Each April, the Empire Polo Grounds in Indio become the backdrop for one of music’s most anticipated gatherings. In its 26th year, Coachella 2025 delivered two weekends defined by distinct energies and evolving soundscapes, all grounded in the festival’s singular spirit.

Weekend 1: Desert Fire

From the moment Friday unfolded, the air buzzed with energy, endless possibility, and a whole lot of bass. Massio ignited the first set of the session at the iconic Sahara stage, unleashing a fiery wave of organic Afro house rhythms. His performance featured the much-anticipated Bona Fide Remix of ‘Neo Yame’, a standout track infused with the soulful vocals of RedRos8e that added an unmistakable African essence. This powerful tune, a collaboration with Joseph Kaz, set the tone for what would be an unforgettable start to the weekend.

Backstage at Sahara, we got an exclusive peek at Alok’s rehearsal—complete with 50 live dancers and a powerful message to ‘Keep Art Human.’ It was a poetic statement in a time when AI buzzes louder than ever. Coachella has always been about feeling, and this performance reminded us why nothing artificial can replicate soul.

Inside the icy oasis of Yuma,  Beltran brought the temperature right back up with infectious Brazilian-infused tech minimalism, blending remixes like Kelis’ ‘Bossy’ with his own heavier cuts like ‘Smack Yo’ and ‘Firewhip’. He dropped more signature grunge-y underground beats with unreleased tracks like ‘Sunday Afternoon’ by LuSiD, setting the precedent for the rest of his high-octane set. The vibe: sweaty, ecstatic, and fully locked in.

Golden hour belonged to  The Martinez Brothers x Loco Dice at Quasar. Their B2B was a rhythmic odyssey of their signature rolling, thick basslines and bouncy percussive drops like those in ‘Brazuca’ by Sunday Noise. At one point, they cracked the crowd wide open with a tech-house twist on Michael Jackson’s ‘Off The Wall’ – pure dancefloor nostalgia with a futuristic edge. Back in Yuma, BBC Radio’s Pete Tong and Ahmed Spins delivered a genre-bending set of Afro house, tribal electronica, and groove-laden deep house that transformed Yuma into a sonic melting pot – from ethereal, sensual tracks like ‘Waterfall’ by Ahmed Spins and Elderbrook to the uplifting, chilling piano riffs heard in ‘Lola’s Theme’ (Tripolism Remix) by The Shapeshifters.

Then came the crown jewel, Chris Stussy – a name that practically set the Yuma ablaze. Mixing soulful tech house with electro-tinged polish, his set, anchored by his masterpiece ‘Desire’, struck that elusive balance between sublime and seismic. The line outside the tent? Biblical. Just when you thought it couldn’t get any better, Crankdat threw a surprise set and detonated a DnB/Dubstep bombshell that had the entire valley shaking to close out the Do Lab.

Saturday was equally saturated in sound. Disco Lines kept it light-hearted at Sahara, with pop-infused, high energy tracks like ‘Techno and Tequila’ and the star of the show, his track ‘Wide Open’, while SOSA and Kaz James commanded the decks at Do LaB with electric and hip-hop grooves like ‘Liqour Store’ by Joel Corry and ‘Rocker In The Disco’ by Kaz James.

A B2B2B of  Barry Can’t Swim, Salute, and 2manydjs turned Quasar into a rhythmic thunderstorm of synths and stabs with tracks like ‘Easy’ by Tiga, Chloé Caillet and Luke Alexi’s ‘The One’ featuring legend Jocelyn Brown, and ‘Second Story’ by Mark Knight.

Keinemusik closed Sahara with a spellbinding Afro house set, with the trio paying plenty of homage to their recent classics, including ‘Move’ and ‘Say What’, while slipping in personal favorite gems like DSF’s vibrant ‘Don’t Stress Me’ off label Rhythmica. They also included some highly anticipated unreleased cuts like ‘Positions’, leaving fans suspended between memory and anticipation.

Sunday unfolded with Tom Breu’s melodic house set, which featured a surprise guest appearance from JOPLYN, where they played their new emotionally charged anthem ‘TOGETHER 2.0’ live at the climax, preceded by free-spirited tracks like ‘Sweat!’ by Disfreq and ‘With You’ by Tom Breu and Sion Louks.

Quasar erupted that evening with a fiery unannounced set by  Odd Mob, busting out banger after banger of his including ‘All Day, All Night’, his edit of ‘Deceiver’ with Green Velvet, John Summit’s ‘Palm of My Hands’ remix, and ‘Won’t Be Possible’ with Tiësto.

Speaking of  Tiësto, he took the reins next and carried us into nightfall, crafting a euphoric sunset soundtrack that was part throwback, part evolution, blending tracks like Fred again..’s ‘Jungle’, Vintage Culture’s remix of ‘Sweet Disposition’ by The Temper Trap, and ‘Holding On (feat. rhys from the sticks)’ by Anti Up. Of course, his own anthems made their mark – tracks like ‘Raven’ with Sidepiece and ‘I Follow Rivers’ with Oaks bridged day and night with ease. Safe to say, anticipation is sky-high for his ‘Searching for Sunrise’ set at EDC Las Vegas next month.

Weekend 2: The Breezy Afterglow

Where Weekend 1 brought the heat, Weekend 2 cooled things off with a more relaxed, though no less electrifying vibe.

Loboman  brought breezy, pop-infused house to Sahara kicking off Weekend 2 with tracks like Laszewo’s ‘Messy’ (a favorite anthem of this year’s festival), Fisher’s ‘Stay’, and Jamy Nox’s remix of ‘It Feels So Good (feat. Sonique)’ by Matt Sassari and HUGEL, setting the stage for Chris Lorenzo, who followed with a fat stack of his tech-house slammers like ‘U Should Not Be Doing That’. Lorenzo’s signature tech and bass had Sahara properly amped up with layered anthems like ‘Bad Bitch’ with Chynna and ‘MAMI’ with COBRAH.

We caught up with artist  Stephanie Lin in the midday heat, the creative force behind ‘Taffy’, a towering desert installation composed of pastel-hued cylinders. Inspired by mid-century desert modernism, the sculpture shifted in tone and texture with the movement of the sun. Designed as both a visual anchor and a place of rest, ‘Taffy’ quietly underscored the deep connection between music, art, and the environment that defines the Coachella experience.

