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An Italian by heritage, born in London, and now making a career in Manchester. Pierluigi Zardetto, or better known as just ‘Zar’, brings music with an abundance of soul drawn from all corners of his life. At every stage, he’s been magnetised to community and connection. From childhood – with family-oriented summer trips, to formative teens – hitting gigs with schoolmates, to adulthood – welcoming all-manner of artists into his studio. Whether conscious or subconscious, these experiences have built a social, hospitable, in-touch-with-his-feelings character – all of which flows into Zar’s debut album for Space Cadet entitled ‘Anima’. His musical influence varies from Simon and Garfunkel to The Prodigy, but what shines through heavily in his production is a hip-hop and jazz background. The MPC-puncher in him feeds off of source material and gives it a new context. His ability to musically paint feelings and reflections from scratch is uncommon. Take ‘Primavera’ – the only track in Anima without a lyrical collaboration – where he executes the aural equivalent of a late-summer Sunday, sitting on the balcony and staring out as the city moves in an amber-orange haze. It’s music made with passion, telling a story without needing a word. On the other nine tracks in the album, it’s all about the teamwork. Manchester’s bubbling community get stuck in: 2b.frank, aya dia, Dan Harris, EVABEE, Milansanger, Nathan Stoker, Whitt, and of course the label boss and champion of this jazzy sound, DRS. Bringing his mates on for the journey was always the move – and by bringing them all in for live sessions amongst laughs and conversation, every track has that much more meaning and quality. A cultivation of soul. With the album out and after several releases across Fokuz, Liquid V, and Five Alley – it was high-time we brought the young producer in for a chat… How did music become important to you? Starting from the top. Well, when I was younger, we used to do a lot of long drives. Because I’m Italian we would actually drive from London to Rome every year, all through my childhood really – and it’s a long drive. We’d have CDs in the car like Daft Punk ’Discovery’, Simon & Garfunkel’s Greatest Hits, Black Eyed Peas ‘Monkey Business’, Gorillaz. I remember all these albums so vividly and we’d play them end to end, over and over. And I mean this was when I was really young, not knowing what life had ahead. But these sort of opened up my tastes. Was it your parents choosing that music? Yeah I think so. They had a lot of love for Italian music too. But then moving to London, they had a taste for that too. They brought me to BST Festival, and I remember seeing Simon & Garfunkel there – they were a big part of my Mum and Dad’s music taste, and I still listen to them quite a bit now. How about once you get into your teens? So growing up in London as a teenager was pretty sick. We’d go to gigs, sometimes two or three times a week, seeing artists like Massive Attack, Portishead, Blur, Primal Scream, The Prodigy – all these massive bands. I realised this is what I want to do, when I saw how electronic music could be mixed with melodic, band music. Then it was just a slow progression into the electronic side. But I was such an indie boy at first. It was me and Alfie (Channell) actually who used to go to a lot of those gigs! Then later on I found hip-hop. A Tribe Called Quest, Slum Village, Pete Rock, J Dilla – all that really blew my mind, and that’s definitely when I knew what I wanted. Because I dabbled in playing the drums, but I was never musical to the point of playing in bands. But hip-hop showed me that using influences, you can take something and turn it into your own with sampling. For a long time I made hip-hop. I started when I was about 15, just trying to recreate tracks, then I progressed to making originals. Then drum & bass came into the fold when I was about 16 or 17 years old. I kind of knew what drum & bass was, but I associated it more with people like Sub Focus and others like that. Then I found Calibre and Lenzman, and realised it was basically like hip-hop but faster, and it opened up my mind even more. From then on it was no-looking back. So it was sampling, MPC, hip-hop culture, over theory and classic instruments? Yeah – I can play piano, there’s a few on this album where it’s me. ‘Primavera’, for example, has no samples, it’s just me on the keys. I think it’s just having the ear and playing around on MIDI keyboards and MPCs. My Grandma is a piano teacher in Italy too, so just being around her I’d pick up some things. I also enjoy recording other people to incorporate into my tracks. So working with people who play trumpet, or guitar, or those live instruments I can record and cut up. When I was younger we had this lodge out the back of the garden and that was basically my studio, and I had a drum kit that we put in there. But then when I found production I got the old mac, a torrented version of Logic, and some old monitors and started playing around. Slowly the drums just ended up being the corner. What prompted the move up to Manchester? Well I studied music and production at A-levels, then I went straight to university and studied music production up here. I chose Manchester because I wanted to be as far away as possible – just to find new experiences, because I’d barely been out of London. Manchester also obviously has such a big history of music: The Smiths, Oasis, the Haçienda days… it just seemed like such a good hub, and I’d eventually discover that it is actually one of the best in the country, or the world. What do you think moving to Manchester has done for your career so far? Would you be making this style of music? I think the vibe of the city definitely plays a part in my sound now. But subconsciously, I always liked to work with a lot of people. I liked the idea of community. Being originally Italian I think that family vibe is in me, and that’s a big theme for the album really. What the city has done for me is that it’s brought me in, given me confidence, and now being here eight years it just feels like home. I really respect everyone here, they’re so inviting, and it makes me realise that if you stay true to yourself, and not copy what anyone else is doing, you can achieve so much – that’s the attitude everyone has. If there’s one thing I notice about Manchester – it’s that it’s just so far away from being ‘sell out’. Everyone is original and down-to-earth. 100%. I’m not here for the clout or the money or whatever. I just enjoy it, and so does everyone else. And it’s just so great how it works out when you have that mindset. And that’s the thing about this album you know, it was born here. I never thought I’d do one at this point, but I wanted to tell a story about what the city is like really. So was that a highly conscious thing to get so many of the crew featured on the album? Yeah, everyone on it is friends really. Everyone I worked with is professional, but I like to build a relationship, because at the end of the day we’re all in this together and I’m not just going to use someone for something, and then we never see each other again. You’re a social guy and you get energy from being in a room with others. Yeah! That’s the thing, that’s what inspires me. Being around people, and I like to have conversations. Obviously going out and listening to music is inspiring, but to be honest, I get more inspired now from feelings and conversations. Both DRS and Redeyes have been huge supporters of your music lately – how did these relationships form? With Del, he was the first person to show me any support. In Manchester at that point I’d worked with Abnormal Sleepz, we did a hip-hop tune. But as big artists in the city go – DRS is a don. So we did that ‘Spiders’ tune, and then we did a tune ‘Like To Know’ that came out on Liquid V. Those two tunes were originally for his album ‘Light Language’, but they didn’t make it in the end. All of this was during covid, so I hadn’t met DRS or Dan Blindside (who runs Space Cadet), but we were all chatting on email and stuff. Eventually we did get to meet and I kept sending tunes, and Del (DRS) said let’s do more. He’s like me – we both really love hip-hop, and he loves the influences I have. So that’s where we sort of connect, and what gave me confidence to keep going. Because I was in a rut at that point – you know, I was working really hard, I was getting some releases but it wasn’t quite working. And it’s not about being ‘big’ or anything but you want a bit of a home label and some support. I was missing that, especially in lockdown. And how about Julien (Redeyes)? Well this was a funny story actually. I did a project at university in my second year – an essay – and we had to do a few interviews as part of it. I think I spoke to Benny Co-Lab and Heist, and I also really loved Redeyes at the time so I reached out, and he was into it. One of the answers to my questions was that he mentioned he was starting his own label, this was years before Five Alley started, and I was like “oh yeah, that sounds good, I make music…”. So that’s sort of where the relationship started, but I was just sending him loads of music leading up to the EP that we got released on Five Alley this year. I think whenever I work with someone, I just get a little more confident. You really have to believe in yourself and love what you’re doing in this, and if you do, you can really achieve anything. When I was younger, I wanted to do music because it’s a part of me, and that’s what I want to show the world. Because it’s a big world and we’re not all here for long. Sorry, I’m getting deep now! Mate – let’s dive in. Do you think music is your best way to communicate what you’re feeling? Definitely. And in the long run, I’d like to work on more big projects like this. I’ve always loved albums and this experienceof writing an album has spurred it even more. I feel excited to dive more into multi-genre things and maybe live projects. But for now, I think this album feels right – such a good form of expression. I think we should push albums more. People put out these singles – which is fine – but I personally like listening to big projects. How do you feel about it? Well it’s something that comes up in almost every interview. Singles and EPs are more ‘viable’, but albums can have a huge impact on legacy. For sure. I agree, and I feel blessed for Space Cadet to have believed in me to put this together. It’s a big thing, they don’t release on a really regular schedule so every project is quite special, so I’ve got to shout them out. Now moving on, I think this experience has really shown me who I want to work with. Anyone who believes in the sound, and who shares a mutual respect. Making loads of money off a massive track is sick, but never what it should be about. Who came up with the idea for LP? Were Dan and DRS pushing for it? It was that ‘Spiders’ tune that sat there for a couple of years, and then I would ask them often about putting a project together including that. They’re pushing multi-genre stuff, with a lot of jazz, so the tune that sparked the project turned out to be ‘Soul (Some Other Way)’ with Milansanger and Nathan Stoker. That was the first time I met those guys and they both came to my house, and we made that tune in one session – it was so much fun. We all love jazz, Milan had barely even heard of drum & bass so that was the first he ever made. We also made that ‘Drowning’ hip-hop tune too. Those two tunes – they really inspired me. I was making good music before then, but this was really thinking outside the box, digging deep. From there I just kept on making music with that same sort of ethos – I was making a lot at that time, but all the tunes that had that feeling, I kept on sending to Space Cadet. It was just going to be an EP, but they just kept coming! For me, I make tunes quite quickly. But it does come in bursts, there could be a time where I make loads of music over a month but then the next one I don’t make anything. But this was around the time that I’d made a bunch, and it felt really special. There were these themes subconsciously flowing through me. It was never meant to be an album, but it was all there. As I listened to all of it I was really happy with it. I think it’s nice that it came more naturally than me sitting down and being like OK I need to make an album, an intro, I need this sort of tune, a big single… So I’m so happy with it. If I’d put more thought into it being an album-making process I would’ve stressed myself out, it would’ve been a lot of pressure. What were you up to in your life as you were writing all this? I’d just finished university when a couple of the tunes were already made. But I was living in this flat in the centre of Manchester, right at the end of Covid. It was a dark, dingy corner where I had my studio set up. It was really depressing and there were loads of noise complaints. Then I moved into the flat I live in now, and it was just like, massive windows that look over the city, lots of light, and it was so much more inspiring. Also at that time, post-covid, I was meeting loads of people like Milan, Nathan, Evabee, aya dia – just getting all this new interaction, and we all had similar interests, we were having fun and jamming. I also wasn’t working at that time, just DJing in bars and places. Lots of vinyl, jazz, hip-hop, house, disco. My life was arranged where I do that on the weekends, and in the week I’d be having fun with making music. I was quite lucky having all that free time. Honing in on the craft. And obviously not everyone gets that, having to work 9-5 and make music after work. But yeah, that change in environment was such a big mental change, as well as finishing up with uni and covid. We also got this studio that I’m sitting in soon after. That’s when it really levelled up. Because I love working with people in person. And all the tracks on this project are recorded in person (aside from the one with DRS). Plenty of them were even all made in the same session. That’s quite rare I feel like – most artists say they do a lot of exchanges online. Yeah that’s another great thing about Manchester, it’s so small and we all link up so often. And that definitely flows into the theme of the album. If someone hits me up and asks for tunes, I’d maybe send them a tune but ask to do it in person. It goes back to that thing where I get inspired from conversations. You’re in the same room and feeding off each other, and it becomes something way more special and memorable. Where does the album name come from? Anima means ‘soul’ in Italian. You can probably see in the artwork as well there’s like a figure, and then another figure coming out of it. Love that name, and the artwork. Do you think there’s influence from Italy in the music itself on here? I think in the music itself, there’s these values of community, passion, integrity. They’re big things I get from my family and the culture, and it feeds into the writing of the music. Traditional music over there is definitely from the soul – some guy belting out his feelings might be a little different to this, but the essence behind it is all the same. Because it’s such a contrast between just being a producer versus singers and songwriters, I really have put my soul into the sound, and I often give a lot of input into what vocalists deliver – I’ll sing something to them sometimes. Actually on ‘Bring It Back Home’ I am singing a few of the layers. We did it together and there’s a few moments where we really wanted to make it sound full, so I jumped on it. See if you can hear it! I also have this Tascam field recorder – and I’ll go for walks in the mountains and just record the atmospheres. And on most of the tunes in this album, I’ve put all these Italian natural environment atmospheres. So that’s another way that the Italian roots have been embedded into this project. What is the most memorable moment of your career so far? Probably Sun & Bass last year. It was a Space Cadet stage, and I’d at this point I had already finished this album, so I was playing a lot of the tracks from it. The set was with DRS hosting too, they really did a solid for me bringing me out there and giving me that set. I was on just before Children Of Zeus, so the place was packed. I thought Del was just going to introduce me, but we did the whole thing together. And the final tune I played was ‘Spiders’, where it all started with Del and I, so it was just really cool. All the people there were amazing too. Not to mention it was all Sardinia, in Italy. …And surely once it’s out, releasing this debut album will be a big highlight. Oh yeah of course. I also want to send love to all the artists involved in it; Whitt, Milansangar, EVABEE, Nathan Stoker, aya dia, 2b.Frank, Dan Harris and DRS. Got to shout out Del and Dan at Space Cadet for making it happen, and for believing in the music. Big love to everyone supporting already, too. This is only the start!

