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Global Dance Festival is returning to Denver for its 21st installment this July. Brought by Global Dance and AEG Presents, Global Dance Festival will take place at the Stockyards Event Center Grounds this July 26th and 27th. The festival features an all-star lineup, enhanced VIP experience, extended event hours running from 5PM-1AM daily, and more. Following the 20th anniversary of the flagship festival, this move marks a new era for the festival inclusive of a larger event space, photogenic art installations, the best in Denver’s food trucks, multiple stages with updated production, performers, and much more to be announced. Global Dance Festival has been a cornerstone of dance music in Colorado since the early 2000s, growing into the premiere festival at one of the best venues in the world, Red Rocks Amphitheatre, and the largest annual summer music festival in the Rocky Mountain region of the United States. In 2017, Global Dance Festival departed Red Rocks and debuted in its new home at Empower Field at Mile High in order to present an immersive festival that was not possible at the legendary amphitheatre. Photo by @bechiefb This year’s lineup includes (in alphabetical order by line): The Chainsmokers, Duke Dumont, Fisher, Gryffin, Kaytranada, Champagne Drip, Crankdat, G Jones, Kayzo, Ravenscoon, Said The Sky, 1991, Brondo, Canabliss, Chibs, Mport, Smoakland Presents Liquid Smoak, Twinsick, Vampa, Wuki, Aramis, Chocolate Drop, Concentrates, Decker Rush, Ecotek, Faybl, Hartshorn, Lizzy Jane, Merci, Micvh, Morf, Muv, Njoy, Paws, Savage, SLWMO, WEON, Wessyde, and Zoa. Tickets for Global Dance Festival are on sale now here. Tickets range from $99.00 – $299.00 plus applicable service charges on AXS.com. All ages are welcome. The post Global Dance Festival Returns To Denver With An All-Star Lineup This July appeared first on EDMTunes.

We sat down with Lost Frequencies at EDC Las Vegas to discuss the wide variety of genres represented in his sets, his opinion regarding the differences between the American and European rave scenes, his epic set at EDC, and his new music! So, you just finished your set and I noticed you mixed together a lot of genres. I heard some Drum and Bass and some Techno. What influence has these other genres had on your music and is it hard to combine so many different genres in one set? The thing is I always have this base layer, which is my original music, everything I play is the music that I produced, even if it’s going to be Drum and Bass or a bit more Techno-ish soundtrack. It’s always going to be melodic; you are always going to have vocals somewhere in the track. That is what’s going to be the glue throughout the whole set. And also, the single factor that I produce everything is always kind of the same mixing style I guess. And so, it’s not too different but genre wise it is going to change a bit. I think also because for me, it’s fun during one hour like this today, but even if a bit longer set I like to change it up, I like to play something different and to wake up the crowd a bit, challenge them and then go back to them with something else. So how do you balance tracks you want to play based on what the crowd wants to hear? I try to spread them out. But sometimes what I have is I think she said I have only 50 minutes left and I have to throw them all in the one that they want to listen to because there was there’s always new tracks I want and the tracks that that I want to I want to support you know, like the latest release or the latest album, and then the big ones. So you’ve played around the world and like we’ve talked about I live in the Netherlands and you’re from Belgium. What is the biggest difference between the European rave scene and the American rave scene? The clothing is very different. The USA is more crazy. I would say maybe not more crazy but it’s like for people when they go to electronic music festival here in the US, they really travel, it’s like a mission. You know, it’s like we go to EDC, and we got to go to this crazy festival like when I see everything here, it’s really insane. I don’t think we have something like this in Europe. We have Tomorrowland which is super big but not as big as this you know? So, I don’t know it’s very different. Also, the genre of electronic music on the lineup is very different in the US compared to Europe. So, for me as a European artist to be here on the lineup on the mainstage today was very nice. So how do you feel about your set, happy about it? It was great from where I was standing. Thank you. That’s the only thing I said after it’s like sometimes you play these kinds of shows and the stage is so big that you don’t really know in the moment itself, like sometimes I usually like to look back with some videos we have from the live stream to get a better perspective from because I don’t really see the crowd you know, and, and sometimes it’s hard to tell, are people dancing? Are they chilling or you know, am I getting their attention? Is this a singalong moment? Because I don’t really hear a lot, but I was trying to do my thing I know. Some people know me, but maybe a lot of people don’t really know me here tonight. So, I was really trying to play my music to try to show showcase who I am and hopefully they liked it. You played some new music tonight “In my Bones”. Can you tell us a little bit about the inspiration behind that track? So “In my Bones” is a track with David Kushner. The version that I played tonight is the deluxe mix. So, every single track can have an alternative version, which is going to be like you said a Techno version or a Drum and Bass version. So, because the original version is always quite slower, it’s more radio friendly. And then the deluxe mix like the one I played tonight. It was more Trance and old school House inspired with a little piano, but and then the kick coming in. It was a nice reaction, I’m happy. So, I’ve been trying it out for the last few shows and now I think I’m going to set it down and finally mix it properly and master it. Your music is so positive. It’s really uplifting. What kind of message do you want to spread to your fans into the world especially now with so many problems going on and so many bad things? Yeah, I usually have a lot of messages in my music that are about unity and love. I think it’s sometimes it’s quite cheesy. But at the same time, it’s also so obvious you know and when you are at a place like this, I think sometimes people do really like to hear this kind of stuff and they really connect with it. I like personally the love lyrics and sharing and spreading good vibes. And so, when I make music and I can incorporate these lyrics in the least cheesy way possible that I’m super happy that I can do something like that. And then it translates well in the crowd.

David Archuleta is defending himself on social media after posting several photos of himself at EDC Las Vegas on Instagram this past weekend. The singer added to his grid three times, one for each day of EDC. Each post showed his fit of the day, as well as some selfies and videos taken at the event. While this seems like normal social media activity for any raver after attending the biggest EDM event of the year, for David Archuleta it seemingly was not. While the comments on his posts don’t seem particularly negative, Archuleta still felt the need to explain his perspective with a lengthy follow-up post. He explains that attending a rave is no different than attending any other concert. It’s “therapeutic because you let out what you normally don’t get to,” but because it’s “loud” with a lot of “stimulation going on visually,” people draw conclusions, thinking it’s “wild.” “If people don’t like it then cool. I’m sharing my journey and I’m loving it,” Archuleta states. In the post’s caption he explains why he feels the need to defend himself: “I know most of my audience I’ve built over the years came from when I was reserved and conservative myself. So thats why I like to explain what I do. It’s not to apologize for who I am but sometimes it is a bit odd to post new experiences I’m having and where I’m at now when it’s very different from previous years and what people relate to me for before.” David Archuleta: From American Idol to EDC Las Vegas Archuleta gained stardom back in 2008 when he appeared on Season 7 of American Idol. At just 16 years old, he captured hearts across America with his beautiful voice and his boy-next-door persona. He came in second to winner David Cook during his season, by a margin of roughly 12 million votes out of over 97 million, which was at that time the highest recorded vote total in the show’s history. Since American Idol, Archuleta has spoken openly about his Mormon beliefs and devout lifestyle. He publicly came out as a member of the LGBTQIA+ community in June 2021, posting the following statement on Instagram: “I’ve been open to myself and my close family for some years now that I am not sure about my own sexuality. I came out in 2014 as gay to my family. But then I had similar feelings for both genders so maybe a spectrum of bisexual. Then I also have learned I don’t have too much sexual desires and urges as most people which works, I guess, because I have a commitment to save myself until marriage. Which people call asexual when they don’t experience sexual urges.” -David Archuleta in a June 2021 Instagram post Archuleta went on to encourage his followers to be more accepting of LGBTQIA+ communities as people of faith, including within the Mormon church. He asked his followers to “consider making room to be more understanding and compassionate” to those still exploring their identity. The post David Archuleta Defends Himself On Instagram After Attending EDC Las Vegas appeared first on EDMTunes.

