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For over a decade, Thomas Bangalter hid behind a helmet. As one half of Daft Punk, the French electronic duo that rewrote the rules of dance music, he spent years performing as a robot, a character, a myth, a deliberate piece of fiction. Now, three years after the split, the man has re-emerged. And he's making one thing very clear: the robots are retired for good.

In a candid interview with The Times in June 2026, Bangalter was asked directly whether he and co-founder Guy-Manuel de Homem-Christo would ever reunite. His answer was a single, unhesitating word: "No."

He elaborated with a sense of peace rather than bitterness. "I'm really happy that throughout our long run we were able to not screw it up. There are other things to explore. The history of music is made of fruitful partnerships and they usually last way shorter than the 28 year run that we had. It was great, but staying in character and not spoiling it became very difficult."

On the nature of Daft Punk itself, he was equally reflective: "It was almost performance art where you create these characters and blur the line between fiction and reality. I was one of the robots, but now I'm just a human without any superpowers." As for Guy-Manuel, Because Music founder Emmanuel de Buretel confirmed on French radio in late 2025 that his former partner is quietly working on a solo album, though no details have emerged since.

Bangalter's reemergence has been anything but a traditional comeback. It started in 2025 with a surprise DJ set at the closing of Paris's Centre Pompidou, his first in 16 years which set off a global buzz. "I think I was trying to come back as a human being in the simplest possible way, without making a spectacle of it," he told Rolling Stone.

In February 2026, he joined Fred Again for a back to back set at London's Alexandra Palace, his first UK appearance in 19 years. "They were going crazy at 7:30PM, only in the United Kingdom!" he said. Then in June, New York's The Lot Radio streamed a surprise 75 minute set featuring Aphex Twin, Burial, Boards of Canada and more. No helmet. No theatre. Just music.

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At the centre of Bangalter's new chapter is Mirage Ballet for 16 Dancers, released on 5th June 2026 via Erato/Warner Classics. The album is the score for a 60-minute contemporary ballet conceived with Belgian choreographer Damien Jalet and Japanese visual artist Kōhei Nawa, which premiered in Geneva in May 2025 and has since toured Europe to critical acclaim.

Eight tracks of electronic minimalism, it has nothing to do with dancefloors. Bangalter shaped the music over thousands of hours on a graphics tablet, treating sound as physical material to be sculpted. What he describes as finding "the line between where sound ends and music begins." It follows Mythologies (2023) and the Chiroptera soundtrack (2024), building a remarkable body of post-Daft Punk compositional work.

The guiding spirit behind Mirage is a name that will resonate with dance and classical music audiences: Iannis Xenakis.

For those less familiar, Xenakis was one of the most radical composers of the 20th century and his Greek identity was inseparable from his genius.

Born in 1922 in Romania to a wealthy Greek family, he grew up in Greece and studied architecture and engineering in Athens before fighting in the resistance against the Nazi occupation during World War II. Severely wounded and eventually sentenced to death for his political activities, he fled to Paris in 1947, where he worked as an assistant to the legendary architect Le Corbusier and designed the iconic Philips Pavilion for the 1958 Brussels World's Fair.

It was in Paris that he turned fully to music. His mentor Olivier Messiaen, rather than steer him toward conventional training, gave him defining advice: "You have the good fortune of being Greek, of being an architect, and having studied special mathematics. Take advantage of these things. Do them in your music."

Xenakis did exactly that. He pioneered stochastic music, compositions built on mathematical probability, the physics of sound masses, and architectural logic, treating music as an architect treats space. He was one of the first composers to use computers to generate music and developed the UPIC system, which translated graphic drawings directly into sound. By his death in Paris in 2001, he had received the Polar Music Prize and a UNESCO International Music Prize, with French President Jacques Chirac mourning: "France loses one of its most brilliant artists today."

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The link between the two artists is more than a passing reference. Like Xenakis, Bangalter is no longer interested in groove or melody as primary forces, he is interested in the texture, weight, and architecture of sound itself. "Finding the line between where sound ends and music begins is a good exploration," he has said.

For a generation that grew up treating Daft Punk as the pinnacle of electronic music, watching Bangalter align himself with one of the 20th century's most demanding avant-garde composers is a genuine provocation. It suggests someone not coasting on legacy, but actively pushing toward new territory.

The message across every interview and surprise appearance in 2026 is consistent: the Daft Punk legacy is intact precisely because it ended when it did. The reunion is not coming. The helmet stays on the shelf. And in its place, Thomas Bangalter is making art on his own terms, drawing a line from the Parisian dancefloors of the 1990s all the way back to a Greek composer who once turned mathematics into music, and sound itself into architecture.

The robots may be gone. But the human is only getting started.

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.

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Για περισσότερο από μία δεκαετία, ο Thomas Bangalter κρυβόταν πίσω από ένα κράνος. Ως το ένα μισό των Daft Punk, του γαλλικού ηλεκτρονικού ντουέτου που επαναπροσδιόρισε τους κανόνες της dance μουσικής, πέρασε χρόνια εμφανιζόμενος ως ρομπότ, ένας χαρακτήρας, ένας μύθος, μια συνειδητά κατασκευασμένη μυθοπλασία. Τώρα, τρία χρόνια μετά τη διάλυση του συγκροτήματος, ο άνθρωπος πίσω από το κράνος έχει επιστρέψει στο προσκήνιο. Και θέλει να ξεκαθαρίσει ένα πράγμα: τα ρομπότ αποσύρθηκαν οριστικά.