London Grammar have released their highly anticipated fourth studio album The Greatest Love, out now on Ministry of Sound. The new album from Hannah Reid, Dan Rothman and Dot Major arrives 11 years after their double platinum-selling debut If You Wait was released when the band were just teenagers. The Greatest Love is the sound of a band who have carved a unique path, selling out arenas while swerving celebrity. Having sold 3 million albums world-wide with two #1 selling records, an Ivor Novello win and numerous BRIT Award nominations under their belts, The Greatest Love is a celebration of creative freedom for the British trio and a triumphant start to their second decade in the industry. Hannah Reid said, “This album means more to me than words can express. I am eternally grateful that no matter what shapes my life, art continues to find me and define me. Getting to share it with others will always be our passion as a band. We hope you like it, and we hope you find your greatest love.” London Grammar recently announced their biggest tour to date, as tickets for their UK arena tour have nearly sold out having only gone on sale just a few weeks ago. The UK arena tour will open this autumn and signifies the accumulation of over a decade of the band releasing music and will conclude in a career defining moment as they headline The O2 Arena in London on November 14. The UK leg also includes shows at the OVO Hydro in Glasgow on November 11 and AO Arena in Manchester on November 12, and will follow the EU leg of the arena tour which is all-but sold out already. News of the shows arrived just days after the band closed Glastonbury Festival on the Sunday night as they headlined The Park Stage to record crowd numbers – some of the biggest the stage has ever seen. They also headlined Latitude Festival this summer. Full UK/EU Arena dates + GUEST LAUREN MAYBERRY October 31 Zenith Paris, France SOLD OUT November 1 Forest National Belgium, Brussels SOLD OUT 3 Ziggo Dome Amsterdam, Netherlands 5 Jahrhunderthalle Frankfurt, Germany 7 UFO Velodrome Berlin, Germany 11 OVO Hydro Glasgow, UK 12 AO Arena Manchester, UK 14 The O2 London, UK The Greatest Love follows the British trio’s critically acclaimed #1 selling album Californian Soil, which was released in 2021 and earned the band their second BRIT nomination for Best British Group. First single House was released in April and was accompanied by the official video which you can watch here. Then followed tracks Kind Of Man, Into Gold and Fakest Bitch. Stream / Download here The post London Grammar drop new album appeared first on Decoded Magazine.

Mother nature strikes once more. This time we are looking at a scary and dramatic turn of events. EDC China is forced to cancel the music festival amids an incoming Typhoon. The cyclone will make landfall during the event dates. Typhoon Bebinca EDC China expressed in a dishearted message on social media that the event had to be cancelled due to an impending typhoon. Insomniac followed closely with the Suzhou City Typhoon Defense Emergency Plan. They also ensured how much headliners mean to the festival. however, safety comes first. EDC mentioned that tickets bought through official sites will be fully refunded, including applicable fees, within the next 7-10 business days. To this day. EDC is one of the largest, most loved festivals in the world. The event has multiple host cities, including Las Vegas, Orlando, Mexico City, and in 2025 Thailand. As sad as it may be to have the China version cancelled. It is important to recognize that Insomniac has always had plans to make up for lost plans. For example EDC LV cancelled in 2020, which led to an amazing edition of the event in October of 2021. We are sure Headliners will get the opportunity to celebrate EDM with EDC in China in the near future. But until then, let’s all wait for this typhoon to pass. The post Impending Typhoon Makes EDC China Cancel Festival appeared first on EDMTunes.

We are always looking for writers / contributors from around the world that want to contribute. We are looking for writers in fashion, lifestyle, travel, art, photography and of course underground music. Decoded Magazine is rolling out a series of new features, sections and countries including the return of forums to share music, experiences, lifestyle and live Q&A’s with artists and labels. Although this is on a contributory basis, we also provide paid assignments for those who wish to grow with us; however we offer a chance to be published online, build a portfolio of your writing and works and gain valuable music industry experience that is viewed by millions of people worldwide . We aim to be at the forefront of a constantly changing culture whilst our core values are to report on and publicise underground music, artists, events and topics relevant to our readers (this means NO EDM). We are looking for individuals with a passion for writing creative pieces, fashion, tech reviews, travel, (including events, new releases or even products) critical news pieces or current affairs. So what are the benefits? free entry to various festivals or clubs with a friend access to our Residents program work with our regional Editors on our series of events regional staff events promo material (clothing, cd’s, products) work within a tight team of international writers, DJs, artists, promoters and more who share a passion for good music So how do you apply? We understand not everyone is a writer like Stephen King, but we do know that you just may have something to say about your scene. So, to make it easy, simply write to us with a little about yourself and what you would like to do if you worked with us, it is that simple. CVs or experience won’t be necessary, just a flair for the written word and English. You must however have a passion and understanding of underground electronic music. If you have written before, please include an example of your recent work, and/or potential ideas you may have for submissions. If you are based in anywhere in the world, please send a brief email about yourself, passions and your interests to [email protected] Please place in the subject heading: Writer Application Applications – ongoing Please note, we do not cover anything EDM related, engage in ‘click bait’ techniques, report on the Paris Hilton’s of the world, nor do we like negative articles, if this sounds ideal, send us an email. The post We are looking for writers all around the world in music, fashion, lifestyle and more appeared first on Decoded Magazine.