The 24th of May, 2024, marks the 27th anniversary of the timeless house track ’King of My Castle’ by Wamdue Project. Released in 1997, the song became a defining anthem of the 90’s electronic music scene, embedding itself in the hearts of dance music enthusiast and continues to resonate with music lovers world wide. Wamdue Project, spearheaded by the American DJ and producer Chris Brann, originally crafted ‘King of My Castle’ as a downtempo, ambient house song (click here to listen to the original version), with the iconic refrain ‘’Must be the reason for why I’m king of my castle’’ delivered by vocalist Gaelle Adisson. It wasn’t until the Italian producer Roy Malone mixed the song however, adding irresistible energy and transforming it into a dance floor staple, that it ended up blowing up in clubs and airwaves alike. Not only did ‘King of my castle’ reach remarkable success by reaching the nr. 1 spot on US Billboards ‘’Dance Club Songs’’, United Kingdoms ‘’Singles Chart’’, and by peaking the charts in several other countries such as the United Kingdom, Germany and Spain. It has since also been featured in countless DJ sets, compilations and remixes which has made sure to keep it relevant in the everevolving landscape of music until this day. Listened to over 43 million times on Spotify alone, besides its musical impact, ‘King of My Castle’ has cultural significance and is a symbolic in terms of the house music explosion of the late ‘90s. As its popularity was peaking during the rise of superclubs and the global rave culture, the track highlights a period when electronic music began to achieve mainstream acceptance. ‘King of my castle’ is therefore a song that for many, serves as a nostalgic touchstone for those who experienced the prime time of house music firsthand, while it at the same time, continues to introduce new generations to the rich history of the genre. Making its ability to transcend time and remaining relevant in the modern time music scene, a true testament to Chris Brann’s innovative production and Roy Malone’s metamorphic remix. It’s not just a song that we celebrate as we mark 27 years since Wamdue Projects ‘King of my castle’ was released. It’s an iconic piece of music history that captured the essence of ’90s house music and continues to inspire and ignite dancefloors after nearly three decades. A true celebration of the vibrant culture of house music that it represents.

The world of electronic music is a big ocean with waves of sound that shape the auditory landscape with each tide. Among these waves, you can find timeless masterpieces that continue resonating with listeners long after their release. One of these iconic tracks, is ‘Saltwater’ by Chicane, which celebrates its 25th anniversary today, on the 24th of May. ‘Saltwater’ was released in 1999 by Nick Bracegirdle, the brainchild behind Chicane, and emerged during the golden era for trance music, featuring a beautiful vocal sample from Clannad’s Máire Brennan song ‘Theme from Harry’s Game’. The combination between Chicane’s masterful production and Brennnan’s ethereal vocal element created a track that is uplifting, deeply emotive and captures the essence of human experience. It’s therefore no surprise that ‘Saltwater’ became an anthem that topped the charts in several different countries and became a staple in DJ sets around the world. The songs’ ability to feel both ancient and futuristic at the same time, created a universal appeal that bridged the gap between mainstream audiences and the more niche trance community. As we celebrate the anniversary of ‘Saltwater’ by Chicane, a beacon of emotional depth and creativity, we are reminded of how powerful music can be. That it can transcend time, touch people’s hearts and connect people across the world – no matter the culture or generation.

The latest portal to the bygone era of Avicii comes from SiriusXM, who has launched a new radio channel dedicated to the electronic dance music legend. "Avicii Radio" will feature the late artist's many hits as well as "never-before-heard music from his past live performances," according to a press release shared with EDM.com. The channel is produced in collaboration with the Tim Bergling Foundation, the nonprofit launched by his family following his tragic death by suicide in 2018. It will also include appearances by a number of Avicii's collaborators, including Nicky Romero, Armin van Buuren, Laidback Luke and Aloe Blacc, the lattermost of whom will "voice the channel" as it launches with a spin of their collaboration "Wake Me Up." That track, a generational dance anthem, remains Avicii's most-streamed. "I can't think of a better way to honor the life and legacy of Avicii," Blacc said. "This SiriusXM radio channel dedicated to the music he made, played and inspired is a lasting testament to his massive influence." Coinciding with Mental Health Awareness Month, the channel aims to keep the conversation around wellbeing alive, fostering a spirit of community and support. To that end, it will also feature audio messaging from Vibrant Emotional Health, formerly the Mental Health Association of New York City, a community of wellness programs offering confidential emotional support to those in need. "This is a great continuation of Tim’s relationship with SiriusXM and Geronimo, SiriusXM’s Vice President of Dance Music, who were supporters of his music very early on in his career," added Klas Bergling, Avicii's father and the director of the Tim Bergling Foundation. "We appreciate their interest in promoting the emotional well-being of young people and of the Tim Bergling Foundation and its goals." "Avicii Radio" is available now on the SiriusXM app. Follow Avicii:X: x.com/Avicii Instagram: instagram.com/avicii Facebook: facebook.com/avicii

