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One of New York City’s most influential nightlife institutions is entering a new chapter. Brooklyn Mirage and its parent complex Avant Gardner have officially been sold, with the venue expected to reopen under a new identity as Pacha New York.

The acquisition marks a major shift for the East Williamsburg complex, which has played a central role in shaping NYC’s modern electronic music landscape over the past decade.

From NYC Staple to Financial Collapse

Since opening in 2017, Brooklyn Mirage quickly established itself as a global destination, known for its large-scale outdoor production, immersive LED installations, and bookings that rivaled Europe’s biggest clubs and festivals. Alongside its indoor counterparts, The Great Hall and Kings Hall, the venue helped cement New York as a serious player on the international dance music circuit.

However, the past few years have been turbulent. A series of operational issues, delayed renovations, and mounting debt culminated in Avant Gardner filing for Chapter 11 bankruptcy in August 2025. The situation worsened after the venue failed to reopen for the 2025 summer season due to safety and permitting issues, resulting in widespread cancellations and unresolved refunds tied to events such as Electric Zoo.

The Sale and New Ownership

Following the bankruptcy proceedings, Axar Capital Management, Avant Gardner’s primary lender, acquired the complex’s assets through court approval. Shortly after, a deal was finalized with FIVE Holdings, the Dubai-based hospitality group that owns the legendary Pacha brand.

The reported value of the transaction is approximately $110 million, making it one of the most significant nightlife acquisitions in recent New York history. Under the new ownership, Brooklyn Mirage is expected to be rebranded as Pacha New York.

AG-050522-BrooklynMirage-Alesso-@NightmodeVideo-0900-1024x767.jpg

Pacha’s Return to New York

While Pacha is synonymous with Ibiza’s clubbing legacy, this is not the brand’s first attempt to establish itself in New York. Pacha previously operated a large venue in Hell’s Kitchen from 2005 until its closure in 2016, a run that saw mixed success amid changing nightlife dynamics and legal challenges.

Now, nearly a decade later, Pacha is positioning itself for a return, this time by taking over one of the city’s most recognizable electronic music venues rather than starting from scratch.

Industry Reaction and Open Questions

Reaction within the dance music community has been divided. Some see the acquisition as a necessary reset that could stabilize a venue that had become operationally unsustainable. Others have raised concerns about further corporate consolidation in New York nightlife, questioning how a global brand might impact local promoters, booking diversity, and ticket pricing.

There are also unanswered questions surrounding the venue’s future. While demolition permits were previously filed under Avant Gardner, it remains unclear whether FIVE Holdings plans to renovate, rebuild, or preserve the existing Mirage structure.

What Comes Next

As of now, no official reopening date or programming details have been announced. What is clear, however, is that the transformation of Brooklyn Mirage into Pacha New York represents a symbolic moment for NYC nightlife, one that reflects both the city’s ongoing struggles with large-scale venues and the increasing influence of global nightlife conglomerates.

Whether Pacha New York will recapture the cultural impact of the Mirage, or redefine it entirely, remains to be seen.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

1f:T2451,

Ένα από τα πιο εμβληματικά venues της νυχτερινής ζωής της Νέας Υόρκης περνά σε μια νέα εποχή. Το Brooklyn Mirage, μαζί με το μητρικό του συγκρότημα Avant Gardner, έχει πλέον πωληθεί και αναμένεται να επαναλειτουργήσει με νέα ταυτότητα ως Pacha New York.

Η εξαγορά αυτή σηματοδοτεί μια καθοριστική αλλαγή για το συγκρότημα του East Williamsburg, το οποίο για χρόνια βρισκόταν στο επίκεντρο της σύγχρονης ηλεκτρονικής μουσικής σκηνής της πόλης.

Από σημείο αναφοράς σε οικονομική κατάρρευση

Από το άνοιγμά του το 2017, το Brooklyn Mirage καθιερώθηκε γρήγορα ως παγκόσμιος προορισμός. Η εντυπωσιακή εξωτερική σκηνή, τα μεγάλης κλίμακας LED installations και τα διεθνή bookings το έφεραν στο ίδιο επίπεδο με κορυφαία ευρωπαϊκά clubs και φεστιβάλ. Μαζί με τους εσωτερικούς χώρους, The Great Hall και Kings Hall, το Avant Gardner συνέβαλε καθοριστικά στην ανάδειξη της Νέας Υόρκης ως σημαντικού κόμβου της παγκόσμιας dance σκηνής.

Τα τελευταία χρόνια όμως, η εικόνα αυτή άρχισε να ραγίζει. Καθυστερήσεις σε ανακαινίσεις, λειτουργικά προβλήματα και αυξανόμενο χρέος οδήγησαν την Avant Gardner σε αίτηση πτώχευσης Chapter 11 τον Αύγουστο του 2025. Η κατάσταση επιδεινώθηκε όταν ο χώρος δεν κατάφερε να ανοίξει για τη θερινή σεζόν του 2025 λόγω θεμάτων ασφάλειας και αδειοδοτήσεων, προκαλώντας μαζικές ακυρώσεις εκδηλώσεων και εκκρεμότητες επιστροφών χρημάτων, μεταξύ άλλων και για το Electric Zoo.

Η πώληση και οι νέοι ιδιοκτήτες

Στο πλαίσιο της πτωχευτικής διαδικασίας, ο βασικός δανειστής της Avant Gardner, η Axar Capital Management, απέκτησε τα περιουσιακά στοιχεία του συγκροτήματος. Λίγο αργότερα, ολοκληρώθηκε συμφωνία με τη FIVE Holdings, τον όμιλο φιλοξενίας με έδρα το Ντουμπάι που κατέχει το ιστορικό brand Pacha.

Η αξία της συναλλαγής εκτιμάται περίπου στα 110 εκατομμύρια δολάρια, καθιστώντας την μία από τις μεγαλύτερες εξαγορές χώρων νυχτερινής διασκέδασης στην ιστορία της Νέας Υόρκης. Σύμφωνα με τα μέχρι τώρα δεδομένα, το Brooklyn Mirage θα μετονομαστεί σε Pacha New York.

Η επιστροφή της Pacha στη Νέα Υόρκη

Παρότι το όνομα Pacha είναι άρρηκτα συνδεδεμένο με την Ίμπιζα και την παγκόσμια club κουλτούρα, δεν πρόκειται για την πρώτη του απόπειρα στη Νέα Υόρκη. Η Pacha λειτουργούσε μεγάλο club στο Hell’s Kitchen από το 2005 έως το 2016, με μια πορεία που χαρακτηρίστηκε από έντονες στιγμές αλλά και προκλήσεις, πριν τελικά κλείσει.

Σχεδόν δέκα χρόνια αργότερα, η Pacha επιστρέφει, αυτή τη φορά όχι ξεκινώντας από το μηδέν, αλλά παίρνοντας στα χέρια της έναν ήδη ιστορικό χώρο.

Αντιδράσεις και ερωτήματα

Η είδηση της εξαγοράς προκάλεσε ανάμεικτες αντιδράσεις στη dance κοινότητα. Για ορισμένους, πρόκειται για μια αναγκαία επανεκκίνηση που μπορεί να σταθεροποιήσει έναν χώρο ο οποίος τα τελευταία χρόνια είχε γίνει λειτουργικά και οικονομικά ασταθής. Άλλοι εκφράζουν ανησυχίες για την περαιτέρω συγκέντρωση της νυχτερινής ζωής σε μεγάλους διεθνείς ομίλους, θέτοντας ερωτήματα σχετικά με το κόστος εισιτηρίων, την πρόσβαση ανεξάρτητων promoters και την καλλιτεχνική ποικιλομορφία.

Παράλληλα, παραμένει ασαφές τι θα συμβεί με τη δομή του χώρου. Υπενθυμίζεται ότι επί εποχής Avant Gardner είχαν κατατεθεί άδειες κατεδάφισης, χωρίς να είναι γνωστό αν η FIVE Holdings σκοπεύει να ανακαινίσει, να αναδομήσει ή να διατηρήσει τον υπάρχοντα σχεδιασμό.

Το επόμενο κεφάλαιο

Μέχρι στιγμής, δεν έχει ανακοινωθεί ημερομηνία επαναλειτουργίας ούτε λεπτομέρειες για το μελλοντικό πρόγραμμα. Είναι όμως σαφές ότι η μετάβαση από το Brooklyn Mirage στο Pacha New York αποτελεί ένα κομβικό σημείο για τη νυχτερινή ζωή της πόλης και αντικατοπτρίζει τη μεταβαλλόμενη ισορροπία μεταξύ τοπικής κουλτούρας και παγκόσμιων brands.