Decoded Magazine · Decoded Magazine Presents Anthony Pappa Australia’s Anthony Pappa is considered one of the nation’s biggest electronic music exports. From launching his illustrious career at the young age of 15 years old in his home town of Melbourne to rising to the top of the global DJ elites, Anthony’s journey has been a personal and infectious ride, a ‘love letter’ to his fans and the music he has devoted himself to for over 30 years. In 1989, a youthful Anthony entered the prestigious Technic’s World DMC championships, the pinnacle of global DJ skills competition, the coveted event and a revered award. At only 15, he closed the gap between the old guard and new talent emerging out of the rising electronic music scene. Dropping his signature house music sound, for a traditional Hip Hop approach, he took home the accolade of winning the DMC Championship, until 2017, was the youngest winner of the award. It wasn’t until mid-1994, after a successful Australian DJ career, that Anthony took the opportunity to enter the Mixmag & Ministry of Sound DJ competition, an off chance that would propel his career to a stratospheric trajectory. It boasted a prize of playing at the legendary London club from the submission of a DJ set. It was this competition that he won and went on to play at the club in October ’94. The experience of playing at the Ministry of Sound was to have such an inspiring impact The move was not in vain as it wasn’t long before his talents were picked up by a core group of the UK’s most prominent DJs along with his close friendship with Dave Seaman, who together & forged a strong squad of players that would shape the sound of the emerging UK sound of Progressive House, with the likes of Sasha, John Digweed with Anthony fast becoming one of the scenes big contributors. He soon became quite a prevalent name and important player within the UK whilst touring up and down the country at many of the major clubbing venues such as Renaissance, Cream and Ministry Of Sound. He also went on to work alongside Dave Seaman who was A&R at Stress Records (part of the Mixmag / DMC organisation) and became part of the team The rise of the DJ mix albums had started to play an important factor in the UK and the international circuit, and once again Anthony was playing a role in its progression whilst contributing crafted mix compilation albums for series such as – Global Underground, Renaissance, Balance, Platipus Records, and DJ Magazine. In 2000, a chance meeting with Andy from Global Underground, quickly culminated in a discussion of a new series to be released by the much-lauded and iconic label, Nubreed, with an invite to kick off the series, instantly took Anthony Pappa to new heights in his career and set the scene for the next 2 decades. “Doing the first Nubreed album for Global Underground was massive for me. It certainly did help shift my career up another level for sure. I was already touring the world before this album but after the release, it got busier with more and more international gigs”. – “It was such an honour to do the first mix in the series and the exposure was massive. I remember driving through London and seeing a picture of me (the album cover) on a massive billboard and l almost crashed my car as I was gobsmacked.” With a long and esteemed list of recording various iconic mix compilations with scene stalwarts such as Renaissance, Stress Records, Platipus, EQ Recordings, and Balance, Anthony also naturally gravitated to the recording studio early in his career, producing some of the most iconic singles in the last 20 years. With over 100 releases credited under various guises, selling over 500,000 records, singles and compilations, Anthony has consistently raised the bar in Progressive House and electronic music globally, earning his revered status amongst fans and DJs alike. Following the success of his Global Underground album “Nubreed” transformed his career into the A list level of A-list level of international touring DJs along with prestigious residencies at some of the world’s most iconic clubs, including Renaissance (Nottingham UK), Twilo (New York USA) and Womb (Tokyo Japan). Whilst constantly headlining major festivals such as Glastonbury UK, Creamfields UK, ID&T Holland, Extrema Belgium, BPM Mexico, Tomorrowland Belgium, SAMC Argentina, Ultra Miami USA and Exit Serbia. In 2014, with over 20 years of touring the globe, reaching across almost every country, Anthony decided to head back to his hometown of Melbourne to seek a new direction in his career. “It just felt like it was the right time, I wanted to tour on my terms, to call a place home” After a few tough years adjusting to a new pace of life, scene and ‘finding himself’ again, tragedy struck in 2016 when Anthony suffered a life-altering accident. Covid had thrown many challenges to the music industry and with a halt on touring, Anthony dug deep into his extensive record collection and created a weekly streaming session for his fanbase, which quickly became a highly anticipated weekly saviour for those in lockdown, drawing in a new fan base globally, along with a renewed passion and drive for music. “DJing and music for me is my love, my passion and has been what l have dedicated most of my life to. It’s what l do, it’s who l am, it’s just me. I could not imagine or see myself doing anything else. I love what l do, it makes me happy and l love the fact that what l do gives so many people so much joy. This is what keeps me driving forward as a DJ.” Anthony has once again begun his global touring schedule, fascinating old and new crowds alike, continually pushing boundaries of electronic music in a way that has garnered fans and industry for over 30 years, coupled with his renewed music production, Anthony is joined in the studio with iconic Progressive House stalwart, Jamie Stevens (also known as one half of live electronic act – Infusion) to bring a fresh approach to the sound they have championed over the last 2 decades. Together drawing on their years of experience and long friendship, passion for making music has led them to recently release on Dave Seaman & Steve Parry’s Selador label, whilst remixing an assortment of releases on Melbourne’s Recovery Collective, Flow Music, Mango Alley, Ugenius music and Re:Sound Music as well as a soon to be released collection of new projects. We caught up with the iconic Anthony Pappa (and all-around great guy) whilst we celebrate our 10 years of Decoded Magazine along with an exclusive mix. Anthony, your journey began with an impressive win at the DMC Championships in Melbourne. Can you reflect on those early days and share how that victory influenced your career path and vision as a young DJ? I was 15 years old when l competed in the DMC mixing championships. I bought my turntables at the age of 13, so to say that l was pretty keen on mastering the art of DJing and mixing from a very early age is an understatement. I knew from the get-go that this was what I wanted to do as my profession and career for life. The DMC competition certainly got me noticed by the judges who were at that time influential DJs, movers and shakers in the nightclub scene in Melbourne which helped me in years to come, secure residencies at the best venues and nights in Australia. Moving from Australia to London marked a significant turning point in your career. What were the most impactful experiences and challenges you encountered while working at DMC Records with industry veteran Dave Seaman? The connection was very much through DMC and Dave Seaman. I met Dave in 1993 when he was on tour in Australia and l played alongside him on that tour. We have been friends since then and at that time Dave was working at DMC UK, Stress Records and Mixmag. So this influenced my move from Melbourne to the UK where l joined the team at DMC / Stress Records. It was a challenge for me at 21 years old, moving out of my home for the first time to go live on the other side of the world. I left Australia with only a suitcase and box of records and had to start over again. A massive thing to do but my heart and focus were set to follow my dream to make it happen. I learnt a lot working at the DMC headquarters as it was a melting pot for so many things in the music business such as a record label, music magazine and in-house recording studios. This is where l started my music production career with studio partner Alan Bremner under the name of Freefall. Touring can be both exhilarating and gruelling. Can you recount any particularly memorable or humorous stories from your early days on the road that have stayed with you over the years? Touring in the 90’s / 00’s with 2 boxes of vinyl certainly had its disadvantages in today’s digital world. I don’t miss having to pay the airline extortionate excess baggage allowance fees. Then there was the fear of the airline losing your records or your records not making the flight connection. This happened a lot so l quickly learned to take 30 records onboard in my hand luggage so if the box went missing l still had a set of tunes to play. One crazy story that l will never forget was when l was in Egypt for a gig that l did at the pyramids and the next day l had to fly from Cairo, Egypt to Larnaca, Cyprus to connect to another flight to Tel Aviv, Israel. The flight from Cairo was delayed which meant l was going to miss my connecting flight from Cyprus to Tel Aviv. The Israeli promoter who had very strong and powerful connections managed to pay someone at the airport in Cyprus to hold the flight for me. I landed in Cyprus to be met by an authority when l came off the plane who took me to the baggage area inside the plane and said go in and find your luggage to which l did and then he escorted me across the tarmac and onto my next flight. No paperwork or immigration at all. It was all very bizarre. The evolution of music technology has drastically transformed the industry. How have you adapted to these changes, and what are some of your favourite tools or technologies that you find indispensable in your creative process today? Ableton Live is a great tool for me for doing edits of tracks, mix albums and music production. For DJing l perform using USBs, Pioneer CDJ 3000s, Pioneer V10 Mixer and a Pioneer RMX 1000. It’s amazing how creative l can be using this equipment when performing live. The technology has come a long way and l have certainly embraced it. Your dedication to vinyl is well-known. Can you describe the significance of vinyl in your artistic journey, and how you manage and categorise your extensive record collection? I love the feeling of playing on vinyl as well as the analogue sound of a record. I started my record collection in 1985 and l have a very eclectic selection. I own about 35,000 records and the way l manage and categorise my entire collection is by BPM and Key. For example, on my shelves, the start point is the slowest at 69 BPM (which will have chill-out, reggae, and downtempo) and as the BPM rise the genres change moving up to hip hop, garage, house, progressive house, minimal, breakbeat, techno, trance and ending up around 175 BPM with drum n’ bass. I’ve always liked multiple genres of music and for me, a good tune is a good tune no matter what style it is. The lockdown period saw a remarkable rise in your online presence. How did you navigate this transition, and what are the main challenges you now face balancing international tours with time spent away from your family? Until Covid lockdowns started l had never done a live stream in my life. This was new territory for me and a massive learning curve. Melbourne had the longest lockdown in the world at 262 days. I was still receiving a lot of great music during this period with no gigs to play them at, the streams were the only outlet for me to play the music, and for people to connect through our social streaming events. I remember the first one l did l had my mobile phone connected to a broom handle hanging off a ladder to get the right camera angle. As time went on l invested in getting professional camera stands, web camera and also a 3×5 meter green screen. Some of my streams reached 1.6 million views, when you think about it is massive that l could reach an audience that large playing from my home. I don’t have any challenges touring and being away from family. My family is very supportive of what l do and l have a healthy balance of international/national tour dates and being in Australia. Over the past decade, Decoded Magazine has strived to play an underground voice in the global electronic music community. Do you have a favourite moment, article, or feature from the magazine that resonates with you personally or professionally? Decoded is an essential part of part of our music scene. You know your stuff and your expertise across the music business covering artists, labels, music, venues, events and equipment is integral to our scene. Decoded always has the inside scoop with the who’s who and the what’s happening with everything you need to know. I have been a big supporter of what you do and would like to thank Decoded for all the love and support that you have given me. The music scene is constantly evolving with new talent. Is there an emerging artist you’re particularly excited about at the moment, and what qualities do you think make them stand out? I’ve been hammering a bunch of new unsigned music from Argentinean producer David Calo. His sound is very raw and underground and more on the deeper tip. As a DJ when searching for music to play out l am always on the lookout for tracks that are a bit different from the generic prog sound and that stand out and have a certain spark to them and David ticks all the boxes here for me. Your fans are always eager to hear about your latest projects. Are there any new releases, collaborations, or upcoming news you’d like to share with us? I have a couple of new singles that l am currently working on. l recently mixed the Selador Showcase 19 compilation album with Steve Parry. I am also really looking forward to my upcoming tours in Europe, North America and South America in 2024 / 2025. As we celebrate Decoded Magazine’s 10th anniversary, how do you perceive its influence on the electronic music landscape, and what role do you see it playing in the future of the industry? Helping new artists break through into the scene by giving them the exposure that they need through your channels. It would be great to see more Decoded events around the world. Keep doing all the great work that you already do with the features, interviews and tech reviews. Much love Pappa. The post Decoded Magazine presents Anthony Pappa appeared first on Decoded Magazine.