Max Styler has been one to watch, and his surprise Do LaB set Friday evening proved why. From the jump, heaters like ‘On Repeat’, ‘I Know You Want To’, and ‘See You Sweat’ had the crowd in a frenzy, dripping with energy and bass. Just when things couldn’t get hotter, he dropped a blistering remix of Bronski Beat’s ‘Smalltown Boy’, sending a shockwave through the dance floor. Bold, nostalgic, and high-octane – Styler delivered one of the weekend’s most unforgettable sets.

Vintage Culture again proved why he’s one of the scene’s emotional anchors. This weekend saw less techno, more tropical, and dance-floor focused. His remixes of ‘Ayo Technology’, and Empire of the Sun’s ‘Cherry Blossom’, plus tracks like Max Styler’s ‘Inferno’ lit the night on fire.

Saturday saw Pretty Girl heat up the Do LaB with her standout track ‘Rain Falls’ while over at Quasar, Kaskade Redux x Idris delivered what could only be described as a trance-laced love letter to millennial ravers, complete with ‘4AM’ synth nostalgia, tracks like ‘Tears Don’t Fall’ by Kaskade and Enisa, ‘Weak’ by Vintage Culture, Tom Breu, and Maverick Sabre, and Nic Fanciulli’s Remix of ‘Rhyme Dust’ by MK and Dom Dolla, leading us to one of the greatest standout sets of the weekend.

The Snakehips x What So Not  B2B delivered a jaw-dropping bass-heavy 15 new tracks to Do LaB, plus What So Not’s ‘Mercy’ remix by Jon Casey and his much-loved track ‘Jaguar’, and Snakehips dropped his epic track ‘All My Friends’. Mau P burned Sahara to the ground with the track that saw him rise to international stardom, ‘Drugs From Amsterdam’, and a wild tech-trap hybrid remix of ‘Beats for Underground’ that broke the damn desert floor.

The night ended with another  Keinemusik showcase – different set, same intoxicating groove. ‘Not Going Home’ and ‘More Love’ were crowd favorites, spun with that signature hypnotic warmth. Plus, they dropped a sick remix of Charli XCX’s fan favorite ‘360’, an homage to the artist who played her own hell of a set both weekends.

Sunday closed with pure gold. Tripolism kicked off Yuma with heaters like ‘Dope Dance’ and ‘Flying Away With You’, ending in a three-way group huge – because why not? Infectious, wholesome, and hard-hitting. Sammy Virji and friends (Salute and Interplanetary Criminal, anyone?) snuck in with a surprise UKG set that had Do LaB shaking, including Sammy’s tracks like ‘Damager’, ‘Goodums’, and Interplanetary Criminal’s ‘Slow Burner’. Did the US deserve this UKG goodness? We’ll let you decide.

Sparrow and Barbossa’s tribal-fueled progressive house made for a mesmerizing Yuma experience with soaring remixes of ‘Dirty Cash’ and  ‘Champion’, while Gorgon City x Alesso Body Hi lit up Quasar with radiant chemistry, felt between tracks like ‘Touch’ by Gorgon City & Max Styler and ‘Lonely Heart’ by Alesso and John Alto. Zedd then took the Outdoor Stage by storm, closing with fan favorite ‘Clarity’ accompanied by the whole crowd belting every lyric and the LA Philharmonic. Yes, you read that right. An orchestra. At Coachella. For EDM. Plus, he brought out Incubus for ‘Wish You Were Here’; pretty sweet.

Polo & Pan followed, serenading the stars with cuts from their new album ’22:22′, amongst our favorites being ‘Disco Nap’ and a live performance of ‘22:23’ with Vico. The duo playing their beloved track ‘Mirror’ was the perfect coda to close the festival on a dreamy, synth-soaked note that still has us reminiscing.

There was just one more surprise. The tech house maestro himself,  Mau P, circled back again to close out at Do LaB before it was all just a distant memory.

One Festival, Two Stories

Coachella 2025 reminded us why it remains the crown jewel of the global festival circuit. Weekend 1 was fire and frenzy; Weekend 2 was breeze and bliss. But both shared the same heartbeat – one that echoed through the desert long after the last beat dropped.

Coachella 2025 was a reminder. Of rhythm. Of connection. Of the ways sound can still surprise, stir, and unite us. Whether sweating under the mirrored disco shark at Yuma or getting down at Quasar to a sunset bassline, the energy never dipped.

Two weekends. Infinite beats. And the feeling that somehow, it all mattered.

See you under the desert sky next year.

Xx,

Chesney

The fifth edition of the festival offered an audiovisual odyssey for 38,000 people.

Over two unforgettable nights, May 1st and 2nd, 2025, Buenos Aires once again became the beating heart of progressive house as Hernan Cattaneo returned to Ciudad Universitaria for the fifth edition of Sunsetstrip. Performing two extended solo sets, each stretching over seven hours, Cattaneo captivated more than 38,000 fans with an immersive soundscape that blurred the boundaries between music, visuals, and environment.

More than just a concert, Sunsetstrip has evolved into a full-scale sensory experience. Set beneath the open skies of Argentina’s capital city, the event pushed the limits of live production with state-of-the-art staging, cinematic lighting design, and a meticulous sound system that gave the music its fullest expression. Each sunset served as the natural cue for Cattaneo’s performance to blossom, building gradually from atmospheric rhythms to deep, driving melodies that swept across the crowd like a tidal wave.

Positioned at the center of an elaborate stage design, Cattaneo’s magnetic presence and flawless mixing delivered a masterclass in storytelling through sound. Across both nights, his open-to-close sets unfolded like a narrative—patient, emotional, and crafted with precision. The result was not only a testament to his enduring artistry but to the cultural weight of Sunsetstrip as a movement in its own right.

Born from the idea of capturing the magic of the golden hour, Sunsetstrip has become more than a party: it’s a ritual. A celebration of light, nature, and connection, where the music serves as a bridge between the modern and the elemental. Five editions in, the concept continues to grow, redefining what large-scale electronic music events can look and feel like in Latin America and beyond.