We sat down with French Producer Creeds during EDC Las Vegas to discuss the Hard Techno boom in the United States, his viral track “Push Up”, and some surprises during his EDC Las Vegas set. In Europe Techno with a “K” (Tekno) is really popular, in America we don’t have that, how would you describe that to Americans and what are your thoughts on the current state of Hard Techno in the United States? Well first, I would describe it basically as a revival of the old school Hardstyle sound, to be honest. Everyone is starting to call it Hard Techno, let’s be honest it’s a revival of the old school Hardstyle sound, Reverse Bass and stuff like that. Personally, I’m super happy to see that at many festivals now, this style is getting bigger and bigger. I believe there are many good things to do and I also think it seems to be a good path to go to the Harder Styles. I saw that over many years, young people discovering Techno, they looked at Hardcore music and thought “What the f*** is that”. And now I see that even Hard Techno now just plays sometimes some Hardcore music and Hardcore stuff. And I really, really see that it’s a good way to go into Hardcore music and to make it discoverable to younger people, then the good thing is saying to the agenda, you can play basically, anything that you want in a set, you can play some Hardcore stuff in the middle of the set if you want and most of the people like it, so I’m super happy about that. And the good thing also playing in this kind of festival is that the Hardcore scene is now here, with many many great artists on the scene. So that mean we can do Hard Techno and, in the middle, go Raw Style or Uptempo. So, it’s allowed now and super happy about that. Because during many years, I tried in my own set to make these things happen, you know, like I was being Psytrance music and sometimes Hardcore music, like two tracks after and so now well, we feel like it’s allowed to do so. That’s amazing. I think it’s a great way to get people in the door. I think originally, people would be scared of 200 bpm music and think “Oh that’s scary or it’s demonic. So, I think it’s a great entryway and I love to see it as well. So, I want to talk about obviously your biggest track “Push Up”. Why do you think it blew up so much? What do you think resonated with people so much about it? To be honest, I don’t know. On the pure production side, I would say just the melody that is super simple. And with a simple waveform, you know, in terms of production and sound design, something really, really, really easy, basically, that can stick in the mind. And also, the vocal that is really, really good by Fabian Mizzou, the guy who made the vocal actually it’s a guy, not a girl. And then after that, maybe the track just arrived at the right time and the right moment. Also, thanks to TikTok and social media like that it went way more than it could have been if it wasn’t there, you know? So, I think it’s a combination of everything that that went good. Speaking of TikTok. So back in my day, Trance songs were seven minutes long Techno songs were like 13 minutes long. Today we’re seeing with TikTok in short form content songs getting shorter and shorter. How do you feel about that? I don’t think it’s really up to just TikTok you know, if you look at just the way the labels even used to work back in the days, you know, they didn’t want any track more than three minutes and a half or three minutes because of the radio. So, since years and years, it’s the thing you know, you can’t really release something more than three minutes if you want to get on the radio or stuff. So, I don’t think TikTok has so much to do with it, honestly. So maybe now composers sometimes tried to just have the right hook you know, for 10 seconds and then having a drop from 10 seconds also just to be able to tease it and TikTok maybe, but in the end it’s still like a three or four minute long tracks you know, in the extended mix. So, but I know that big levels because I also work with Sony and I know when they take a track from me, they said okay, there is the extended mix, but you need to do also a shorter version. And it’s not about TikTok is just that many labels work that way you know especially the major labels and not necessarily the underground labels. Do you think tracks will continue to get shorter and shorter or do you think it’ll stay around the three four minute mark like you said? No, I think it will stay the same. What you hear on TikTok is basically most of the time, I think so, I’m not that much on TikTok also myself, but I think it just an extract, a preview of what is the longer track you know, so I don’t I don’t think there is like a 20 second track. It doesn’t exist, it’s always at least two minute and a half and on TikTok. You just see this little snippet, you know, but I don’t think no, there will not be. Well, I hope so. So speaking of EDC you’re playing tonight, I’ll be there of course, what can we expect from your set any surprises or anything you can tell us about? Well, tonight I don’t play and my solo project as Creeds. I play with Helen Ka, a French singer I have a project with and we play more Frenchcore and we compose Hardcore and Frenchcore. So she’s a singer so she writes her own lyrics and singing on top of the production that we do together. So, we are more the 200 BPM thing you know, it’s because of the lineup, it was supposed to be well Warface before us, and then another duo that makes also Frenchcore at 200. So it didn’t make sense to have just a creative project on this timeline basically. So, this is why our agents said okay, let’s put it with Helen Ka and so we can play 200 BPM tracks so it’s gonna be way more hardcore that I what I usually do as Creeds solo. So what’s your favorite type of Hardcore? Or what genre do you prefer to play? Or do you like to do a little bit of everything? To be honest to play Frenchcore, Hardcore and Hard Techno is what I like the most, but to be honest, I tried also to make sometimes some more to Hard Groove tracks seven minutes long, like we said and to mix it’s really it’s pleasant, it’s super nice to be able to put like two or three tracks because it’s not full tracks you know, it’s just empty tracks basically with just symbols and stuff. So, it’s, it’s good to mix but no, no, honestly hard techno for me is the is the way to go. So, because you do cross so many boundaries and borders when it comes to genres, do you like to put yourself in a hard techno category or a hard dance category? Or what would you say about that? Well honestly, I don’t really care what it’s called. I feel Hard Dance might be a little bit more accurate you know, because it can really show much more of the of the style you know but if people want to call it Hard Techno let’s call it Techno you know, but in the end there are many tracks that mix between kind of Hard Psy stuff with the Hard Techno bass and that goes Reverse Bass also in a more gated kick that goes more Hardstyle would work too. So how do you balance what you want to play with what the crowd wants to play? Do you change your sets based on Europe or in the US? At first, I was because I’m not familiar to DJing you know, basically, I’m more of a composer so I don’t even have like a CDJ at my home. So, I just, I have a bunch of tracks and when I see what the audience likes or not, I change the sets. That’s the way it seems to work, but it’s every time I still have Hard Techno or Reverse Bass Hardstyle or Hardcore, you know, if the people don’t like it, I’m f***ed.

Two of the hottest genres in contemporary music were celebrated in a big way earlier this month in the City of Angels. Producer Nino Lee, also known as Niniboi, took over Academy LA for a sold-out "Electrik Seoul" party on May 2nd, 2024. With an emphasis on the intersection of K-pop and EDM, fans of both genres hit the dancefloor to get down to remixes of international anthems. Filipino dance music star Manila Killa helped provide the soundtrack of the night as he took the stage for a special K-pop set and hip-hop star Dumbfoundead made a surprise appearance. "Electrik Seoul" at Academy LA.Steven Garcia Aside from the event's crossover appeal, there were many music-adjacent activities in which attendees could indulge. There were photo card giveaways, photo booths, karaoke and even spiked boba tea to energize the clubbers. After the massive success of the outing, Lee revealed that "Electrik Seoul" will be coming to Los Angeles' famed Avalon club on June 13th, 2024. He promises a "next level" event that will make use of the entire 1,500-cap space. "Electrik Seoul" at Academy LA.Steven Garcia While both events have a home in Los Angeles, Lee has bigger plans for "Electrik Seoul." He says he may expand the show to other major cities in the US. "We can't wait to take this event to the next level and reshape the landscape for K-Pop and EDM in Los Angeles and beyond," he said in a press release. The return of "Electrik Seoul" at Avalon is scheduled for June 13th, 2024. You can learn more about the upcoming event and purchase tickets here.