If we didn’t tell you the artist we are sure you would think of Keinemusik. The vibes are there and the tune has been picked up by some fan page guessing whose song was this. Well, we have an answer. Swiss producer Mont Rouge and French artist Soubeiran teamed up for Ya Peli. The record is a classical afro house banger, with tropical vibes and a hypnotic vocal. The tune is out on UltraRecords but, the two are not new to the label. In fact, this is their second release on Ultra Records. The song carries strong summer feels and bears the potential to emerge as the perfect soundtrack for the winter when you need tunes to heat you up. This would also be the perfect anthem for creators showcasing their lifestyles and adventures around the world. “Ya Peli” has already received live support from major international DJs such as Lost Frequencies, Adriatique, CamelPhat, Ahmed Spins, and more. Mont Rouge are not new to this classic hit. Their Voyage with Francis Mercier and Coco amassed 4.5 million streams on Spotify alone. Not to mention their edit for Maz (BR), MAXI MERAKI, APACHE (FR) Nothing On Me, Baby which sits now at 1.5 million streams on Soundcloud. Mont Rouge’s sound is defined by infectious grooves, deep synths, and vibrant African rhythms. You can hear all of it and more on their new Ya Peli. The post Mont Rouge and Soubeiran teams up for ‘Ya Peli’ appeared first on The Groove Cartel.

As the sun sets on another Chicago summer, the house and techno beats start to fade away from Union Park. The fourth annual ARC Music Festival proved once again that the festival is growing at a steady rate. I attended the debut edition of the festival and I was there this year as well. Year by year ARC Music Festival is established as one of the most famous underground music festivals in the global festival circuit. Let me tell you why. The Festival’s Growth From the very few initial steps into Union Park, it was clear that ARC had undergone significant changes to accommodate its burgeoning crowd. The most noticeable difference was the expanded layout of two key stages: Expansions and The Grid. The aptly named Expansions stage lived up to its moniker. It covered a larger area that comfortably housed the swelling crowds drawn to its stellar lineup. This is a thing to underestimate as we’ve seen (in other festivals) the avoidance of increasing dancefloor size so pictures of the crowd looked better because more packed. ARC, instead, takes the best approach for the crowd, allowing for better flow and movement, and enhancing the overall experience for fans. Similarly, The Grid received a much-needed extension towards the back. This adjustment was particularly appreciated during the festival’s closing acts, which had packed the stage to capacity in previous years. The extra room made it significantly easier to navigate around the stage and find prime viewing spots, even during peak times. Yeah stages are good, we understand but, what about the lineup and the artists? Well, let me explain. The Lineup and Performances ARC’s reputation for curating an impressive roster of house and techno talent remained untarnished this year. The festival’s four unique stages – The Grid, Expansions, elrow, and Area 909 – each offered their distinct flavor of electronic music. One of the highlights of the weekend was the abundance of back-to-back (b2b) sets, which ARC has become known for. This is something you do not find easily somewhere else. These collaborative performances often bring out the best in artists, pushing their creativity and feeding off each other’s energy. A standout moment was the surprise b2b set between Green Velvet and Mau P at the elrow stage. The festival’s commitment to representing the roots of house and techno was evident in its thoughtful inclusion of queer and non-binary artists. Performances by icons like Honey Dijon, Shaun J. Wright, and DJ Holographic not only delivered top-notch music but also paid homage to the LGBTQ+ community’s significant contributions to the genre. If you were looking to discover new artists and upcoming talent, even from the Chicago underground scene, ARC Music Festival had you covered. We wrote about 5 upcoming artists playing at ARC and, seeing and listening IRL was definitely the right thing to do. Besides the music, the event’s production value saw noticeable improvements. The elrow stage, in particular, was a feast for the senses. Its signature colorful confetti showers during sets like Green Velvet b2b Mau P created moments of pure joy and unity among the crowd. ARC Music Festival 2024 Some minor incidents Despite the many improvements, ARC wasn’t without its challenges this year. The first day saw some technical difficulties that tested both the artists and attendees. Over at The Grid, Meduza had to perform through malfunctioning LED panels that were stuck projecting intense white light for a portion of their set. Sound bleed between stages, particularly from elrow to Area 909, was noticeable and somewhat disruptive for those trying to enjoy sets at the latter. This is an area where further improvements in sound design and stage placement could enhance the overall experience. Sound bleeding is a common issue in festivals with numerous stages; it has happened in the past at Ultra Music Festival as well. Another pain point was the management of litter throughout the festival grounds. The number and placement of garbage cans seemed inadequate for an event of this scale. This led to accumulating trash, especially near entrance and exit points. This is an area where ARC could focus on improvement for future editions, perhaps by increasing the number of waste bins and implementing more frequent cleanup rounds. The ARC After Dark Experience: afterparties One of the unique aspects of ARC is its extension beyond the festival grounds with its After Dark events. These after-parties feature additional DJs not on the main festival lineup. They also let fans who still have energy to continue the party till morning. A highlight this year was the inclusion of Gesaffelstein at an ARC After Dark event. Looking Ahead As ARC approaches its fifth anniversary, it’s clear that the festival has come a long way from its humble beginnings. What started as a small, new festival has grown into a major player in the US electronic music scene, and beyond. With this growth comes both opportunities and challenges. One of the main concerns moving forward will be managing crowd sizes and ensuring ample space in both GA and VIP areas. As the festival continues to grow, it will be interesting to see how the organizers address these challenges. Will they consider a venue change to accommodate the expanding crowds? Nothing is perfect but despite its challenges, ARC Music Festival 2024 was ultimately a success. As we look forward to next year’s milestone fifth edition, it’s exciting to imagine what ARC has in store. Are we witnessing the born and growth of a festival that could compete with the international players? Time will tell but we can say for sure that ARC is on the right path. The post Our 72-Hour Dance Marathon at ARC Music Festival 2024: a story appeared first on The Groove Cartel.

Music must be accessible to everybody. That’s what VNTM thought before launching his Open Source project. Principle is the latest release with this concept in mind. Being accessible to everybody doesn’t mean you are able just to listen. The artist has released all the STEMS of the tune, letting artists do virtually what they want. So, what this Open Source project is all about? Launched in 2023, VNTM’s project aims to let artists revisit, reinterpret, and understand his music. Every release comes paired with the full STEMS. This means you’re able to hear and use every single sound that the track is made of. Not only are you able to download the track, but he’s granting you access to the stems and presets used with an Open Source license. This means that you can alter, remix, sample, or use the stems in any way you like, buying these stems grants you a waiver that allows for any type of use of the audio. Clearly, you can’t take the STEMS and create a sample pack straight out of it. Besides this Open Source project, the tune is a gem as well. Principle starts slow and dark. VNTM describes it as “a small nod to the old days of Afterlife, deep hypnotic melodic techno“. It’s mysterious, with hypnotic and long cinematic lines paired with eerie synths and evasive drums. It really brings you back in time, around 2018 and ’19. Everything is slowed down, making you feel every single sound element, with the baseline that rapidly flows through your body. Open Source 10 with Principle is out now. The post VNTM presents ’Principle’, part of the Open Source project appeared first on The Groove Cartel.

The record taps into an alternative side of her sonic identity, as demonstrated on her previous releases Continue reading...

"It’s about what I recently discovered is called the ‘arrival fallacy’ —​ that thing where you feel like you’ll be content when you achieve a certain thing or whatever and then you get there and it’s not it" Continue reading...

A multi-genre lineup of epic proportions is set to take over Voyage Music Festival in 2024, a year that comes with the promise of much more than just its music. One of the Southeast's premier fests, Voyage is returning to Simpsonville's CCNB Amphitheatre, South Carolina's largest open-air venue, October 25-26. Covering electronic, hip-hop, pop and more, this year's massive lineup features headliners The Chainsmokers and Wiz Khalifa along with Louis the Child, Waka Flocka Flame, Cheat Codes and Chelsea Cutler, among others. "We are excited to bring Voyage Music Fest back to the Upstate," said Braxton Wilson, Owner of Palmetto Entertainment and Promoter of Voyage Music Festival. "The response from last year was everything we could have imagined and more. What sets us apart from other festivals is our multi-genre aspect and bringing artists to this area who would normally play in Charlotte, Atlanta, or larger markets. We went above and beyond this year curating a lineup for all music lovers." The music only scratches the surface. Voyage will live up to its name by whisking festival-goers through whimsical experiences like tethered rides in hot air balloons, arts-and-crafts sessions, hat-making workshops and a food truck alley. The festival's organizers in 2024 also added RV camping for the first time. Prospective attendees can also look forward to Voyage's Silent Disco Stage, which is returning "bigger and better" adjacent to the mainstage, per a press release. The disco experience will be produced by the forthcoming downtown Greenville music venue Trueline and feature a lineup of local DJs, including DJ Aladdin, Offie, G Man and Pharro. You can find out more about Voyage 2024 and purchase passes here. c/o Voyage Music Festival Follow Voyage Music Festival:Instagram: instagram.com/voyagemusicfest TikTok: tiktok.com/@voyagemusicfestival Facebook: facebook.com/voyagemusicfestival

Are you still missing the first CORE stage? Nothing to worry about as Tomorrowland is ready to bring it back but, where? The original CORE stage will return in Medellín in 2025. Save the date: February 14 & 15, 2025 will make the grand return of the CORE stage at Parque Norte Medellín. Joining forces once again with Colombian-based Breakfast Live. They will bring a unique two-day festival, bringing back the first magnificent CORE stage. You will surely recognize its stunning face design; it will debut in Parque Norte Medellín, located in the heart of Colombia’s second-largest city where music and nature come together. Registrations for exclusive access to the Pre-Sale are now open. Pre-Sale starts on Wednesday, September 25 at 10:00 COT, General Sale starts on Wednesday, October 2 at 10:00 COT. The first edition of CORE Medellín earlier this year sold out completely in less than 48 hours, so acting quickly will be key. Last year’s edition of CORE Medellín saw the brand new CORE stage debut before even Tomorrowland Belgium. Nearly 40.000 music aficionados joined the event last year. The lineup was packed with more than 25 of the scene’s finest house & techno artists across 3 captivating stages. Names spaces from Agents Of Time to ANNA, BICEP (DJ set), Bora Uzer (live), Brina Knauss, Mind Against, and many more. In February 2025, the first original CORE stage, a temple of human expression centered around a figure with a serene, upward gaze, will make its return. This will also be its Colombia debut. CORE’s majestic visage, a real artistic masterpiece people may have seen at Tomorrowland Belgium, Tomorrowland Brasil, Tomorrowland Winter, CORE Tulum, or in one of the many videos online, found its origins in Tomorrowland’s digital festival and turned in no time into a true crowd favorite and Tomorrowland classic. CORE Medellín 2024 mainstage The post Tomorrowland CORE Medellín returns in 2025 appeared first on The Groove Cartel.