Το αν το Pacha New York θα καταφέρει να διατηρήσει την πολιτιστική βαρύτητα του Mirage ή αν θα επαναπροσδιορίσει πλήρως τον χώρο, μένει να φανεί.

Μείνετε συνδεδεμένοι με το dancetoday — ακολουθήστε μας στα social media για τις σημαντικότερες ιστορίες, insights και νέα που διαμορφώνουν τον κόσμο της ηλεκτρονικής dance μουσικής.

20:T15c8,

There are nights that start with simply going out for music and end up meaning something much more. A festival, a club, a big open air event. Thousands of people who don’t know each other, suddenly standing under the same lights, listening to the same tracks and moving to the same rhythm. And somewhere in all of that, a stranger can become part of your group, a group can become a group of friends, and a random meeting can continue long after the last track has played.

It’s not just a nice idea. In psychology, the term “collective effervescence” is used to describe the intense feeling of connection that can emerge when many people take part in the same experience at the same time. A study published in the Personality and Social Psychology Bulletin, based on four studies and 789 participants, examined this connection in the context of live music events. The findings showed that this sense of collective connection was associated with greater enjoyment and a stronger sense of meaning during the event, as well as increased happiness one week later.

And maybe the most interesting part is that you don’t even need to talk to someone for that connection to begin. Research has found that moving together in sync can make people feel socially closer, even when they are complete strangers. In one experiment involving a silent disco, participants who moved to the same rhythm reported a stronger sense of connection than those who moved out of sync. Suddenly, the dancefloor starts to make a little more sense. Sometimes, the music is already doing the introduction for you.

There is also something physical behind that feeling. Studies on synchronized movement and group bonding have found that dancing together can be associated with an increased pain threshold and stronger feelings of connection between people. Researchers have suggested that the release of endorphins may play a role in this process. It doesn’t mean that every person you dance with is suddenly your best friend, of course. But it does help explain why sharing physical effort, rhythm and emotion with other people can make a night feel much more intense and much more memorable.

And maybe this explains why the people we meet on the dancefloor can sometimes feel different from the people we meet anywhere else. You don’t need to start with a conversation, shared interests or a particular reason to connect. Sometimes all it takes is a drop, a smile, a high-five or that look that says, “What the hell was that?” A shared musical experience creates a different kind of communication, where for a few hours, everyone seems to belong to the same thing.

This is also how our own community at Dancetoday has grown. Not only through music and content, but mainly through the people we have met along the way. The events, festivals and moments we have shared with our community have become one of the ways Dancetoday built its own identity and brought people together. People who may have met for the first time at an event, danced together, shared a track or simply a moment, and eventually became part of a group that keeps growing. Because a community is not built only through posts and stories. It is built where music becomes a real experience.

Maybe that’s why electronic music has its own way of creating memories. You might not always remember which track was playing at that exact moment. But you might remember who was standing next to you when the drop hit. And sometimes, the person you randomly met in a crowd of strangers becomes the person who is there with you at the next festival, the next trip, the next big night.

Because the dancefloor is not simply a place where we listen to music. It is one of the few places where, even for a few hours, thousands of different lives move to the same rhythm. And some of those lives may continue moving together long after the final beat.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

21:T37c2,

From an extended Chris Stassy session to a dedicated Tiësto trance set, these are eleven picks from the dancetoday crew and community - and why we want them happen in Greece.

A set lands in the group chat. Someone names the artist they would travel for. Before long, the conversation turns to Greece: imagine having that night here!

So, together with our community, the dancetoday crew has put together a wishlist of artists and specific sets we would love to experience on Greek dancefloors. These eleven selections open a two-part series, with room for returns, new encounters and different sides of familiar names. Of course, the order is not a ranking, and each choice comes down to the music, the setting and what would make the experience worth showing up for.

MAU P - The Breakthrough Has Become a Headline

Mau P has reached the point where his name can be the reason for the night. Baddest Behaviour returned to Pacha Ibiza for a second season in 2026, evidence of a career growing beyond the initial impact of “Drugs From Amsterdam”. He now has both recognisable records and a party identity people can follow.

That makes him a really appealing choice for Greece. His sound gives an audience something immediate to connect with: heavy bass, cheeky vocal hooks and the reggae sample at the centre of “Merther”. We see him fitting a substantial club date or an outdoor house event where familiar tracks bring people together and the selection keeps them moving. This is a chance to catch a headliner while his world is still expanding.

CHRIS STASSY - When the Crowd Becomes the Vocal

The hype around Chris Stassy has a particularly revealing soundtrack: “Breather”, his collaboration with S.A.M. At all Stassy's appearances, the crowd sings along to its melody - despite the track having no vocals - and doesn't stop dancing. That says something about the devotion surrounding the artist formerly known as Chris Stassy. Alos, his October 2026 USS dates in Manchester are already listed as sold out.

A crowd singing instrumental melodies of an artist tells you more about a following than a follower count. That is the appeal for Greece: a following that could turn a house night into a shared occasion, built around musical details fans already care about. An extended set would be our choice, allowing the rolling basslines and patient transitions to earn that collective release.

CARL COX - The Name That Connects Generations

Carl Cox carries the kind of stature that can make a booking feel significant across generations. He keeps giving people reasons to return: his 2026 UNVRS residency spans house and techno, including all-night sessions. In a recent Pollstar interview, he explained how the room guides his next record, including when to ease from harder techno towards groove or melody.

For a Greek event, that combination matters. The reputation gives people a reason to gather; his responsiveness gives the gathering somewhere to go. We can imagine experienced ravers and younger clubbers finding common ground in a substantial DJ set. Cox’s history brings weight to the poster, but the attraction is what he can do with the dancefloor in front of him now. Oh yes, oh yes!

RÜFÜS DU SOL - The Scale of a Shared Feeling

RÜFÜS DU SOL belong here because their music gives people something to carry into a room with them: a lyric, a memory, a melody that has stayed around longer than expected. Of course, “Innerbloom” makes that shared feeling explicit. And RÜFÜS DU SOL have taken that connection to an extraordinary scale. Their Inhale/Exhale tour generated $158 million and sold 1.7 million tickets, becoming the highest-grossing electronic tour in Billboard Boxscore history!

Of course, the format matters. A full live show centres the band performing its songs, with vocals and instruments, while a DJ set opens a different conversation through the records they select. Altough we would prefer a full live show, we would welcome either in Greece, with the billing clear about the experience. Their music can make a crowded night feel strangely personal... and that emotional connection is what we would want to share, whether through the songs themselves or their club influences.

KETTAMA - A Rave Favourite Growing Bigger

Being dancetoday’s 2025 Breakthrough Artist Of The Year, KETTAMA’s rise has reached well beyond a promising run of club tracks. His Archangel album was accompanied by a sold-out Brixton Academy headline show, while 2026 brought a nine-week Amnesia residency. So, there is a clear sense of an artist whose audience is growing with the music.

“Yosemite”, with Interplanetary Criminal, captures the appeal: forceful rhythms meeting the kind of melody people attach themselves to. His blend of house, trance and rave influences gives us a strong case for a late festival slot in Greece, especially for listeners who want physical intensity with an emotional payoff. KETTAMA makes the big chord change feel as important as the kick drum. Catching him at this stage would mean meeting a growing movement while its excitement still feels immediate.

MICHAEL BIBI - A Following You Could Build a Night Around

Michael Bibi’s pull is visible in the events built around him. His 2024 One Life show at Finsbury Park drew 45.000 people, and the promoter listed his 2026 London date on the Thames as sold out. Through his own shows and Solid Grooves, he has built a following around a recognisable way of partying.

And his music explains why we would want that here. “Mobile Groove” turns a Nokia ringtone into club material, while “MYSTERY OF RAW” with KETTAMA samples Wu-Tang Clan. For Greece, an extended headline set in an indoor venue would make most sense to us, as it could let fans gather around a more club setting and a shared taste, and give newcomers an accessible way in. Bibi gives fans a party they can feel part of before they even walk in.

TIËSTO - Back to the Trance Roots

A dedicated Tiësto trance set is essential to this selection. For listeners whose relationship with electronic music grew through his early records and sets, it carries genuine nostalgia. For younger fans, it offers a chance to experience the musical identity behind so much of his reputation. And this is already happening: Dreamstate 2025, Creamfields 2026, “Bring Me To Life” featuring FORS and Tiësto In Concert being back again after over 20 years make the return to trance a current story.

