24:I[451931,["/_next/static/immutable/chunks/0x-9rc1bm-510.js","/_next/static/immutable/chunks/3c3f-22xoml17.js","/_next/static/immutable/chunks/2aysqd7pxmaii.js","/_next/static/immutable/chunks/1j9utsav0l80_.js","/_next/static/immutable/chunks/3p36ch-aq9oz_.js","/_next/static/immutable/chunks/1b31y0tag41wn.js","/_next/static/immutable/chunks/10twbbsv8xpvy.js","/_next/static/immutable/chunks/2yh-rx77963rh.js","/_next/static/immutable/chunks/3mk-ia1qyd5mm.js","/_next/static/immutable/chunks/35fhpglf18mmk.js","/_next/static/immutable/chunks/28m_qkqf1zp50.js","/_next/static/immutable/chunks/3mh4qchssoisj.js","/_next/static/immutable/chunks/26s8ya5u9xp77.js"],"default"] 25:I[951898,["/_next/static/immutable/chunks/0x-9rc1bm-510.js","/_next/static/immutable/chunks/3c3f-22xoml17.js","/_next/static/immutable/chunks/2aysqd7pxmaii.js","/_next/static/immutable/chunks/1j9utsav0l80_.js","/_next/static/immutable/chunks/3p36ch-aq9oz_.js","/_next/static/immutable/chunks/1b31y0tag41wn.js","/_next/static/immutable/chunks/10twbbsv8xpvy.js","/_next/static/immutable/chunks/2yh-rx77963rh.js","/_next/static/immutable/chunks/3mk-ia1qyd5mm.js","/_next/static/immutable/chunks/35fhpglf18mmk.js","/_next/static/immutable/chunks/28m_qkqf1zp50.js","/_next/static/immutable/chunks/3mh4qchssoisj.js","/_next/static/immutable/chunks/26s8ya5u9xp77.js"],"default"] 26:T2138,

Breakthrough artist of the year 2025: KETTAMA

Across 2025, few artists embodied the momentum, creativity, and cultural energy of the modern electronic scene quite like Evan Campbell, better known as KETTAMA. It was a year where he fully stepped out from the underground and into the global spotlight not by chasing trends, but by sharpening a sound rooted in raw club power, rave nostalgia, and forward driven production. This recognition reflects not only his artistic achievements, but also the strong support he received from our dancetoday community, where KETTAMA consistently emerged as one of the most mentioned and celebrated names of the year.

Originating from Ireland’s underground club circuit, KETTAMA first built his reputation through energetic, rave influenced sets and a production style rooted in raw club power, euphoric melodies, and punchy, high impact rhythms. His sound has since traveled far beyond dancefloor origins, yet he has retained the same identity and authenticity that defined his early work a balance of grit, emotion, and immediacy that continues to resonate deeply with listeners around the world.

From Rising Underground Force to Global Breakthrough

While KETTAMA has been steadily ascending through the European club scene over recent years, 2025 marked the point where his reputation truly crystallised on a global level. His music began moving beyond scene based recognition and into broader cultural spaces appearing across festival mainstages, major club tours, and key collaborative moments that positioned him at the forefront of a new wave of rave driven electronic artists.

A central milestone in this progression was the release of his debut album ''Archangel'', a project that showcased his evolution as both a producer and storyteller. Rather than serving purely as a club functional record, the album expanded his sonic palette, blending house, techno, trance influenced emotion, and big room energy while retaining the immediacy that defines his sound. ''Archangel'' demonstrated that KETTAMA is no longer just a high impact club artist but a fully realised creative voice within contemporary dance music.

Collaboration, Creative Chemistry & a Breakthrough Year with Fred again..

A key element of KETTAMA’s 2025 story was his growing creative connection with Fred again.. a collaboration that unfolded across multiple releases and live moments, and played a significant role in expanding his profile to a wider global audience.

Rather than being part of the conceptual or developmental process behind USB002, KETTAMA’s involvement came through their shared track “Hardstyle,” which was featured by Fred again.. during the USB002 era and across various live performances throughout the year. The track became a standout moment within Fred’s sets and acted as one of the clearest points where KETTAMA’s club-driven intensity intersected with Fred’s emotional, widescreen sound.

Their creative partnership had already taken shape earlier in 2025 with “Air Maxes,” a collaboration that further showcased the strong musical chemistry between the two artists. The track blended KETTAMA’s rave rooted power and rhythmic urgency with Fred again..’s melodic sensibility, resulting in one of the most talked about crossover releases of the year.

Beyond their official releases, the pair continued to work together behind the scenes, with several unreleased ideas, in progress tracks, and live tested versions appearing in sets throughout the year. This sense of ongoing creative dialogue rather than a one off collaboration has positioned their partnership as something still evolving, and one that feels likely to play an influential role in the next chapter of both artists’ musical journeys. An official Rmx of ''Solo'', a track on USB002 album, has already been confirmed by Kettama.

Standout Releases, Global Support & “It Gets Better”

On the release front, 2025 also saw KETTAMA deliver one of the year’s most impactful records with “It Gets Better.” The track became a defining anthem across festival and club circuits, earning heavy rotation and support from industry heavyweights including Swedish House Mafia and Tiësto. Its uplifting lead motifs and high intensity structure allowed it to cross boundaries between underground sets and large-scale mainstages a rare quality that helped cement its place as one of the standout electronic releases of the year.

The success of “It Gets Better,” alongside key album highlights and collaborative works, signalled KETTAMA’s ability to produce music that feels both emotionally resonant and structurally powerful built for dancefloors, yet capable of reaching far wider audiences. Also he did an official Rmx for ''Blessings'' by Calvin Harris & Clementine Douglas.

Live Momentum, Festival Presence & A Defining B2B Moment

KETTAMA’s global touring schedule in 2025 further reinforced his breakthrough status. His appearances across major festivals such as Creamfields, Awakenings and headline club shows reflected a growing demand from promoters and audiences alike, with his sets characterised by intensity, pacing, and a strong emotional through line that connects deeply with crowds.

Among the most memorable moments of the year was his back to back performance with Tiësto at Factory Town a symbolic intersection between legacy and new generation talent. The set served as both a celebration of his rapid ascent and a statement of how widely his sound now resonates across different layers of the global electronic scene.