Returning to Future Classic, Hayden James has dropped his third studio album, We Could Be Love. Spanning 11 tracks, the album is a showcase of the duality of the house music virtuoso. James channels those roots in the underground and branches them out into threads of indie-dance and pop, reinforcing him as one of dance music's most versatile producers. His radiant sound shimmers throughout with production both uplifting and emotive, delivering an irresistibly danceable album. "This album takes me from the beach to the club and back," James said in a press statement. "It’s emotive and powerful and I’m so proud of every record and thankful to everyone involved." Tracks like "Patience" (with Karen Harding), "Deep Diving" (with SHELLS), "Don't Let Me Go" (with Tudor) and "Imagine" (with Hyzteria) deliver lively house beats that will surely get you dancing. James also takes us into deeper territory in "The Pleasure" and "Waves Out" (with Ross Quinn). He weaves indie-dance in the nostalgic title track, a powerful collaboration with AR/CO, and the carefree "Medicine" (with Izzy Bizu). The album’s closer, "Make It" (with Kormak) brings it all home with a funky flourish. Listen to We Could Be Love below and find the new album on streaming platforms here. FOLLOW HAYDEN JAMES:Facebook: facebook.com/haydenjamesartist Instagram: instagram.com/haydenjames Twitter: twitter.com/hayden_james Spotify: spoti.fi/3QLEw95

A new campaign, #RespectTheCreators, is setting out to change an overlooked issue in the music industry: crediting the music played in social media videos. Backed by prominent artists and organizations such as the Association for Electronic Music (AFEM) and techno pioneer Richie Hawtin, the campaign encourages DJs, promoters and platforms to give proper recognition to the tracks they play during live events and embed in promotional posts. While live footage of DJ sets and festivals has become a major tool for marketing, the music that fuels these moments often goes uncredited, robbing the original creators of recognition and opportunities. The campaign aims to establish a new industry standard for crediting the music featured in these viral posts. "Supporting the community and the musicians who make the musical structure that our scene stands on should be common decency," said Hawtin. "So why do so many social media posts from DJs, promoters, and festivals fail to tag the music being played? It’s disrespectful and only takes further advantage of the musicians who are already struggling for recognition." Richie Hawtin performing at Chicago's ARC Music Festival.Kursza The #RespectTheCreators campaign points to the fact that up to 90% of social media content from DJ performances does not credit the music being played. As Data Transmission reports, research presented at IMS Ibiza showed that only about 3% of a DJ's set includes their own productions, making it essential to properly acknowledge the tracks from other artists. The campaign urges DJs to tag artists and list track names in videos of gigs or mixes where the music isn’t their own. Online platforms are asked to provide visible tracklists below all sets, while promoters should credit music in all event promotional materials. "Crediting and tagging the producers and songs played in social media content is one of the easiest ways a DJ can show support," added Ethan Holben, founder of the now-defunct DJ revenue-sharing platform Aslice. "The culture of electronic music is all about community, and that culture can be shifted forward through positive action. This campaign is the first of many movements that treat respect, acknowledgement, and equity for music makers as paramount." View the original article to see embedded media.

Zedd and Madeon's reunion at Avalon Hollywood reminded fans why these producers remain such a powerful force in electronic music. Fans were transported to a euphoric atmosphere as the longtime friends and collaborators orchestrated an unforgettable live performance, brimming with nostalgia and fresh takes on dance classics. One who recorded the rare set in its entirety has now uploaded it to YouTube for fans who couldn't attend. Zedd and Madeon performing at Avalon Hollywood.Tonysib Visuals Opening with Madeon's blissed-out "Dream Dream Dream" interwoven with Zedd’s early-career hit "Spectrum," the duo immediately captivated the crowd with an emotional surge. And from that moment they knew they were in for a night that honored both artists' storied careers. The afterparty, part of the broader celebration surrounding the fourth annual Zedd In The Park, saw both artists at their best, playing off their decade-long camaraderie while keeping the dancefloor alive long into the evening hours. You can watch the full performance below. Follow Zedd:Instagram: instagram.com/zedd TikTok: tiktok.com/@zedd X: x.com/zedd Facebook: facebook.com/zedd Spotify: spoti.fi/2CoYpk2 Follow Madeon:Instagram: instagram.com/madeon TikTok: tiktok.com/@madeon X: x.com/madeon Facebook: facebook.com/itsmadeon Spotify: spoti.fi/3khQTsZ

The much-anticipated Electric Daisy Carnival (EDC) China, which was set to take place on September 15th and 16th, 2024, has been canceled due to the imminent arrival of Typhoon Bebinca. Organizers made the difficult decision to cancel the festival in light of severe weather conditions, prioritizing the safety of attendees. In a statement released by the EDC team, it was announced that Typhoon Bebinca, currently moving through the East China Sea, is expected to make landfall during the festival’s scheduled dates. In accordance with Suzhou’s City Typhoon Defense Emergency Plan, the event will not be allowed to proceed. “We understand how much this festival means to you, and we share in your disappointment,” the statement reads. “The energy and enthusiasm of our community are what make EDC special, and we were truly looking forward to celebrating together.” For those who have purchased tickets through official platforms, full refunds, including transaction fees, will be issued automatically within 7-10 business days. No action will be required from ticket holders, but the festival organizers have advised keeping an eye on ticketing platforms for updates regarding the refund process. The festival organizers reiterated that the safety of attendees remains their top priority and expressed hope that fans will be able to reunite “Under the Electric Sky” in the near future. EDC China, a branch of the globally renowned EDM (electronic dance music) festival series, was set to be a major highlight for fans across Asia. The festival’s cancellation comes as a major blow to the regional music community, which was eagerly awaiting this event. Despite the disappointment, the festival’s commitment to the safety of its attendees is widely appreciated, as is their seamless approach to handling refunds during this challenging situation. The EDC team closed their announcement with heartfelt wishes for everyone’s safety, urging the community to “stay safe and take care.” Key Refund Information: Full refunds, including transaction fees, will be processed within 7-10 business days. Refunds will be returned to the original accounts used for ticket purchases. Ticket holders are advised to monitor notifications from ticketing platforms for updates.This cancellation comes as a reminder of the unpredictable nature of large-scale events, particularly in regions prone to severe weather. Fans remain hopeful for future opportunities to celebrate together at EDC, whenever it can safely return.

Insomniac Events has announced a trio of benefit concerts aimed at providing relief to those affected by the ongoing Southern California wildfires. Taking place this weekend at the Hollywood Palladium and Exchange LA, the shows were organized in the wake of Insomniac's cancellation of its Nocturnal Wonderland festival, originally set for the same weekend in San Bernardino. The event, the longest-running festival property in Insomniac's portfolio, was called off due to the catastrophic Line Fire, which has burned more than 38,000 acres in San Bernardino County and continues to threatens nearby communities. The blaze was 25% contained as of Friday night, according to the California Department of Forestry and Fire Protection, and there are still over 65,000 structures at risk. The concerts will feature a stellar lineup of electronic music talent, including powerhouse b2b performances from SVDDEN DEATH and Kayzo, Rossy and Pauline Herr, and Habstrakt and JSTJR. Other prominent artists like Deorro, SLANDER, Kai Wachi and EDM.com Class of 2024 star Camden Cox will also take the stage, making for an unforgettable weekend filled with dance music and community spirit. For those eager to contribute while enjoying a weekend of live performances, Insomniac’s benefit shows offer an opportunity. The net proceeds will go directly toward relief efforts for those affected by the wildfires, underscoring the electronic music giant's commitment to giving back in times of need. Tickets for the benefit shows are on sale now. c/o Insomniac Events Follow Insomniac Events:X: x.com/insomniacevents TikTok: tiktok.com/@insomniacevents Instagram: instagram.com/insomniacevents Facebook: facebook.com/insomniacevents

MEDUZA and Hayla's epic new collaboration, "Another World," feels like a celestial collision, an anthem that effortlessly pulls listeners into its orbit. Despite MEDUZA's signature shadowy undertones that have often defined their chart-topping tracks, their latest reveals a brighter horizon, trading their usual moody tension for a sense of soaring euphoria. Hayla's radiant vocals guide the way through shimmering synths and uplifting melodies as her vocals gradually build like a flicker of light in the dark, swelling into something powerful and magnetic. It's a signature Hayla moment—one of those heart-stopping belts that seem to hang in the air, commanding the listener's full attention. And as her voice rises, so too does the production, with MEDUZA's synths dancing around her like waves in sync with the moon. The trio layer their trademark rhythms, propelling the arrangement forward with a pulse that is impossible to ignore yet never overshadowing the vocal’s emotional weight. Listen to "Another World" below and find the new single on streaming services here. Follow MEDUZA:X: x.com/meduzamusic TikTok: @meduza_music Instagram: instagram.com/meduzamusic Facebook: facebook.com/meduzamusic Spotify: spoti.fi/3jElbuA Follow HAYLA:X: x.com/haylasings TikTok: tiktok.com/@haylasings Instagram: instagram.com/haylasings Facebook: facebook.com/haylasings Spotify: https://spoti.fi/41MXBgq