The awe-inspiring visual design was crafted by the renowned UK-based creative house, Luke Halls Studio. At first glance, the stage appeared deceptively minimal, composed of three massive circular structures reminiscent of full moons, but each orb concealed a powerful LED backdrop that came alive with pulsing animations, bold typography, and intricate geometric and architectural visuals that moved in sync with the music’s peaks and valleys.

As dusk gave way to darkness, the visuals were further enhanced by a tightly choreographed laser display that seamlessly integrated with the imagery on the moon-like structures. When the sun dipped below the horizon and the last light of the day faded, the lasers unfolded into an enveloping, multidimensional spectacle that transported the crowd into uncharted territory—an immersive audiovisual journey unlike anything previously witnessed in Buenos Aires.

Musically, Hernan delivered a dynamic, groove-heavy performance that traversed decades of electronic music while remaining firmly rooted in the now. His set was rich with timeless selections and fresh, forward-thinking sounds—a testament to his deep knowledge of the scene and instinctive ability to read and elevate a crowd. Among Saturday’s most memorable highlights were bootlegs of Billie Eilish, reimagined remixes of German innovators Moderat, and even a bold mashup featuring Prince—all seamlessly woven into a narrative only Hernan could construct. It was yet another demonstration of his unparalleled ability to evolve while maintaining a signature that grows more refined with each passing year.

Relive the best of Day 1 of Sunsetstrip 2025 below.

On March 30th, Barcelona’s historical Poble Espanyol became the epicenter of electronic music, even disrupting the noise from the ongoing Miami Music Week, as Innervisions celebrated its 20th anniversary together with Brunch Electronik.

Photo Credit: Brunch Electronik Barcelona – Official 

After a month of relentless rain, the city was finally graced with its first proper spring day, setting a perfect scene for the festivities and the excitement of the ravers was palpable. The event’s innovative stage design featured a circular platform placed at the center of the dance floor, fostering a more intimate connection between the artists and the audience.

The Berlin-based brand has grown into one of the world’s most respected labels within its genre over the past two decades by carefully selecting and releasing just the right amount of high-quality music each year. Founded in 2005 by German DJs and producers Dixon (Steffen Berkhahn) and Âme (Kristian Beyer & Frank Wiedemann), the imprint has been the provider of iconic tracks such as Âme’s ‘Rej’ (2005), Henrik Schwarz’s ‘Walk Music’ (2006), and Frankey & Sandrino’s masterpiece ‘Acamar’ (2015) to more recent bangers like Jimi Jules’ ‘My City’s On Fire’ (2022), and Trikk’s ‘Rigor’ (2024), to name a few.

The lineup showcased an interesting mix consisting of the old guard and emerging talents, starting with Innervision’s latest protégé, Julya Karma, who was on opening duties and quickly filled the dance floor with her deep groove that allowed for the next act to kick it up several gears.
Âme (Kristian) b2b Trikk was without a doubt one of the highlights of the afternoon, and the German and the Portuguese artists took the crowd on a skillful and delicate journey. The crowd got to enjoy some of the label’s biggest hits throughout the years mixed with several, still to be released, ID’s which the die-hard “Innervisionaires” already knew by heart. By the time Trikk’s ‘Rigor’ and ‘Raiva’ dropped, the party was officially in full swing.

Next up was the turn of South African powerhouse DESIREE, who elegantly stayed within the Innervisions soundscape, adapting her style while maintaining her signature Afro-infused essence. Her track selection brought an infectious energy, which, from start to finish, felt both fresh and true to her roots, proving her talent and versatility as an artist. Another highlight of the early evening was when Âme surprised DESIREE on stage with a cake, in celebration of her birthday the day before the event, to the tunes of fellow South African producer Caiiro’s ‘Batumi’.

And when the sun finally set on Poble Espanyol, it was time for Dixon and Jimi Jules to take the stage in yet another one of their popular b2b’s and the expectations were high. The round Innervisions sign in neon letters in combination with light strips hanging from the ceiling provided a perfectly mystical and slightly industrial feeling inside the see-through tent, which accompanied the music of the Swiss and the German perfectly.

The track list included a variety of unreleased tracks both from Jule’s upcoming album, such as ‘Trippy Yeah’ and the soulful ‘Don’t Break My Heart’, as well as Trixon’s ‘Work’ and the vibe-packed ‘Let’s Go’ which had us all trying to sing along to the funky lyrics. The duo also showcased other producers such as Samer Soltan and Agoria, whose classic ‘Scala’ created a proper goosebump moment. But the most hyped track of the night was without a doubt, Âme & Trikk’s unreleased ‘Birls & Goys’ together with singer-songwriter Jens Kuross, played at the exact peak-time of the closing set and having the crowd chanting “Don’t waste my time” in unison.
The closing track of choice, to perfectly wrap up a fantastic afternoon and evening, was another Jimi Jules’ production – the quirky ‘Whisper To Me’, which is also expected to be released on his upcoming album.

The brave souls who still had some energy left in them quickly moved next door to the Input Barcelona venue where the official afterparty Outro had already started at the hands of the Mexican up-and-coming artist Nuup who skillfully took on the task of maintaining the energy until the official b3b of the night, consisting of Trikk, Jimi Jules and Julya Karma, arrived after a well deserved break. The three continued the party in a playful, relaxed, and fun manner until the early morning hours and were also accompanied by Dixon for a few tracks at some point during the night to the public’s surprise.

Parisian artist Na’sayah took over for a final closing set with the occasional appearance of a still motivated Jimi Jules. It was truly a celebration worthy of the first twenty years of Innervisions, and we can’t wait for the next twenty to come.

AVA London Conference has long championed a mix of music, dance music culture, education, showcasing tech, as well as hosting an array of industry leaders giving insights and demos on the latest trends and tech in electronic music. As always, this event was an exhilarating blend of insights, innovations, and reflections on the evolving landscape of electronic music, technology, and cultural spaces. The panels, keynotes, and discussions offered deep dives into not only the music industry but also the cultural shifts happening within it.

The 8th edition of the AVA London Conference took place this year in the lesser-known wings of the British Library, which housed numerous conferences and panels between March 20th and  21st, 2025. The evening portion of the events were held in the central London hub, The Outernet, Hackney’s east-end, EartH, and the relocated east London super club The Cause. The action-packed schedule included prolific artists doing panels, talks, and interviews, including FKA Twigs, Annie Mac, Jayda G, Underworld, Marcel Dettman, Kojaque, Paul Wooldford, Saoirse, Jaguar, and Lorenzo Senni. From sharing artist experiences to the vision of the future of dance music and deep conversations of disappearing and reconstructing queer spaces, there was plenty of though-provoking, heart-warming, and hopeful conversations.