Hearing this side of Tiësto in Greece feels especially appealing while he is actively exploring it again. What we would love in Greece is the space for those melodies to develope. Older listeners might arrive with years of memories, while younger ones could encounter that side of his music at full scale for the first time. The set would not need to be classics-only. Give the older records and newer material a coherent place together, and the appeal becomes a shared experience across generations.

PROSPA - The Momentum Has an Album Behind It

Prospa now have a bigger musical statement behind the buzz. Their debut album, Free Your Mind, arrived on CircoLoco Records in June 2026, bringing their rave background into a fuller collection of house grooves, organ chords and expressive vocals. It gives listeners more reasons to connect with the duo than a single standout release.

We see a good fit for Greece in that mixture of club credibility and songs people can take home. The disco guitar and vocal warmth of “This Rhythm” featuring RAHH, show how easily their music can invite people in. An open-air evening moving into darkness feels like a setting worth imagining a DJ set that could connect those familiar moments with their wider selections. Prospa offer the excitement of an act growing into a bigger stage while keeping the pleasure of the party close.

DOM DOLLA - House Music With a Bigger Reach

Dom Dolla is now taking house records into stadiums. His sold-out Allianz Stadium debut in Sydney in December 2025 has been followed by a Marvel Stadium booking for September 24, 2026. That is a substantial platform for an artist whose appeal still starts with records built to make people dance. “Dreamin” featuring Daya, helps explain the crossover: a simple, memorable melody and a vocal with an emotional story.

For a Greek festival, we see the potential to bring regular house listeners around the world together with people arriving through the songs. Dom Dolla can make the hook an invitation into the rest of the set, while even a simple melody can bring someone to the dancefloor before they know anything about the DJ. His inclusion is about that widening reach, and the prospect of a headline performance that feels welcoming without losing its club foundations.

HALŌ - The Three Musketeers of Progressive

Third Party, DubVision and Matisse & Sadko: our Three Musketeers of mainstage progressive house. As HALŌ, these three acts bring together established fan connections, a shared musical language and a new reason to pay attention. Their debut release, “Live Again”, arrived on Armada on September 18, giving the project music of its own to build around.

As we put it in our recent article, progressive never left. And now, with HALŌ, progressive is live again. For Greek fans drawn to those big melodies and moments of collective release, this could be a festival date to plan around. The attraction is hearing familiar catalogues feed into something new, with three acts committed to the same feeling. For a Greek mainstage, that mix of beloved records and new music feels worth backing.

JOSEPH CAPRIATI B2B SOSA - A Pairing With Its Own Pull

Joseph Capriati B2B SOSA has the appeal of an occasion built around a specific partnership. Capriati brings the stature of a selector whose Metamorfosi nights connect house and techno, while SOSA brings a newer generation’s minimal and deep-tech approach, represented on this year’s Just Like That EP. Their different positions in the scene make the meeting interesting.

However, there is also another recent evidence behind the idea: the pair closed the Steel Yard at Creamfields 2026, with their performance being among its weekend highlights. For Greece, this B2B could give followers of both artists a reason to gather, with curiosity about the exchange adding to the draw. Of course, we would want an extended set for the grooves to deepen and the pressure to change. The combination itself should be the reason to attend.

Your Turn

These are the first eleven selections from our crew and community, and Part 2 will bring more into the conversation. The setting matters as much as the name: a longer club session, a live show or a particular musical direction can change the whole appeal.

Which of these would you most want to see in Greece, and what kind of set would make it worth the wait?

Stay connected with dancetoday - follow us on social media for the latest stories, insights, and news shaping the electronic dance music world.

22:T5d6,CHRIS STASSY is a producer and label boss who has spent the past decade building a world around his own approach to house music. What began in the underground has grown into a global project spanning music, events, a label and a community, still rooted in the clubs and culture that shaped him. In August 2026, Chris entered a new phase under the name CHRIS STASSY. One letter separates it from the name before, but little else changes - same mind, same music, same vibe. A continuation rather than a reset. That world took shape through Up The Stuss, the label he founded in 2020 and now one of house music's most recognisable independent imprints, home to his own productions and a wider roster of forward-thinking artists. The same instincts define Chris behind the decks, from underground institutions and 10-hour extended sets to Awakenings, Timewarp, Coachella, Pukkelpop and Alexandra Palace, with Ibiza central through Circoloco, Paradise and Solid Grooves. His productions and remixes - including his #1 flip of Moby's 'Go' - reflect an artist refining his own musical language rather than following a formula. In 2025 he launched USS, his own event series, alongside N.A.M.E., his free party concept. In 2026 came his debut album 'Lost, Found & Forgotten...', with headline shows beyond the club at the Eiffel Tower and Alexandra Palace, and his first AV show 'Linger' at Lowlands and Creamfields. Now, as CHRIS STASSY, the project moves forward with the same foundations intact.23:T52a,A name that resonates thoughts of quality and fresh flavours, Michael Bibi’s take on today's current electronic music environment has seen him flourish into a highly accomplished producer and DJ. The UK based new kid has stamped his mark with a string of musical successes, carving out and establishing a distinct signature sound that has translated into support from some of the industry’s biggest names, whilst his longstanding and instinctive love for the party provides a continued source of motivation and dedication. Bibi’s raw passion for music has been with him since childhood. His father, a touring artist within the Blues and Jazz scene, provided his first insight into the world of music, with Michael accompanying him on tour and exposing his eyes and ears to the scenes never-ending influences - and today it is these influences that he draws upon to combine with his slick, up-front and personal take upon house music. As of recent, Michael has been making a name for himself with his unique production style and off-the-wall vocals, releasing material on the likes of Snatch!, VIVa, Lost Records, and of course his own labels Solid Grooves and SG Raw. With a stock of unreleased productions and global dates on the horizon, look out for Michael Bibi coming to share a party a moment with you soon!24:T41f,Tiësto has consistently redefined, reshaped, and reignited electronic music, impacting popular culture in the process. Renowned for multiplatinum international anthems, history-making performances, and boundless creativity, it would be impossible to imagine the genre without his influence. The GRAMMY® Award-winning international icon effectively pioneered the “Las Vegas DJ residency” as we know it, emerged as “the first DJ to perform at the Olympics,” and delivered smashes across the last three decades. His career sales have surpassed 40 million albums, he has earned eight Billboard Hot 100 hits, amassed over 30 billion streams, and collected more than a dozen RIAA certifications for multiplatinum, platinum, and gold singles. This creative season has seen him triumphantly revisit the melodic deep house sound he helped innovate, bringing his career full circle. Enshrined as one of the most influential and inventive DJ/producers of all time, Tiësto continues to break boundaries and elevate electronic music to unparalleled heights.25:T2836,

With major international headliners and prominent artist names like Paul Kalkbrenner, Argy, Adriatique, Ben Klock, Maceo Plex and Indira Paganotto among this year’s bookings, Reworks has plenty to attract anyone planning a few days in Thessaloniki. But its ⁠completed programme, announced on 8 September, also gives us good reasons to look beyond the most immediately recognisable names. From the opening hours of its afternoon events to the final stretches of its club sessions, Greek artists have been placed throughout the five-day programme, proving that Reworks continues a relationship with the city’s electronic music community that ⁠began in 2005. And this year is another chance to hear just how varied those artists - and the scene they come from - really are.

19 Artists, Many Directions

The festival’s announcement highlights 19 Greek or Greece-based acts: ISON, Momery, Athineos, Agape, VaJohn, Myrophora, Penny Morado, Modal Cat, Pinelopi, Cnthia, Decø, Thravsma, Nases Morur, Low F Signal, Vertical Slope, Bellas, MayDay, Kiki Botonaki and Dest.

Their presence stretches across different venues, stages and moments of the festival rather than being limited to a single local showcase. More importantly, these names do not represent one uniform “Greek sound”. House, melodic electronics, dub techno, acid, breaks and the deeper or more forceful ends of techno all have a place within the programme.

Inside the Greek Lineup

ISON connects much of that history. A founding member of NON and one of the people behind Reworks, he has helped develop the environment in which many of these encounters take place. Behind the decks, his references stretch across house, techno and Detroit, giving his sets a range that is difficult to reduce to one genre. His Saturday-night appearance in BLOCK33’s Warehouse, directly before Modeselektor, is worth catching for that breadth alone.