After celebrating over three decades of music, art and sustainability, Mysteryland, organized by ID&T, has solidified its status as the world’s longest runninng electronic music festival. Being much more than a generic festival and offering much more than just music, there is absolutely no wonder that Mysteryland has grown exponentially since its first edition in 1993 and that it keeps attracting both new and old visitors each and every year. EDMHouseNetwork had the honors of attending Mysterylands 2024 edition, and while we knew that we were in for something extravagant and amazing, we definitely didn’t expect to get this blown away by the experience. Here is how it all went. Arriving at the festival Friday at 14.00, we got dropped off by the kiss and ride zone at the South entrance that was located closest to the camping area. After a little walk, we were finally able to see the camping area and colorful flags waving in the wind, and the ‘’this just became real’’ started kicking in. Considering that the first acts of the festival didn’t actually start until 17.00 that day, we got very surprised by the amount of people who had already arrived or were arriving at the camping area around the same time as us. This actually resulted in us having a bit of a difficulty with finding a spot to camp at the beginning, but we did manage to resolve it as we discovered that the camping opened up a little bit at the time to ensure that no one would take up too much unnecessary space. A solution that resulted in finding a spot and putting up your gear taking a bit more time than usual, but that also made sure to preserve space and that everyone would get a comfortable amount of space to camp on. Something that other festivals might want to take in consideration, and future visitors might want to keep in mind when visiting future editions of Mysteryland. As we were unpacking our gear, we noticed that neither of us has brought camping chairs with us, which, as any seasoned camper should know, is a crucial element when you go camping at a multiple-day festival and want your back and legs to actually survive. Fortunately, the issue was resolved quickly as a Recycle Store with gear collected from other festival grounds was available on site. A great initiative that not only reduces waste but promotes a circular economy encouraging the reuse of tents, air mattresses and other items. CampingIn terms of the basics, the Mysteryland camping had you covered with a store that offered a variety of different food and drinks during the day and at night, flushing toilets and comfortable shower cabins. There were also three different cozy chill areas hosted by the Camping Guardians where one could go if you didn’t feel safe, had questions, wanted to charge your electronic devices or just hang out. All little things that might be considered ‘’basic’’ in general, aren’t always a guarantee but strongly improve the level of quality of a festival camping experience – by the words of some of the campers that we got to speak with. For those who were interested in taking a bit extra care of themselves and turning the camping experience into a spiritual journey, there were also more than enough options for self-care such as ice bath courses, cocoa ceremonies, tarot card readings, shamanic trance journeys and even the possibility to marry yourself. The comfort zone area also offered a wellness area with jacuzzies and cabanas, which made this the perfect place to unwind and recover after long days and walks at the festival area. Compared to a lot of other festivals, Mysteryland also made sure to creatively utilize the camping area as a space where you could enjoy DJ’s performing on stage, different kinds of food and a variety of different fun activities. This area was called The Hangout where you for example could find stages such as ‘The Church’ (yes, the building literally looked like a church) and ‘’The church square’’, where DJ’s such as Freddy Moreira, The Good Girls Club and Club TNT could be found playing during the day or at night. The Hangout was also where the pool was located and where you could either watch or participate in a pool chair dance-off, aquarobics or pool parties, led by the famous Bartmeister. If you were lucky, this was also where you could get the opportunity to witness a rare flamingo dance performed by the kind of flamingos that you’re unlikely to have seen before. For those who were afraid of birds and water, there was always the option of staying on dry land and playing some analog games at the Arcade. Mysteryland of course also provided the option of comfort camping for those who prefer a bit more ease, luxury and tranquility. At the comfort camping area, one could find pre-set up tents, a swimming pool, jaccuzis, a sauna, pétanque, a restaurant and more. If you like the sound of classical music during breakfast, live music at the bathhouse and live music by a campfire on top of that, then the comfort camping area is definitely the accommodation option for you. Festival area The production design of a festival is critical as it shapes the entire experience, from the atmosphere to the way attendees interact with the space. It’s what gives a festival its unique identity that aligns with the festivals theme and values. A well-designed festival environment is what encourages attendees to participate and explore, and invites them to engage more deeply with their surroundings. At a time and age when there are far more festivals available than what we are able to attend, there are unfortunately a lot of festivals that take the easy way out and aren’t willing to put the right amount of time, effort or money into these elements of design, besides the elements that are visible at the stages. Mysteryland however, has clearly understood that it takes far more than strong lineups and majestic stages to create a visually and emotionally compelling experience for their audience. In our experience, entering the festival area at Mysteryland was like travelling to a different universe and exploring magical uncharted landscapes in combination with jumping down the rabbit hole in Alice in Wonderland. Colorful pathways, art installations, the sound of music pulsing through the air with each beat guiding you deeper into the exciting and unknown. Every corner offered something new and exciting to discover, whether it was a hidden rave in the middle of the woods, a karaoke room shaped like a old telephone booth or a telephone hanging in the tree with which you could call a random stranger at the opposite side of the festival area. A fun fact about the decoration is also that almost all décor items were made from recycled materials or completely re-used but implemented in a new and creative way. The décor items were not only reused from previous editions of Mysteryland, but also previous editions of other ID&T Group festivals such as Sensation and Defqon1. The commitment to the combination of sustainability, creativity, immersive and interactive design, is definitely one of the aspects that sets Mysteryland apart from other festivals and creates a journey to a world where imagination and reality blend together seamlessly. Stages Over 300 different artists performed on 22 different stages for over 125,000 visitors from nearly 100 nationalities at Mysteryland 2024. The stages at Mysteryland were however not just places where artists performed, but handcrafted, creative, immersive places that pushed the boundaries of production design and embodied the festivals core values. Each stage had its own unique atmosphere, theme and design, and the dancefloors ranged from being outdoors to being located in massive tents filled with LED screens, laser shows and the worlds most advanced sound systems. Perfectly accommodating all the different genres that Mysteryland is known to welcome into the lineups, in their own particular way. In combination with the previously mentioned décor, finding the way to the stages felt like being on a playground where the secret pathways, hidden parties and quirky surprises made the experience feel like a treasure hunt. While some stages were so grand and majestic that they were impossible to miss as you were walking around the festival area, others had to be looked for to be discovered as they couldn’t be found on the festival map. The stages were scattered all over the festival area which was very big, and it could take over 20 minutes to walk from a stage at the south area to one at the north. We visited them all and can only say that each and every one of them made their own strong and absolutely unique impact. Below you will get a glimpse of the ‘’smaller’’ stages while the following section of the article is devoted to the mainstages and end shows. Area 2 Located in the south part of the area, Area 2 (also called The Groove Arena, YEREYRE and Joy depending on the day), was one of the stages that set the tone for the rest of the weekend by already being open Friday. The stage was actually a big greenhouse that contained tropical plants, with the DJ booth placed in front of it and a boiler room kind of setting so the audience could enjoy the vibes both behind and in front of the DJ. Area 2 was located among trees that were dressed in LED-lights which gave the area a forest rave kind of vibe. The weekend kicked off with Le Twins at the DJ booth and throughout the weekend you could enjoy the beats of East End Dubs, Joella Jackson, Prunk & Paige Tomlison and many others. Area 3 Area 3, or ‘’Elrow’’ as the stage was actually called throughout the whole weekend, was the place where you could experience what a psychedelic trip feels like, simply by looking at the trippy, colorful, glow in the dark décor and performers. The Elrow stage got kicked off by DAF, followed by MEDUZA, George Privatti, Franky Rizardo and others who played here throughout the weekend. Area 4 Area 4, or ‘’Sofa Sessions’’ as it was also called, was the place where musical talent and creativity came together and the unexpected was to be expected. The stage looked a bit like a combination between a terrace and greenhouse, mixed with a library and office where the desk was the DJ booth. Beside an actual dancefloor, the audience could enjoy the music while sitting down as sofas, couches and comfortable sitting was scattered throughout the floor and outside of the area. Music that could be enjoyed here was by DJ’s such as Ginton, Franky-B, Brass Rave Unit and De Sluwe Vos. Area 5 A Area 5, which was also called ‘’Sound Rush’’ and ‘’Trance Energy’’ throughout the weekend, was the place where we spent the most of our Friday night. The stage which was located under a dome-alike tent, made a strong impression thanks to the huge LED-screens around the DJ booth and beautifully incorporated images and colors that were perfectly synced to the music. On the Friday we got to enjoy some harder kicks by B-Front, Bass Modulators, Keltek, Atmosfearz and Sound Rush, who all delivered a nice balance between new and old bangers. On Saturday and Sunday, the stage turned into a trance paradise with DJ’s such as Laura van Dam, Sander van Doorn, Nifra and David Rust at the DJ booth. Area 7 Area 7, Also called Vunzige Deuntjes, was one of Mysterylands most vibrant spots and the home of urban music genres such as hip-hop, R&B, dancehall and afrobeat. Translated from Dutch, Vunzige Deuntjes means ‘’Dirty Tunes’’ and is a popular concept in the Netherlands with its roots in urban nightlife. The stage being covered by a huge colorful tent that gave off a bit of tipi vibes, had a laid back yet lively atmosphere and this was where you could really witness some good dancing by festival goers feeling the groovy, tropical beats and urban anthems. Music that could be enjoyed at this stage was by artists such as Bryan MG, Fiesta Macumba, Freddy Moreira, Dopebwoy and Boef. Area 8 Area 8 that was also called ”Nachtcollege” and ”Mirage of Melody”, was all about techno. The design of the stage was relatively simple but very effective and what made the most powerful impact was the sound. On Saturday the stage was taken hostage by hard techno DJ’s such as Cynthia Spierling, AnD, DIØN and Rush, and handed over to more melodic techno DJ’s such as Argy, Kölsch and ARTBAT on the Sunday. Area 9 This year, Mysteryland created a brand-new stage for all the hardstyle lovers called the ‘’Hardstyle Elite’’ stage. This stage used to be called the Q-dance stage during previous years and was located outdoors, but has now transformed into Mysterylands biggest indoor stage instead. The line-up for this stage was packed with heavy hitters such as Phuture Noize, Brennan Heart, Devin Wild, Sub Zero Project and Sefa. Paardenrave From Dutch to English, Paardenrave translates to ‘’Horse rave’’, and was located close to the entrance of the camping area. This was also one of the stages that was already open during the Friday, and definitely helped setting a strong tone for what the rest of the weekend would be all about. In order to get to this stage, one had to go through a foresty area dressed with all kinds of quirky horse and barn related items before arriving at a Merry Go Round Carousel stage. Lady Joker A stage of surreal splendor that welcomed into Lady Joker’s Bedroom, a realm where reality blurred with the fantastical. Lady Joker is a Amsterdam-based creative collective that blends live electronic music theater, dance and visual arts. Their performances are characterized by vibrant vocals and immersive storytelling, often drawing on mythology and ancient tales. The collective is also known for its unique handcrafted costumes, which were present at the Lady Joker stage during Mysteryland 2024 which created a concept that fit perfectly into the Mysteryland landscape, giving off a surreal, playful energy and gave off a unique ‘’theatrical clubbing’’ vibe. This is also where DJ’s such as Arjuna Schiks, DJ Isis and Beard2Beard official could be heard. The Psychedelic Farm While walking around at Mysteryland already felt like being in a different realm, The Psychedelic Farm stage was the place that really got you tripping and to question reality. It was a world full of bizarre surprises and a range of different unique characters. One of these characters was Gloria, a big pink pig (don’t worry, she wasn’t actually a real pig and no animals were harmed during the event) that was laying outside the farm snoring and rolling her eyes from time to time. If you looked into the peepholes in her belly, you would witness something that we at EDMHouseNetwork definitely were captured by, but until this day can’t really describe in words. So all we can say on this point is that you need to get tickets for next year and hope that Gloria will still be there so you can experience it for yourself. In terms of music, The Psychedelic Farm was where you could discover the sounds of a Mariachi band, and see the performance of Boer (Farmer) Harm and Tonno Disko. Mainstages and end shows One of the aspects that Mysteryland is renowned for is their impressive mainstages and end shows. This year, things got taken to the next level in terms of both mainstages as Mysteryland not only upgraded their Pyramid stage in terms of design, but also incorporated some truly unique and mesmerizing elements to the end show of their mainstage. Area 6 (Pyramid Stage) Drumcode/NMNH Mysterylands Pyramid stage has had a variety of different impressive designs. This year, the stage had futuristic designs with towering structures that resemble giant trees or organic forms. The large canopies supported by a complex framework gave the stage an almost natural look, and the mix between nature and modern architecture created an enchanting experience. On Sunday, the stage was dominated by heavy techno hitters such as Parfait, Dyen, Stella Bossi and I Hate Models. For the end show, 999999999 took the stage and delivered a set that took the audience by storm. One of the visitors who actually didn’t like techno but went for the end show at the Pyramid stage because he was curious over what it would look like, even told us that 999999999 played so good that he might have gotten converted. In combination with the amazing light and firework show, the end show at the Pyramid stage was definitely one that the audience will never forget. This year, Mysteryland also made the decision to fully dedicate the Pyramid stage to techno. A big treat for all the techno lovers who during future editions will get the opportunity enjoy top-tier lineups in an amazing setting. Area 1 – Mainstage Mysterylands mainstage with its two large hands that presented a grand Mystery Box, embodies the festivals core values of Peace, Love and Mystery. A positive pandoras box that symbolizes the unleashing of all that’s good in the world, a reminder of boundless joy, creativity and unity – aspects that often seem hidden in our everyday lives these days. As the box got activated, it released an explosion of vibrant energy and connection, inviting everyone to embrace the wonders of the present moment and opportunity to rediscover the beauty of shared experiences. The stage in itself was already mind-blowing and watching artists such as Bakermat, Fedde le Grand, Maddix, and Vini- Vici on this stage throughout Saturday and Sunday was already an experience that is now permanently imprinted on our membranes. Let’s not forget to add the important fact that Charlotte de Witte performed a powerful techno set as the closing act on Sunday and officially went down in music history as the first female artist to close the Mysteryland stage. After a weekend full with so many crazy experiences, impressions and views we were having a hard time believing that there is anything left to top it all with, even though we had been informed that something really special would be happening during the end show on Sunday. Now on after hand, we can hands down say that we definitely weren’t prepared for what we were still about to witness. In collaboration with the world’s biggest beer brand BUD and TWOFIFTYK DRNS, Mysteryland put on an end show with 600 fully integrated drones that were a part of the entire finale. All the disciplines such as fireworks, 3D video and lighting operated in full synergy with the drones, which has never been done anywhere before. Thanks to this, the stage expanded from an initial 30 meters to a whopping 120 meters and filled the sky with wonder. You can watch the full endshow at Mysterylands Youtube Channel here. And this wasn’t even all of it. As a perfect addition to the theme ‘’Celebrate Life’’ that the show was centered around, Mysteryland incorporated Genevieve Coté to perform her famous nature sounds during the finale. For those who don’t know, Genevieve Coté is known from Britains Got Talent where she wowed the judges with her unreal animal impressions. All these different elements combined and weaved together in perfect symmetry and harmony, created something that would have been mesmerizing and beautiful to begin with the stage and fireworks alone, but now transformed into something truly magical, jaw-dropping and never before seen. Sustainability Besides being a leader in the creative field, Mysteryland also cares about our planet and is proving to be a leader in terms of sustainability. A great example of this is that Mysteryland, in 2015, won the EE Music Award for the highest reduction in energy consumption of all European festivals, Mysteryland 2024 was, just as the 2023 edition, almost completely powered by locally generated green energy which is a unique feat. Approximately 80% of the festivals power consumption consisted of green grid power while the remaining 20% consisted of flexible, sustainably generated energy. Thanks to this initiative, around 60 thousand liters of diesel which would have been used to power the festival otherwise, was saved. To visualize it in a different way, this equals to one million kilometers driven by car. Something that is not only unique for the Netherlands but exceptional for the rest of Europe on this scale as well. Another sustainability initiative taken by Mysteryland 2024 was the previously mentioned Recycle Store, where campers could rent items collected at other festivals such as Awakenings Festival and Defqon.1. Besides this, Mysteryland of course honor the opportunity to return to Haarlemmermeer year after year, and make sure to leave the terrain as untouched as possible by collecting every single cigarette butt, cup and piece of garbage after the festival is over. In terms of water, Mysteryland is under the opinion that water belongs to all of us and had therefore made sure to make water available for all the visitors for free. You could either bring your own container and fill it up at one of the water bards, or get a special, limited edition Mysteryland water bag at the same spot. Upon entrance, each visitor also got a free token for their first free cup, can or bottle, that could later be traded in at one of the bars for a new container or recycle coin. Food Mysteryland 2024 offered a range of different dishes that could be purchased at one of the many unique food courts scattered around the festival terrain. To make sure that everyone could find something tasty to eat no matter their dietary preferences, a lot of the food options were vegetarian, vegan, gluten free and diary free. Some examples of the delicious food options were Vietnamese spring rolls, Italian pizzas, Argentinian empanadas, Dutch poffertjes, a fresh BBQ bowl and many more. Something that’s worth mentioning is that the fries at Mysteryland 2024 were hyper-local and that the potatoes were sourced from the land of the farmer where the festival camping is located. 5 food trucks and 20 air fryers were deployed by FrietHoes at Mysteryland 2024, and the collaboration between Mysteryland 2024 and the farmer Lars Kraak is quite unique as it ensured that the festival goers could enjoy locally sourced fries directly from the ground they slept on. EDMHouseNetwork can also attest to the fact that the fries were delicious! Conclusions To us at EDMHouseNetwork, there is absolutely no wonder that Mysteryland is the longest running electronic festival in the world and 2024’s edition was nothing less of an unforgettable experience that makes using the word ‘’immersive’’ feel like an understatement. We had a sense of wonder and excitement from the moment that we saw those colorful flags at the camping waving in a distance, and the second we set our foot on the festival area it was like jumping down a rabbit hole of adventures that didn’t let us out until the weekend was over. The festivals dedication to its core values of peace, love and sustainability was present at every turn, from the repurposed beautiful décor to recycling and the eco-friendly initiatives to reduce energy consumption. The carefully curated stages with their variety of different genres offered something for everyone and the same applied to camping and food options, as well other kind of activities. At a time and age where its easier to create division than unity, Mysteryland definitely sets itself apart from other festivals with its ability to embrace and cater a broad spectrum of needs, tastes and experiences. With this in mind, there is also no wonder that Mysteryland has so many visitors who continue coming back each year. The question that we asked ourselves however, is what lays behind the success of a festival of such a grand scale, when there are so many different elements that can go wrong but need to come into place in order for everything to work as a whole. There are probably many answers to this, and one of them is that the crew behind Mysteryland and ID&T consist of a big amount of very talented, hard working and experienced people. We do however also think that there is something bigger hiding behind it, and more specifically, the story behind the theme of Mysteryland 2024 and ID&T’s tagline ‘’Celebrate Life’’. For those who don’t know, on September 1st 24 years ago, the brother of one of the founders of ID&T passed away at a very young age. His passing made his group of friends – the very people behind ID&T – realize how short life is and that we need to celebrate it while we can. This message became deeply personal for ID&T and ‘’Celebrate Life’’ has ever since laid at the heart of everything they do. September 1st this year, coincidentally fell on the Sunday of Mysteryland, which made the already spectacular, one-of-a-kind end show with ‘’Celebrate Life’’ written by drones in the sky, something even more special, meaningful and deep to the people of ID&T. And we here at EDMHouseNetwork strongly believe that it’s also exactly this love, passion and devotion to celebrate life that not only left the visitors in awe during the end show, but makes them keep coming back for more, year after year. With that said, Mysteryland is indeed not just a festival but a place with a pulsating heart and soul, deeply rooted in something bigger and more powerful than just what the ear can hear or eye and see. We’d like to give a big thank you to Mysteryland and ID&T for allowing us to be a part of this extraordinary experience and hope to see you next year too. If you are as excited for next years edition which will take place at 22- 24 of September, make sure to pre-register via this link!