Simultaneously, there has been masterclasses in production held by Ski Oakenfull, from Point Black Academy, as well as NONOTAK’s Visual Arts Masterclass, and further talks held by industry leaders on how to beat burnout in the electronic music scene, how to take your brand internationally, the importance of brand partnerships and how to find these opportunities, pathways into the music industry and informative panel sessions about how to take your music ‘from the first beat to the big hit’.

Wrapping up each evening, there was a choice of a film showcase with a panel ‘Music’s Leading Role in Film,’ and a film screening of ‘In Camera’ in partnership with MUBI in the Pigott Theatre of the British Library, while in Hackney’s EartH Hall, Erika de Casier and Kojaque did a show with Mechatok producing a live show.

The Friday evening session saw a very curated performance by Ryoaji Ikeda and Marcell Dettmann, wrapping up with a live show under his concert label ‘Under My Own Shadow’. The Saturday section of the conference saw an all-night long event with X Club, LSDXOXO, Juice Romance, Body Clinic, Inside Moves, and Marion Hawkes.

There was something for everybody, whether you are starting as an electronic music DJ or producer, for music enthusiasts, or industry workers. This conference is a financially friendly alternative to the Amsterdam Dance Events, International Music Summit or Miami Music week conferences and is a recommended event to those indviduals looking to pursue electronic music as a career as over the years there has always been a good mix of industry professionals both from in front and behind the stage at this event.

Thursday morning kicked off at 11 AM with an opening keynote with the infamous dance electronic music duo Underworld members, Karl Hyde and Rick Smith. This was a heartfelt and nostalgic journey through the band’s decades-long career, telling the story of how it all started. From their humble beginnings to their collaboration on iconic tracks like ‘Born Slippy,’ both artists offered a glimpse into their creative process and personal relationship. They discussed how their collaboration has evolved over the years and how they continue to push boundaries in both music and visuals. Their passion for creating meaningful work while adapting to technological advances was truly inspiring. A pertinent point that remained was a ‘cost to caring’ and how you can never release a song unless it’s been revised, reshuffled, left, picked up again, digested before it can be released to see the light of day.

Hyde’s relaxed approach and Smith’s meticulousness were contrasted in their approach to creativity, but both highlighted the constant learning process that drives their work. Their reflections on the significance of their fans and how live audiences continue to be a source of energy and inspiration showed that even after decades, their work remains deeply rooted in the joy of making music. Their perspective on visual arts in their performances is that it should remain separate; their music is enough with a few light installations, and the extravagant visual performances with the likes of the Sphere  in Las Vegas should be left at home on the TV.

In the following panel, Munroe Bergdorf led a powerful discussion on ‘Re-Queering Dancefloors’ with guest speakers O.Jordan, Jaguar, Tom Rasmussen & Tom Merhtens, urging straight and cisgender artists to collaborate with queer artists and and communities in order to bring visibility and a place to rise for queer artists and performers. Besides this, the importance of civic responsibility is ever-present to make the change and preserve queer culture from capitalistic benefit. This involves showing up to your local LGBTQIA+ spaces, buying drinks at a gay bar, attending festivals, gigs, raves of queer artists and ensuring advocacy is in the heart of all intentions. The panel underscored the necessity of mutual support in preserving queer culture and ensuring safe spaces for everyone. As sober spaces and mutual aid projects rise, the conversation turned to how the community can keep these spaces alive amidst political uncertainty and growing hostility.

FKA Twigs’ session may have been most popular. The 3 PM one saw the entire auditorium filled out, with every attendee fully engaged in the artists’ incredibly airy and inviting presence. The keynote, which was hosted by Nadine Noor (Pxssy Palace), brought a thoughtful perspective on technology and art and an intimate glance into the performer’s intricate mind, and a glimpse of everyday artist life, such as being able to hold an interview shortly after coming off stage performing as an alien being. She shared how it can be a tall order to switch between being an artist and a performer in expression to being a name, a brand that needs to sell and do things according to their contract. FKA Twigs discussed how AI, despite being an intimidating force in the creative industries, is now inextricably tied to the artistic process. The discussion on “deep fake” technology and its potential to redefine artistic identity was eye-opening.

Twigs also spoke on the delicate process of creating art in the age of social media, exploring how artists can maintain authenticity while navigating the pressure of visibility in the digital era. While it is necessary, she expressed an apparent disgust towards technology and how she feels that in today’s day and age, we are mostly caught in a cycle of regurgitation rather than maintaining independent thought and striving to be the world’s biggest thinkers. When discussing her music and going through different phases of all her releases such as her studio album ‘Magdalene’ and ‘Usexua’ and talking in more detail about her songs ‘Drums of Death’, ‘Sticky’ and and ‘Girl Feels Good’, FKA Twigs presented an interesting notion of ‘Kiki & Bouba’ – a phonetic identification of sound that is within the perspective of a the listener. Whilst this has been a linguistic concept for some time, the artist admits that this is something that has been floating around on TikTok for a while. Throughout identifying each song, each moment within a song as ‘Kiki’ or ‘Bouba’ and even identifying herself as more Kiki – we learned that both states can coexist even within a song, a sound or a personality. Further to this, she shared her intentions as a performer to push boundaries in her dance choreography, to move the body in a way that can be somatic, that can be feminine, sexy but also not sexual, finding the right balance that expresses power, meticulousness, expansiveness, and being dynamic.

The afternoon was wrapped up by a presentation and educational masterclass by Point Blank Academy teacher Ski Oakenfull, who cleverly deconstructed and re-constructed Underworld’s famous track ‘Two Months Off’ within a space of just 25 minutes using Ableton Live. For music students, music nerds, and enthusiasts alike, this has been an excellent demonstration of the artistic process within the production of music, the consideration of layers, loops, sampling, the use of synthesizers, and ripping vocals with the incorporation of AI. If this wasn’t educational, this was undoubtedly very cool.