Σε μια ειλικρινή συνέντευξή του στους The Times τον Ιούνιο του 2026, ο Bangalter ρωτήθηκε ευθέως αν υπάρχει περίπτωση να επανενωθεί με τον συνιδρυτή των Daft Punk, Guy-Manuel de Homem-Christo. Η απάντησή του ήταν μία μόνο λέξη, χωρίς τον παραμικρό δισταγμό: «Όχι».

Στη συνέχεια εξήγησε την απόφασή του με ηρεμία και συμφιλίωση, όχι με πικρία. «Είμαι πραγματικά χαρούμενος που σε όλη αυτή τη μακρά πορεία μας καταφέραμε να μην τα καταστρέψουμε. Υπάρχουν κι άλλα πράγματα να εξερευνήσει κανείς. Η ιστορία της μουσικής είναι γεμάτη από δημιουργικές συνεργασίες και συνήθως διαρκούν πολύ λιγότερο από τα 28 χρόνια που κράτησε η δική μας. Ήταν υπέροχο, αλλά το να παραμένουμε στους χαρακτήρες μας και να μη χαλάσουμε τη μαγεία γινόταν όλο και πιο δύσκολο».

Μιλώντας για την ίδια τη φύση των Daft Punk, ήταν εξίσου στοχαστικός: «Ήταν σχεδόν μια μορφή performance art, όπου δημιουργείς αυτούς τους χαρακτήρες και θολώνεις τα όρια ανάμεσα στη μυθοπλασία και την πραγματικότητα. Ήμουν ένα από τα ρομπότ, αλλά τώρα είμαι απλώς ένας άνθρωπος χωρίς υπερδυνάμεις».

Όσο για τον Guy-Manuel, ο ιδρυτής της Because Music, Emmanuel de Buretel, επιβεβαίωσε σε γαλλικό ραδιόφωνο στα τέλη του 2025 ότι ο πρώην συνεργάτης του εργάζεται διακριτικά πάνω σε ένα προσωπικό άλμπουμ, χωρίς ωστόσο να έχουν γίνει γνωστές περισσότερες λεπτομέρειες.

Η επανεμφάνιση του Bangalter κάθε άλλο παρά μια συνηθισμένη επιστροφή ήταν. Όλα ξεκίνησαν το 2025 με ένα απρόσμενο DJ set στην τελετή κλεισίματος του Centre Pompidou στο Παρίσι. Ήταν η πρώτη του εμφάνιση πίσω από τα decks έπειτα από 16 χρόνια και προκάλεσε παγκόσμιο ενθουσιασμό. «Νομίζω ότι προσπαθούσα να επιστρέψω ως άνθρωπος με τον πιο απλό δυνατό τρόπο, χωρίς να το μετατρέψω σε θέαμα», δήλωσε στο Rolling Stone.

Τον Φεβρουάριο του 2026 εμφανίστηκε μαζί με τον Fred Again σε ένα back-to-back set στο Alexandra Palace του Λονδίνου, την πρώτη του εμφάνιση στο Ηνωμένο Βασίλειο έπειτα από 19 χρόνια. «Ο κόσμος είχε ήδη ξεσηκωθεί από τις 7:30 το απόγευμα. Μόνο στο Ηνωμένο Βασίλειο συμβαίνουν αυτά!», σχολίασε. Στη συνέχεια, τον Ιούνιο, ο ραδιοφωνικός σταθμός The Lot Radio της Νέας Υόρκης μετέδωσε ένα απρόσμενο DJ set διάρκειας 75 λεπτών, με μουσική από Aphex Twin, Burial, Boards of Canada και πολλούς ακόμη. Χωρίς κράνος. Χωρίς θεατρικότητα. Μόνο μουσική.

Στο επίκεντρο αυτού του νέου κεφαλαίου βρίσκεται το Mirage – Ballet for 16 Dancers, που κυκλοφόρησε στις 5 Ιουνίου 2026 από τις Erato και Warner Classics. Το άλμπουμ αποτελεί τη μουσική επένδυση ενός σύγχρονου μπαλέτου διάρκειας 60 λεπτών, το οποίο δημιουργήθηκε σε συνεργασία με τον Βέλγο χορογράφο Damien Jalet και τον Ιάπωνα εικαστικό καλλιτέχνη Kōhei Nawa. Η παράσταση έκανε πρεμιέρα στη Γενεύη τον Μάιο του 2025 και έκτοτε έχει περιοδεύσει σε πολλές ευρωπαϊκές πόλεις, αποσπώντας εξαιρετικές κριτικές.

Αποτελούμενο από οκτώ κομμάτια ηλεκτρονικού μινιμαλισμού, το έργο δεν έχει καμία σχέση με τις πίστες χορού. Ο Bangalter διαμόρφωσε τη μουσική μέσα από χιλιάδες ώρες δουλειάς σε ψηφιακή γραφίδα, αντιμετωπίζοντας τον ήχο ως ένα φυσικό υλικό που μπορεί να σμιλευτεί. Όπως έχει πει ο ίδιος, αναζητά «τη γραμμή ανάμεσα στο σημείο όπου τελειώνει ο ήχος και αρχίζει η μουσική». Το Mirage ακολουθεί τα Mythologies (2023) και το soundtrack του Chiroptera (2024), διευρύνοντας ένα εντυπωσιακό σώμα συνθετικού έργου που έχει δημιουργήσει μετά το τέλος των Daft Punk.

Η βασική πηγή έμπνευσης πίσω από το Mirage είναι ένα όνομα που θα είναι γνώριμο στους φίλους της σύγχρονης κλασικής μουσικής και του χορού: ο Ιωάννης Ξενάκης.

Για όσους δεν τον γνωρίζουν, ο Ξενάκης υπήρξε ένας από τους πιο ριζοσπαστικούς συνθέτες του 20ού αιώνα και η ελληνική του ταυτότητα ήταν άρρηκτα συνδεδεμένη με τη δημιουργική του ιδιοφυΐα.

