad to hear this news. Rest well my friend," said Jonas Blue, who in 2018 joined forces with Payne to release "Polaroid." "So upsetting to hear the news of Liam Payne passing," wrote Paris Hilton. "Sending love and condolences to his family & loved ones. RIP my friend." We at EDM.com express our sincere condolences to the family, fans, friends and loved ones of Liam Payne.

Google has begun rolling out Android 15 to eligible Pixel devices, marking the latest update to the popular mobile operating system. This update brings a range of new features and improvements, including enhanced security, privacy features, improved user experience, and advanced camera functionality. One of the standout features of Android 15 is Theft Detection Lock, which uses AI to protect your data. The update also includes additional security measures such as extra layers of authentication for SIM removal and Find My Device. For added privacy, you can now create a private space on your device to hide sensitive apps and data from others. Android 15 also offers improved user experience features, such as customizable layouts and app pairing for multitasking. You can easily save combinations of apps as app icons on your home screen for quick access. In terms of camera functionality, Android 15 provides more granular control over the flash and other settings, allowing for better photo and video capture. Additionally, the update enables satellite messaging support for carrier apps, ensuring you can stay connected even in remote areas without cellular or Wi-Fi coverage. Other notable changes in Android 15 include faster performance, subtle design enhancements, and new features for developers. As the update continues to roll out to more devices, users can expect to enjoy these benefits and more. *Cover image credit: Harish Jonnalagadda [H/T] Engadget The post Android 15 Just Came Out, Focuses On Stronger Security appeared first on EDMTunes.

Pammi Pasqual reveals his new House single, ‘Riders On The Storm,’ featuring Luke Trundell. Set for release through his record label, Playdance Records, the track brings a driving sound encapsulating his unique signature style, which draws influence from Electronic Music styles like House and Dance, merged with Luke Trundell’s dramatic vocals, to create a refreshing production. With his musical origins beginning in his home country of Greece in 2005, having taken to performing and producing as part of the DJ duo BACK2BACKTM, Pammi Pasqual’s journey has been marked by a continued commitment towards his artistic growth and pursuit to stand out. From supporting top names on stage, like Chase & Status, Sigala, and Danny Howard, to setting up his record label Playdance Records, to hosting his monthly radio show, to working to expand his discography, Pammi Pasqual’s artistic dedication has remained clear; once again highlighted as he puts forward another polished and original track with ‘Riders On The Storm.’ The track opens with an atmospheric arrangement of dynamic pads, motifs, and shuffled percussion, building in energy as the thumping beat and robust bassline join to create a strong low-end foundation for punchy synth hooks and a crisp horn lead to layer against. As Luke Trundell’s vocals weave in, the soundscape keeps developing, unravelling into a blend of bright electric guitars, piano riffs, and uplifting progressions that keep the listening experience engaging whilst showcasing Pammi Pasqual’s creative approach. The combination of spoken vocal phrases and expressive melodic lines, coupled with the detailed arrangement, makes ‘Riders On The Storm’ a unique listen: a track sure to become a standout in Pammi Pasqual’s discography. Make sure to follow Pammi Pasqual across social media to remain updated on his latest releases, news and projects, as this newest single serves as yet another indication of the promising path he is set to continue paving. ‘Riders On The Storm’ is out now via Playdance Records and available in all major online stores and streaming platforms here. Listen and Buy ‘Riders On The Storm’ Now: Pammi Pasqual: Instagram | Spotify | Website Luke Trundell: Spotify Playdance Records Instagram | Website

Attendees will be able to witness the Dutch capital waking up, soundtracked by sets from Prunk, Honeyluv, Dennis Ferrer, and a secret headliner. Continue reading...

‘The Spark’ is in the running for both Best Dance/Electronic Recording category and Song of the Year Continue reading...