For the Thursday night crew that did not have work on Friday, the evening programme held a mix of live performances and film screenings in partnership with MUBI. The panel featured experts from the film industry, touching on sound and production hosted by Tarsza and featuring the award-winning composer of the blockbuster ‘The Substance’ and ‘Aftersun’ music supervisor Lucy Bright and Naqqash Khalid, who also screened his directed film ‘In Camera’. Meanwhile, Danish singer and producer Erika de Casier opened the show at EartH Hackney with her moving vocals in an intimate performance, followed by Irish rapper Kojaque leading an energetic and powerful show, with Mechatok closing with a live performance.

Friday kicked off with a mix of live panels discussing ‘The Future of Music & Clubbing’ with Emerald Lewis, followed by keynote Interview with Toyin Mustapha and Major League DJz and Gay Times hosting a keynote interview with the rising talent horsegiirl representing for the queer community and reflecting on her journey from artist profile inception to being the most demand artist of the decade, thanks to the relentless support of her community among having a unique artistic expression.
‘Creators in Session: Designing World Class Experiences’, sponsored by ticketing platform EASOL saw a industry-leading panel of experienced professionals, namely Kaz Brown, founder of Dankie Sounds, Dekmantel festival founder Casper Tielrook, artist-booker for Sonar Festival Ikram Bouloum and Trust Recordings label owner, DJ and producer Saoirse and founder of Body Movements queer dance festival. This was an informative and eye-opening, and insightful discussion of all the unique experiences each professional has when producing festivals and creating cultural hubs, and how they integrate AI and VR. Kaz Brown shared that before Dankie Sounds became successful, only starting in 2020, there was a gradual growth that started with just 50 people, mostly supporters such as friends and affiliates showing up and showing support. Eventually, when taking the event to Ibiza and hosting a 3-day 2000-person event with headliners such as Calvin Momo and with Black Coffee jumping behind the decks, there were a lot of challenges to find the right venue and gaining the stamp of approval from Spanish authorities, alongside shipping their own sound systems from the UK. With smaller events like SoulCity that only had a capacity of 300 people and a growing presence on the island, Dankie Sounds is committed to creating access for underrepresented communities in the electronic music space. Brown’s commitment to amplifying Black voices, alongside DJing partnerships and collaborations with global brands like Nike, exemplifies how dance music can be a catalyst for cultural exchange.

Casper Tielrooj, founder of Dekmantel, took the stage next, sharing his journey of starting small and growing into one of the most revered electronic music festivals globally. The importance of building a “healthy ecosystem” with innovation and sustainability was a recurring theme. As the festival moves into new cycles, he emphasized the need to constantly innovate and review, making sure that each year feels fresh. The event’s focus on local artists ensured they had an obvious presence, reserving spaces for local artists to close each stage each evening. Sustainability also shines through, with a growing dedication to creating spaces that are both environmentally and socially responsible.

Ikram Bouloum, artist booker for Sonar, shared insights from the long-running festival, now celebrating its 32nd edition. The event has always been about more than just music—it’s a festival that connects local and international collectives, fosters innovation, and explores the intersections of music and technology. The multidisciplinary approach of Sonar, with its collaborations with universities and researchers, allows for an immersive experience that transcends the boundaries of music. The lineup this year, featuring the likes of Mochakk and Peggy Gou, was described as experimental, showcasing how music can be reimagined and presented in novel ways.

Saoirse shared a compelling look into the creation of London’s leading queer electronic music festival. The discussion underscored Body Movements’ dedication to crafting a safe, accessible, and inclusive space for the LGBTQ+ community. The artist highlighted the importance of ensuring both financial and musical accessibility, creating a protective environment for vulnerable groups through harm reduction and welfare initiatives. By uniting various queer collectives, the event fosters a sense of community and introduces attendees to new artists and dance floors.
The festival balances well-known international acts with emerging talent, focusing on local artists and maintaining a gender balance in its lineup. This approach allows it to educate its audience and promote new voices in the scene.

The festival’s production is characterized by a gritty, DIY aesthetic, blending industrial elements with natural surroundings. Sound and lighting quality are paramount, and the festival collaborates closely with community members to achieve this vision. Saoirse openly discussed the financial challenges faced by the festival, including significant production cost increases that led to a modest ticket price rise. She emphasized the need for transparency and integrity in communicating these changes to attendees. Despite the logistical stress, she noted that the satisfaction of bringing Body Movements to life is immense. The festival’s commitment to accessibility is further demonstrated by its pay-it-forward and low-income ticket options, which contribute to a diverse and vibrant dance floor experience. This approach reflects the event’ core mission: to nurture the queer electronic music scene while prioritizing community, inclusivity, and social responsibility.

Ned Beckett, the founder of LittleBig Agency, imparted his knowledge on effective Talent Discovery and Artist Development alongside Georgia Taglietti (IGNAC / AFEM / Laurent Garnier). Having represented influential figures like Aphex Twin, Ryoji Ikeda, Holly Herndon, and Lorenzo Senni, Beckett has played a pivotal role in shaping careers within the electronic music scene. He elaborated on the processes of identifying talent, elevating artists to new heights, and ensuring long-term success in a constantly changing industry.

Additionally, prominent electronic musician Paul Woolford, also known as Special Request, served as the guest speaker on the ‘No Tags’ podcast. Journalists Chal Ravens and Tom Lea engaged the artist in an open discussion about underground music and pop culture. This session at AVA London was highly anticipated.

Finally, Italian producer Lorenzo Senni contributed to the programme by presenting a revised version of his masterclass titled ‘The Architecture of Intensity,’ focusing on his production techniques using Logic. Known for deconstructing the climactic build-ups and vibrant synthesizer arpeggios characteristic of ’90s trance and hard techno, as well as incorporating hardcore punk influences into his work, he emphasized the use of repetition and isolation in his production methods.

Techno pioneer Marcel Dettmann participated in the club and conference programme by conducting a keynote interview with emerging DJ and panelist Vanessa Maria regarding his latest live project, My Own Shadow.
The ‘Kneecap – Managing Mayhem and Breaking the Fourth Wall’ panel discussion featured Dan Lambert, manager of Kneecap, alongside the film’s director, Rich Peppiatt, and its producer. This candid conversation offered unfiltered insights into the challenges and triumphs of managing the explosive Irish rap duo and bringing their story to the big screen.