Momery offer another perspective on the relationship between Thessaloniki and the wider electronic circuit. The duo’s melodic techno has travelled through releases such as “Ophelia,” selected by Mind Against for the first release on HABITAT. It is a useful introduction to their balance of atmosphere, melody and dancefloor tension. On Friday, they appear at LABattoir’s Atrium directly before Adriatique, making their set a natural choice for listeners already drawn to that side of the programme.

There is reason to arrive before them, too. Myrophora opens the Atrium with a musical vocabulary that moves through progressive and melodic house, techno influences and occasional pop references. Her set gives the afternoon a more open starting point before Momery and Adriatique gradually take it elsewhere. Rather than treating the earlier slot as waiting time, the sequence works better when experienced from the beginning.

The programme becomes particularly interesting when artists with different instincts share the booth. Agape’s background in DIY parties informs selections moving between acid, house, electro and indie dance. VaJohn brings techno and breaks influences, alongside experience rooted in Thessaloniki’s Roxy Club. Their joint Friday-night appearance at BLOCK33’s Club offers a chance to hear where those approaches meet.

Local club experience also runs through Saturday’s pairing of Pinelopi and Penny Morado. Pinelopi’s approach centres on hypnotic progression and controlled intensity, while Penny Morado’s rolling techno retains a strong interest in groove, informed by earlier listening across soul, hip-hop and funk. Their 17:30–19:15 set at the Atrium gives them enough time to establish a direction together. If the later techno names are already part of your plans, this pairing deserves to be part of the afternoon as well.

Elsewhere, Thravsma and Nases Morur bring their shared connection to Ergotherapy to LABattoir’s Air stage. Both work with techno built through atmosphere, repetition and gradually developing tension, while Thravsma’s move to Berlin adds another thread between the Greek underground and scenes beyond it. Later, the ALEMAO connection appears through Decø and Cnthia, whose acid, trance and groove-led techno influences take over BLOCK33’s Club after Anetha. Their closing placement is a useful reminder that discovering local artists can sometimes mean staying until the final set, not only arriving early.

For a fuller picture of the artists and info about them, stages and set times across all five days, explore the full list of artist and the official Reworks 2026 programme.

Beyond the Booth

Reworks’ role is not limited to assembling a DJ lineup. Making its Greek debut on Friday, The Talk (AV Show) brings together Heith, Günseli Yalcinkaya and Andrea Belosi in a performance inspired by the Antikythera Mechanism. Combining live music, spoken word and audiovisual design, the project explores the ways technology influences perception and the stories through which we understand reality. Its development with Nuits sonores and Terraforma through TIMES also shows how festivals can participate in creating new work, rather than only presenting it once it is finished.

What Comes After

Being included in a festival of this scale can place an artist in front of new listeners. What follows (new releases, return bookings, collaborations and an audience that stays interested) determines whether that moment develops into something more lasting.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

26:T42bc,

“The worst and biggest clown wannabe DJ ”

That was Sven Väth’s reaction under a recent Instagram clip showing Argy behind the decks, swinging his headphone cable during his set. A few days earlier, Väth had also commented “Clowns 🤡!!!” under another post featuring Anyma and several other artists from the current melodic techno circuit. As of today, neither Väth nor Argy has publicly explained that exchange, so everything beyond the comments themselves remains interpretation.

And that distinction matters. It is easy to focus on the insult: it was public, personal, unnecessarily aggressive and did very little to explain what Sven Väth was actually criticising. You can criticise the act without attacking the person.

But once we move past the wording, there is a much more interesting conversation underneath it. Because plenty of people understood immediately what they thought Väth was reacting to: not necessarily Argy himself, but a version of modern DJ culture where the booth has increasingly become a stage, the DJ increasingly becomes the visual centre of the night, and a moment can sometimes seem designed as much for the phone camera as for the people standing in front of the speakers.

Whether that interpretation reflects Väth’s exact intention, we cannot know until he says so. But the argument exists regardless of Sven Väth and it leads somewhere much bigger.

So What Does Underground Actually Mean?

The easy version goes something like this:

Small club = underground. Arena = mainstream.
Unknown DJ = underground. Famous DJ = mainstream.
Independent label = underground. Major production = mainstream.

Except electronic music stopped being that simple a long time ago.

And let's take Argy himself. It is tempting to present this story as an old-school legend attacking a product of the new generation. But Argy has been releasing music for more than two decades. His Unreliable Virgin EP came out on Väth’s own Cocoon Recordings in 2007. Even more interestingly, in a 2015 VICE interview Argy spoke about avoiding gimmicks and distractions in his work, putting the emphasis on music that would last instead.

Of course, that does not prove anything about Argy in 2026, but it simply makes the old-versus-new story much less convenient. And perhaps that is exactly the problem with the word “underground”. We use it as though everybody agrees on what it means.

But do they? Is underground about the number of people listening?

Imagine an artist making uncompromising music for 300 people every weekend. Then the same music reaches 3,000 people. Then 30,000.

At which number does it stop being underground? Is it the first festival headline slot? The first viral clip? The first million streams? The first big booking fee? The first arena?

And if absolutely nothing about the music changes while the audience gets bigger, what exactly changed: the art, or its reach?

Can Success Make You Mainstream?

Commercial success clearly matters. And it would be strange to pretend that an artist operating inside a huge global touring machine exists in exactly the same context as someone running DIY parties for 150 people.

Because scale changes things and money change things. Also, professional teams, agents, sponsors, global festivals and marketing budgets change things. But they still do not tell us everything.

An artist can be globally successful while taking musical risks. On other hand, another artist can play to 100 people while obsessively chasing status, bookings and online attention.

Similarly, a tiny event can be driven by community, but it can also be driven by ego. A giant festival can feel impersonal, but it can also give somebody one of the most meaningful musical experiences of their life.

This is where “underground” starts looking less like a fixed category and more like several different things mixed together.

There is underground as scale: small audiences and limited visibility.

There is underground as infrastructure: independent labels, DIY promoters, alternative spaces and local networks.

There is underground as sound: music outside the dominant commercial language.

And then there is perhaps the most interesting version: underground as culture,
which translates to: community, curiosity, risk, participation, respect for the people making the records, a dancefloor that matters as much as the person behind the decks.

Of course, those things can overlap, but they do not always. Which means an artist could theoretically become mainstream in reach without completely abandoning underground values. And somebody else could look perfectly “underground” while treating the scene purely as a career ladder.

When the DJ Became the Show

There is another reason this debate keeps returning: The role of the DJ has changed.

For much of club culture, the records, the sound system and the dancefloor were the spectacle. The DJ selected and controlled the journey, of course, but did not always need to physically dominate the room.

Today, at the highest commercial level, electronic shows often borrow as much from concert culture as club culture: huge stages, LED walls, cinematic visuals, pyrotechnics, close-up cameras, fashion, choreographed production moments, thousands of phones waiting for the drop.

And artists themselves now have to exist far beyond the booth. They are musicians, performers, content creators and brands at the same time.

Anyma is probably the clearest example of how far this can go. His End of Genesys shows at Sphere turned electronic music into a large-scale audiovisual narrative, combining music, characters, technology and cinematic world-building. Anyma himself has openly described the visual side not as something separate from the music, but as a way of expanding the world around it and bringing his sound to audiences beyond the traditional electronic scene.

And that is important, because it complicates the argument again. Visual spectacle does not automatically mean musical emptiness, and social media does not automatically mean lack of artistic intention. A DJ dancing, performing or understanding how cameras work does not automatically make them less serious about music.

So, the harder question is one of balance: When does performance support the music? And when does the music start becoming background material for the performance? Does swinging a headphone cable actually hurt anybody’s experience?

Probably not by itself... but if DJs increasingly feel they need a recognisable gesture, outfit, breakdown, camera moment or viral clip to remain visible, then something more structural may be happening.

Then, the DJs are no longer simply performing to the dancefloor... they are also performing to the feed.

But Underground Can Become a Brand Too

Before the old-school side gets too comfortable, there is another problem. “Underground” has its own image too: black clothes, dark rooms, no cameras, vinyl, concrete, secret locations, lmited information, serious faces.

Those things may come from genuine culture, but they can also become marketing tools. There is nothing stopping somebody from carefully manufacturing an underground identity in exactly the same way another artist manufactures a superstar identity. Mystery and anti-commercialism can become branding. Even refusing branding can become branding. So authenticity cannot simply be measured by how dark the club is or how little an artist posts on Instagram.