Γεννημένος το 1922 στη Ρουμανία από εύπορη ελληνική οικογένεια, μεγάλωσε στην Ελλάδα και σπούδασε αρχιτεκτονική και μηχανική στην Αθήνα προτού ενταχθεί στην αντίσταση κατά τη διάρκεια της ναζιστικής κατοχής στον Β' Παγκόσμιο Πόλεμο. Τραυματίστηκε σοβαρά και αργότερα καταδικάστηκε σε θάνατο για την πολιτική του δράση, γεγονός που τον οδήγησε να διαφύγει στο Παρίσι το 1947. Εκεί εργάστηκε ως συνεργάτης του θρυλικού αρχιτέκτονα Le Corbusier και συνέβαλε στον σχεδιασμό του εμβληματικού Philips Pavilion για την Παγκόσμια Έκθεση των Βρυξελλών το 1958.

Στο Παρίσι αφοσιώθηκε ολοκληρωτικά στη μουσική. Ο μέντοράς του, Olivier Messiaen, αντί να τον κατευθύνει προς μια συμβατική μουσική εκπαίδευση, του έδωσε μια συμβουλή που έμελλε να καθορίσει την πορεία του: «Έχεις την τύχη να είσαι Έλληνας, να είσαι αρχιτέκτονας και να έχεις σπουδάσει ανώτερα μαθηματικά. Εκμεταλλεύσου αυτά τα στοιχεία. Χρησιμοποίησέ τα στη μουσική σου».

Ο Ξενάκης ακολούθησε αυτή τη συμβουλή κατά γράμμα. Υπήρξε πρωτοπόρος της πιθανοκρατικής μουσικής (stochastic music), δημιουργώντας συνθέσεις βασισμένες στα μαθηματικά των πιθανοτήτων, στη φυσική των ηχητικών μαζών και στην αρχιτεκτονική λογική, αντιμετωπίζοντας τη μουσική όπως ένας αρχιτέκτονας αντιμετωπίζει τον χώρο. Ήταν επίσης από τους πρώτους συνθέτες που αξιοποίησαν τους ηλεκτρονικούς υπολογιστές για τη δημιουργία μουσικής και ανέπτυξε το σύστημα UPIC, το οποίο μετέτρεπε γραφικά σχέδια απευθείας σε ήχο. Μέχρι τον θάνατό του στο Παρίσι το 2001 είχε τιμηθεί με το Polar Music Prize και το UNESCO International Music Prize. Τότε, ο Γάλλος Πρόεδρος Jacques Chirac δήλωσε: «Η Γαλλία χάνει σήμερα έναν από τους πιο λαμπρούς καλλιτέχνες της».

Η σύνδεση ανάμεσα στους δύο δημιουργούς είναι πολύ βαθύτερη από μια απλή αναφορά. Όπως και ο Ξενάκης, έτσι και ο Bangalter δεν ενδιαφέρεται πλέον πρωτίστως για το groove ή τη μελωδία. Τον ενδιαφέρει η υφή, το βάρος και η αρχιτεκτονική του ίδιου του ήχου. «Η αναζήτηση της γραμμής ανάμεσα στο σημείο όπου τελειώνει ο ήχος και αρχίζει η μουσική είναι μια γόνιμη εξερεύνηση», έχει δηλώσει.

Για μια ολόκληρη γενιά που μεγάλωσε θεωρώντας τους Daft Punk την κορυφή της ηλεκτρονικής μουσικής, το να βλέπει τον Bangalter να στρέφεται προς έναν από τους πιο απαιτητικούς πρωτοπόρους της μουσικής πρωτοπορίας του 20ού αιώνα αποτελεί μια πραγματικά ενδιαφέρουσα πρόκληση. Υποδηλώνει έναν καλλιτέχνη που δεν επαναπαύεται στην κληρονομιά του, αλλά συνεχίζει να αναζητά νέα δημιουργικά μονοπάτια.

Το μήνυμα που προκύπτει από κάθε συνέντευξη και κάθε απρόσμενη εμφάνιση του Bangalter μέσα στο 2026 είναι ξεκάθαρο: η κληρονομιά των Daft Punk παραμένει άθικτη ακριβώς επειδή ολοκληρώθηκε τη στιγμή που έπρεπε. Η επανένωση δεν πρόκειται να συμβεί. Το κράνος παραμένει στο ράφι. Και στη θέση του, ο Thomas Bangalter δημιουργεί πλέον με τους δικούς του όρους, χαράσσοντας μια διαδρομή που ξεκινά από τις παριζιάνικες πίστες χορού της δεκαετίας του 1990 και φτάνει μέχρι έναν Έλληνα συνθέτη που μετέτρεψε τα μαθηματικά σε μουσική και τον ήχο σε αρχιτεκτονική.

Τα ρομπότ ανήκουν στο παρελθόν. Ο άνθρωπος μένει να προχωρήσει.

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.

1e: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?

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1f: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.20: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!21: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.22: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.

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23:T1ccb,

Some lineups make sense because the artists sound alike. Others work because they bring something different to the same room. Full Circle’s September 19 return belongs to the second category.

WhoMadeWho arrive with more than two decades behind them and a Hybrid DJ Set that sits somewhere between their identity as a band and their understanding of the dancefloor.

Avangart Tabldot arrive from almost the opposite direction: three artists whose story is still being written, and who are currently moving through one of the strongest periods of their career so far.

Put them together at Playground 260, start at 17:00 while Athens is still in daylight, and let the event develop until 23:00. That is where this one starts to become interesting.