Why KETTAMA is Our Breakthrough Artist of the Year

At dancetoday, our goal is not only to recognise artists who are already dominating the global spotlight, but to highlight those who we believe are shaping the future of dance music artists whose talent, artistic vision, and creative momentum signal where the culture is heading next. KETTAMA represents exactly that spirit: a producer and performer whose music bridges underground authenticity with broad emotional impact, and whose artistic trajectory continues to evolve beyond fixed genre boundaries.

Having followed his journey closely throughout 2025 from album milestones to collaborative moments and unforgettable live performances it is clear that his breakthrough this year was not accidental. It was the result of consistent artistic development, a strong creative identity, and a growing connection with audiences around the world.

Equally important, our decision reflects our own community. Across our Instagram and Discord platforms, KETTAMA was one of the artists most frequently mentioned when we asked our audience who defined 2025 for them. His name appeared again and again in conversations, set highlights, and release discussions not simply as a trending figure, but as an artist whose music genuinely shaped people’s experiences on the dancefloor

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

27:T3247,

Breakthrough Καλλιτέχνης της χρονιάς 2025: KETTAMA

Καθ’ όλη τη διάρκεια του 2025, ελάχιστοι καλλιτέχνες ενσάρκωσαν τόσο έντονα τη δυναμική, τη δημιουργικότητα και την πολιτιστική ενέργεια της σύγχρονης ηλεκτρονικής σκηνής όσο ο Evan Campbell περισσότερο γνωστός ως KETTAMA. Ήταν η χρονιά όπου πέρασε οριστικά από το underground στο παγκόσμιο προσκήνιο, όχι κυνηγώντας τάσεις, αλλά εξελίσσοντας έναν ήχο βαθιά ριζωμένο στη raw club δύναμη και τη rave νοσταλγία.

Η διάκριση αυτή δεν αντικατοπτρίζει μόνο τα καλλιτεχνικά του επιτεύγματα, αλλά και τη θερμή υποστήριξη που έλαβε από την κοινότητα του dancetoday, όπου ο KETTAMA αναδείχθηκε σταθερά ως ένα από τα πιο συζητημένα και αγαπημένα ονόματα της χρονιάς.

Με ρίζες στην underground club σκηνή της Ιρλανδίας, ο KETTAMA έχτισε αρχικά τη φήμη του μέσα από εκρηκτικά, rave influenced DJ sets και μια αισθητική παραγωγής βασισμένη στη raw club ενέργεια, τις ευφορικές μελωδίες και τα δυνατά, high impact ρυθμικά μοτίβα. Από τότε, ο ήχος του έχει ταξιδέψει πολύ πέρα από το dancefloor, διατηρώντας όμως την ίδια ταυτότητα και αυθεντικότητα που χαρακτήριζε τα πρώτα του βήματα. Ένα ισορροπημένο μείγμα σκληρότητας, συναισθήματος και αμεσότητας που εξακολουθεί να αγγίζει ακροατές σε όλο τον κόσμο.

Από Αναδυόμενη Underground Δύναμη σε Παγκόσμια Αναγνώριση

Παρά το γεγονός ότι ο KETTAMA ανέβαινε σταθερά στην ευρωπαϊκή club σκηνή τα τελευταία χρόνια, το 2025 σηματοδότησε το σημείο όπου η φήμη του εδραιώθηκε σε παγκόσμιο επίπεδο. Η μουσική του άρχισε να ξεπερνά την αναγνώριση της σκηνής και να εμφανίζεται σε μεγαλύτερους χώρους, σε mainstages φεστιβάλ, μεγάλες club περιοδείες και σημαντικές συνεργασίες που τον τοποθέτησαν στην πρωτοπορία της νέας γενιάς rave driven καλλιτεχνών.

Ένα σημαντικό ορόσημο σε αυτή την εξέλιξη ήταν η κυκλοφορία του ντεμπούτο άλμπουμ του, ''Archangel'', ένα project που ανέδειξε την εξέλιξή του τόσο ως παραγωγού όσο και ως storyteller. Αντί να λειτουργεί απλώς ως ένα club functional record, το άλμπουμ διεύρυνε τον ηχητικό του ορίζοντα, συνδυάζοντας house, techno, trance influenced συναισθηματισμό και big room ενέργεια, διατηρώντας παράλληλα την αμεσότητα που χαρακτηρίζει τον ήχο του. Το ''Archangel'' απέδειξε ότι ο KETTAMA δεν είναι πλέον μόνο ένας καλλιτέχνης με επιρροή στα clubs, αλλά μια πλήρως ανεπτυγμένη δημιουργική φωνή στη σύγχρονη dance μουσική.

Συνεργασίες και Δημιουργική Χημεία με τον Fred again..

Ένα κεντρικό στοιχείο της πορείας του το 2025 ήταν η αυξανόμενη δημιουργική του σύνδεση με τον Fred again.., μια συνεργασία που εκτυλίχθηκε μέσα από πολλαπλές κυκλοφορίες και live στιγμές, και έπαιξε καθοριστικό ρόλο στην επέκταση της φήμης του σε ευρύτερο διεθνές κοινό.

Η συμμετοχή του KETTAMA στο USB002, μέσω του κοινού track τους “Hardstyle”, το οποίο παρουσίασε ο Fred again.. κατά την διάρκεια του tour του σε διάφορες live εμφανίσεις καθ’ όλη τη διάρκεια της χρονιάς. Το track έγινε σημείο σταθμός στα sets του Fred και αποτέλεσε μια ξεκάθαρη στιγμή όπου η ένταση που πηγάζει από το club-driven ύφος του KETTAMA συναντήθηκε με τον συναισθηματικό, widescreen ήχο του Fred.

Η δημιουργική τους χημεία είχε ήδη αναπτυχθεί νωρίτερα μέσα στο 2025 με το “Air Maxes”, μια συνεργασία που ανέδειξε περαιτέρω τη μουσική τους ταυτότητα. Το track συνδύασε τη rave rooted δύναμη και τη ρυθμική επιτακτικότητα του KETTAMA με τη μελωδική ευαισθησία του Fred again.., δημιουργώντας μία από τις πιο πολυσυζητημένες crossover κυκλοφορίες της χρονιάς.