The electronic music community is constantly evolving with new sounds inspired by the scene of yesteryear. EDM.com's weekly Fresh Picks series discovers new music and unearths influential tracks that help define the underground dance scene. You can find the below tracks on EDM.com's Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here. EDM.com Fresh PicksDJ Seinfeld, Confidence Man - Now U Do (Edit)Mont Duamel - ImagineBLVTH - RIOT3STRANGE - It Won't Always Be Like ThisFloating Points - FalaiseEdapollo - Say NothingBearcubs - Ninetynine (VIP)Mild Minds, LUV HRTS - U REALLY HURT MEJasper Tygner - Before MeJulianna Barwick - Inspirit

The legacy of Avicii, one of EDM's most influential artists, will soon grace a different type of stage. Pophouse Entertainment is reportedly developing a musical about the late DJ after purchasing a majority stake in his music catalog back in 2022. That's according to the company's Brand & Marketing Director, Kim Nyström, who said it's been working with Avicii's estate on a long-term brand strategy. "Our job is to make sure that we have an ongoing brand mission that is talking to fans, that is engaging over time," Nyström told Axios. "Brand engagement will always make sure that the creative projects happen. The stronger the brand, the more people actually want to work with us." Pophouse is also behind "The Avicii Experience," the Stockholm-based museum built in honor of Avicii, who tragically died by suicide in April 2018. It's important to note that the company has not formally announced the Avicii musical at the time of this writing. Although Avicii passed away over six years ago, his music has continued to live on. A new documentary about his life is soon premiering at this year's Tribeca Festival and another is in the works from the Academy Award-winning film producer Lawrence Bender. Pophouse Entertainment did not immediately respond to EDM.com's request for comment on the musical.

We’ve got an exciting release from quite the mastermind of the entire Dance movement. Every now and then, between a sea of newcomers and current chart toppers, it’s so refreshing to see veteran acts still putting out top-notch music. We’ve had quality tunes from a handful of established acts lately, anywhere from Ferry Corsten rediscovering Old School Trance, to Orbital remixing ‘Café Del Mar’. Well, the industry welcomes yet another class name with a pristine release. BK Photo credit: JMA Photography. Ben Keen, known professionally as BK, is a Dance legend. From his early days in London studios to his Trade Club residency, he’s been at the very forefront of the Electronic sound for ages. His sound can be dissected into a handful of bridges between elements of Trance and Techno, in any decade you wish to pinpoint. A true don of the scene, BK’s been a driving force behind the harder sound since it first thumped out of clubs. His timeless bangers, like the classics ‘Music Is Moving‘ and ‘Revolution‘ — a personal favourite —, still get dancefloors moving for a new generation of DJs. From Marlon Hoffstadt and Ben Hemsley to Ammara and Patrick Topping, his influence is everywhere, solidifying his reputation as a tastemaker of the highest order. What’s more, Keen remains a dominant force to this day, having some doof releases on the horizon, plus fresh singles on Bebé and Armada, and collaborations with industry titans like James Hurr, Ammara, and Reinier Zonneveld. He’s one of those artists who have remained timeless, yet still true to their very essence. ‘No Fool’ The latest instalment in BK’s discography is nothing short of impressive. Crafted for the dancefloors — from the darkest clubs to the most packed arenas —, ‘No Fool‘ blends the best House vibes with the fast pace and high intensity of Techno, and sprinkles a bit of that banging Trance percussive dynamism that could heal a soul. Released on Hannah Laing’s imprint doof, this one feels like a full-circle moment for both Ben and Hannah. “I have taken so much inspiration from the hard house legend BK’s old catalogue! To have him releasing a modern Hard House tune on doof is a dream come true”, says Laing. And on the other side of the ring, Keen recalls, “A pleasure to be releasing on one of my favourite labels around at the minute. Hannah was the first person to test this record so doof is the perfect home for it“. Listen to BK‘s ‘No Fool‘ below for your Spotify play. Alternatively, click here to support the release on your platform of choice. And stay tuned to our page for the latest news and views from our beloved industry. The post Hard House Legend BK Strikes Back With ‘No Fool’ appeared first on EDMTunes.