WhoMadeWho: A Band That Learned to Speak Club

WhoMadeWho have always been difficult to place neatly into one category. Tomas Høffding, Tomas Barfod and Jeppe Kjellberg came from different musical backgrounds, with electronic music meeting rock, jazz and songwriting inside the same project. Over the years, that combination has allowed the Copenhagen trio to move naturally between concerts, festivals and club-focused electronic sets without feeling like a band simply trying to enter DJ culture.

More than twenty years after forming, they are also far from operating on nostalgia. Their 2026 calendar alone has taken the Hybrid DJ Set through Sónar and a long list of Ibiza dates alongside artists ranging from Carl Cox and Anyma to Vintage Culture, while July brought “ENERGY,” their collaboration with GORDO.

And the word Hybrid matters here. The format combines the freedom and continuous flow of a DJ set with the approach of musicians who have spent their career writing and performing songs. Vocals, melodies and recognizable songwriting remain central to WhoMadeWho, but so does their long relationship with electronic club culture.

Athens knows them well by now, and so does Full Circle. The relationship goes back at least to their 2022 live appearance at the Benaki Museum, while Full Circle brought them back in 2025 for a four-hour set alongside Carlita at Goudi’s Army Park.

September 19 adds another chapter, this time in a different setting.

Avangart Tabldot: Catch Them at This Moment

If you have been following Avangart Tabldot’s sets and releases recently, you probably already understand why their name deserves equal attention on this lineup.

The Istanbul trio have built their catalogue across labels including Innervisions, Siamese, TAU and Ultra, but the last couple of years show something more important than a list of label names: momentum. In 2025 they joined Tripolism for “Groove On” on Ultra and again for “All Hearts Beat”, while their remix work returned them to Innervisions.

In 2026, Avangart Tabldot have continued building around their own community. They are among the people behind Istanbul-based Crib Records, where July brought “I’m Tango,” while just eight days before the Athens show comes “Love.exe", their new release on Exit Strategy.

That matters because this is often one of the best stages at which to catch an artist: established enough to have a clear identity, but still moving quickly enough that their sets don’t feel settled. Their own platform is growing, new music keeps arriving and their catalogue continues to spread across respected corners of the electronic scene. They aren’t simply the other name alongside the more established act on the poster. Their current momentum is one of the reasons this date is so well timed.

Why Playground 260 Fits the Idea

Full Circle has always paid attention to the space around the music. Its history in Athens, from the Benaki Museum to large-scale events at Goudi’s Army Park, reflects an approach where the setting forms part of the event itself.

Now Playground 260 offers a different environment. The wider Peiraios 260 complex is a former furniture factory and a surviving example of 1970s industrial architecture, later established as one of the main homes of the Athens Epidaurus Festival. Large former industrial buildings and sheds give the site a character very different from a conventional club.

And the schedule works with that setting. Doors open at 17:00, with Greek DJs/producers MAARKK and Man With The Speaker, both part of STYX Agency, the agency of Full Circle, handling the first tunes before the main acts. That gives you a good reason to arrive early, support the local artists and watch the music, crowd and space develop naturally as afternoon turns into night.

Why September 19 Is Worth Your Saturday

There is a nice balance to this lineup.

WhoMadeWho bring the catalogue, musicianship and years spent moving between band culture and electronic dancefloors. Avangart Tabldot arrive at a very different point in their story, with new releases, their own growing platform and plenty still ahead of them.

And Full Circle brings both together for six hours at Playground 260, from daylight into night.

There is also something to be said about how accessible the event remains. With the €26.50 first release already sold out, tickets have now moved into the second release at €35... still a very fair entry point for what the evening brings together.

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24:T409,In the years since their inception WhoMadeWho have established themselves as one of the definitive underground bands of their generation. A group whose grasp of emotional depth, heartrending melody and inspired songwriting is exceptional, the Danish outfit is composed of Tomas Høffding, Tomas Barford and Jeppe Kjellberg. They have become renowned for their exemplary back catalogue, consummate professionalism and standout performances all over the globe, from Coachella to Sonar, to Burning Man, producing a plethora of albums, EPs, singles, and remixes on labels like Kompakt, Innervisions, Life & Death, and their own imprint The Moment. With Barfod’s penchant for electronic music poetically juxtaposed with Høffding and Kjellberg’s respective backgrounds in rock and jazz, their music is an electrifying combination of sounds, merging a variety of influences to produce a unique sonic fingerprint that is emotive, irresistible, and immensely satisfying. To check out upcoming tour dates & exclusive merch: whomadewho.co25:T42d7,

“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?

argy sven vath.png

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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26:T1e57,

Armin van Buuren spent five hours in a makeup chair last weekend preparing to become someone else for one night.

He eventually walked onto Dutch television in heels and a wig as “Daisy Belle”, the Mystery Queen on RTL4’s Make Up Your Mind. The show turns well known Dutch personalities into drag queens and challenges a panel of celebrities to figure out who is hiding underneath the makeup.

Nobody guessed Armin.

When Daisy Belle was finally revealed to be one of trance music’s biggest names, the studio responded with a standing ovation. Fred van Leer, who has been part of the Dutch drag scene for years, said he was genuinely surprised that someone with Armin’s profile had agreed to take part.

But Armin didn’t seem interested in treating the whole thing as a joke or a publicity stunt.

Before the episode aired, he recorded a message explaining why he wanted to do it. “I want to make a statement and invite everybody to party worldwide, but be who you want to be. Feel free, feel safe, and look after each other.”

He later shared a similar message on Instagram, saying the appearance was about more than dressing up and surprising people. For him, it was about supporting the idea that everyone should be able to feel safe being themselves.

Speaking to RTL Boulevard after the show, Armin was just as direct about drag itself: “It’s simply art.”