Πέρα από τις επίσημες κυκλοφορίες τους, οι δύο καλλιτέχνες συνέχισαν να συνεργάζονται πίσω από τα παρασκήνια, με πολλές ανέκδοτες ιδέες, tracks σε εξέλιξη και live tested εκδοχές να εμφανίζονται στα sets καθ’ όλη τη διάρκεια της χρονιάς. Ήδη έχει επιβεβαιωθεί το επίσημο Rmx του Kettama στο ''Solo'' του Fred για το 2026.

Σημαντικές Κυκλοφορίες, Παγκόσμια Υποστήριξη και το “It Gets Better”

Στο πεδίο των κυκλοφοριών, το 2025 είδε τον KETTAMA να παραδίδει ένα από τα πιο επιδραστικά tracks της χρονιάς με το “It Gets Better”. Το κομμάτι εξελίχθηκε σε ένα defining anthem σε φεστιβάλ και clubs, λαμβάνοντας ισχυρή υποστήριξη από κορυφαίους της βιομηχανίας, όπως οι Swedish House Mafia και Tiësto. Τα uplifting leads και η high intensity δομή του επέτρεψαν στο track να ξεπεράσει τα όρια ανάμεσα στο underground και τα μεγάλης κλίμακας mainstages. Μια σπάνια ποιότητα που το ανέδειξε σε μία από τις σημαντικότερες dance κυκλοφορίες της χρονιάς

Η επιτυχία του “It Gets Better”, μαζί με το άλμπουμ και τις συνεργασίες του, ανέδειξε την ικανότητα που έχει ο KETTAMA να παράγει μουσική που είναι συναισθηματικά συνδεδεμένη, δομικά ισχυρή, φτιαγμένη για το dancefloor αλλά ταυτόχρονα ικανή να φτάσει σε πολύ ευρύτερο κοινό.

Live Momentum και συνεχόμενη παρουσία σε μεγάλα Φεστιβάλ

Το παγκόσμιο touring schedule του KETTAMA το 2025 ενίσχυσε περαιτέρω το breakthrough status του. Οι εμφανίσεις του σε μεγάλα φεστιβάλ όπως Creamfields, Awakenings, καθώς και τα headline club shows, αντανακλούσαν την αυξανόμενη ζήτηση από promoters και κοινό, με sets που χαρακτηρίζονταν από ένταση, σωστό pacing και ισχυρή συναισθηματική γραμμή που συνδεόταν βαθιά με το κοινό.

Μία από τις πιο αξιομνημόνευτες στιγμές της χρονιάς ήταν το Β2Β set με τον Tiësto στο Factory Town στο Μαιάμι, μια συμβολική συνάντηση ανάμεσα στο legacy και στην νέα γενιά. Ο KETTAMA για το 2026 έχει ήδη ανακοινωθεί σε 2 major φεστιβάλ,στο Coachella και στο Creamfields.

Γιατί ο KETTAMA είναι ο Breakthrough Artist of the Year

Στο dancetoday, στόχος μας δεν είναι μόνο η αναγνώριση καλλιτεχνών που ήδη κυριαρχούν στο παγκόσμιο προσκήνιο, αλλά και η ανάδειξη αυτών που διαμορφώνουν το μέλλον της dance μουσικής. Καλλιτέχνες των οποίων το ταλέντο, το καλλιτεχνικό όραμα και η δημιουργική ορμή δείχνουν προς τα πού κατευθύνεται η κουλτούρα.

Ο KETTAMA αντιπροσωπεύει ακριβώς αυτό το πνεύμα: ένας παραγωγός και performer που γεφυρώνει την underground αυθεντικότητα με ευρύ συναισθηματικό αντίκτυπο, και η καλλιτεχνική του πορεία συνεχίζει να εξελίσσεται πέρα από σταθερά όρια genre.

Παρακολουθώντας την πορεία του στενά καθ’ όλη τη διάρκεια του 2025, από milestones άλμπουμ, συνεργασίες και αξέχαστες live εμφανίσεις, γίνεται σαφές ότι μόνο τυχαία δεν είναι breakthrough καλλιτέχνης της χρονιάς, με συνεχή καλλιτεχνική ανάπτυξη, ισχυρή δημιουργική ταυτότητα και βαθιά σύνδεση με το κοινό σε όλο τον κόσμο.

Εξίσου σημαντικό, η επιλογή μας αντανακλά και την κοινότητα μας. Τόσο σε Instagram και Discord, ο KETTAMA ήταν ανάμεσα στους καλλιτέχνες που αναφέρθηκαν πιο συχνά όταν ρωτήσαμε το κοινό ποιος καθόρισε το 2025 για αυτούς. Το όνομά του επανερχόταν συνεχώς στις συζητήσεις, τα highlights sets και τις αναφορές κυκλοφοριών, όχι απλώς ως trending όνομα, αλλά ως καλλιτέχνης με μία ταυτότητα.

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.

28:T20b7,

The mysterious “Feel So Close” billboards weren't just a throwback. Calvin Harris is heading on his first North American headline tour, with 18 arena shows confirmed across the US and Canada in 2027.

Calvin Harris has officially announced his first North American headline tour, with 18 arena shows scheduled across the United States and Canada in spring 2027. The tour kicks off on April 1 at TD Garden in Boston and concludes on May 27 at the Kia Forum in Los Angeles.

Despite years of major festival appearances and club residencies across North America, this marks the Scottish superstar DJ and producer's first full headlining tour of the continent. And after weeks of speculation, the announcement finally explains the mysterious billboards that have been appearing across several cities.

Remember Those Calvin Harris Billboards? Now We Know Why.

Over the past week, billboards featuring a familiar message began appearing in cities including New York, Chicago, Houston, Seattle, San Diego, Toronto and Vancouver. Each carried a city-specific variation of the lyrics from Harris's 2011 hit “Feel So Close”, accompanied by a link to his official website.

There were no tour dates or official announcements, just a recognizable lyric and a website directing fans to sign up for updates. Naturally, speculation about a potential North American tour followed.

Now we know what it was all about.

The choice of “Feel So Close” was particularly fitting. Released fifteen years ago, the track remains one of Harris's most recognizable records and a defining anthem of the early 2010s electronic dance music era. For the generation that grew up with it, the campaign brought back some familiar memories before revealing what was coming next.

From Head Trip to a Full North American Tour

The announcement also arrives just days after Calvin Harris's performance at Head Trip Festival in Indio, California. Originally scheduled for Saturday, October 10, his appearance was moved to Sunday following severe weather that interrupted the festival's opening night.