The 13th edition of EDC Las Vegas took place from May 17th to May 19th, 2024, at the Las Vegas Motor Speedway. With an attendance of 500,000, the festival featured nine stages, five art cars, and the magic that is EDC’s signature – three enchanting nights filled with immersive art installations, carnival rides, street performers, and firework shows. It was truly a weekend to remember, creating core memories and an abundance of fun. EDC Week Before jumping into the festival itself, it’s important to note that EDC events are not only confined to the actual festival weekend but rather, the fun starts on Wednesday (for me the previous Saturday but that was a personal choice!). In the days leading up to EDC, the city is taken over by pool parties, club events, pop up shops, and ravers taking over the streets. I even heard EDM at the airport on Tuesday on my flight home. As for the official EDC Week events, I kicked off my festival week with the Basscon Pool Party. If you’ve been following my reviews for a while now, you know my heart beats at 200 beats per minute, so Basscon was the perfect way to get hype for EDC. The Basscon Pool Party took place on Thursday, May 16th at the Downtown Grand Circus Ground Pool Deck. The rooftop pool party consisted of a larger-than-life view of the Las Vegas strip, delicious daiquiris and other frozen cocktails, beach balls and plenty of lounge beds and beach chairs around the pool to enjoy the party from multiple vantage points. As the party took place during the day, there was also a covered area with fans, and stands selling sunglasses, fans, sunscreen and other essentials to stay safe in the 93-degree weather (34 Celsius). The Basscon line up consisted of Atmozfears, Clawz, Death Code, Hixxy, Sound Rush, and Warface. The line up was a great mix of Hardstyle, Happy Hardcore/UK Hardcore, Rawstyle, and Uptempo. Behind the stage was a large LED screen with visuals synced to the music, adding an extra layer of entertainment. I ended up not bringing my earplugs to the pool party, thinking that the party would not be loud, which was a rookie mistake. Who thought Hardstyle could be loud? Lessons learned. Getting There As this was my first EDC Vegas (although I’ve attended two editions of EDC New York in 2012 and 2014 and two editions of EDC Orlando in 2022 and 2023) I had no idea what to expect when it came to navigating Vegas or how to get to and from the festival safely. With so many options to choose from, camping, ride share apps, shuttle services (even helicopters!) I decided to leave all the planning to One N Only Entertainment, especially as I was coming from the Netherlands, which was already quite a trek. One N Only Entertainment provides an all-inclusive resort experience for festivals around the world. With hotel takeovers, pool parties, breakfast, shuttle services with unlimited drinks, and official representatives to help you every step of the way, my travel and lodging experience was extremely comfortable. This year, One N Only took over the Serene Vegas Boutique Hotel, situated just a few minutes from the Las Vegas Strip, getting to and from the hotel to EDC was mostly easy. There were three options of departure times both to and from the festival, and the shuttle experience was a blast between the drinks, the music, and the overall energy (especially on day one!). Although this was my first EDC Vegas, I had been warned about the traffic and sometimes long wait times to enter the festival. Each day we arrived between 5:45 PM and 7:15 PM, however attendees were not permitted to enter the festival until 6:45/7:00 PM, so on the days we did arrive early we had to wait outside in heat for sometimes up to an hour before entering. However, if we were to leave later, we would have hit traffic plus had longer wait times to enter the festival so if I had to make a recommendation for those planning on attending, get there early if you can. EDC Las Vegas is massive so allowing yourself enough time to enter the festival is key, otherwise you blink and it’s already nighttime! On Friday and Saturday, we left the festival around 5:30 AM and returned to the hotel around 7:30 AM, between the long walk to the shuttle (and up a lot of stairs), waiting for the shuttle and the trip home. On Sunday (Monday morning), we left around 5:30 AM and did not return to the hotel until 9:00 AM. I later realized this was due to the fact there was a Grateful Dead concert happening the same weekend plus Monday morning traffic. For reference, the Las Vegas Motor Speedway is approximately 18 miles (28 kilometers) from the Serene Vegas Boutique Hotel. So be prepared on the final night to either leave early to beat the traffic, or just accept it and take a nap on the way home. For those who had flights that same day, it was rough, so another tip, try to fly out late Tuesday if you can. The main takeaway from all of this is the Speedway is in a remote location, which is of course understandable because where else can you hold 500,000 people in a major city. Regardless of where you stay (unless you decide to camp – unfortunately I’m 33 and have been doing this for 16 years and have hip and back pain so camping is not an option for me anymore), account for the travel time and be prepared to walk (I walked about 47,000 steps each day). Venue The Las Vegas Motor Speedway is located about 15 miles northeast of the Las Vegas Strip, in a remote dessert location. The racetrack when it’s not hosting EDC is the home to major NASCAR races. The entire grounds encompass 1,000 acres of land. For EDC, the festival utilities both the infield area inside the oval track, the stands where you can get an epic view of the festival, and the exterior grounds surrounding the track. When the sun is up you have a beautiful view of the colossal mountains, and again living in a flat country, it was a treat to see mountains again. Overall, the venue is equipped to host a major event such as EDC, however at moments the festival did feel overcrowded and hard to navigate. My favorite part of the venue was having an aerial view from the stands of the festival. During some of the more crowded sets, sitting in the stands allowed for a bit of rest while still enjoying the show. In summary, the massive acreage and pre-built motorsports facility provide an ideal layout to contain the large scale of EDC with minimal noise and light impact on the residential areas. Food & Drinks When it comes to food and drinks at EDC, there was diverse assortment of international cuisine including bulgogi steak, hibachi, and even charcuterie boards! My favorite out of everything I ate at EDC was the taco platter at the VIP area near Circuit Grounds. This in my opinion was the best bang for your buck as it was filling – three tacos of your choice (I went for asada, pastor, and chicken), chips and salsa for $20. Here is a short break down of some of the prices: Mac N Cheese ($20) Pizza by the slice ($12) Jumbo corn dog and fries (vegan option also available) ($18) Fried chicken skewer and fries ($18) Chicken tenders and fries ($20) Lemonade ($10) Water ($5) Soda ($6) Sandwiches (cheese steak, Italian, turkey, and veggie) ($16) Chips and cookies ($4) Beer ($18) White Claw ($18) Dumplings ($15) Fish and chips ($15) Cotton candy ($9) Cocktails ranged between $16 and $30 The cost for food and drinks didn’t shock me as they were comparable to EDC Orlando or other festivals of this size that I’ve attended since the pandemic. There were of course plenty of other options and price ranges, including at the special lounges such as the Marquee SkyDeck (which includes bottle service and a golf cart ride to your table). I found there to be a much greater assortment of food than drinks. Many of the drink stands were the same also at points they ran out of water and White Claw. Shout out to the one bartender who went to another stand to find me a White Claw! Stages kineticFIELD The mainstage, kineticFIELD was a larger-than-life stage consisting of stained glass, organs, and mosaic tiles. Think of it like a cathedral but for EDM. The stage hosted a myriad of genres including progressive house, bass, tech house, techno, and bass music. The VIP area included a multi-level viewing deck that allowed for an amazing view of the stage and the fireworks. circuitGROUNDS The second largest stage at EDC was circuitGROUNDS. This stage also hosted a wide range of artists and genres including but not limited to SLANDER, Eric Prdyz, John Summit, Peggy Gou, Martin Garrix, Seven Lions, Excision, and Timmy Trumpet. What sets circuitGROUNDS from the other stages is the fact that the vibe there was extremely futuristic. From an arcade in VIP, to a body sensory art installation, to a water maze, this stage transformed ravers to the next dimension. cosmicMEADOW When entering the festival, the first stage you see is cosmicMEADOW. This stage was a colorful lotus flower with geometric shapes incorporated into the stage design. As for the lineup, this was the place for experimental sounds, disco, and drum and bass. The best part of this stage was the fact that you could sit in the stands and watch the show, I did this for part of Deorro because it was so crowded. Having a comfortable seat with an epic view and space is always key at those moments in the festival when you’re having a blast but need to take some rest. bassPOD If bass music is your thing, then bassPOD is for you. Serving explosive industrial plant vibes, this stage hosted some of the biggest names in bass music including NGHTMRE, Zomboy, Subtronics b2b LEVEL UP (Dubstep’s cutest power couple!), and Svdden Death. neonGARDEN If the underground rave scene is your thing, then neonGARDEN was the place to be! This dark stage encompassed by large containers was the home for Techno. My favorite moment from neonGARDEN was Indira Paganotto’s set on Sunday, I was exhausted but couldn’t stop dancing. At one point I went to wait in line for the Ferris Wheel and didn’t even mind waiting a hour because I had a clear view of neonGARDEN and the epic sounds of the underground. quantumVALLEY Situated next to neonGARDEN with a shared VIP space, quantumVALLEY hosted by Dreamstate was a mecca for Trance music throughout the weekend. What I loved the most about quantumVALLEY was the amount of psytrance represented at EDC, especially two of my favorites, Blastoyz and Infected Mushroom. The visuals at this stage were the best in my opinion, with screens projecting trippy visuals perfectly aligned to the music and the vibe of the stage. stereoBLOOM Hosted by Insomniac Records, steroBLOOM hosted some of the biggest names in the Electronic Music scene in a more intimate setting than the other stages at EDC. Nestled by Daisy Lane, the stereoBLOOM stage was centered around a circular screen supported by metal tubes. wasteLAND Of course, my favorite stage at EDC was wasteLAND. This was the stage for the harder styles with many heavy hitters in the Hard Dance scene such as Sub-Zero Project, Lil Texas, and Da Tweekaz. This stage was comprised of shipping containers with vertical screens projecting images, this stage really lit up the sky while simultaneously making the ground shake. bionicJUNGLE The newest edition to EDC, bionicJUNGLE, erected in 2022, is just as it sounds like a literal jungle. When you first enter EDC after descending the stairs by cosmicMEADOW, this small intimate stage enclosed with plants and trees made you feel as if you’ve been transported to Tulum to a rave in the jungle. Art Cars In addition to the diverse selection of music at each of the nine stages, the EDC brand is also best known for its art cars. This year there were five art cars: Blacklight Bar, House of Dunkin (they even had free coffee!), Meta Phoenix, Rynobus, and Beatbox Boombox Art Car. My favorite moment from the art cars was seeing James Kennedy from my favorite reality show Vanderpump Rules rock the Rynobus on Friday night. Downtown EDC What sets EDC apart from the countless other festivals I’ve attended around the world in the last 16 years, is Downtown EDC. At the center of the festival is an area with small night clubs and special events such as a wedding chapel (where people can get really married!), a karaoke bar, a mini club playing only disco, and the newest edition YeeDC which a saloon playing crossover EDM and country music. Music Maddix The massive kineticFIELD stage was packed to the brim as Dutch DJ/producer Maddix took the decks on Friday evening. Hailing from the Netherlands’ fertile electronic music scene, Maddix brought his hard-hitting sound to EDC’s main stage. The energy was electric as he dropped tracks like the high-octane “Adrenalina (Minha Gasolina)” and the thumping “Heute Nacht.” Despite being a relatively new name, the young Dutchman commanded the kineticFIELD like a seasoned veteran, proving he deserves his place among the EDM elite on one of the world’s biggest festival stages. Maddix’s primetime set was undoubtedly a standout and a breakthrough moment for the rising star. Blastoyz For psytrance fans, Blastoyz’s set at the quantumVALLEY stage was transcendental. The Israeli DJ/producer ushered the crowd into a psychedelic cosmic journey with pulsating beats and mind-bending visuals. Brilliant blue lasers danced across the stage as intricate mandala patterns provided the mesmerizing backdrop. Blastoyz didn’t hold back, dropping psytrance remixes of bangers like “Exploration of Space,” “Cinema,” “In the End,” and “Sun and Moon” that sent waves of euphoria through the audience. The screens displayed kaleidoscopic geometry and trippy visuals straight out of a interstellar odyssey. For those on the same vibe, Blastoyz’s set was utterly hypnotic – a highlight of the weekend that transported festivalgoers to another dimension through the raw power of psytrance. The cosmic explorers at quantumVALLEY were undoubtedly treated to a stellar experience under Blastoyz’s guidance. Creeds The gritty, post-apocalyptic vibe of the wasteLAND stage set the perfect backdrop as Creeds and Helen Ka delivered an unforgettable performance. The French producer Creeds was an unrelenting force behind the decks, seamlessly blending punishing Techno, Hardstyle, Rawstyle and Uptempo across the Hard Dance spectrum. His epic mixes like the anthemic “Too Cold” and classic “Enfants de La Rave” had the crowd going insane. But it was the addition of Helen Ka’s soaring live vocals that truly elevated the set into the cinematic realm. The singer’s powerful voice layered an operatic element as she commanded the stage with Creeds’ thunderous production behind her. It was a masterful fusion of vocal talent and DJ prowess that transported the wasteLAND into a post-apocalyptic cyberpunk battleground soundtracked by their dark, dramatic synergy. Lost Frequencies On the final night of EDC, the massive kineticFIELD turned into a sea of thousands swaying in unison when Belgian DJ/producer Lost Frequencies took the decks. The melodic house master seamlessly mixed his intimate radio hits with pounding techno and drum and bass rhythms. Singalongs erupted as Lost Frequencies dropped fan favorites like “Reality,” “Just Wanna Know” and “Jour Meilleur.” But he also provided a tantalizing preview of his newest sounds, debuting the emotive “In My Bones”. With its combination of hard-hitting beats and uplifting energy, Lost Frequencies‘ dynamic set showcased his ability to captivate the biggest of festival stages. From diehard dance music fans to casual radio listeners, everyone was united in the moment under this spellbinding soundtrack. Martin Garrix While not the mainstage of kineticFIELD, the circuitGROUNDS stage was overflowing with fans eager to witness Dutch superstar Martin Garrix’s performance. Garrix showed off his masterful big room sound, dropping anthems like “Hurricane,” his breakthrough hit “Animals,” and vocal banger “In my Mind.” But the most poignant moment came when he played his collaboration with the late Avicii, “Waiting for Love.” As the wistful chords filled the air, it became a powerful tribute to the iconic Swedish DJ’s memory and their friendship. A nostalgic hush fell over the audience as thousands of lights swayed in bittersweet remembrance. This unforgettable set showcased his status as more than just a hitmaker, but a voice for an entire generation of EDM fans. Final Impressions If I were to sum up EDC Las Vegas in one word it would be magical. From the diverse line up, to state-of-the-art sound and visuals, to the lights illuminating the Electric Sky, EDC had something for everyone. What I most appreciated was all the small touches, the tiny details from Pixel Forest to the on-site barber shop, to Memory Lane, to the Trinket Trading area, and of course the fact that you could see the fireworks from any stage. At most festivals the firework show takes place on the mainstage, during EDC every night of the weekend fireworks illuminated the sky, sometimes when you weren’t even expecting it. I also need to mention Insomnaic’s commitment to safety. As always End Overdose was present at EDC, which today is so important to educate and prepare ravers for emergency situations. EDC’s Ground Control was also active checking on party goers to ensure everyone was having a fun and safe time. There were also plenty of free water refill stations which is of course necessary in the scorching Vegas heat. The only aspect of the festival that felt unsafe was the flow of the crowd at the peak of Saturday and Sunday nights between kineticFIELD and circuitGROUNDS. During these moments the festival felt too crowded and with recent trample incidents in the music scene, these types of situations need to be carefully assessed and controlled either by additional pathways, strategic line up adjustments (even though no one likes set time conflicts it does help to split the crowd), or by having security assist in leading the crowd. All in all, EDC is one of those festivals that will have a lasting impact. The vibes and creativity in all the stage designs, it was sensory overload in the best way. There’s an indescribable magic that permeates the air at EDC Las Vegas, a feeling that can only be understood when you walk up those stairs for the first time, it’s truly breathtaking. For those three incomparable nights, the real world and all its problems melt away as you lose yourself in euphoria. EDC Is more than just a festival, it’s a mind-altering escape that I 100% need to experience again.