He also connected the appearance to something much closer to home for him: the dancefloor.

Armin wants people coming to A State of Trance and his shows to feel like they belong there. He also acknowledged something that often gets forgotten when dance music becomes a giant commercial industry: LGBTQ+ people have been part of its history from the beginning.

Of course, not everyone liked the message.

Armin said the reaction was mostly positive, but he also saw plenty of negative comments, many of them coming from outside the Netherlands. He knew that was going to happen.

“You’re kind of asking for that,” he said

But he didn’t seem particularly bothered by the idea that he had invited criticism by doing it. What stood out to him more was how much discussion and negativity around drag and the LGBTQ+ community has grown in recent years.

And honestly, that is probably the part worth paying attention to.

Because dance music has been having this conversation for decades.

Peace, Love, Unity, Respect.

The phrase has become so common in electronic music that it can sometimes feel almost meaningless. It appears on festival merch, Instagram captions and motivational posts. But PLUR didn't start as a cute slogan for festival culture.

It came out of underground club and rave scenes in cities like Chicago and New York during the late 1980s and early 1990s. Those scenes were heavily shaped by Black, Latino and LGBTQ+ communities, particularly in house music.

For many of the people who created and protected those spaces, being able to dance without being judged was not some abstract idea. It mattered.

People went to these clubs because they could be themselves.

That history is easy to lose when you only experience dance music through huge festivals, superstar DJs and social media. The culture can look very different from where it started.

That is why Armin’s appearance feels interesting.

Trance isn’t really the genre most people associate with drag culture or queer nightlife. Its mainstream crowd is usually seen as a much more conventional festival audience, with people coming together for the music without much connection to the underground club culture where a lot of electronic music began.

Armin putting on a wig and heels isn't going to change the history of trance overnight. But it does put a spotlight on something that the scene sometimes forgets.

The freedom to be yourself on a dancefloor didn't come from nowhere.

The negative comments underneath Armin’s reveal are interesting for another reason.

They show that the idea of an inclusive dancefloor isn't as universally accepted as the word “PLUR” might suggest.

There is a strange contradiction in electronic music. We talk constantly about community, freedom and acceptance, while some people still seem uncomfortable when that acceptance includes LGBTQ+ people, drag performers or anyone who doesn't fit a traditional idea of gender.

Armin clearly knew there would be criticism.

He did it anyway.

And that probably matters more than the fact that he looked good in heels or managed to fool the panel.

For an artist who has spent more than two decades at the very top of trance, this was a fairly simple way of saying where he stands.

Everyone should be able to come to a dancefloor and feel safe.

Everyone should be able to be themselves.

And maybe most importantly, the values that dance music loves to talk about only mean something if we actually stand behind them when it's inconvenient.

The antiPLUR comments underneath his reveal aren’t some fringe glitch in an otherwise settled conversation. They’re a live argument about who gets to claim the floor.

Van Buuren clearly understood that going in. He said so out loud, and he did it anyway.

That’s not a small gesture from someone whose brand has been built for more than two decades on being reliably crowd pleasing. It’s one of the genre’s biggest names deciding that PLUR isn’t just a value dance music inherited. It’s something the scene has to keep re-earning.

Sometimes that means doing it on camera, in heels, in front of people who would rather you didn’t.

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27: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 2017.28:T15ad,

You finish a track, A/B it against a reference on three pairs of headphones, and get a solid head nod from a producer friend. Ten minutes later, you’re scrolling Instagram, hear an unreleased ID that sounds impossibly good, and immediately conclude you’ve been faking it this whole time.

That feeling has a name, it came from a therapy office in Atlanta in 1978. Psychologists Pauline Clance and Suzanne Imes noticed a consistent pattern among high achieving individuals: despite clear evidence of their success, they were convinced they were frauds about to be exposed. They named it the "impostor phenomenon." They weren't writing about electronic music producers, but they might as well have been.

This isn't just late night studio fatigue, the music industry has quantified it.

73% of independent musicians report dealing with mental health challenges, according to a survey by distributor Record Union, with financial uncertainty and self doubt ranking as primary drivers.
The Association For Electronic Music (AFEM) formally included imposter syndrome alongside burnout and exhaustion in its industry mental health guide.
Beatport and AFEM’s report, Music Connects Us, surveyed roughly 140 established artists, including Kaskade, LOUISAHHH, Junior Sanchez, and Tom Middleton, who openly detailed their battles with isolation and severe self doubt.

If artists playing main stages still feel like they haven't "made it," the issue clearly isn't a lack of talent, it's structural.

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During a mental health panel at IMS Ibiza, AFEM’s health lead Tristan Hunt highlighted that electronic music is uniquely structured to breed self doubt. A few specific factors drive this:

No formal benchmark. A classical musician has grades, exams, and conservatory tiers that signal progress. A producer has a DAW, a pair of studio monitors, and their own judgment, which becomes increasingly unreliable at 2:00 AM.
Arbitrary feedback loops. Success is often tied to playlist placement, social media algorithms, or a crowd's reaction to a drop. Because these variables are out of your control, a great track can easily flop while a mediocre one goes viral, severing the link between effort and outcome.
Blurry attribution. Between ghost production, uncredited sample packs, complex co writing splits, and heavy reliance on templates, ownership in modern production is often ambiguous. When it’s hard to pinpoint where your contribution starts and ends, it’s even harder to internalize success.

When Pauline Clance first documented the phenomenon, her solution wasn't positive thinking or generic self help advice. The primary mechanism for breaking the loop is peer transparency talking openly with others experiencing the exact same thing.

That is why initiatives like AFEM’s guide matter. Hearing established artists explicitly articulate these feelings strips the mystery away.