The session was marked by its raw and direct nature, making it both enjoyable and humorous. Rich Peppiatt shared his experiences directing the boisterous group, highlighting the importance of immersing himself in Irish culture and language. He discussed the difficulties in assembling an all-Irish production team and the tough decisions made during editing, including cutting the film down from its original 2-hour and 40-minute runtime. The process of choosing which scenes to cut, often referred to as “killing babies,” was particularly challenging.

Dan Lambert recounted the serendipitous pub meeting that led to his involvement with Kneecap and described the whirlwind of managing the band’s rising fame while simultaneously promoting the film. The panel provided a unique glimpse into the intersection of music management and filmmaking, showcasing the energy and cultural significance of their journey.

The discussion underscored the film’s role in revitalizing Irish heritage in contemporary music and culture, while also highlighting the logistical challenges of balancing the band’s touring commitments with film promotion activities. The unfiltered and honest dialogue made the session not only informative but also entertaining, offering attendees a genuine and humorous look into the world of Kneecap.

The evening session concluded at Here at The Outernet with an extraordinary audio-visual experience delivered by the renowned Japanese experimental artist, Ryoji Ikeda and a live performance by Marcell Dettman.
Ikeda’s performance on the underground grand stage was nothing short of mind-bending. The space was transformed by monochromatic, rapidly-moving visual projections that seemed to defy the limits of perception. Accompanying these visuals was an auditory landscape filled with unique, often unclassifiable sounds. Attendees were immersed in a world of unfamiliar tones, frequencies, and high-pitched noises that challenged conventional definitions of music.

This intense and jarring performance served as a fitting finale to a conference that had consistently emphasized innovation and experimentation. Ikeda’s work exemplified the spirit of AVA London, demonstrating how artists can push the boundaries of sound and vision to create experiences that transcend traditional categorizations.

Following this incredibly intense brain-flossing, Marcel Dettmann, the acclaimed techno innovator and Berghain fixture, unveiled his ground-breaking live project My Own Shadow. This performance showcased a stripped-back, raw aesthetic, blending shadowy textures with mesmerizing loops and an introspective ambiance. Dettmann’s performance style for this project was fluid and organic, avoiding pre-set arrangements in favor of an evolving, spontaneous set. He crafted a distinctive and engrossing experience by incorporating modular sounds, field recordings, and real-time processing. This new venture demonstrated the artist’s artistic range, diverging from his usual DJ sets while still maintaining the dark, intense atmosphere he’s renowned for. My Own Shadow aimed to push the boundaries of sonic exploration, reflecting his continued evolution as an electronic music pioneer.

All things considered, the AVA London Conference was a success and offered a diverse, relevant, forward-thinking, and if not an educational, then definitely fascinating conference, and was an excellent networking event for students, enthusiasts, music lovers, and industry professionals. It would be said with confidence that you walk away learning something new or discovering a new artist or having a new perspective and understanding on the intricacies that lie in the deep and ever-expanding world of electronic music.

There’s something interesting about being at a place like Ultra when your taste doesn’t necessarily match the loudest moments. Surrounded by crowds chasing the drop, phone screens glowing in sync with fireworks, it’s easy to forget that there’s another kind of story unfolding if you’re paying attention.

Photos by Ultra Official

Having attended the festival since its early days on Miami Beach in 1999, it’s impossible not to notice how much has changed, and how much has stayed the same. Ultra has grown, become more polished, and much more global. But tucked between the spectacle are still moments of discovery, connection, and raw musical honesty.

For its 25th anniversary, Ultra leaned into scale, sold-out stages, global streaming, massive names. But beyond the mainstage and all its theatrics, there were corners where the music felt more considered. Where  grooves were deeper, and the energy more rooted.

The RESISTANCE Megastructure offered what many now expect from it: large-scale techno sets delivered by familiar headliners. With names like Carl Cox, Adam Beyer, and Richie Hawtin on the bill, the production was tight, the energy consistent, and the experience dialed in. But amid the intensity, Marc Romboy’s Saturday performance offered something slightly different, more measured, more detailed, and a welcome contrast to the heavy-handed pacing of the rest of the lineup.

Over at The Cove on Friday, Josh Wink delivered a set that reached deep into his roots with classic acid lines, timeless cuts, and nods to legends like The Chemical Brothers. It was a rare treat for those who came to engage rather than just pass through. The crowd, however, was surprisingly thin. In a festival that increasingly draws younger audiences, it’s not unexpected, but still, there was something quietly bittersweet about watching such a seasoned artist play to a space that deserved more attention.

And on Sunday, Four Tet stepped into the Diynamic stage takeover and slowed everything down in the best way. His set didn’t need to build or peak, it simply unfolded, quietly pulling the crowd into a different headspace. A much-needed contrast within the broader pace of the weekend.

Bayfront Park remains one of Ultra’s greatest assets. Even at full capacity, it offers places to breathe, to step back, and watch everything unfold. The rain on Sunday reshaped the rhythm of the day, breaking up the noise and offering small, quiet scenes, friends huddled under trees, strangers sharing ponchos, music continuing in the distance.

Ultra’s 25th anniversary wasn’t just contained within the gates. The surrounding streets of downtown Miami came alive in their own way. A growing network of pop-ups, intimate club nights, and satellite events offered different angles on dance culture. At Margot, a wine bar tucked away downtown, Dude Skywalker’s Eagle Room series brought together locals and visitors in a setting far removed from the festival’s high production. No LED walls, no countdowns, just music and connection.

This kind of ecosystem, where a large-scale festival creates ripples that activate the city in unexpected ways, feels like one of Ultra’s most important contributions. For newer festivalgoers, these smaller moments can open the door to deeper scenes. For local artists, they offer rare visibility. It’s not part of the official schedule, but it’s very much part of the experience.

Inside the festival itself, the environment remained welcoming. Plenty of food options, a generally friendly crowd, and a production team that kept things moving, even when weather forced a few quick pivots. The Ultra staff, on the ground and behind the scenes, deserve credit for keeping the flow intact.

Ultra Music Festival continues to bring people in from around the world, offering scale and spectacle. But perhaps its quietest success is the space it unintentionally opens: for curiosity, for deeper listening, for stepping outside the noise and finding something lasting.