2024 has been quite a year for Lauren Mia. She has released a remix pack for her Re:Birth album, an EP, and three remixes for Moritz Hofbauer, Clawz SG, and Teho. Now, she’s back with her first single this year Freedom, out on Insomniac’s Interstellar Recordings. The label, founded by Insomniac this year, focuses on more dreamy and melodic vibes. The first release from Jeremy Olander called Holmen, received great appreciation worldwide. Lauren Mia’s Freedom is no different. The tune rapidly kicks off with a catchy wobbling baseline and hypnotic drums. The vocals complete the package, driving the listener through the first breakdown. Synth-driven harmonies prepare the path for a techno-oriented drop where dark and shady melodies collide with catchy percussions. Lauren Mia’s proficiencies in analog sound design, composition, and production stem from a lifelong tenure in classically trained music. This mix is particularly present in Freedom, specifically her sound design that privileges warm tones and wide analog elements. Her foundation in piano and affinity for synthesizing impactful frequencies shape an entrancing signature sound that ascends past the conception of Melodic Techno and Progressive House. Through her music, Lauren Mia is deeply in love with embodying healing, emotional, orchestral, and progressive sounds in pursuit of connecting people with themselves and those around them — it’s what she describes as an erotic journey through sound. Lauren Mia new release on Interstellar Recordings Freedom is out now. The post Lauren Mia drops ‘Freedom’ on Interstellar appeared first on The Groove Cartel.