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When it comes to electronic dance music, the right headphones are key to immersing yourself in the intricate layers and subtle soundscapes. Enter the Sonos Ace, the company’s first wireless over-ear headphones with noise cancellation, designed for audiophiles and casual listeners alike. Priced at $449, the Sonos Ace headphones combine top-tier sound quality, advanced noise cancellation, and seamless Sonos integration. Sleek and Sturdy Design The Sonos Ace headphones boast a premium design with a blend of metal and plastic, weighing a comfortable 11 oz (312g). The chrome metal yoke adds sophistication, while the replaceable magnetic ear pads, covered in faux leather, ensure a snug fit. Available in black and soft white matte finishes, they feature physical buttons for intuitive control. Superior Sound Quality for EDM Lovers Each earcup houses custom 40mm dynamic drivers, delivering powerful, clear audio with a wide soundstage perfect for electronic music. The ported acoustic architecture enhances bass performance, making deep drops and basslines come alive. Supporting AAC, SBC, and aptX Lossless codecs over Bluetooth, the Ace also offers lossless and hi-res audio via USB-C. Spatial audio with Dolby Atmos and dynamic head tracking provides an immersive 3D sound experience. Advanced Noise Cancellation The Sonos Ace features eight microphones (four per earcup) for active noise cancellation, effectively blocking out ambient noise. The Aware mode lets ambient sounds pass through when needed. Beam-forming microphones ensure clear call quality, making these headphones versatile for both leisure and work. Long-Lasting Battery Life and Quick Charging With up to 30 hours of battery life with ANC enabled, the Sonos Ace offers all-day listening. A rapid 3-minute charge provides 3 hours of playback, thanks to the USB-C charging port. Seamless Connectivity and Integration Equipped with Bluetooth 5.4, the Sonos Ace ensures a stable wireless connection. Integration with the Sonos ecosystem allows easy connection to Sonos soundbars like the Arc. Wear detection sensors and adjustable EQ settings via the Sonos app provide a personalized listening experience. Whether rocking out to club bangers or classic tunes, the Sonos Ace will deliver an unparalleled audio experience. Pre-order at https://www.sonos.com/en-us/shop/sonos-ace. Photos courtesy of Sonos. The post Sonos Ace Headphones Redefine Noise Cancellation appeared first on EDMTunes.