Below you can  have a visual glimpse to all this madness, and tickets for 2026 are already available, so don’t miss out.

The 11th edition of EDC Mexico, organized by Insomniac and Ocesa, was held on February 21st-23rd, 2025, at the Autodromo Hermanos Rodriguez, bringing a mixture of sound, light, and human connection that solidified the event’s status as one of Latin America’s premier electronic music festivals. With over 120 artists across nine stages, this three-day celebration drew an estimated 250,000+ attendees over the weekend.

Photo Credit: EDC Mexico – Facebook

This year’s EDC Mexico featured an extensive array of renowned artists across various electronic music genres, who were accompanied by an enthusiastic and engaged crowd. The main stage headliners included global acts such as deadmau5, DJ Snake, Dimitri Vegas, Chase & Status, Fisher, Gryffin, KSHMR, Oliver Heldens, Tiësto, and DJ Deorro.

Through the weekend techno enthusiasts enjoyed powerful performances by Amelie Lens, Shlomo, Sara Landry, Nico Moreno, HI-LO, Ame B2B Macel Dettman, TRYM, Boris Brejcha, Lilly Palmer, Innellea, Victor Ruiz, and I Hate Models, who elevated the frequency with   their shows.

House music fans joined together by the special sets by Duke Dumont, Solomun, Riordan, Peggy Gou, San Pacho, Beltran, Adam Ten, Waykin, B2B Marco Carola, The Martinez Brothers, Matroda, Nick Fanciulli, Honey Dijon, Mau P, Desiree, Miss Monique, and Layla Benitez. The festival also catered to trance aficionados with artists like Ferry Corsten, Cosmic Gate, Astrix, and Allen Watts, while bass music lovers experienced high-energy sets from Excision, Crankdat, PEEKABOO, Ray Volpe, Hamdi, and the Hive Mind trio (Kayzo B2B Space Laces B2B MUST DIE!).

Artists across the board delivered standout performances that left lasting impressions. Deorro’s ‘El Reventon’ set was particularly noteworthy, as he embraced his Mexican heritage and brought out surprise guests, including Jasiel Nunez, Neton, and Gabito Ballesteros, adding a unique flavor to his performance.

Other remarkable sets included those by Sara Landry, Chase & Status, TRYM, Mau P, Martin Garrix, Duke Dumont, KREAM, Nico Moreno, and Oliver Heldens, each bringing their distinct energy and style to the festival.

There was also a wide participation of Mexican artists including names such as  Rebolledo, Cabizbajo, Blank, Zombies In Miami, Iñigo Vontier, Mystery Affair, Sabrina Anaya, JAAW, Moises, Badmoselle, and Mira Mira, who delivered notable performances and put Mexican talent on top.

As usual, the production was predictably next-level—with multiple big LED screens, fire bursts, and carnival rides weaving through the crowd. Other things we noted positively were the extra space that came from a reconfigured layout, cashless payment, convenient transportation, and fluid access to the event.

EDC Mexico 2025 successfully delivered a memorable and immersive experience, celebrating the rich tapestry of electronic dance music. With its diverse lineup, innovative features, and the vibrant energy of Mexico City, the festival continues to be a highlight for electronic music fans worldwide.

See you next year!

Zamna Festival returned for its highly anticipated Mexico 2025 season, delivering an engaging journey through sound and nature from December 31st, 2024, to January 19th, 2025. Set against the backdrop of Tulum’s Quintana Roo jungle, this globally renowned event once again solidified its reputation as a premier destination for electronic music enthusiasts worldwide.

Photo Credit: Zamna Festival – Facebook

The festival commenced with a special New Year’s Eve celebration, headlined by Artbat. The duo’s hypnotic and melodic beats set the ideal tone for the beginning of 2025 and the weeks ahead, immersing attendees in a cosmic atmosphere of light, sound, and energy.

On January 2nd, two notable showcases were held: Boris Brejcha’s Another Dimension and Metamorfosi by Joseph Capriati. Brejcha’s high-tech minimal sound captivated the audience alongside his imprint’s partners, while Capriati’s Tulum debut brought a complete techno and house experience alongside special appearances by Jamie Jones and Loco Dice.

The following night, John Summit launched Experts Only alongside ANOTR’s No Art, adding a fresh and dynamic energy to the event. Fans of deep house and groove-heavy rhythms were treated to a remarkable experience with other guests including names such as WhoMadeWho, Dennis Cruz, DJ Tennis, Gorgon City, among others.

Tale Of Us returned to Zamna with their Afterlife double date showcase, presenting two immersive nights on January 4th and 6th. The production quality covered expectations, featuring top-of-the-line visuals and cutting-edge sound design that transported attendees into an ethereal realm. These nights proved to be some of the most talked-about events of the festival, with an extensive lineup from the brand’s family led by Italians Anyma and Mrak.

Zamna’s jungle came alive on January 7th with two diverse events: SAGA by Bedouin, and ANTS from Ushuaïa Ibiza. Bedouin’s mystical soundscape hypnotized the crowd, while ANTS delivered their usual unfiltered underground vibe. Ame & Jimi Jules captivated the audience with their back-to-back appearance. At the same time, Adam Beyer & Iliario Alicante and Paco Osuna & Melanie Ribbe did the same on the other stage.

Tiësto’s highly anticipated Zamna debut on January 8th was nothing short of spectacular. With more than 20 international artists spread across three stages, the night was a testament to his enduring influence in the electronic music scene alongside Brina Knauss, Zamna Soundsystem, Mathame, Colyn, Innellea,  Arodes, Hunter/Game, Magit Cacoon, and many more.

Keinemusik’s sold-out shows on January 10th & 13th saw the well-known trio formed by Adam Port, &ME, and Rampa deliver their signature blend of afro, deep, and melodic house. The events’ easy vibe made them a highlight of the festival.

January 12th continued the momentum with Adriatique’s X and the debut of Time Machine by Agents Of Time. The hypnotic sounds of the Adrians with Monolink and BLOND:ISH elevated the evening till the early hours of the morning, while the Italian duo delivered a futuristic fusion of sound and visuals that transported the audience to another dimension.

On January 14th, David Guetta made his first-ever appearance at Zamna Tulum, proving that his global appeal extends far beyond the mainstream. With a star-studded lineup supporting him, the night was an exciting experience filled with surprises.