Feeling like a fraud before a release isn't a personal flaw or a sign that you lack talent. It is a well documented psychological pattern colliding with an industry built on unpredictable metrics and vague credit. Recognizing the pattern won't instantly cure the anxiety, but it stops you from believing everything your brain tells you at 3:00 AM.

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29:T269a,

Zamna x Primer has officially revealed the first names for its 2026 edition and it's looking like one of the strongest & most promising lineups the festival has put together in years.

First things first, this year's edition is a special collaboration with Zamna, the globally recognised brand that started in Tulum, Mexico and has since expanded to destinations around the world. The festival returns to OAKA on September 4th and 5th, with two stages operating across both days: the Helios Stage and the Lunar Stage.

For Greece, this collaboration is more important than it might initially seem. It puts Athens under the spotlight of one of the most recognisable festival brands in electronic music and further strengthens the city's position as a growing dance music destination. Looking at the lineups announced so far for other Zamna editions around the world, it's fair to say that Athens has been given one of the strongest combinations of artists outside of Tulum itself.

Over the years, Primer has established itself as Greece's biggest dance music festival. Names such as Tiësto, Steve Angello, Eric Prydz, Martin Garrix, David Guetta, DJ Snake, Armin van Buuren, Alesso have all performed in Athens through the festival. For many Greek dance music fans, seeing artists of that calibre locally once felt almost impossible.

For 2026, Primer isn't slowing down. The first phase of the lineup includes Axwell (Swedish House Mafia), MRAK (Tale Of Us), Armand van Helden, Stephan Bodzin, Bedouin, Adam Ten, Omiki, with additional artists still to be announced.

Axwell

This is arguably one of the most significant bookings Primer has ever made. While some may gravitate towards bigger streaming numbers or newer trends, true dance music fans understand what Axwell represents. In terms of legacy, influence and pure quality this is historic for Greek's dance scene.

Axwell will return to Athens after more than a decade, bringing with him one of the most influential catalogues in dance music history. Whether through Swedish House Mafia, Axwell /\ Ingrosso or his solo career, his records have helped define multiple generations of electronic music fans.

From classics like "One", "Don't You Worry Child", "Greyhound" and "Moth To A Flame", ''More Than You Know'', ''Sun Is Shining'' to solo anthems such as the grammy nominated ''In My Mind'', or ''Resurrection'' to "I Found U", "Feel The Vibe", "Watch The Sunrise", and "Tell Me Why", very few artists have remained as relevant across so many different eras of dance music.

With Swedish House Mafia currently preparing their second studio album after ''Paradise Again'', & Ax ready to release one of the hottest IDs in the coming days, plenty of new music expected in the following months, there's a good chance we will get to hear some fresh material when Axwell takes the stage at OAKA.

MRAK

Known as one half of Tale Of Us and co-founder of Afterlife, Carmine Conte has spent the last few years building MRAK into a project with its own identity.

Unlike a traditional DJ set, MRAK performances are usually presented in a live format, combining synthesizers, Ableton and original productions to create a much more immersive experience. His sound remains darker and more introspective than what many people associate with the current melodic techno scene, with a strong focus on unreleased music and live performance.

With a debut solo album currently in the works, MRAK arrives at Primer at a particularly interesting moment in his career. For now his album date has not been confirmed yet. His sets in general are filled with unreleased tracks.

Armand Van Helden

He needs no introduction to anyone who's spent time in house music.

Over the last three decades, he has produced some of the genre's most recognisable records, including "You Don't Know Me", "I Want Your Soul", "The Funk Phenomena" and, alongside A-Trak as Duck Sauce, the global hit "Barbra Streisand".

His sets usually move between classic house, disco, French house and funk influenced sounds, mixing old school energy with a modern approach. For younger fans, this is a chance to see one of the artists who helped shape house music as we know it today. A lot of today's house DJs you see have influenced by him.

Stephan Bodzin

Long before melodic techno became one of the dominant sounds in electronic music through labels and projects like Afterlife, Stephan Bodzin was already helping shape the genre.

The German producer built his reputation through emotional melodies, powerful analogue synths and a cinematic approach to techno that has influenced countless artists over the years.

Unlike a traditional DJ set, Bodzin performs live using synthesizers and custom hardware, allowing him to manipulate and reshape his music in real time. Tracks such as "Singularity", "Healing" and "Falcon" have become staples of his performances. His sets are largely built around his own productions.

Adam Ten, Bedouin & Omiki

Adam Ten has quickly become one of the most talked-about names in the underground house scene. His blend of deep house, minimal grooves and Middle Eastern influences has earned support from artists such as Keinemusik and Black Coffee, while recent releases continue to push his profile higher. If you're into groovy, deeper sounds rather than big festival drops, Adam Ten should definitely be on your radar. His latest single ''I Never Knew'' was released on the legendary label Defected.

Bedouin bring a different flavour to the lineup. The duo of Tamer Malki and Rami Abousabe are known for combining organic house, melodic elements and Middle Eastern influences into sets that focus more on atmosphere and groove than peak time energy. Out of all the names announced so far, this booking feels particularly aligned with Zamna's identity and audience.

Finally, there's Omiki. Returning to Primer for a second appearance, after 2024 when he appeared as a guest beside ARGY to play together his powerful Rmx of the huge ‘Aria. His sound is between psytrance and melodic electronic music, combining powerful basslines with emotional melodies. Fans of artists such as ARGY will likely find plenty to enjoy in his sound. His sets are energetic, uplifting and designed for large festival stages.

Final Thoughts

One thing worth remembering is that Greece is still a relatively small market when it comes to electronic music. While the genre has existed here for years, the last three to four years have marked a significant shift, with more people discovering dance music and more international events choosing Athens as a destination.