His set included some of his biggest hits, from “Feel So Close” and “Sweet Nothing” to “We Found Love” and “How Deep Is Your Love”. He closed with Avicii's iconic “Levels”, a moment that brought the sound of the early 2010s firmly back into focus.

For many millennials, these are the tracks that soundtracked their introduction to electronic dance music. And while nostalgia is certainly part of the excitement surrounding the announcement, Harris has continued to build on that legacy. His more recent releases include “Blessings” with Clementine Douglas, “Ocean” with Jessie Reyez, “Release the Pressure” with Kasabian and “Satisfy” with Jazzy.

Following sold-out headline shows in the UK and Ireland and strong demand for his upcoming Australian tour, the 2027 North American run marks another major step in his live career.

Calvin Harris 2027 North American Tour Dates & Tickets

The 18-date tour will visit major arenas across the United States and Canada, including stops in Brooklyn, Toronto, Montreal, Chicago, Seattle and Vancouver.

Tickets will first become available through Reserved by Spotify on October 19 at 10 AM local time, with access for eligible US Spotify Premium subscribers.

The artist presale begins October 20 at 12 PM local time, while general ticket sales open October 22 at 12 PM local time.

Fans can register for artist presale access and find further ticket information through the official Calvin Harris website.

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

29:T35c4,

From Fred again.. to KI/KI’s “5 HOURS”, these are thirteen more picks from the dancetoday crew and community - and the nights we would love to live in Greece.

Some names make you check the date before you check anything else. Others become even more tempting when you see who is joining them behind the decks, or what kind of set they are playing. Following Part 1, our crew and community’s wishlist continues with thirteen selections. The order is not a ranking, and previous Greek appearances do not rule anyone out. We are thinking about the artists, partnerships and formats that would give us a reason to make plans around the music.

FRED AGAIN.. - From Athens Pop-Ups to a Bigger Dream

Fred again.. has a special place in the hearts of the dancetoday crew and community. “Delilah (pull me out of this)” is part of why: songs that feel personal, even when thousands share them. Greece has already experienced that closeness through his intimate September 2024 show at Lake Vouliagmeni, previewing his album ten days, and his Latraac pop-up parties in Athens in May 2025. So, those small settings make us want a full live show here even more.

For an artist who sold out the Los Angeles Memorial Coliseum, a Greek concert on that scale once felt like a distant wish to us. Now, imagine Fred at Kallimarmaro. The iconic setting and room for his full production could make this a date Greek fans plan their year around, with fans travelling from abroad, too. We would love to see Athens become the destination for one of those Fred nights people wish they had been part of.

SKRILLEX - Nine Grammys, and Still Making Us Curious

Skrillex has nine Grammy wins, including “Rumble” with Fred again.. and Flowdan in 2024. But we hear his genius in the records: from “Bangarang” and his “Cinema” remix to the very different sound of “Rumble”, he keeps making unfamiliar ideas feel instantly recognisable. His 2026 collaboration with Chase & Status, “Essa Tá Quente”, keeps that curiosity alive.

A late Greek festival headline set would be our choice. His name has weight across generations, with earlier fans bringing memories and newer listeners arriving through recent collaborations. We would want the full range of his selections. With Skrillex, the reputation draws you in, but the curiosity about what he will do next makes you want to stay.

CHASE & STATUS - Drum & Bass With the Pull of a Headliner

Chase & Status won the 2024 BRIT Producer of the Year award, with records that explain their reach. “Baddadan”, made with Bou, and the UK Number One “BACKBONE” with Stormzy have taken their music beyond the regular drum & bass audience. A sold-out UK arena tour and their Milton Keynes National Bowl event show the scale they can command.

For Greece, we would want a festival headline DJ set, with the sound system and space that their bass-heavy music deserves. Their name could bring dedicated bass listeners together, while those hits give newcomers a reason to join them. The attraction is drum & bass presented as the main event, by an act with the stature to carry it.

STEVE ANGELLO B2B SEBASTIAN INGROSSO - A Shared History Worth Gathering For

We are huge Swedish House Mafia fans at dancetoday, so Steve Angello and Sebastian Ingrosso have a special place in our hearts, too. Their connection goes back further than the group: childhood friends who were sharing records before Daft Punk helped send them into the studio together as teenagers. From Buy Now to their Tomorrowland B2B sets, that friendship has become a musical partnership worth seeing together.

For Greece, we would love a festival mainstage set that brings that history into the present. The attachment to the iconic “Don’t You Worry Child”, "Reload", "Greyhound" and their wider catalogues gives people a reason to gather, while their club selections offer another side of the pair. Two friends who helped shape our love of this music, sharing the decks here... that is a night we would really want to be part of.

JOHN SUMMIT - House Music on an Arena Scale

John Summit’s upcoming CTRL ESCAPE tour includes major North American arenas and a December booking at the Los Angeles Memorial Coliseum. That is a substantial step for an artist whose appeal starts with “Where You Are” with HAYLA. Alongside Experts Only, he now has both familiar records and a party identity people can follow.

We would picture a Greek festival headline set, bringing together listeners arriving through the songs and those following his club selections. A melodic vocal can invite people in, then the rest of the set gives them more to discover. We would love to catch him while that audience is growing.

MAX STYLER B2B LAYTON GIORDANI - Two Names On Their Way Up

Max Styler and Layton Giordani are building identities people can follow beyond individual releases. Max Styler’s 2026 I Don’t Think I Can Stop EP puts more music behind the attention, on his own Nu Moda label. Layton Giordani has MADMINDS and “When It Kicks” with Green Velvet, a record supported by names including John Summit and Solomun.

We would love an extended indoor B2B in Greece. Styler’s house hooks and Giordani’s heavier house-and-techno range could bring their listeners into the same room. Two names on the rise, sharing the decks—that is a night we would want to catch here.

MEDUZA B2B JAMES HYPE - Two Hitmakers, One OUR HOUSE Night

“Piece Of Your Heart” and “Ferrari” give MEDUZA and James Hype immediate recognition. OUR HOUSE gives them something to follow together: a shared party now in its fourth Ibiza year. Their recorded Amsterdam B2B also shows this partnership in the format we would want here.