And nostalgia deserves some resistance too. Many DJs now treated as symbols of underground culture became international stars themselves. They toured globally, appeared on major festival lineups, built labels, developed recognisable identities and made successful careers from music.

Of course, success itself cannot be the crime. Otherwise underground culture would have to reject almost anybody who becomes good enough, lucky enough or loved enough to grow beyond it.

But there is also an uncomfortable hypothetical: If Instagram, TikTok and today’s production technology had existed during the formative years of previous generations, would every underground legend have refused them?

We cannot know. And pretending we do is another form of nostalgia.

DVS1: What If We Are Asking the Wrong Question?

And this is where DVS1 becomes particularly relevant. Not because he provides the official definition of underground. Nobody does. But because he has spent years questioning what happens when the individual artist becomes more important than the ecosystem around them. His position is also more nuanced than simply “old school is good, modern culture is bad”.

Back in 2014, DVS1 was already writing about the tension between art and entertainment, phones, self-promotion and the changing behaviour of artists and audiences. But even then, he explicitly acknowledged that the past cannot simply be recreated and that every generation experiences culture differently.

More than a decade later, his criticism has become even more relevant to this particular conversation.

In a 2026 interview, DVS1 argued that young artists now face constant pressure around social-media presence, viral moments and visibility. Importantly, he also acknowledged his own privileged position: he built his career before social media became a requirement and understands that younger artists operate under completely different conditions.

Then comes the line that changes this entire debate: “Music - and art in general - should not be a competition”.

And we should think about that for a second, because the "underground vs mainstream" debate is usually discussed exactly like a competition.

Who is more authentic? Who deserves respect? Who understands the culture? Who sold out? Who stayed real? Who won?

And perhaps that mindset is part of the problem. DVS1’s alternative has consistently been community.

Specificaly, his Support. Organize. Sustain. (S.O.S.) initiative was created around strengthening artistic culture and discussion rather than simply expanding the music “industry”. His Wall of Sound projects physically shift attention away from the DJ and back toward the sound system and the room.

And then there was Aslice. DVS1 founded the platform around a very practical contradiction in electronic music: touring DJs can earn significant money playing records made by producers who receive very little from those performances. Aslice allowed DJs to voluntarily share part of their fee with the producers whose tracks they played. It eventually closed in 2024 after struggling to achieve enough adoption and financial sustainability. But before shutting down, it distributed more than $422,000 from DJs to over 27,000 producers.

But its closure almost makes the example more interesting. Because talking about community is easy, but building an economic system around it is much harder. And that takes us far beyond whether one DJ swings a headphone cable.

So… Who Wins?

Underground or Mainstream? Sven Väth or Argy?

Now the question starts to feel really strange once you zoom out far enough, right? Because maybe there are several different battles happening at once: There is the battle for attention, the battle for bookings, the battle between physical and digital culture, the tension between artistic expression and entertainment, the tension between community and individual ambition, the tension between keeping something culturally rooted and allowing it to grow.

So perhaps the most useful question is not whether underground or mainstream wins.

Instead, ask "what remains when the attention disappears?".

Does the music still matter? Did the night create a real connection between people? Are artists supporting the scenes that gave them somewhere to grow? Are the people making the records valued alongside the people playing them? Does the dancefloor still belong to the dancers, or has it gradually become a background for the DJ? And can somebody become successful without believing that success makes everybody around them a competitor?

So, the most interesting line may sit somewhere between using attention and becoming dependent on it, between building a career and building only a profile, between performing for the crowd and performing for the camera, between growing beyond the underground and forgetting what made it valuable in the first place.

Of course, that line will be different for different people, which is probably why this debate will never completely disappear. But if we need somebody to “win” this debate, we may already be looking at music from the "wrong" perspective, through exactly the competitive lens DVS1 is questioning.

And a scene does not really need a winner. It needs people willing to keep it alive.

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27:T3395,

The people who made Ibiza culturally valuable were not seated behind velvet ropes, ordering bottles while watching the dancefloor from a protected distance. They were inside it, dancing for hours and creating the energy that transformed the island into a global symbol of club culture during the Balearic Beat era of the 1980s and 1990s.

Today, however, some of Ibiza’s most commercially valuable customers may be those who participate least in the experience that made the island famous. And that contradiction sits behind Bob Sinclar’s recent decision not to perform there during the current season.

Speaking during a livestream with French creator Joyca, Sinclar said he no longer recognised himself in what Ibiza had become. He described an increasingly expensive environment dominated by VIP tables, smartphones and spectacle, while the clubbers who built the island’s reputation were being forgotten.

“We go to the VIP, we forget the clubbers, and it is the clubbers who created the Ibiza trend,” he said. His criticism raises a larger question: what happens when a destination created by dancers begins designing its entire experience around spectators, status and spending power?

What Bob Sinclar Is Really Criticising

VIP areas are hardly new to Ibiza, and their existence alone does not explain Sinclar’s frustration. Commerce, exclusivity and celebrity have accompanied the island’s club culture through several eras, often existing alongside musically important parties and genuinely committed communities. The issue begins when premium hospitality stops being one part of the nightclub and becomes the organising principle behind it. The dancefloor then risks shifting from the purpose of the venue into the atmosphere provided for customers seated around it.

The French House music legend described modern Ibiza as increasingly resembling a show, with attention directed toward phones, visual production and the social value of being seen. He contrasted that environment with his own background in clubs, where he prefers playing for people who arrive with the intention of dancing. Smartphones are not solely responsible for this transformation, although they make its effects highly visible. They reflect a wider shift in which attending the event, documenting the moment and displaying access can sometimes become more important than surrendering to the music.

A crowd behaving primarily as spectators also changes the DJ’s role. Instead of responding to a room through tension, movement and musical risk, the artist faces pressure to deliver recognisable moments that can be captured, posted and understood immediately.

From Superstar Fees to VIP Tables

Sinclar’s comments also describe a cultural consequence of the economic pressure examined in dancetoday’s recent article on the possible superstar DJ "bubble". Rising costs at the top rarely remain contained inside private contracts between artists, agencies and promoters.

When internationally recognisable headliners command larger fees, venues must recover those costs alongside production, staffing, marketing and operational risk. Tickets become more expensive, drinks generate more pressure, and customers capable of purchasing premium tables become increasingly important to the entire business model. The venue is then encouraged to allocate its best sightlines, additional space and personalised service toward the highest spenders. Meanwhile, general-admission clubbers may pay more for an experience that feels increasingly crowded, restricted and secondary to the premium sections surrounding them.

This creates a self-reinforcing cycle. Expensive lineups require stronger revenues, stronger revenues demand premium customers, and premium pricing requires enough spectacle and name recognition to make the cost appear justified. The result is an electronic music bubble that can be seen beyond an artist’s booking fee. It becomes visible in the architecture of the club, the composition of its audience and the type of performance expected from the person behind the decks.

While Sinclar has participated in Ibiza’s headliner economy and benefited from the global system he now criticises, that does not make his observation hypocritical. Instead, it gives weight to a warning from someone who has watched the model develop from inside its most prominent booths.

When the Clubber Becomes the Background

Club culture depends upon participation in a way that most entertainment industries do not. The crowd is not simply watching a completed performance, because its movement, trust and emotional openness continually influence the direction taken by the DJ.

A powerful dancefloor gives an artist permission to move beyond predictable records and immediate gratification. It can transform a technically competent set into something unrepeatable, shaped through a continuous exchange between the booth and the people occupying the room.

However, that relationship weakens when the venue is organised primarily around premium observation points, phone-ready moments and visual production. The audience begins consuming a show rather than collectively determining what the night can become.

Apart from that, there is also a commercial paradox inside this arrangement. VIP customers may generate the largest direct revenue, but the experience sold to them still depends heavily on the atmosphere created by clubbers-dancers elsewhere in the venue.

The crowded floor supplies the energy, imagery and social proof that make the premium table desirable. Treat those dancers poorly for long enough, and the industry eventually damages the very environment it is charging others to observe.

Of course, this does not make every regular clubber culturally pure, or every wealthy visitor indifferent to music. So, the question is not who deserves moral superiority, but whose participation gives a nightclub its character, tension and reason to exist.

Ibiza Does Not Need to Go Backwards

None of this requires Ibiza to reject luxury, technology, ambitious production or commercial success. The island does not need to recreate an idealised past that was never entirely free from hierarchy, tourism or powerful financial interests.