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For decades, Amsterdam has been world-renowned as one of the premier destinations for music festivals and celebration of arts and culture. The city’s name is synonymous with vibrancy, open-mindedness, and progressivism – values embraced and embodied by the countless festivals that take place here every year. From the bass-thumping electronic dance parties like Awakenings to the eclectic multi-genre offerings of DGTL, Amsterdam’s festival calendar is a year-round showcase of boundary-pushing creativity. These events don’t just attract attendees locally but draw massive audiences from around the globe who flock here to experience the Amsterdam vibe. More than just economic drivers, festivals are an integral part of the social fabric and cultural heritage of the city. They are the places where people celebrate art, music, self-expression, and free thought. They are monuments to the progressive ideals and individual freedoms that we in the Netherlands hold so dear. Amsterdam’s new festival policy That’s why the municipality’s new policy towards festivals is so misguided and threatens to do irreparable harm to Amsterdam’s international standing and community spirit. Under these new rules, festival organizers would have to wait until the end of 2024 to find out if their 2025 events will be approved and permitted. This extreme uncertainty makes properly planning and staging festivals a practical impossibility. Any experienced event organizer will tell you that putting on a major festival requires at least 12-18 months of lead time. Holding dates, booking artists, securing venues, arranging suppliers, contractors, security personnel and countless other logistics is an incredibly intricate process that can’t just be thrown together a few months out. Having to work under a cloud of doubt whether all that time and money being invested will be for naught is untenable. Why this new policy is just bad As a result, this policy will likely force many long-running, established festivals to cancel or scale back dramatically leading to major economic impacts. The festivals unable to secure permits will lose out on millions in potential revenue. And all the auxiliary businesses – hotels, restaurants, transportation providers, etc. – that benefit from the tourism spending around festivals will take a major hit as well. But it’s not just about money – this policy represents a body blow to Amsterdam’s culture and civic identity. Amsterdam has always pride itself on being a place that values free expression, progressivism, and pushing boundaries. Festivals embody and celebrate those ideas, bringing people of all backgrounds together in a spirit of unity, adventure, and uninhibited creativity. Allowing bureaucratic red tape to disrupt that grand tradition is anathema to what Amsterdam is all about. Of course, it’s not like festival operators have been bad actors. Event organizers go to extensive lengths to be good neighbors and partners with the city. They have robust systems in place to limit noise, crowding, and environmental impact while stringently following security protocols to ensure attendee safety. This avoids any undue burden on surrounding communities. Taking an arbitrary, indiscriminate approach to instituting new policies penalizes organizations that have consistently demonstrated a commitment to operating responsibly and providing a positive cultural impact. It’s doubly concerning that experienced organizers are the ones being most threatened by having to acquire permits at the last minute. Their hard-earned institutional knowledge around safety planning and operations will be tough for less seasoned groups to replicate under rushed timelines. But why this policy? You have to wonder if this policy is being driven by the misguided assumption that Amsterdam is becoming over-saturated with too many overlapping festivals. That’s an extremely short-sighted view that fails to account for festivals’ unique offerings and target audiences. There’s zero risk of cannibalizing fanbases when events lean into distinctly different vibes and programming. Diversity of experiences is what strengthens scenes and drives more tourism. Amsterdam shouldn’t be in the business of arbitrarily picking winners and losers, but fostering an environment where creativity can flourish across different mediums and scenes. That growth mindset is what cements Amsterdam’s global relevance and makes us an aspirational destination. Tampering with the festival economy could have far-reaching ripple effects beyond just events themselves. Many artists, DJs, vendors, and creatives rely on the income from festival circuits to sustain themselves. Jeopardizing those revenue streams weakens the entire infrastructure that powers Amsterdam’s artistic community. Let’s save Amsterdam’s festival scene. Sign the petition! People in Amsterdam have been the beneficiaries of the city’s progressive, open mindset that embraces different cultures and modes of creative expression. Don’t let this regressive policy destroy a civic legacy the city has rightly earned and enjoyed for generations. Sign the petition and demand the municipality stop waging war on festivals and the values they represent. Amsterdam’s identity depends on it. The post How the City of Amsterdam is Planning to Destroy Its Legendary Festival Scene appeared first on The Groove Cartel.

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Orange Amplification continues to grow the consumer arm of its brand with the introduction of the Pyramid Audio System, a revolutionary compact hi-fi system delivering powerful sound and exceptional connectivity. The Bluetooth 5.0 enabled Pyramid amplifier is designed with a special wave-balanced “analogue sound spectrum”. It has been carefully formulated to sound pleasing to the ear with a warm clean sound shaped to limit “ear fatigue”, a problem encountered with many modern sound systems. At the heart of this new audio lifestyle system is a sleek, pyramid-shaped, powerful amplifier capable of delivering 40W RMS per channel amplifier into 4 ohms. This newly designed amp is eco-friendly, cool-running and highly efficient. It has a beautifully made wooden cabinet with a white piano finish and a prism at the top which subtly glows indicating the mode of operation. The Bluetooth pairing connectivity provides a quick and universal connection to all music services. It has RCA and Aux 3.5mm inputs, for use with turntables and CD players. The Pyramid amp is also perfect to pair with a TV for a great-sounding alternative to a soundbar. Volume is controlled by a distinctive knob on the front of the Pyramid amp with discrete treble and bass controls at the rear of the unit; allowing users to personalise their sound. There is also a left-right channel balancing dial and a Bluetooth reset button. The two paired speakers have been engineered to deliver a clean warm sound. The 1” soft silk dome tweeters provide a perfect balance at the top end, whilst refined reflex ports and improved speaker cone excursion give a smooth pleasing transitional bass response at the bottom end with special care given to the mid spread. The Orange Pyramid system has been outwardly designed as a work of art that will suit any décor and has the company’s signature hieroglyphs around the base. To find out more please go to orangessentials.com/. The post Orange Amplification Launch The Pyramid Audio System appeared first on Decoded Magazine.