Packing for a festival can be both exciting and daunting. Whether you’re heading to a multi-day camping festival or a one-day urban music event, having the right gear can make or break your experience. From staying comfortable in unpredictable weather to keeping your phone charged and body hydrated, there’s a lot to consider when preparing for a festival. A well-thought-out festival packing checklist ensures you’re prepared for anything, allowing you to enjoy the music, the atmosphere, and your time with friends without worrying about what you forgot to pack. This guide will walk you through the essential items you need to pack for any type of festival, along with some extra tips to make your experience as smooth as possible. Let’s dive into the ultimate festival packing checklist to keep you festival-ready in 2024. Why Packing Smart for Festivals is Essential Festival Packing Checklist Festivals are packed with excitement, but they can also be unpredictable. The weather could turn suddenly, your phone battery could die, or you might find yourself miles away from the nearest food stand. By packing smart, you can avoid discomfort and stay focused on what truly matters – enjoying the festival to the fullest. Here’s why having a detailed checklist is crucial: Comfort: Festivals can involve a lot of walking, standing, and dancing, so packing comfortable clothing, shoes, and essentials will make a huge difference. Safety: From first aid kits to sun protection, having the right items ensures your health and safety while enjoying the event. Preparedness: Festivals are often held in rural or open areas, where access to shops, water, or shelter can be limited. Packing essentials like snacks, a refillable water bottle, and camping gear is a must. This checklist is designed to cover everything you need, so you can feel prepared no matter what type of festival you’re attending. Festival Packing Checklist: Essentials for Every Festival 1. Tickets, ID, and Wallet It might seem obvious, but always double-check that you have your festival tickets, ID, and some form of payment (whether cash, card, or mobile payments). These should be packed in a secure, easy-to-reach place. Don’t Forget: Printed or digital ticket Valid photo ID (driver’s license, passport) Cash and cards (it’s a good idea to have some cash for vendors that don’t accept cards) 2. Tent and Sleeping Gear (for Camping Festivals) If you’re attending a multi-day camping festival, your tent and sleeping gear are some of the most important things you’ll need. Make sure your tent is sturdy enough for potential bad weather and that your sleeping gear will keep you warm during cooler nights. Essential Camping Gear: Tent: A waterproof, durable tent with enough room for you and your group. Opt for a pop-up tent if you want easy assembly. Sleeping Bag: Choose a warm, compact sleeping bag suited for outdoor use. Even summer festivals can have chilly nights. Sleeping Mat or Inflatable Mattress: For added comfort, pack a foam sleeping mat or an inflatable mattress to avoid sleeping directly on the ground. Pillow: A compact camping pillow or a folded hoodie can serve as a pillow in a pinch. 3. Backpack or Day Bag You’ll need a comfortable, durable backpack or day bag to carry your essentials throughout the festival. Look for something with multiple compartments to stay organized and lightweight to avoid straining your back during long days. What to Pack in Your Day Bag: Water bottle Sun protection (hat, sunglasses, sunscreen) Snacks Phone and portable charger Rain poncho Wet wipes or hand sanitizer 4. Clothing for All Weather Festival weather can be unpredictable, so packing a range of clothing is key. Even if the forecast predicts sunshine, it’s wise to be prepared for rain, wind, and cooler nights. What to Pack: T-Shirts and Tops: Breathable, lightweight shirts to keep cool during the day. Hoodie or Jacket: A warm hoodie or jacket for cooler evenings. Waterproof Jacket or Poncho: Festivals often involve rain, so a waterproof jacket or rain poncho is essential. Comfortable Footwear: Sturdy shoes are a must for walking long distances. Pack comfortable trainers, and if rain is predicted, bring waterproof boots or wellies. Socks and Underwear: Bring enough for each day, plus a couple of extras just in case. Hat and Sunglasses: To protect yourself from the sun, bring a wide-brimmed hat and UV-protective sunglasses. 5. Reusable Water Bottle Staying hydrated is crucial at festivals, especially during hot weather. Pack a reusable water bottle that you can refill at water stations. Many festivals now prohibit single-use plastic bottles, so this is a must. Pro Tip: Invest in an insulated bottle that keeps your water cool throughout the day. 6. Portable Phone Charger (Power Bank) Between taking photos, navigating the festival app, and messaging friends, your phone battery can drain quickly. Bring a portable phone charger or power bank to keep your phone charged and connected. Recommended Specs: Look for a power bank with at least 10,000mAh capacity, which should give you 2-3 full charges. 7. Toiletries and Personal Care Festivals are not known for having the cleanest bathrooms, and access to showers might be limited. Pack essential toiletries to stay fresh and comfortable throughout the event. What to Include: Wet wipes (great for a quick refresh when showers aren’t available) Hand sanitizer Biodegradable soap and shampoo (if showers are available) Toothbrush and toothpaste Deodorant Tissues or toilet paper (festival bathrooms often run out) Sunscreen (SPF 30 or higher) Lip balm with SPF 8. First Aid Kit Accidents and minor injuries can happen, especially when you’re spending long days outdoors. A basic first aid kit will come in handy for cuts, blisters, and headaches. First Aid Essentials: Band-aids Antiseptic wipes or cream Painkillers (like ibuprofen or aspirin) Blister plasters Insect repellent Any prescription medication 9. Snacks and Non-Perishable Food While festival food stalls are a highlight of any event, it’s always good to have some snacks on hand for when you’re waiting in line or when the food stalls close. Pack non-perishable items that are easy to carry and don’t require refrigeration. Snack Ideas: Granola bars or energy bars Trail mix or nuts Dried fruit Crackers or rice cakes 10. Festival Accessories No festival outfit is complete without some fun accessories. From flower crowns to funky sunglasses, festival accessories can add some extra flair to your look while also serving practical purposes. Must-Have Accessories: Festival wristbands or tickets Bandana or scarf (great for dust protection or sun coverage) Sunglasses (opt for sturdy, inexpensive pairs in case they get lost) Earplugs (protect your hearing during loud performances) Festival Camping Gear Checklist For multi-day camping festivals, having the right camping gear can make your experience much more comfortable. Beyond the essentials like a tent and sleeping bag, here are some extra items to consider packing. 1. Camping Stove and Cooking Supplies If your festival allows it, a small camping stove is a great way to make hot meals or coffee in the morning. Make sure to pack matches or a lighter and enough fuel. Camping Cooking Gear: Portable camping stove Cooking pot or pan Utensils (fork, spoon, knife) Biodegradable plates and cups Instant coffee or tea bags 2. Camping Chair After a long day of standing and dancing, having a portable camping chair to relax in can feel like a luxury. Look for a foldable, lightweight chair that’s easy to carry. 3. Cooler Bag If you’re planning to bring your own food and drinks, a cooler bag will help keep perishables fresh. Opt for a small, portable cooler bag with ice packs. 4. Lantern or Flashlight Navigating a campsite in the dark can be tricky, so bring a lantern or flashlight to light up your tent area at night. Headlamps are another great option, leaving your hands free. 5. Garbage Bags Help keep the festival grounds clean by bringing a few garbage bags to collect your trash. Many festivals encourage attendees to leave no trace, so packing out what you pack in is essential. Extras for the Ultimate Festival Experience Once you’ve covered the basics, consider packing a few extra items to enhance your festival experience. 1. Flag or Marker Campsites can be confusing to navigate, especially at large festivals. Bring a flag or some kind of marker to attach to your tent so you can easily spot your campsite from a distance. 2. Portable Speaker A small portable speaker is perfect for enjoying some tunes at your campsite or during downtime. Just be respectful of your neighbors and keep the volume low late at night. 3. Festival Blanket A blanket is a versatile item – you can use it to sit on during performances, wrap up in when it gets chilly, or as extra padding in your tent. 4. Costume or Themed Outfit Many festivals encourage themed dress or wild outfits, so don’t be afraid to get creative! Whether it’s a costume for a specific festival day or just some quirky accessories, have fun with your festival wardrobe. 5. GoPro or Camera If you want to capture the experience, consider bringing a camera or GoPro. Be mindful of festival rules regarding camera gear, as some venues may have restrictions. Read also: Diwali Celebrations Around the World: The Festival of Lights Across Continents Sustainable Packing Tips for Festivals Festivals can generate a lot of waste, but with a little planning, you can minimize your environmental impact and pack sustainably. 1. Bring Reusable Items Pack reusable cups, plates, and cutlery instead of single-use plastic. This helps reduce waste, and many festivals now have washing stations to clean your dishes. 2. Opt for Eco-Friendly Toiletries Choose biodegradable toiletries like soap and shampoo. Look for brands that use sustainable packaging and ingredients that won’t harm the environment. 3. Leave No Trace Always take your trash with you and dispose of it in the designated areas. Bring reusable bags to store your waste and recycling until you can properly dispose of it. 4. Invest in Quality Gear Instead of buying cheap, disposable items that might only last for one festival, invest in quality camping and festival gear that you can reuse year after year. Festival Packing FAQs What should I pack for a day festival? For a one-day festival, pack essentials like your ticket, ID, sunscreen, a reusable water bottle, snacks, a rain poncho, and portable phone charger. You’ll also want comfortable clothing, sunglasses, and a hat for sun protection. What should I pack for a camping festival? For a camping festival, pack a sturdy tent, sleeping bag, sleeping mat, and additional camping gear like a portable stove, camping chair, and lantern. Don’t forget essential clothing, toiletries, and snacks. What are the best shoes to wear to a festival? Comfortable, sturdy shoes are a must. Trainers or hiking boots are great for walking, while waterproof boots or wellies are ideal if rain is in the forecast. How can I pack sustainably for a festival? Bring reusable items like a water bottle, cutlery, and eco-friendly toiletries. Pack quality gear that will last and make sure to leave no trace by packing out your trash. How can I stay organized while packing for a festival? Use a checklist (like this one!) to make sure you have everything covered. Organize your items into categories (clothing, camping gear, toiletries) and pack in compartments or packing cubes for easy access. What are some must-have festival accessories? Sunglasses, a bandana, earplugs, and a portable phone charger are essential accessories for any festival-goer. Conclusion Packing for a festival doesn’t have to be stressful if you plan ahead and follow a detailed festival packing checklist. By covering the essentials – from tickets and ID to camping gear and toiletries – you’ll be prepared for anything the festival throws your way. Remember to pack smart, stay comfortable, and have fun. Whether it’s your first festival or your hundredth, a well-packed bag is key to making the most of your festival experience. The post Festival Packing Checklist: Essential Gear for Your Next Festival Adventure appeared first on FestivalFeed.