However, it does need to protect the dancefloor as more than a densely packed general-admission zone beneath increasingly dominant VIP structures. Successful venues can offer premium experiences while preserving enough space, accessibility and attention for people who genuinely arrive to dance.

A healthier ecosystem would also support more varied ticket levels, smaller rooms and line-ups built around musical identity rather than depending continually on the most expensive names. Emerging and mid-level artists need environments where audiences can discover them before social visibility has already established their market value.

Clubbing has always evolved, but evolution should not automatically be confused with progress. A scene can become larger, more profitable and technologically impressive while simultaneously becoming less communal, less adventurous and less connected to the music supporting its entire economy.

Of course, Bob Sinclar’s decision will not reverse Ibiza’s direction, and his criticism does not represent every venue or party operating across the island. Music-led spaces still exist, committed clubbers still return, and meaningful nights continue beyond the most visible layer of Ibiza’s nightlife. Yet his warning deserves attention because the greatest danger is not simply that Ibiza becomes expensive or spectacular. The deeper danger appears when the people generating its atmosphere are treated as the customers offering the least value.

And we need to understand that electronic music can produce profit, luxury and global attention without turning its dancefloor into a secondary product. Clubbers do more than purchase admission... they create the energy, credibility and mythology that the industry eventually packages, promotes and sells.

So, Ibiza (and any other clubbing destination) may sell the view from the VIP table at any price, but without the people dancing below it, there will eventually be nothing worth watching...

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28:T46e2,

A few years ago, hearing that a major electronic music artist was charging six figures for a festival appearance would have sounded extraordinary.

Today, it barely raises an eyebrow. Lineups are becoming more expensive. Tickets are becoming more expensive. Production is becoming more expensive. Travel, hotels, staging, security, insurance, hospitality and marketing are all becoming more expensive too. Meanwhile, many independent promoters, clubs and festivals are struggling more than ever.

So, where is all the money going?

After our recent look at Coachella, mega-festival economics and the business machine behind large-scale music events, this question feels even more urgent. Electronic music is no longer a niche culture operating in warehouses, basements and small clubs. It is now a global entertainment economy, connected to tourism, luxury hospitality, sponsorship, social media, streaming and city branding.

On paper, that growth should be good news. More money should mean more opportunities, better productions, stronger scenes and healthier careers for artists. However, the reality is more complicated, because the money does not always move evenly through the ecosystem.

Increasingly, it appears to concentrate around a small group of global headliners.

And that leads to a difficult but necessary question: Have DJ fees reached a point where they are starting to damage the ecosystem that created those artists in the first place?

The great inflation of DJ fees

Nobody should pretend that artists do not deserve to be paid well. DJs and producers spend years building their sound, audience, catalogue, touring schedule and brand. Many survived years of uncertain income before reaching international demand, while the pandemic reminded everyone how fragile live music can be.

So, higher fees are not automatically a problem. The problem begins when fee inflation becomes disconnected from the health of the wider scene.

A recent example made this conversation feel even more real. In a clip circulated from a recent interview, global Afro/Latin house DJ and producer HUGEL was reported as saying that his booking fee can now range somewhere between $200,000 and $750,000 per show, depending on the booking, market and context.

This is not mentioned here to target HUGEL personally. Most artists do not publicly reveal their fees, and booking numbers are usually private, flexible and dependent on many factors. For that reason, this article is not about naming and blaming specific artists.

However, when a publicly discussed example reaches that level, it becomes useful as a cultural signal. It shows how far the upper end of the market has moved, especially in a genre where many of today’s superstars were built through clubs, communities and scenes that could never afford those numbers. Because once figures like these become part of the conversation, they do not stay isolated. They influence expectations, reshape negotiations and create psychological benchmarks for promoters, agents and even artists far below that level.

According to industry reporting, top-tier artist fees have risen dramatically in recent years, especially after the return of live events. The post-lockdown boom created huge demand for clubbing, festivals and international touring, while promoters rushed to rebuild calendars and audiences rushed to experience music together again.

At the same time, the number of truly bankable headliners remained limited. When thousands of festivals, clubs and promoters compete for the same small pool of names, the market naturally pushes fees upwards. If one artist can sell thousands of tickets almost immediately, that artist becomes more than a performer. They become a financial safety mechanism.

For promoters, a superstar booking can feel like insurance. It helps sell tickets, attract sponsors, create social media momentum and give the event a clear marketing hook.

However, this also creates a feedback loop. The more promoters rely on the same headliners, the more powerful those headliners become. The more powerful they become, the higher their fees rise. The higher their fees rise, the more promoters need to charge fans, reduce risk elsewhere, or build the entire event around a few recognizable names.

Meanwhile, mid-level and emerging artists can get trapped in a strange position. Some see the top of the market exploding and adjust their expectations upwards. Others remain underpaid, even while the industry around them looks richer than ever.

That is not a healthy sign.

4b820919-2308-4331-9435-5fb8be0e67a0--20250731_Hi_Hugel_0003_5000x4000px_.jpg

The Middle East effect

One of the most discussed forces behind this shift is the rise of high-spending entertainment markets, especially in the Middle East. Saudi Arabia, the UAE, Qatar and other regional destinations have invested heavily in live entertainment, major festivals, cultural tourism and luxury event experiences. Riyadh’s Soundstorm is one of the most visible examples, presenting enormous productions, international headliners and crowds at a scale that few regions could have imagined a decade ago.

But it would be too simple, and unfair, to say that the Middle East is responsible for rising DJ fees. Because the reality is wider than that. Fees are also increasing because of post-pandemic demand, inflation, festival competition, social media hype, production standards, travel costs, agent leverage and the growing celebrity economy around electronic music.

However, high-budget markets do influence global expectations. When a promoter in one part of the world can pay significantly more than the normal market rate, that number does not disappear after the show. It enters future negotiations, it becomes a reference point and part of the artist’s perceived value.

This is known as fee anchoring. If an artist, agent or management team knows that one market can pay a premium, another promoter may be told that this is now the new level. Even if that second promoter operates in a smaller country, with lower purchasing power and less sponsorship money, the comparison has already been created.

Of course, this does not mean every artist suddenly charges the same everywhere. Good agents understand different markets and serious artists understand long-term relationships. Many still adjust fees depending on the city, promoter, venue, context and cultural value of the booking.

But the psychological effect remains. Once the top of the market moves upward, the middle often tries to follow. Some mid-level artists begin asking for fees that local scenes cannot realistically sustain. Some smaller promoters stretch their budgets because they fear losing relevance. Some fans end up paying more, without always receiving a meaningfully better cultural experience.

And that is where the bubble starts to become visible. Not when artists get paid well, but when everyone begins pricing themselves according to a market that only a few regions, brands and mega-promoters can actually afford.

Who really pays the price?

In the end, the cost does not stay inside the booking contract. It moves outward.

Promoters feel it first. They commit to expensive artists months before knowing whether tickets will sell. They pay deposits, flights, hotels, production, marketing, security, insurance, venue costs and local taxes. If sales slow down, there is very little room to breathe.

For independent promoters, one expensive booking can define the entire event. If it works, it may create momentum. If it fails, it can damage cash flow for months. In smaller markets, it can even kill a promoter’s willingness to take creative risks.

Festivals face a similar problem. When too much of the budget goes to a few headline names, less money remains for the rest of the lineup, stage design, local talent, community programming, fair crew pay, sustainability measures and audience experience. The poster may look stronger at the top, but the cultural depth underneath can become thinner.

Fans pay too, because there is no magic place where these costs disappear. Higher artist fees usually contribute to higher ticket prices. Then come service fees, transport, accommodation, food, drinks and time away from work. For many young people, students and lower-income fans, the total cost of attending a festival or major club event is becoming harder to justify.

And this matters deeply for electronic music. Rave culture was never supposed to be a luxury product available only to those with enough disposable income. Of course, big shows cost money, and quality production should be respected. But when dance music becomes too expensive, it slowly loses part of its social function. It becomes less accessible, less spontaneous, less community-driven, and more like a status symbol than a shared cultural ritual.

Emerging artists also suffer from this structure. If promoters need to spend aggressively on one or two famous names, they often become more conservative with the rest of the lineup. That means fewer opportunities for local DJs, fewer experimental bookings and less space for artists who are building something slowly.

So, the scene becomes more top-heavy. A few names become bigger than ever, while the middle becomes more fragile and the grassroots become more exposed.

Is there a better path for electronic music?