That growth is exciting, but it also comes with challenges. Booking world class artists isn't easy, especially when promoters and festivals are competing with countries like Belgium, the Netherlands or Germany, where electronic music has been part of the culture for decades and audiences are much larger. That's why festivals like Primer deserve credit for continuing to invest in the scene and bringing names that, not long ago, many Greek fans could only dream of seeing locally.

The reality is that the more the audience grows, the more opportunities there will be for bigger events, stronger lineups and even more international attention in Greece in general. And judging by the direction things are moving, we're definitely heading the right way.

Next phase lineup is coming within 10 days!

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2a:T255b,

There is a specific kind of pressure that comes with a debut album when you have spent a decade building your name without one. Every release, every DJ set, every headline slot at Fabric or Awakenings has quietly made the case for who you are, and now, with a single body of work, all of that context either crystallises or complicates. For Amelie Lens, whose music tends to land with more emotional insistence than the genre's more austere corners usually allow, the announcement of AURA feels less like a surprise and more like an inevitability. The Belgian producer's first full length record drops September 4, 2026 via her own EXHALE imprint, and the day after, she plays what may be the most significant show of her career: an open air performance in the grounds of Antwerp's Royal Museum of Fine Arts, the KMSKA. The timing is deliberate. The statement is clear.

AURA is eleven tracks long and built, from what we know so far, around the tension between momentum and interiority that has defined Lens at her best. The driving, kinetic techno that made her sets essential listening at festivals and warehouse events across Europe is still very much present but the record reaches inward in ways that her releases to date have rarely allowed. A debut album is by nature a different document than a string of singles or EPs. It asks for commitment, from both the artist and the listener.

The lead single, "our frequency", has been out long enough to give a reasonable sense of where the record is headed. There is a particular quality to it that suggests Lens is operating with more room than a club focused format typically permits. It is not a departure from her aesthetic so much as a deepening of it.

Releasing through EXHALE, the label she founded and has used to develop her own artistic ecosystem, matters here. Working outside the pressure of a major dance imprint gives AURA a specific kind of autonomy. The decisions, sonic, visual, contextual are hers. That independence is legible in the way the project has been framed: not as a commercial pivot or a bid for crossover appeal, but as a document of where she actually is, right now, as an artist. The album, in her own framing, reflects the distance she has covered from early nights in underground Antwerp clubs to the kind of global touring schedule that most producers in this space would take a decade longer to build.

AURA is not simply a record. It is also, in Lens' thinking, a live concept, a framework for how the music is meant to be experienced in a shared physical space. This is not a new instinct for her. She has long been attentive to the energetic relationship between herself and a crowd, and her sets carry that awareness. But the AURA live concept represents a more considered attempt to articulate and design around that exchange.

The idea, as it has been described, centres on what passes between an artist and an audience when both are fully present, the kind of feedback loop that good techno, at its best, can generate in a large room or a field. It is less about spectacle for its own sake and more about using scale, sound design, and environment to intensify something that already exists when the music is working. This is an important distinction in a moment when the festival industry's appetite for production value can sometimes overwhelm the music it is supposed to serve.

Whether the live AURA concept fully realises this ambition will depend, to a significant degree, on what happens in Antwerp in September.

The Ambersa show at the KMSKA is, by any reasonable measure, a serious undertaking. The museum, one of Belgium's most significant cultural institutions, a building with weight and history, provides the backdrop for what is being staged as a large scale outdoor event, with a capacity in the region of 14,000. The venue's transformation into a functioning dancefloor for a single night places the event at a precise intersection: fine art architecture, contemporary electronic music, and the particular civic energy that Antwerp has been generating around its cultural programming for some years now.

The scheduling is pointed. The album lands on September 4. The show follows the next evening. It is the kind of sequencing that ensures the live performance becomes both a launch and an interpretation, an opportunity for the music, just one day old in the public's hands, to be heard in a context that the artist has specifically designed. The crowd arriving at the KMSKA on September 5 will, if everything works as intended, come with the record already in their ears and leave with it physically in their bodies.

For Belgian electronic music specifically, there is something worth noting here. The country has long had a credible claim to being central to techno's development and ongoing vitality, from the old Fuse club nights in Brussels to the current ecosystem that sustains artists like Len Faki's peers and a younger generation of producers. Lens is from Antwerp, and staging this event at home, at this scale, at a nationally significant cultural site, is a choice that carries meaning beyond personal preference. It is a claim, modestly made, that this music belongs in these spaces.

There is a version of the story of Amelie Lens that is simply a career trajectory, clubs, then festivals, then bigger festivals, now an album. But that framing undersells what AURA and the Antwerp show together suggest, which is a deliberate act of definition. Not reinvention but a decision to put it in a form that lasts longer than a set list.

Techno, as a form, has always been ambivalent about the album format. The music was built for clubs, for continuous mixing, for experience rather than object. That ambivalence has softened in recent years as the genre has expanded and its artists have found broader audiences with different listening habits. Lens' decision to make AURA is, in part, a response to that expanded context. It is also something more personal: a record that accounts for where she has been and what making this music has meant.

September will tell us whether the execution matches the intention. But the intention, at least, is substantial.