As Tomorrowland Brasil 2024 opened its beautiful realm from October 12–14, the enchanted universe of electronic dance music once more descended upon Itu, São Paulo. Inspired by “Adscendo,” this year’s edition carried over 150,000 People of Tomorrow into an amazing audiovisual voyage, attaining yet another festival milestone. Day 1: The Rise of ‘Adscendo’ The grandeur of the ‘Adscendo’ Mainstage enthralled visitors as the gates of Parque Maeda opened on Friday, October 12. Having traveled from Belgium, this architectural wonder proved evidence of Tomorrowland’s dedication to stretching artistic limits. After more than two years of painstaking preparation and workmanship, the stage welcomed festival attendees to start a hidden trip towards an unusual location. EDM giants such as AFROJACK, Armin van Buuren, and Hardwell came alive on the Mainstage, defining an amazing weekend. But it was more than just the primary draw; the festival grounds throbbed with vitality across several stages, each with a different ambiance and sound. The fabled CORE stage, which made its first visit to Brazil, was among the most awaited appearances. Tucked among the countryside, this venue offered a multi-sensory experience featuring acts by Bonobo and Dan Shake. Deeper, more contemplative electronic music found a suitable backdrop on the rocky stage set with natural elements. Day 2: Diving Deeper into the Electronic Realms The festival’s second day brought just more intensity. Making its Brazilian premiere following a remarkable run in Belgium, Budweiser’s Freedom Stage became a gathering place for techno and tech-house aficionados. This enormous indoor club presented an immersive experience unlike anything else, with its big dragonflies and enormous LED background. Stages like Youphoria and Tulip offered more private environments that let attendees explore several sides of electronic music. From the fairytale-like Tulip to the quirky mushroom-decorated Youphoria, every venue added to the magnificent tapestry of Tomorrowland Brasil. Day 3: A Grand Finale to Remember With all the stops, the last day of Tomorrowland Brasil 2024 delivered events that will live long in the memory of participants. The event worked with Brazilian powerhouse DJ Alok for a global debut to create an amazing drone performance. Six hundred drones illuminated the nighttime sky, representing oneness and connection—fundamental principles of the Tomorrowland experience. EDM giants like Alesso, Steve Aoki, and Don Diablo appeared on the Mainstage as the evening wore on. Belgian techno queen Charlotte de Witte took a great performance that aptly captured the essence of Tomorrowland, so closing out the event fell to her. Musical Highlights and Festival Atmosphere The sound of the best electronic music permeated the weekend. To suit every taste in the electronic spectrum, the festival’s soundtrack included underground techno tracks as well as large room anthems. Among the most often performed tunes were Adam Port and Stryv’s “Move ft. Malachiii,” the venerable “In My Mind” by Ivan Gough & Feenixpawl ft. Georgi Kay (Axwell Radio Edit), and the always popular “Freed From Desire” by Gala. The energetic environment produced by attendees from all around the world matched the variety of music. Representing the festival’s values of bringing people together via the universal language of electronic dance music, the People of Tomorrow gathered in a celebration of togetherness, love, and music. Looking back and beyond. It was evident as the last beats vanished and the lights darkened Tomorrowland Brasil 2024 that the festival had once more succeeded in building a magical and wonderful universe. Along with the technological wonder of the drone display, new stages like CORE and Freedom by Budweiser showed Tomorrowland’s dedication to creativity and stretching the bounds of what a music festival can offer. Tomorrowland has made full live sets available on YouTube and via the Tomorrowland App for those wishing to experience the enchantment; musicians including Adriatique, AFROJACK, Alok, Armin van Buuren, and many more feature here. The memories of “Adscendo” will linger long after we say goodbye to Tomorrowland Brasil 2024, reminding us of the ability of music to unify, inspire, and carry us to worlds other than our own. The spirit of Tomorrowland lives in the hearts of the People of Tomorrow, yearning for the next chapter in this remarkable musical trip next time. The post What happened at Tomorrowland Brasil 2024? appeared first on The Groove Cartel.

After an unforgettable debut in Central Park and electrifying summer events in New York, We Belong Here is returning home to Miami in 2025. Get ready for the highly anticipated fourth edition of this flagship festival. Taking place at the stunning Historic Virginia Key Beach Park on March 1-2. We Belong Here Miami Imagine a beachside paradise filled with world-renowned headliners and exciting local talent. We Belong Here promises more than just music. It offers an immersive experience complete with a breathtaking 360-degree stage, expansive dance floors, gourmet food offerings, stunning art installations, enhanced amenities, and an inviting community atmosphere. Previous editions have featured standout artists like Bob Moses, Duke Dumont, Kaskade, Lane 8, Nora En Pure, Tchami, and many more. In 2023, our team at EDMTunes had the incredible opportunity to attend the unforgettable We Belong Here festival. The highlight was the This Never Happened stage. Imagine basking in the golden glow of a stunning sunset, surrounded by the soothing sounds of music, all while feeling the warm sand beneath your feet. This magical setting made for a truly heartwarming experience that you simply can’t miss. If you’re seeking an unforgettable adventure, this event is a must-attend! Recognized as the “Best Music Festival” by Miami New Times in 2024, We Belong Here is not just about music. It’s about celebrating our vibrant community and fostering talent. This boutique festival created over 300 jobs last year. It showcased more than 40 local DJs and artists, further enriching the Miami music scene. Don’t miss your chance to be part of this extraordinary celebration. Mark your calendars and prepare for a weekend filled with unforgettable moments, connection, and the best that music has to offer! Fans can register for early access to tickets at here. Stay tuned to EDMTunes for the lineup announcements! The post We Belong Here Miami Announces 2025 Dates appeared first on EDMTunes.