The answer cannot be “pay artists less”. That would be lazy, unfair and unrealistic. Artists deserve fair compensation, especially in a streaming economy where recorded music often does not pay enough. Touring remains one of the few areas where many artists can build sustainable income.

So, the goal should not be to make artists cheaper.

The goal should be to make the ecosystem healthier.

Promoters can help by building events around identity, not only headliners. A strong concept, a trusted crowd, good sound, thoughtful curation and consistent community can create value that does not depend entirely on one superstar name.

Festivals can help by balancing major bookings with deeper programming.

Local scenes can help by supporting residents, collectives and artists before they become fashionable. Fans can help by showing up for discovery, not only for the names they already know from Instagram, TikTok or festival posters.

Artists can help too. The biggest names have power, and power always comes with cultural responsibility. Some may choose to adjust fees for smaller scenes, support local openers, play special club shows, or invest back into the communities that gave them their first platforms.

That does not mean every artist must become a charity. It simply means that electronic music has always been more than a transaction.

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I personally believe in the same philosophy. Supporting the scene should be done in a fair, balanced, sustainable way. For me the growth of electronic music isn’t just about how big an event becomes or how quickly a brand expands but whether the entire ecosystem can continue to thrive, remain accessible and create opportunities for everyone involved.

This means respecting the artists, the promoters, the local scenes, and the fans. It means that every collaboration, every coverage, every community initiative, and every outreach effort must serve something greater than the immediate result. Because if all of us involved in the scene only think about today, then we risk weakening the tomorrow we all want to see.

From my perspective, this is the point worth protecting. I understand why artists charge what the market is willing to pay. No artist should be blamed for maximizing the value of their work, especially after years of uncertainty in a difficult industry.

However, every ecosystem has a point where short-term success can begin undermining long-term sustainability.

If promoters cannot survive, there are fewer stages. If clubs close, there are fewer entry points. If tickets become too expensive, fewer fans can participate. If lineups become too concentrated, fewer artists can grow. And if the culture becomes too dependent on celebrity demand, electronic music risks forgetting the very thing that made it powerful in the first place.

Electronic music was built through communities before it became an industry. It was built in small rooms, illegal spaces, local clubs, record shops, radio shows, afterhours, warehouses, basements and dancefloors where nobody cared about VIP tables or headline fees. People cared about sound, connection, release and belonging.

So, the question is not whether superstar DJs deserve their fees. Some probably do. Some probably do not. Most of us will never know the full business reality behind each booking, and pretending otherwise would be dishonest.

The real question is whether the scene can continue growing without losing the balance that made it special.

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29:T2739,

There's a conversation I've been having more and more with my clients lately. It goes something like this: "I need a track, but make sure the bridge is between 15 and 30 seconds, something I can tease on TikTok." No mention of the music. No reference to the feeling they want to create on the dancefloor. Just: make it work for the For You Page.

As a music producer and ghost producer, I work behind the scenes for many artists. I write music under their name, in their style, for their audience. And what I'm noticing is a fundamental change in what clients are asking for.

Five years ago, a brief might have been: "I want something that feels like early Disclosure. Warm, and soulful." Today, it's increasingly: "I need something that'll pop on TikTok. Keep the hook short. Make sure there's a section we can tease."

Both are valid commercial briefs. But only one of them starts with music.

Welcome to the TikTokification of music.

tiktok-reportedly-rejects-end-to-end-encryption-for-dms-citi_whym.jpg

Since its global launch in 2016, TikTok has grown into a platform with over 2.5 billion daily users. Its short form video format didn't just change how people consume music. It changed how music is written, structured, and produced at the most fundamental level.

TikTok's algorithm is ruthlessly efficient. It rewards instant gratification. If a sound doesn't catch a listener in the first few seconds, they scroll. That simple mechanic has had enormous consequences for the craft of songwriting.

According to research from Berklee's Songwriting Department, song structures are rapidly evolving to emphasize the most immediately engaging elements, stripping away traditional elements like the second verse, the bridge, and the lengthy intro. The average song intro has shrunk from over 20 seconds in the 1980s to just five seconds today. Some songs now open directly with the chorus, because the chorus is the only part that matters for the algorithm.

In the past couple of years, I've had multiple clients come to me with the same brief: write a song specifically designed for TikTok. Not designed to be great, not designed to move people on a dancefloor, designed to go viral. And the most telling detail? They all asked for a dedicated bridge section, somewhere between 15 and 30 seconds, built specifically to be used as a TikTok teaser.

Think about what that means structurally. Traditionally, a bridge is a moment of release, contrast, or emotional depth in a song, it earns its place by what comes before and after it. Now, in some cases, it's being engineered in reverse: built for a 20-second clip first, and then a song is constructed around it.

Traditional dance music has always had architecture. A journey. The slow build of tension in a progressive house track, the anticipation before the drop, the flow of energy across six or seven minutes, these are not accidents. They are the craft. They are why people lose themselves on a dancefloor.

TikTok's format is fundamentally hostile to that kind of music making. When the goal is a 20-second clip that performs well on a vertical screen, the incentive to build something deep, layered, or patient disappears.

As critics have noted, songs made for TikTok tend to prioritize a single, highly repeatable hook over compositional depth. Catchy? Yes. Memorable? Often. But the kind of track that rewards repeated listening, that reveals something new each time you hear it? That's increasingly rare.

There's also a more troubling creative dynamic at play. Artists are no longer just adapting their promotion strategy to TikTok, they are adapting their artistic voice. Singer Halsey publicly shared that her label wouldn't allow her to release music she was passionate about until they could engineer a viral TikTok moment around it. The platform's power has reached so far into the industry that even established artists are being forced to write for the algorithm rather than for themselves.

music-production-studio-process-explained-mixing-mastering-songwriting-editing-promoting.jpg

It's worth acknowledging what TikTok has genuinely done well. The platform has democratised music discovery in ways that were unimaginable a decade ago. Independent artists have built real careers from a single viral moment. According to TikTok's own 2024 Music Impact Report, 84% of songs on Billboard's Global 200 gained traction on TikTok before hitting the charts. Over 200 million TikTok videos were created using the Global Top 10 songs in 2024, driving over 8 billion Spotify streams.

For a bedroom producer or an unsigned artist, that kind of reach is extraordinary. TikTok broke "Old Town Road," launched Olivia Rodrigo, and gave a second life to Kate Bush's "Running Up That Hill" a song from 1985 that saw a reported 9,000% increase in streams after going viral on the platform.

But there's a line between using TikTok as a tool and letting it become the architect of your music. That line is being crossed more often than most people in the industry want to admit.

This isn't an argument against TikTok. The platform is here, it's powerful, and ignoring it is not a strategy. But there's a difference between being TikTok-aware and being TikTok-defined.

The healthiest approach I've seen, both as a producer and from watching artists I admire, is to make the music first, then find the TikTok moment within it. Not the other way around. Because if your music genuinely moves people, a 20-second clip will too. But if you start with the 20-second clip, you might end up with nothing worth listening to beyond it.

There's a reason music professor Andrew Mall at Northeastern University put it simply: "Artists, especially new young artists, are simply just creating hooks and trying to circulate those on TikTok." That's not songwriting. That's content production.

Dance music has always been counter cultural at its core, built on communities, on dancefloors, on moments that no algorithm can replicate. The best thing we can do as producers, artists, and fans is to protect the space where real music is still being made. To keep asking more from ourselves than 15 seconds.

Stay connected with dancetoday - follow us on social media for the latest stories, insights, and news shaping the electronic dance music world.

2a:T30f4,

Every April, the California desert transforms into something that feels almost unreal. Lights, stages, fashion, music, and energy converge into a global cultural moment known as Coachella Valley Music and Arts Festival.

But behind the aesthetic, the Instagram stories, and the unforgettable sets, there is something far less visible. There is a complex economic system operating at a massive scale.

Coachella is not just a festival. It is a multi-layered business ecosystem. And if you look closely, every ticket, every drink, and every stage is part of a carefully engineered financial structure.

This article aims to close that gap. To translate the experience into economics. To reveal what it really takes to build something like Coachella 2026.

The Scale: A Temporary City Built from Scratch

To understand the economics, you must first understand the scale.

Coachella is essentially a temporary city. It hosts around 125,000 people per day across two weekends. That means roughly 250,000 attendees in total.

This scale creates immediate complexity.

Infrastructure alone becomes a massive cost center. Organizers must build stages, roads, water systems, sanitation, lighting, and power grids. All of this is installed, operated, and removed within weeks.

Companies like Goldenvoice, the organizer behind Coachella, operate more like urban planners than event promoters.