An outdoor house stage in Greece feels like a strong fit. MEDUZA’s melodic appeal and Hype’s fast, hands-on mixing offer different attractions within the same set. Familiar records could bring people in, while the pairing gives the headline slot its own character. We would love a Greek OUR HOUSE-style night with this B2B at its centre.

MARCO CAROLA B2B FRANKY RIZARDO - Music On Weight Meets FLOW Momentum

Marco Carola brings a name people already associate with a whole night of partying. Music On gives that following somewhere to gather, while Franky Rizardo’s first FLOW residency at Pacha in 2026 shows his own party identity growing. Its August closing was listed as sold out, with records such as “Shinjuku” giving fans another reason to follow him.

For Greece, an extended outdoor house set would be our choice. Carola’s established pull meets an artist whose own parties are gaining ground. We would want a night built around the pair, with the groove and time to make the partnership the main attraction.

FISHER B2B CHRIS LAKE - A Party People Already Recognise

FISHER’s OUT 2 LUNCH welcomed more than 40,000 people in Australia in 2025, while Chris Lake released his debut album Chemistry that year. Together, their Under Construction project has a party identity of its own, documented in their three-hour-plus Hollywood Boulevard set. “Losing It” and “Turn Off The Lights” give each artist a recognisable connection.

For Greece, we would want a big outdoor house event centred on a long B2B. FISHER brings a larger-than-life party presence; Lake brings a catalogue club listeners have followed for years. Their shared concept gives followers of both something to gather around. We would love the full Under Construction experience here.

CASSIAN B2B KEVIN DE VRIES - A Pairing With Real Mainstage Weight

Cassian brings Grammy-winning mix work on RÜFÜS DU SOL’s “Alive”, while his pairing with Kevin de Vries already has a Tomorrowland mainstage set and a UNVRS set behind it. Their 2025 performance and shared “Payback” remix (of the Steve Angello and Dimitri Vangelis & Wyman original) give us a clear reason to want both names together.

We would picture a Greek festival headline slot after dark. That “Payback” connection could bring listeners with progressive-house memories alongside fans following their melodic techno direction today. Their shared music makes this a pairing worth seeing together.

HARDWELL - Spaceman Memories With a Harder Sound

Hardwell’s two DJ Mag Number One titles give his name real festival weight. And the attachment to his music is still visible: “Spaceman” placed eighth in the community-voted Tomorrowland Top 1000 in 2026. His harder REBELS NEVER DIE direction and “Bang On The Drums” with Bassjackers give that history a current musical context.

For Greece, we would want a festival mainstage headline set with production that suits his sound. The attraction is hearing a name associated with years of festival memories bring his harder music to that same scale. We would love a night where those older connections and his current direction make sense together.

MARLON HOFFSTADT - Daddy Trance Is Reaching Bigger Stages

Marlon Hoffstadt’s 2026 includes a Coachella Sahara debut and an Ultra B2B with Armin van Buuren. DJ Daddy Trance is reaching bigger stages, with “It’s That Time” giving fans something familiar to gather around. His August album Das Ist Daddy adds more music behind the growing attention.

We would love a late indoor rave in Greece built around his name. The fast rhythms, direct hooks and playful trance references give it a clear character, with the Armin pairing also giving older trance fans a reason to pay attention. Hoffstadt feels like an artist worth catching while the following and the opportunities are growing together.

KI/KI “5 HOURS” - A Whole Night Worth Commiting To

KI/KI’s rise now includes two upcoming Ziggo Dome “5 HOURS” shows on October 22 and 23, both listed as sold out. The show builds on the production concept she brought to a sold-out London Roundhouse. That is a following prepared to make her the reason for the whole evening.

She has already played Athens, so our wish is about experiencing this particular format here. A dedicated indoor night would be our choice. Also, “5 Mins Of Acid” gives the request a familiar musical connection. Her mix of acid, trance and techno gives the five-hour idea a clear musical identity, so, we would love to see Greek fans gather around that full experience.

Your Turn

These thirteen selections complete our crew and community’s two-part wishlist. Some carry years of memories, others have momentum we would love to catch, and several become especially appealing through a particular partnership or format.

Which would you most want to experience in Greece, and what kind of set would make you plan your night around it?

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

2a:T55f,Cassian is a Grammy Award winning Australian DJ and producer based in Los Angeles, who has become one of the most sought-after names in the Melodic House and Techno scene. With over 100 million streams worldwide and 1.2 million monthly listeners, Cassian has proven to be a true master of his craft. He has released music on several culture leading labels such as Rose Avenue Records, Afterlife Records, and Odd One Out Records, earning him top chart positions on Beatport’s Melodic House and Techno Chart and Indie Dance Chart. The impact of his music has helped him land massive performances at some of the world's most prestigious music festivals, like Coachella and Lollapalooza, as well as countless top Nightclubs around the world, like Hi Ibiza and Printworks London. Beyond his own releases, Cassian's impressive resume includes mixing critically acclaimed albums for Australian trio RÜFÜS DU SOL, which earned him multiple ARIA awards, APRA awards, and a Grammy. He has also played an integral role in projects from Anyma, Hayden James, What So Not, Crooked Colours, Broods, Set Mo, Running Touch, and many more celebrated names, with his prolific work behind the scenes, landing him multiple gold & platinum certifications. With his unique sound and undeniable talent, Cassian is quickly becoming one of the most exciting and innovative artists in the industry.2b:T4c4,Since his first release in 2015, Kevin De Vries has been on an astronomical ascent, carving out a niche for show-stopping, hybrid techno.   When a Kevin De Vries track shakes the room, time seems to pause, hang in the air and come crashing back down with unmistakable drama. His music pushes soundsystems to their limit, at once drawing on the power of techno and the euphoria of trance in a way unique to De Vries.   His releases and remixes have found homes on some of the most revered labels around: Sven Väth’s Cocoon, Adam Beyer’s Drumcode and most recently Tale Of Us’ label Afterlife. De Vries has become a firm favourite of the Afterlife faithful and a vital recording artist, with many event appearances and contributions to the label.   Kevin’s DJ sets translate the singular energy of his own music into extended journeys from cutting-edge sounds to 90s classics and back again. He has quickly become an in-demand DJ worldwide, consistently delivering stand-out performances for huge festivals and intimate clubs alike, as well as pushing his boundaries with back-to-back sets.   As this young artist continues to develop, collaborate and innovate, no creative stones will be left unturned. 2c:T5d8,MEDUZA, Grammy-nominated Italian electronic music trio, have led the charge in returning house music to daytime radio globally with unprecedented success. Since their 2019 debut 'Piece of Your Heart', they've become the biggest streaming Italian artist in music history on Spotify and Apple Music, amassing nearly 20 billion cumulative streams, multiple top 10 chart hits across Europe, Number 1 Dance hits in the US, and multi-platinum certifications worldwide. Their signature sounds captivate audiences from nightclubs to mainstages, commanding insatiable demand across major festivals and residencies at Tomorrowland, EDC, Coachella, Las Vegas, and Ibiza. In summer 2024, MEDUZA unveiled the UEFA EURO 2024 Official Song 'FIRE' alongside OneRepublic and Leony. That season, they won Best Selling Remix of The Year at the Beatport Awards. In 2025, MEDUZA solidified their status as electronic music titans, blending infectious house grooves with innovative live elements. Their pinnacle was elevating 'Our House' with James Hype to Hï Ibiza's Theatre, running Mondays June through September. Beyond Ibiza, MEDUZA dominated festivals worldwide, headlining EDC Las Vegas, Tomorrowland, and Kappa FuturFestival, while dropping the tech house anthem "No Sleep" in October via Experts Only. Their collaboration "Another World" with HAYLA clinched Dance Song of the Year at the 2025 Electronic Dance Music Awards, underscoring a banner year of over 2 billion new streams and relentless innovation.2d: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.