Kygo’s eponymous world tour is about more than one man. His story can’t be told without collaboration, a plot point the legendary producer is highlighting around the globe. Kygo landed in Vancouver, British Columbia on October 10th as part of the ongoing Kygo World Tour. The Norwegian DJ did not pack light, bringing along several friends with whom he’s crafted global dance hits. Collaborators Parson James, Justin Jesso and Zak Abel all performed in Vancouver as well as dance music producer Vandelux and chart-topping songstress Zara Larsson. Most tour dates are supported by two of the following eight musicians: Sam Feldt, Larsson, Gryffin, Sofi Tukker, HAYLA, Vandelux, Victoria Nadine and Klangkarussell. Kygo sprinkled intimate moments with the audience between sharing the spotlight. He regularly played an electronic keyboard during his set but commanded attention most when sitting at the grand piano front and center. His piano strokes were a frequent highlight, especially when accompanied by singers or a stunning sextet of violinists. The grand finale incorporated many of these elements with the addition of marching percussionists. Kygo playing piano at Rogers Arena in VancouverJeff Vinnick Images Kygo’s production included two elevating platforms, pyrotechnics, lasers, confetti and synchronized light-up crowd bracelets. Thursday’s headliner shared the wealth of these production elements. Each collaborator had a standout moment during the show. Jesso performed multiple songs, including his 2017 collaboration "Stargazing." A highlight moment was when he invited a fan (shoutout to Jessica) onstage to perform the track and jam with the musical duo. James got the awards show treatment as a camera followed him from backstage at Rogers Arena to the stage while performing their global hit “Stole the Show.” Abel performed both “Freedom” and “For Life” with Kygo. Arguably the show’s most memorable visual saw Kygo and Abel playing piano and singing, respectively, on an elevating platform as overhead lasers beamed a cone around them. Zak Abel and Kygo performing at Rogers Arena in VancouverJeff Vinnick Images Kygo is one of the most globally recognized electronic musicians, boasting multiple songs exceeding one billion Spotify streams. Kygo acknowledges his broad reach with a wonderful variety act. Timeless dance music tracks, pyrotechnics, live singers and instrumentalists and—in Larsson’s case—a full-blown pop concert come together seamlessly. There’s something for everyone. If you head to Kygo’s tour to sing your heart out to “It Ain’t Me” or “Higher Love,” you won’t be disappointed but rewarded tenfold. The tour celebrates a remarkable 11-year career and acknowledges that success isn’t built alone. A party is more fun with friends after all. Kygo performing at Rogers Arena in VancouverJeff Vinnick Images Take a look at Kygo’s remaining 2024 and 2025 tour dates below and head here to purchase tickets. Oct 17 – Los AngelesNov. 6 – Copenhagen, DenmarkNov. 8 – Oslo, NorwayNov. 9 – Trondheim, NorwayNov. 13 – Johanneshov, SwedenNov. 15 – BerlinNov. 17 – Budapest, HungaryNov. 21 – Koln, GermanyNov. 23 – ViennaNov. 26 – AmsterdamNov. 29 – Assago, ItalyDec. 3 – BrusselsDec. 7 – ParisDec. 11 – LondonDec. 13 – DublinJan. 23 – TorontoJan. 25 – MexicoFeb. 28 – Junggu, South KoreaMarch 1 – Funabashi, JapanMarch 7 – Melbourne, AustraliaMarch 8 – SydneyFollow Kygo:X: x.com/kygomusic Instagram: instagram.com/kygomusic TikTok: tiktok.com/@kygomusic Facebook: facebook.com/kygoofficial Spotify: spoti.fi/3bNxrT3

Ultra, known for curating some of the most beloved dance music festivals in the world, has revealed the headliners for the second season of its RESISTANCE club residency at M2 Miami. ARTBAT, Carl Cox, Eli Brown and Vintage Culture are just a few of the many major DJs booked for the residency. Nestled in Miami Beach's Art Deco District, M2 will welcome back the famed techno and house music offshoot from November through May. The RESISTANCE Season 2 series kicks off November 2nd with Mahmut Orhan, Davide Squillace b2b Matthias Tanzmann and Township Rebellion slated to play the highly anticipated Opening Party. RESISTANCE is also gearing up for special events during Miami Art Week and New Year's Weekend. Techno heavyweights Mind Against will play during Art Week and a mystery headliner has been booked for New Year's. The residency will ultimately wrap up on May 10th, 2025 with an epic Closing Party. Tickets and tables for the residency are available here. Follow RESISTANCE:Facebook: facebook.com/resistance X: x.com/resistance Instagram: instagram.com/resistance