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2b:T493,Amelie Lens has taken the techno scene to another level, with her unrelenting passion for the genre, with a strong message that she always was, and always will be a raver at heart. Amelie‘s debut release in 2016 marked the beginning of her distinguished career. Since then, she has released music on many of the industry‘s leading labels and contributed to the prestigious Global Underground City mix series. Amelie is a regular headliner at major festivals such as Awakenings, Sonar, Timewarp, and Tomorrowland’s mainstage. Additionally, she performs at renowned club venues across the globe. Fast forward to 2024 and Amelie is heading her labels Lenske and EXHALE Records, running her party series EXHALE, holds down an extensive touring schedule and hosts her own radio show ‘Amelie Lens presents EXHALE’. The show now streams online and broadcasts on 34 radio stations across the globe, reaching nearly 5 million listeners with every episode. Amelie has been focused on her signature sound, emphasised by the use of her own vocals. She wants to capture audiences that may not always be there for techno but feel connected after discovering something new.2c:T2a54,

Rezz just pulled out of everything. Red Rocks. Tomorrowland. Breakaway. Beyond Wonderland. All of it. Gone.

In a statement posted to Instagram, Isabelle Rezazadeh, one of electronic music's most beloved artists, was brutally honest: "The past few months my body forced me to stop. For 15 years, I was fully focused as an artist traveling the world, but wounds began to scrape at me until I became the most physically sick I've ever been."

It's a statement that should hit every fan hard. Not because Rezz is gone, she isn't, and she'll be back but because of how familiar it sounds.

Five artists. Fourteen months. The same message.

Jauz. Timmy Trumpet. Chris Martinez. ChaseWest. And now Rezz. All of them, at different moments, saying some version of the same thing: I need to stop.

In December 2025, Timmy Trumpet announced he was stepping away from the stage for the first time in his career. "This has been the toughest year of my life," he wrote. He didn't overexplain. He didn't need to. Anyone who has seen his schedule understands. Seven shows in nine days across seven different countries, as he himself once described a typical stretch on the road.

These aren't isolated incidents. They are a pattern.

And the pattern started in the most devastating way possible with Avicii.

Avicii warned everyone. He retired from touring in 2016, writing openly: "I have too little left for the life of a real person behind the artist." He played up to 250 shows a year at the height of his career. He struggled with anxiety, addiction, and a body that was physically breaking down. He tried to stop. He was pressured to continue.

He died at 28.

His family's statement after his passing was one of the most heartbreaking indictments of an industry ever put into words: "Tim was not made for the business machine he found himself in; he was a sensitive guy who loved his fans but shunned the spotlight. An over-achieving perfectionist who travelled and worked hard at a pace that led to extreme stress."

According to research cited by Help Musicians UK, people working in the music industry are three times more likely to suffer mental health issues than the general public. And yet the machine kept moving. The schedules kept filling. The tours kept being booked.

100+ shows a year. 150+ flights. No real breaks. For many artists, that's simply the job. And for a long time, the industry treated it as normal.

Pete Tong, speaking at the International Music Summit in Ibiza, put it plainly: "In my 40 years of being around this world, I can't think of a single person who has achieved success who hasn't paid a personal price via health, relationships, divorce, broken homes, addiction, depression, and anxiety."

The life of a touring DJ sounds glamorous on the outside, festival headlines, private flights, crowds of thousands losing themselves to your music. But the reality underneath is relentless jet lag, chronic sleep deprivation, the disorientation of being somewhere different every 48 hours, and a culture that has historically treated saying "no" as a career risk rather than a basic act of self-preservation.

And unlike other performers, DJs are often expected to show up night after night in environments where the entire culture revolves around substances. The industry has long glorified excess as part of the brand. For artists who are already exhausted, isolated, or struggling, that environment is not just unhealthy, it's dangerous.

The story isn't only dark. Some artists have found a way to do this sustainably, and their examples matter.

Kaskade has been active in dance music for over 20 years. In a recent interview with DJ Life Magazine, he was asked what decisions were pivotal to his longevity. His answer was simple: "It's a boring, but crucial decision I made to prioritize my health. This industry is built to break you... I've had to stay healthy by kicking things out of my life that don't work for me. I don't drink; I don't do drugs. I surf and I do yoga. I soak up sun when I can and say 'no' to things when I don't have the bandwidth for them."

He's been sober his entire life. He credits that choice, made early, as the reason he's still standing after more than two decades.

Illenium has spoken openly about looking up to Kaskade as a sober role model in an industry that often makes sobriety feel like a risk. Calvin Harris, Chris Lake, and Kai Wachi are among other artists now openly discussing their own decisions to step back from the party culture that so often comes with the territory.

Armin van Buuren, shaken by Avicii's death, gave up alcohol, started therapy, and began meditating daily. "I realised that in 10 years, I'll remember the camping trip, but I probably won't remember all the festivals," he said. That shift in perspective is something the industry is slowly learning to value.

There are signs of genuine change. Some major festivals have begun incorporating wellness zones where artists and attendees can decompress. Several management companies now provide mental health resources for their rosters. The Association for Electronic Music (AFEM) has made artist wellbeing a formal priority.

But awareness and action are different things. Booking agents still fill calendars. Labels still set expectations. The economic incentives of the touring machine haven't changed as fast as the conversation has.

What has changed is that artists are speaking up loudly, publicly, without apology. Rezz's statement is the latest in a growing body of testimony from people at the top of the industry saying: this is not sustainable, and we are not going to pretend otherwise anymore.

That matters. Because every time a major artist says it, it gets a little easier for the next one to say it too.

There's something the dance music community needs to sit with: the artists we love are not machines. They are people who are often more sensitive, more anxious, and more susceptible to burnout than they appear on stage. The same emotional depth that makes their music move us is the same quality that makes the lifestyle hardest to sustain.

Rezz will heal. Timmy Trumpet is already performing again, talking about 2026 as a new chapter. The music will continue.

But the least we can do is stop treating burnout as a personal failure and start treating it as a systemic one. Start listening when artists say they need to stop. Stop filling the calendar before the human being inside it has had time to breathe.

The dancefloor will wait. The music will be better for it.

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