The festival concluded with the mystical Gates of Agartha from January 16th to 19th. This final chapter was a sonic odyssey that encapsulated the essence of Zamna—uniting music, nature, and spirituality with guests including names such as Âme, Trikk, DJ Tennis, Echonomist, Parallelle, Bora Uzer, Vanjee, and more.

Also, Zamna debuted its ‘On The  Beach’ daytime party series in a Caribbean beachfront location featuring six showcases hosted by Francis Mercier,  Andrea Oliva,  Monolink,  Ilario  Alicante & Frankie Rizardo,  Âme,  Nandu, Magdalena, among others.

Zamna Festival 2025 was a resounding success, offering a notable blend of world-class talent, top-tier production, in a jungle-based location. Each event brought a unique flavor to the lineup, ensuring there was something for every electronic music fan. As the festival continues to grow in scale and reputation, one thing is certain – Zamna remains an essential brand for dance music lovers worldwide. Until next year, Tulum!

As the dust settles on another edition of Day Zero, it’s clear that Damian Lazarus and his team have once again delivered a festival experience that transcends the boundaries of electronic music and cultural celebration. On January 11th, deep in the heart of the Tulum jungle, revelers from around the world gathered for an unforgettable night and morning of music, mysticism, and immersive artistry.

Photo Credit: Alive Coverage

From the moment attendees stepped onto the sacred grounds, they were transported into an alternate dimension where Mayan traditions and cutting-edge production coexisted harmoniously. The festival’s iconic laser displays sliced through the dense jungle canopy, illuminating a world filled with art installations, indigenous rituals, and an atmosphere steeped in mysticism. Traditional Mayan ceremonies opened the night, grounding attendees in the sacred energy of the land and setting the tone for the transformative journey ahead.

Damian Lazarus’ ability to curate a special musical experience was evident in the festival’s notable lineup. From world-renowned acts to emerging avant-garde talents, each artist contributed to the sonic odyssey that unfolded.

Fatboy Slim’s high-energy performance was a masterclass in dancefloor euphoria, while Major League DJz brought the infectious rhythms of Amapiano to the jungle. DJ Harvey’s deep and eclectic selections kept the crowd moving in the morning, and Berlin’s Patrick Mason injected his signature raw energy into the night. Also, Dubfire, Francesca Lombardo, Lee Burridge, Victor Calderone, Sonja Moonear, Mestiza, Bartolomeo, Adam Ten, Mita Gami, Carlita, and Cole Knight,  each added their musical touch, while the closing back-to-back-to-back performance between Solomun, Michael Bibi, and Damian Lazarus ended the extended celebration on a high note.

Meanwhile, El Teatro stage once again proved to be a vital space for showcasing Mexico’s thriving electronic music scene. Local talents like Secret Echoes, Discosis, Sainte Vie, Sabrina, and Rafatel delivered standout performances, reinforcing Day Zero’s commitment to fostering homegrown artistry.

Beyond the music,  the event excelled in crafting an immersive world that engaged all the senses. The interplay of light, sound, and nature created an unparalleled ambiance. Fire dancers, acrobats, and costumed performers roamed the festival grounds, adding an element of theatrical wonder. Every corner of the jungle was alive with interactive installations, secret pathways, and unexpected surprises that kept attendees engaged from sunset to sunrise.

As usual, Day Zero upheld its commitment to environmental and cultural responsibility. Through the Crosstown Consciousness Program, the festival took meaningful steps to minimize its ecological footprint. Initiatives like plastic-to-fuel conversion, coral reef restoration, and reforestation efforts showcased a dedication to giving back to the land that hosts this annual gathering. Collaborations with local Mayan communities ensured that the event remained respectful and aligned with the traditions it seeks to honor.

Day Zero 2024 was more than just a party—it was a journey, a ritual, and a reminder of the profound connection between music, nature, and ancient wisdom.  Those who were fortunate enough to experience it will carry its energy with them long after the last beat echoed through the jungle.

Until next year – thank you for the memories.

As the calendar turned to 2025, San Diego’s iconic Petco Park hosted a two-day musical journey that solidified its reputation as Southern California’s ultimate New Year’s Eve destination. FNGRS CRSSD’s PROPER NYE/NYD 2024 brought together a notable lineup, immersive production, and a vibrant crowd, delivering a memorable start to the new year.

Photo Credit: Felcia Garcia  /  Keiki Knudsen   /  Daniela Becerra / Miguel Flores / Nicole Busch

Through the two dates, the event featured some of the biggest names in electronic music. From Eric Prydz’s dual performances—one as himself and one as his techno alter ego Cirez D—to Charlotte de Witte’s hypnotic beats, the four stages were electrified by world-class talent. Dom Dolla, Mau P and John Summit kept the energy levels peaking, while Patrick Topping, DJ Tennis, and Francis Mercier delivered house euphoria on their appearances.

Fans of melodic and vocal-driven sets were treated to remarkable performances by Elderbrook, Lane 8, and Cassian, whose artistry resonated deeply with the crowd. Meanwhile, the techno-heavy roster, including Enrico Sangiuliano, Fatima Hajii, and Eli Brown, provided intense rhythms that had attendees grooving into the early hours of the morning.

Special back-to-back performances, like Lane 8 with Sultan + Shepard, added special flavors to the event, while stage takeovers by Anjunadeep and Lane 8’s This Never Happened series elevated the experience with their distinct musical vibes.

San Diego’s Petco Park proved once again why it’s the ideal setting for this kind of event. The expansive venue offered clear views of the city’s downtown skyline and provided ample space for multiple stages, each boasting state-of-the-art production with top-quality lighting, visuals, and sound.

The diverse crowd—ranging from die-hard electronic fans to casual attendees—came together in a shared love for music and celebration. The atmosphere was electric, yet welcoming, with attendees decked out in glittering outfits befitting the New Year’s Eve spirit. Moments like the midnight countdown on NYE, accompanied by dazzling visuals and pyrotechnics, fostered a sense of unity that elevated the festival’s experience.

PROPER NYE/NYD 2024 covered every aspect of how to throw a New Year’s festival. FNGRS CRSSD delivered on every front,  leaving attendees with special memories and a reason to return next December. As 2025 begins,  the event has already set the tone for another exciting year in electronic music.