Composer, producer, and pianist David August returns to the dance floor after over two years with ‘WORKOUTS’ EP, released on June 14. This follows his sold-out multidisciplinary ‘VĪS’ shows at London’s Barbican, Berlin’s Volksbühne, Paris’s Le Trianon, Amsterdam’s Muziekgebouw, and more ‘WORKOUTS’ EP builds on last year’s ‘VĪS’ album, focusing on rhythmic elements distinct from its predecessor. While ‘VĪS’ examined movement metaphysically, ‘WORKOUTS’ makes it physical, connecting ancient drum patterns with contemporary club forms. This is August’s first dancefloor-driven project since 2020’s ‘Reminiscence of a Jewel,’ reconciling with his past and influenced by collaborations with Turkish vocalist Cansu Tanrikulu and Carnatic singer Sushma Soma, stirring rhythms that uncover instinctive bonds between humanity and technology, ancient history, and the Anthropocene The ‘VĪS’ website is a collaboration with Egozen Collective and Moroccan visual artist Hiba Baddou, showcasing intricate patterns and symbols using procedural graphics and text-based visual filters. David August’s evolution from classical pianist to dance music pioneer to his richer, more diverse, multidisciplinary, and cross-cultural sonic landscapes of today is marked by collaborations with the Deutsches Symphonie Orchester Berlin, Max Cooper, and Bunita Marcus, and performances at major venues and festivals like Primavera Sound, Sónar, Montreux Jazz Festival, London’s Roundhouse, Berlin’s Columbiahalle, Hamburg’s Elbphilharmonie, and more. David August’s label, 99CHANTS, established in 2018, reinterprets ancient and medieval poetry for today’s audiences, collaborating with artists like KMRU, Kareem Lotfy, Ron Trent, Lena Platonos, Giulio Aldinucci, and Louis Sterling. The label emphasizes environmental sustainability and representation, culminating with its 99th release. The post David August returns with ‘WORKOUTS’ EP appeared first on Decoded Magazine.

*Featured Cover Photo Credit: Chris Cooper / Shotaway (@shotawaydotcom) Arcadia is one of Glastonbury‘s most-famous stages at each edition of the festival for the nearly the past couple decades. The Arcadia stage started running on renewable energy at last year’s edition and during the last FIFA World Cup in Qatar, the tournament organizers even hired the fire-breathing, spider-like stage to host live music performances there, especially DJ sets. At Glastonbury 2024, there will be a new arena coming from Arcadia. That arena from Arcadia is ‘The Dragonfly’ and according to an article from the Rolling Stone UK, the parts of the structure come from a former Royal Navy helicopter. Arcadia introducing ‘The Dragonfly’ is the second time it has changed arenas since it replaced the spider stage for the ‘Pangea’ crane at Glastonbury 2019. Furthermore, this stage will run on wind and solar energy, with batteries being charged off-site. ‘The Dragonfly’ of Arcadia signifies another memorable moment in Glastonbury history During Glastonbury 2024, ‘The Dragonfly’ from Arcadia will open up with representatives of the Wadjuk Noongar nation from Australia who are conducting the Warraloo ceremony. This ceremony will mark the official establishment of ‘The Dragonfly’. Also, according to Mixmag, the stage’s debut will host the likes of Fatboy Slim, Eric Prydz, Amelie Lens, Andy C, Barry Can’t Swim, Joy Orbison, Shygirl, HAAi b2b KI/KI, Hedex b2b Bou, and many more. The addition of ‘The Dragonfly’ from Arcadia really signifies another memorable moment in Glastonbury history. Another thing is that ‘The Bug’ stage will also return to Arcadia although Glastonbury has not revealed the lineup as of yet. This year’s Glastonbury will occur on the weekend of June 26-30 and it will for sure bring out more unforgettable memories for anyone who attend, in particularly if they get to marvel at this new environmentally-friendly arena of Arcadia. The post Arcadia Teases New Arena For Glastonbury 2024: ‘The Dragonfly’ appeared first on EDMTunes.

Get ready San Francisco, because Fred again.. is coming to Frost Amphitheater at Stanford for a huge 3-night run on June 4-6, 2024! His incredible live performances have been making waves across the world, with Fred’s innovative blend of electronic, pop, and euphoric live instrumentation leaving fans in complete awe. Now it’s the Bay Area’s turn to experience the magic. Tickets for all 3 nights will go on sale Wednesday, May 23rd at 12 pm PT. All sections of the Frost Amphitheater will be open for standing room or lawn seating with approved blankets or stadium seats permitted. A few important notes about tickets: 4 ticket limit per order, any orders over will be canceled Tickets are mobile delivery only via AXS Mobile ID Event is rain or shine To ensure tickets get into the hands of real fans at face value, Fred again.., Goldenvoice and AXS have implemented some protections. All Frost Amphitheater tickets can only be resold through the official AXS Face Value Exchange at face value price, not on third-party sites. This three-night run comes hot on the heels of Fred’s surprise hit guest performance at EDC Las Vegas 2024. To get your tickets for what is sure to be an incredible and unique live experience, head to AXS.com on Wednesday 5/23 at 12 pm PT. Tickets will undoubtedly move extremely fast, so set a reminder and get ready to secure your spot! The post Fred again.. announces 3 shows in San Francisco appeared first on The Groove Cartel.

One of the world’s most renowned audiovisual shows is heading to the Land of Tango later this year. Come together Eric Prydz fans over in South America! We’ve got really exciting news to share: the Swede legend is flying back to Argentina this year. And even more exciting, he’s coming full-on HOLO mode. That’s right, the country which saw the premiere of ‘Night Vision’ before any other country, even naming it the ‘Autodromo Rosario ID’, will now host an entire audiovisual spectacle. There were rumours wandering around the Argentinian socials yesterday, but today was a decisive day. Quite early, 10 AM local time, Prydz took to Instagram to announce the news was not only true, but would include this special show. Not only that, but the magical words were spoken: First and only time HOLO will be seen in Argentina. Buenos Aires will be the city for the job. October 12th is the designated date, and Movistar Arena the designated venue. Tickets will go on sale from tomorrow, 10 AM ART once again. Keen to secure your spot after the lasting impression HOLO has left everywhere it’s been? Click here to get to the link. We’re sure this will be a night to remember. Pairing the Argentinian crowd with one of the world’s best Dance acts ever? Fine wine against delicate cheese, that is. Buenos Aires.The post Eric Prydz Will Bring HOLO To Argentina appeared first on EDMTunes.

The duo of Nitti Gritti and Party Favor have taken their project of SIDEPIECE all over the world. Their music has captivated fans since they began in 2020. After only a few years, SIDEPIECE is now a world renowned name in the dance music space. This weekend they’ll be returning to New York to perform at Governors Island as part of the We Belong Here festivities this Memorial Day Weekend. It has been a while since New York has hosted dance music events on the Governors Island but the experience is unlike any other. The ferry ride to the venue is approximately 8 minutes each way but it only enhances the event experience when you arrive at the dancefloor. SIDEPIECE will be joined by Sam Blacky, Bakke, and Not Not Down for 7 hours of music this Sunday May 26th. SIDEPIECE will be performing a very special 3 hour set from 8PM until closing. Take a listen to their latest release with Disco Lines called ‘Give It To Me Good’ below: There are a handful of ticket options including early arrival and different tiers of access so be sure to find one that suits you and your group best and secure your tickets now before they are gone. You can grab your tickets to this weekend’s show HERE now. The post SIDEPIECE Returns to New York to Perform at Governors Island this Weekend appeared first on EDMTunes.