2e: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.

2f: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.30: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!31: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.32:T2f00,

As 2025 came to an end, if you’ve been anywhere near a dancefloor this year - whether that’s a festival field, a sweaty basement club, or simply your headphones on a late-night walk - you already know the feeling we’re talking about. There are songs that hit hard for a week, songs that trend for a month, and then there are songs that quietly become a shared reference point, the kind you recognize within two seconds and somehow never get tired of.

So, when dancetoday launched danceawards 2025 and our community started voting, a pattern became impossible to ignore. Again and again, across conversations, playlists, DJ sets, and “what’s that track?” moments, one record kept resurfacing as the year’s most reliable emotional trigger: “Blessings” by Calvin Harris feat. Clementine Douglas - our danceawards 2025 Track of the Year.

This award is driven by community voting, but, of course, it’s also the result of what we call benchmarking impact: the track’s real-world performance throughout the year, how widely it traveled, how long it stayed relevant, and how effectively it worked in the hands of DJs and listeners alike. And “Blessings” didn’t just perform well... it behaved like a modern dance standard!

The “Blessings” formula: classic dance DNA, modern emotional precision

“Blessings” arrived on 9 May 2025 via Columbia/Sony UK, marking the first collaboration between Calvin Harris and Clementine Douglas, with both sharing songwriting and production credits. That detail matters, because you can hear the shared authorship: it’s not a “producer track with a topline”, it’s a record where the vocal feels structurally fused with the groove, like it was designed from the inside out.

Regarding the sound, the track sits in the sweet spot of dance accessibility while staying club-legit: house/dance, built at 130 BPM in B minor, with synth work and piano chords that carry a bright, forward momentum, while the lyric and vocal tone keep a bittersweet edge. In other words, it doesn’t just “go off”... it moves!

Billboard captured this balance beautifully, pointing to how the song “balances lightness and urgency”, anchored by a “stabby synth” and Clementine Douglas’ bittersweet writing. And that’s exactly the point: “Blessings” isn’t a hollow peak-time tool. It’s a functional dance record with an emotional center... something the scene constantly craves, yet rarely gets at this scale.

Also, the rollout signaled confidence from day one. The track received debut airplay on BBC Radio 1 (Danny Howard’s Dance Party), and early coverage was already calling it “sound of the summer”. But what makes a “song of the summer” truly elite is what happens after summer ends. “Blessings” stayed standing.

The numbers don’t just look good. They tell a “global + club” story

If you want the simplest explanation for why this is Track of the Year, it’s this: “Blessings” succeeded in the hardest possible way: across charts, across territories, and across DJ ecosystems at the same time.

In the UK, it became a major moment, reaching #3 on the UK Singles Chart and #1 on the UK Dance Chart. It also debuted at #1 on the UK Singles Downloads and Singles Sales charts, which is a strong signal of intent-driven fans, not just passive streams.

Internationally, its peak highlights read like the footprint of a record that traveled fast and wide: #1 on the Netherlands’ Dutch Top 40, #3 on Billboard’s Hot Dance/Electronic Songs (US), plus top-tier placements like #5 in Ireland and top 10 in Belgium (Flanders).

Then come the certifications, which are basically the industry’s way of saying: this wasn’t a moment, it was a movement. “Blessings” was certified Platinum in the UK (BPI) and picked up Gold certifications in markets like Australia (ARIA), Belgium, Poland, Switzerland, plus Gold in Greece for streaming via IFPI Greece.

From a music-business point of view, this matters because it confirms something bigger than popularity: it confirms longevity and repeat value. Certifications are rarely about a single spike, they’re about sustained pull.

Remix culture as proof of DJ adoption

Now let’s talk about what DJs care about most: playability. A Track of the Year in dance music isn’t just what listeners stream... it’s what DJs can shape, re-contextualize, and weaponize in different rooms.

“Blessings” didn’t stay locked in one “official” form. Instead, it evolved into a remix ecosystem that effectively mapped the track across scenes and set times.

You had Max Styler taking it deeper and club-sharper: an official remix that gained strong traction, with Beatportal noting its rise within the club context and pointing to its momentum on Beatport. The official release hub for the Max Styler remix also confirms the label-backed rollout across platforms.

Then you had THEMBA delivering an Afro-house-leaning rework, officially released across major DSPs and channels. And KETTAMA brought a tougher, rave-flavored energy, while Morgan Seatree and MistaJam pushed the record into different dance-pop / club-radio and DJ-friendly angles... each officially distributed and clearly positioned as part of the track’s extended life cycle.

Finally, Cassian took it into a more melodic, desert-scale dimension, with Beatportal explicitly framing his version as part of the official remix run.