And this is where the first misconception appears.

Festivals are not expensive because of luxury. They are expensive because they are temporary.

Artist Fees: The Invisible Headliner Economy

One of the most talked-about costs is artist booking. Headliners can command fees ranging from $3 million to $10 million per performance. Major acts are not just performers. They are revenue drivers. When artists like Justin Bieber, Sabrina Carpenter and Anyma are announced, ticket demand shifts instantly.

However, the lineup cost is not just about headliners. Mid-tier artists, emerging acts, DJs, bands, and niche performers create the depth of the experience. In total, artist costs can easily exceed $50–70 million.

And yet, this is only one layer. Because booking an artist also means logistics. Flights, accommodation, production riders, technical setups, hospitality, and security all add to the real cost.

Production & Infrastructure: Where the Money Really Goes

If artist fees are the visible cost, production is the hidden giant.

Stages at Coachella are not simple constructions. They are architectural projects. Custom-built, designed for sound engineering, lighting, visuals, and crowd management.

The iconic Sahara Tent, for example, operates like a nightclub on steroids. It requires advanced LED systems, structural engineering, and sound design at festival scale.

Production costs include:

Stage construction and design
Sound systems and acoustics
Lighting and LED visuals
Power generation and fuel
Safety systems and crowd control

Estimates suggest production alone can reach tens of millions of dollars.

And unlike permanent venues, this investment disappears after the festival ends.

Operations: The Human Machine Behind the Experience

Then comes the human layer.

Thousands of people work behind the scenes. Security staff, medics, technicians, cleaners, engineers, stage managers, and logistics coordinators.

Each role is essential.

A festival like Coachella requires around 10,000+ staff and contractors. Salaries, insurance, training, and coordination become a major operational expense.

Moreover, compliance costs are significant. Permits, safety regulations, environmental requirements, and local authority agreements all add layers of complexity and cost.

This is not just event management. It is risk management at scale.

The Hidden Costs Most People Never Consider

Beyond the obvious, there are hidden costs that rarely enter the conversation.

Insurance alone can cost millions. Festivals operate under high liability due to crowd density and operational risk.

Then there are contingency budgets. Weather issues, artist cancellations, technical failures, and security incidents require backup planning.

Marketing is another major expense. While Coachella benefits from organic hype, global campaigns, influencer partnerships, and media production still require substantial investment.

And finally, there is land use. The Empire Polo Club, where Coachella takes place, involves long-term agreements and operational costs tied to location.

Revenue Streams: How Coachella Makes Money

Now the other side of the equation. Tickets are the primary revenue driver. General Admission passes for Coachella 2026 ranged roughly between $500 and $650. VIP packages go significantly higher. But tickets alone do not cover everything.

Revenue streams include:

Sponsorships and brand partnerships
Food and beverage sales
Merchandise
Parking and camping fees
Exclusive experiences and upgrades

Brands play a massive role. Companies like Heineken or American Express invest heavily for visibility and activation inside the festival. These partnerships can generate tens of millions in revenue. In reality, Coachella operates as a hybrid between a festival, a media platform, and a brand marketplace.

At this point, it becomes easier to move from theory to a simplified, visual breakdown. Because while numbers and categories help, what most people need is a clear snapshot of how money actually flows in and out of a festival like Coachella.

The following mind-map style breakdown translates the entire ecosystem into a single view, showing how revenue streams connect directly with major cost centers, and how profit emerges from that balance.

The Economics Behind Coachella 2026.png

So Why Are Tickets So Expensive?

At first glance, ticket prices may feel high. But when you break down the structure, the pricing starts to make sense. You are not just paying for music. You are paying for infrastructure, safety, logistics, talent, experience, and risk coverage.

Moreover, festivals operate with tight margins relative to their scale. A single major issue can turn profits into losses. This is why pricing is carefully calculated. It must balance accessibility with sustainability.

Closing the Gap: What Fans Need to Understand

There is a moment during every festival. A drop hits. The crowd moves as one. And everything feels effortless. But what you are really experiencing is not effortless at all. It is the result of thousands of decisions, millions of dollars, and many years of expertise.

So, understanding the economics does not remove the magic. It enhances it. Because you begin to see the festival not just as a party, but as a complex system that makes that moment possible.

Conclusion: The Real Cost of the Experience

If you compress everything into numbers, the picture becomes clearer. A festival like Coachella Valley Music & Arts Festival is estimated to cost roughly $300-400 million to produce across both weekends. This includes artists, infrastructure, staffing, logistics, insurance, and operations. On the revenue side, Coachella can generate approximately $550-650 million. This creates an estimated profit of $150–250 million, depending on the year and variables.

That translates to a profit margin of around 25% to 40%, which is strong, but not excessive when you consider the scale, risk and upfront capital required. From a business perspective, the ROI is high, but it is not guaranteed. A single failure (weather, cancellations, safety issues) can significantly impact profitability.

And this is the key insight most people miss. Coachella is not just profitable because it is big. It is profitable because it is precisely engineered across multiple revenue streams while managing extreme complexity and risk.

The Message for Festival Goers

So what does this mean for you, the attendee? It means your ticket is not just access. It is participation in a temporary system designed to deliver intensity, scale and emotion in a controlled environment.

Yes, festivals are expensive. But they are also fragile machines. Every stage, every artist, every seamless transition you experience is the result of planning, capital and coordination operating at a near-impossible level.

Understanding this does not reduce the magic. It reframes it.

So the next time the lights hit and the drop lands, you will know that behind that moment is not just music... but an entire economy, built just for that feeling.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

2b:T641,This is a man driven by an unbridled and relentless passion for music. Armin van Buuren is a born perfectionist, striving to stay on top of the scene he’s helped build. As the flag-bearer of the trance movement, he’s one of the most influential figures in EDM worldwide. Even though he lives an extraordinary life as one of the world’s most popular DJs, he has always remained a down-to-earth guy. Armin van Buuren is constantly on the move, whether creating music in his studio or en route to his next high-end club or festival show around the globe. Armin: “It’s not just love for music, it’s my passion. It goes beyond liking, and beyond a hobby. It’s about a way of living. Music is essential to my life.” For more than twenty years, the Grammy-nominated Dutchman has been living to the rhythm of his own international success. His five-time number one position in the critically acclaimed DJ Mag Top 100 DJs poll has been the result of his loyalty to fans, his creativity in the studio, the perseverance with which he hosts his weekly radio show ‘A State of Trance’, and the energy he brings to the crowds in front of him. Despite the heavy pressure that comes with being one of the world’s most popular DJs, Armin has always kept his focus on the music. And that’s exactly what keeps him going. Van Buuren has received multiple accolades throughout his career. He has been ranked the number one DJ by DJ Mag five times, including four consecutive years. He was placed fifth in the DJ Mag Top 100 DJs list in 2022, fourth in 2015, 2016, 2019 and 2020, and third in 2017.2c:Tb2c,

The UK electronic music scene has been living a contradiction. Since the pandemic disrupted nightlife, one in three clubs across the country has closed, raising serious concerns about the future of grassroots spaces. Yet at the same time, the industry itself continues to grow.

According to the Fourth Electronic Music Report, the sector recorded £2.47 billion in measurable activity by the end of 2025, marking a 3% year-on-year increase. The UK ranks second globally in artist development, and music exports reached £86.8 million, underlining the country’s continued global influence.

But behind the strong headline numbers lies mounting pressure. Independent and local venues are operating on an average profit margin of just 0.48%, leaving little room for survival. Adding to the strain, 64% of nightclub royalties are reportedly miscalculated, further weakening already tight finances. The broader industry may be expanding, but the domestic ecosystem that nurtures talent is under stress.

Audience behavior is also shifting rapidly. Free events now account for 15% of electronic music gatherings, up 34% year-on-year. Daytime events have surged by 82%, and sober events have risen by 92%, reflecting cultural changes as nearly 40% of Gen Z abstains from alcohol. Geography is evolving too, with 51% of events now taking place outside London for the first time. The Northern Region alone has seen a 93% increase in events between 2022 and 2025.

As Michael Kill, CEO of the Night Time Industries Association, points out, demand for electronic music remains strong. The challenge is not interest, but sustained economic pressure.

The UK scene is adapting through new formats, new regions, and new audiences. The question now is whether its core venues can survive long enough to support the next generation of talent.

Stay connected with dancetoday - follow us on social media for the latest stories, insights, and news shaping the electronic dance music world.

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