So, even if you weren’t tracking “Blessings” as a chart story, you felt it as a DJ story. Because when a record gets this many credible, officially released remixes spanning multiple lanes, it’s rarely random. It’s the market (DJs, labels, tastemakers) agreeing that the core idea is strong enough to keep reinterpreting.

So why did our danceaward Track of the Year go to ‘’Blessings’’?

Because it won in the only way that truly counts in electronic music: by working everywhere, for everyone, without losing its identity. A Track of the Year should sound great in May, still hit in August, and somehow feel even bigger by December, once the year has enough distance for us to see what truly lasted. “Blessings” did exactly that. It became a shared language between ravers and radio listeners, between charts and clubs, between original mix and remixes, between nostalgia and modern production.

So, from all of us at dancetoday - and powered by our community’s vote - Calvin Harris feat. Clementine Douglas – “Blessings” is the Danceawards 2025 Track of the Year. And honestly, if 2025 had a closing credits scene, this is the song we’d run it to.

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

33:T55f,Cassian is a Grammy Award winning Australian DJ and producer based in Los Angeles, who has become one of the most sought-after names in the Melodic House and Techno scene. With over 100 million streams worldwide and 1.2 million monthly listeners, Cassian has proven to be a true master of his craft. He has released music on several culture leading labels such as Rose Avenue Records, Afterlife Records, and Odd One Out Records, earning him top chart positions on Beatport’s Melodic House and Techno Chart and Indie Dance Chart. The impact of his music has helped him land massive performances at some of the world's most prestigious music festivals, like Coachella and Lollapalooza, as well as countless top Nightclubs around the world, like Hi Ibiza and Printworks London. Beyond his own releases, Cassian's impressive resume includes mixing critically acclaimed albums for Australian trio RÜFÜS DU SOL, which earned him multiple ARIA awards, APRA awards, and a Grammy. He has also played an integral role in projects from Anyma, Hayden James, What So Not, Crooked Colours, Broods, Set Mo, Running Touch, and many more celebrated names, with his prolific work behind the scenes, landing him multiple gold & platinum certifications. With his unique sound and undeniable talent, Cassian is quickly becoming one of the most exciting and innovative artists in the industry.34: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.

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

35: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 2017.36:T2c93,

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.

37: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.

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.

38: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.39: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.

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.

3a:T2f7b,

On Friday 13/2/2026, during his USB002 residency at the iconic Alexandra Palace, Fred again.. invited the absolute pillars of UK electronic music on stage, Underworld, for an iconic B2B performance. And when “Born Slippy” echoed across that historic hall, it felt like time folded in on itself.

Because exactly 30 years ago, on 23/2/1996, "Trainspotting" was released. Directed by Danny Boyle, the film did more than shock audiences... it redefined how electronic music, rave culture and club identity were perceived worldwide.

So, this article is not just nostalgia. It is education. Also, for the older generation, it is a reminder. For the younger generation, it is context. And for artists and producers, it is a lesson.

Trainspotting: More Than a Film

When "Trainspotting" hit cinemas in 1996, rave culture was still largely underground. Yes, clubs were thriving, warehouses were full and Ibiza was evolving. But mainstream cinema had rarely taken electronic music seriously as a narrative force.

And "Trainspotting" changed that.

Instead of treating club tracks as background noise, the film placed electronic music at the emotional core of its storytelling. The soundtrack was not decoration. It was identity.

Based on Irvine Welsh’s novel, the film followed a group of friends navigating addiction, alienation and the search for meaning in 90s Britain. It captured a generation suspended between nihilism and possibility.

And its sonic backbone helped define that feeling. The soundtrack included acts like Iggy Pop, New Order, and of course Underworld. But one track became immortal:

Underworld - Born Slippy .NUXX

Originally released in 1995 as a B-side, “Born Slippy” was not designed to be a global anthem. Yet cinema transformed it!

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The Final Scene That Changed Everything

If you have seen "Trainspotting", you remember the final scene: Renton walks away. The monologue begins. The tension builds. And then... “Born Slippy” explodes.

It was not just music placed over visuals. It was synchronization at its most powerful. The track became the emotional release valve of the entire narrative. The repetitive, hypnotic structure mirrored the chaos of the characters’ lives. The fragmented lyrics reflected confusion and disorientation. The relentless drive felt like escape.

That moment turned a club track into a cultural symbol. After the film’s release, “Born Slippy” climbed to #2 on the UK charts and Underworld became one of the defining electronic acts of the decade.

But its deeper impact was not commercial. It was psychological.

How "Trainspotting" Redefined Club Culture

Before "Trainspotting", rave culture was often portrayed as hedonistic, shallow or dangerous. However, after "Trainspotting", it became cinematic. The film did not romanticize addiction. It did not sanitize chaos. Yet it treated the soundtrack with seriousness and emotional weight.

And electronic music was no longer just party music.

It became:

A vehicle for storytelling
A reflection of urban alienation
A symbol of generational identity
A bridge between underground and mainstream

This shift mattered, because culture moves when narrative changes.

Trainspotting helped move electronic music from warehouses into living rooms, from subculture into collective consciousness. In many ways, it did for 90s rave what punk documentaries did for the 70s. It gave it myth.

For deeper context on 90s rave history, platforms like the British Film Institute and electronic music archives such as Resident Advisor’s long-form features offer valuable background reading.

Born Slippy: From Track to Anthem

“Born Slippy” is not a conventional pop song. Its structure is hypnotic rather than melodic. Its vocals are fragmented rather than clear. Its emotional arc builds gradually rather than exploding instantly.

That's why it works in clubs. And that's why it worked in "Trainspotting".

The track became:

A symbol of 90s rave consciousness
An expression of alienation and freedom
A sonic bridge between underground techno and mainstream culture

Even today, when a DJ drops “Born Slippy” at 6AM, something changes in the room. It is not just nostalgia. It is collective memory. And 30 years later, it remains one of the most powerful closing tracks in club history.

Why This Still Matters in 2026

Seeing Fred again.. play B2B with Underworld at Alexandra Palace was more than a cool booking. It was symbolic continuity.

Fred again.. represents a generation raised on emotional sampling, storytelling through production, and digital-native club culture, while Underworld represent the architects of a previous era.

But the bridge between them is narrative-driven electronic music. And that bridge was strengthened by "Trainspotting".

And for younger ravers, understanding this context is essential. Club culture did not just start with TikTok edits or Spotify playlists. It was built in warehouses, documented in cinema, and amplified through moments like that final "Trainspotting" scene.

Also, for older ravers, revisiting the film is not just nostalgia. It is remembering where part of this movement crystallized.

The Business Lesson for Artists and Producers

From my point of view, there is also a music business lesson here: "Trainspotting" demonstrates the power of synchronization. A well-placed track in film can transform a B-side into a global anthem.

Today’s equivalent might be a Netflix series placement, a viral clip, or a cinematic moment in digital media. But the principle remains: Music becomes timeless when it connects to narrative.

So, as artists, producers and DJs, we should not only think about streams. We should think about moments. Because moments create legacy.

Conclusion: Why You Should Watch It

"Trainspotting" is not just a 90s cult film. It is a cultural documentary. It shows how electronic music moved from subculture to mainstream without losing its emotional weight and demonstrates how cinema can elevate a track into mythology.

If you lived through that era, watch it again.

If you were born after it, you should watch it as well to understand what shaped today’s club culture.

Because when “Born Slippy” plays, you are not just hearing a track. You are hearing history. And history, when understood, makes you a better artist, a better DJ, and a more conscious participant in the culture we all claim to love.

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

3b:T998,

The countdown to Zamna Cyprus just got even more exciting with the announcement of Black Coffee, one of the most influential artists in today’s electronic music scene. The South African DJ and producer has redefined the sound of Afro-house, creating sets that draw you in from the very first minute to the very last. From his residencies in Ibiza to appearances at some of the world’s biggest festivals, each of his performances becomes more than just a DJ set, it’s a powerful musical journey. With a Grammy Award and collaborations across the global pop and urban spectrum, Black Coffee has established himself as a true international force, bringing diverse audiences together under one rhythm.

His appearance at Zamna Festival in Cyprus is expected to be one of the highlights of this year’s event. Known for its high-level production, carefully curated locations, and immersive atmosphere, Zamna provides the perfect setting for Black Coffee’s signature sound. His music often begins on a deeper, more atmospheric note before gradually building in intensity, keeping the crowd moving until the very last track. The event is set to attract thousands of fans from Cyprus, Greece, and beyond, confirming Zamna Cyprus as one of the region’s most important dance events and that Cyprus is establishing itself as a major destination for international electronic music festivals.

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I began decoding dance music before I could even name it… and that curiosity never left. I’ve been a selector since the late 2000s, drawn to long-form, storytelling sets that gently flow between house, techno, and space-infused underground sounds.","type":"text"}]},{"type":"paragraph","children":[{"text":"","type":"text"}]},{"type":"paragraph","children":[{"text":"Alongside my academic path - MEng in Mechanical & Aeronautical Engineering, MSc in Engineering Business Management, and an ongoing PhD in Computer Science - I’ve always believed in building bridges between disciplines and people. That mindset led me to co-found Nibiru Mission, a space-inspired record label and creative platform, and to launch SIR KRIS, my personal DJ/producer project.","type":"text"}]},{"type":"paragraph","children":[{"text":"","type":"text"}]},{"type":"paragraph","children":[{"text":"That’s also why I’m part of dancetoday: because I believe in real connection, beyond trends, algorithms, and hype. 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I began decoding dance music before I could even name it… and that curiosity never left. I’ve been a selector since the late 2000s, drawn to long-form, storytelling sets that gently flow between house, techno, and space-infused underground sounds.","type":"text"}]},{"type":"paragraph","children":[{"text":"","type":"text"}]},{"type":"paragraph","children":[{"text":"Alongside my academic path - MEng in Mechanical & Aeronautical Engineering, MSc in Engineering Business Management, and an ongoing PhD in Computer Science - I’ve always believed in building bridges between disciplines and people. That mindset led me to co-found Nibiru Mission, a space-inspired record label and creative platform, and to launch SIR KRIS, my personal DJ/producer project.","type":"text"}]},{"type":"paragraph","children":[{"text":"","type":"text"}]},{"type":"paragraph","children":[{"text":"That’s also why I’m part of dancetoday: because I believe in real connection, beyond trends, algorithms, and hype. 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By 2021, the label’s chapter came to an end, but the vision behind it still lives inside me.","type":"text"}]},{"type":"paragraph","children":[{"text":"","type":"text"}]},{"type":"paragraph","children":[{"text":"Today I continue to discover and share new music that inspires me, and build bridges between creators and listeners. For me, music isn’t something distant or untouchable, it’s the friend who comforts you, the spark that inspires you, and the bridge that brings you closer to others.","type":"text"}]}],"slug":"zisis-georgoulas","role":"Editor"},"news_categories":[{"id":25,"documentId":"zlpvp6b8c5ssm8dno147gl5u","name":"Events News","slug":"events-news","createdAt":"2025-10-07T21:56:17.086Z","updatedAt":"2025-10-07T21:56:17.086Z","publishedAt":"2025-10-07T21:56:17.168Z","locale":"en"},{"id":19,"documentId":"ed58wpjj8vqam27832gcndk6","name":"Music News","slug":"music-news","createdAt":"2025-10-07T21:54:47.489Z","updatedAt":"2025-10-07T21:54:47.489Z","publishedAt":"2025-10-07T21:54:47.589Z","locale":"en"}],"music_genres":[{"id":28,"documentId":"ottpbh74r4v4dpbeuavtje8g","name":"Afro House","createdAt":"2025-06-04T18:06:29.624Z","updatedAt":"2025-07-05T11:22:02.799Z","publishedAt":"2025-07-05T11:22:02.851Z","locale":"en","slug":"afro-house","externalId":null}],"artists":[{"id":981,"documentId":"pf8jjumw4bpn2vpivweiz7l3","Name":"Black Coffee","createdAt":"2026-02-19T19:18:25.899Z","updatedAt":"2026-02-19T19:18:27.352Z","publishedAt":"2026-02-19T19:18:28.433Z","locale":"en","slug":"black-coffee","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5eb980bed716b6784a79aabf00e","bio":"South African house music DJ and producer Black Coffee built his career gradually over nearly two decades, riding the growing global interest in his home country's burgeoning dance music scene and eventually becoming arguably the biggest DJ in Africa.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null,"eventViews":25,"eventFollowCount":0,"profileViews":0,"followerCount":2,"popularityScore":45}]}]}],"$L3c","$L3d"]}]