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

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

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

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

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

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

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

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

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

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

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.

1d:T25ae,

Τελειώνεις ένα κομμάτι, κάνεις A/B σύγκριση με ένα reference κομμάτι σε τρία διαφορετικά ζευγάρια ακουστικά και παίρνεις μια καταφατική επιδοκιμασία από έναν φίλο σου παραγωγό. Δέκα λεπτά αργότερα, σκρολάρεις στο Instagram, ακούς ένα ακυκλοφόρητο ID που ακούγεται εξωπραγματικά καλό και αμέσως συμπεραίνεις ότι τόσον καιρό απλά υποκρίνεσαι τον παραγωγό.

Αυτό το συναίσθημα έχει όνομα και προήλθε από ένα θεραπευτήριο στην Ατλάντα το 1978. Οι ψυχολόγοι Pauline Clance και Suzanne Imes παρατήρησαν ένα σταθερό μοτίβο ανάμεσα σε ανθρώπους με υψηλές επιτεύξεις: παρά τις σαφείς αποδείξεις της επιτυχίας τους, ήταν πεπεισμένοι ότι ήταν απατεώνες που έμελλε σύντομα να αποκαλυφθούν. Το ονόμασαν «φαινόμενο του απατεώνα» (impostor phenomenon). Δεν έγραφαν για παραγωγούς ηλεκτρονικής μουσικής, αλλά θα μπορούσαν πολύ άνετα να αναφέρονται σε αυτούς.

Αυτό δεν είναι απλώς η κόπωση από το ξενύχτι στο στούντιο, η μουσική βιομηχανία το έχει αποτυπώσει σε αριθμούς.

Το 73% των ανεξάρτητων μουσικών αναφέρει ότι αντιμετωπίζει προκλήσεις ψυχικής υγείας, σύμφωνα με έρευνα της εταιρείας διανομής Record Union, με την οικονομική αβεβαιότητα και την αμφιβολία για τον εαυτό τους να κατατάσσονται ως οι κύριοι παράγοντες.
Η Ένωση Ηλεκτρονικής Μουσικής (AFEM) συμπεριέλαβε επίσημα το σύνδρομο του απατεώνα δίπλα στην επαγγελματική εξουθένωση (burnout) και την εξάντληση στον οδηγό ψυχικής υγείας της βιομηχανίας.
Η αναφορά των Beatport και AFEM, Music Connects Us, εξέτασε περίπου 140 καταξιωμένους καλλιτέχνες, συμπεριλαμβανομένων των Kaskade, LOUISAHHH, Junior Sanchez και Tom Middleton, οι οποίοι περιέγραψαν ανοιχτά τις μάχες τους με την απομόνωση και τη σοβαρή αμφιβολία για τον εαυτό τους.

Αν καλλιτέχνες που παίζουν στις κύριες σκηνές μεγάλων φεστιβάλ εξακολουθούν να νιώθουν ότι δεν τα έχουν «καταφέρει», το πρόβλημα σαφώς δεν είναι η έλλειψη ταλέντου, είναι δομικό.

Κατά τη διάρκεια μιας συζήτησης για την ψυχική υγεία στο IMS Ibiza, ο υπεύθυνος του τομέα υγείας της AFEM, Tristan Hunt, υπογράμμισε ότι η ηλεκτρονική μουσική είναι δομημένη με τέτοιον τρόπο που ευνοεί την αμφιβολία. Κάποιοι συγκεκριμένοι παράγοντες που το προκαλούν αυτό είναι:

Έλλειψη επίσημου σημείου αναφοράς. Ένας κλασικός μουσικός έχει βαθμούς, εξετάσεις και βαθμίδες ωδείου που σηματοδοτούν την πρόοδό του. Ένας παραγωγός έχει ένα DAW, ένα ζευγάρι studio monitors και την προσωπική του κρίση, η οποία γίνεται όλο και πιο αναξιόπιστη στις 2:00 το πρωί.
Αυθαίρετοι μηχανισμοί ανατροφοδότησης (feedback loops). Η επιτυχία είναι συχνά συνδεδεμένη με την τοποθέτηση σε playlists, τους αλγόριθμους των μέσων κοινωνικής δικτύωσης ή την αντίδραση του κοινού σε ένα drop. Επειδή αυτές οι μεταβλητές είναι εκτός του ελέγχου σου, ένα εξαιρετικό κομμάτι μπορεί εύκολα να αποτύχει, ενώ ένα μέτριο να γίνει viral, διακόπτοντας τη σύνδεση μεταξύ προσπάθειας και αποτελέσματος.
Θολή πατρότητα του έργου. Μεταξύ ghost production, αδιαπίστευτων sample packs, σύνθετων κατανομών δικαιωμάτων συν-δημιουργίας και της μεγάλης εξάρτησης από έτοιμα templates, η ιδιοκτησία στη σύγχρονη παραγωγή είναι συχνά διφορούμενη. Όταν είναι δύσκολο να προσδιορίσεις πού αρχίζει και πού τελειώνει η δική σου συνεισφορά, είναι ακόμη πιο δύσκολο να εσωτερικεύσεις την επιτυχία.

Όταν η Pauline Clance κατέγραψε για πρώτη φορά το φαινόμενο, η λύση της δεν ήταν η θετική σκέψη ή γενικές συμβουλές αυτοβοήθειας. Ο βασικός μηχανισμός για να σπάσει αυτός ο κύκλος είναι η διαφάνεια μεταξύ συναδέλφων, δηλαδή να μιλάς ανοιχτά με άλλους που βιώνουν ακριβώς το ίδιο πράγμα.

Γι' αυτό έχουν σημασία πρωτοβουλίες όπως ο οδηγός της AFEM. Το να ακούς καταξιωμένους καλλιτέχνες να εκφράζουν ρητά αυτά τα συναισθήματα αφαιρεί το μυστήριο από το πρόβλημα.

Το να νιώθεις απατεώνας πριν από μια κυκλοφορία δεν είναι προσωπικό ελάττωμα ούτε σημάδι ότι σου λείπει το ταλέντο. Είναι ένα καλά τεκμηριωμένο ψυχολογικό μοτίβο που συγκρούεται με μια βιομηχανία χτισμένη πάνω σε απρόβλεπτες μετρήσεις και ασαφή πίστωση δημιουργίας. Το να αναγνωρίζεις αυτό το μοτίβο δεν θα θεραπεύσει αμέσως το άγχος, αλλά θα σε εμποδίσει από το να πιστεύεις όσα σου λέει το μυαλό σου στις 3:00 το πρωί.

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

1e:T42d7,

“The worst and biggest clown wannabe DJ 🤮”

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

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

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

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

So What Does Underground Actually Mean?

The easy version goes something like this:

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

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

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

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

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

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

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

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

argy sven vath.png

Can Success Make You Mainstream?

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

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

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

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

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

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

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

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

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

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

When the DJ Became the Show

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

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

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

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

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

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

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

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

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

But Underground Can Become a Brand Too

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

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

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

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

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

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

DVS1: What If We Are Asking the Wrong Question?

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

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

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

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

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

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

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

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

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

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

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

So… Who Wins?

Underground or Mainstream? Sven Väth or Argy?

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

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

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

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

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

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

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

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

1f: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.

20:T269a,

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

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

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

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

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

Axwell

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

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

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

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

MRAK

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

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

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

Armand Van Helden

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

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

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

Stephan Bodzin

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

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

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

Adam Ten, Bedouin & Omiki

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

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

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

Final Thoughts

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

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

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

Next phase lineup is coming within 10 days!

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

21: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.

22:T3c11,

For years, electronic music culture has often been misunderstood.

To some people, clubbing is still seen as "escapism". Raving is often reduced to hedonism, while the dancefloor is sometimes treated as something outside “real life”: a place where people disappear for a few hours, lose themselves in sound, and return to normality the next day.

But what if the dancefloor is not simply a place of escape? What if it is also a place of regulation?

A new AlphaTheta-backed study, designed by Emma Marshall, founder of Music And Movement Is Medicine (MIM), and conducted at Drumsheds in London, points toward something many dancers, DJs and ravers have felt for years: electronic music does not only move people emotionally. It can also move the body in measurable physiological ways.

The study, led by Professor Paul Dolan from the Behavioural Science faculty at the London School of Economics, tracked more than 600,000 heartbeats across two guided electronic music and movement sessions. Around 60 participants took part in each hour-long session, moving through a carefully structured sequence: quiet listening, breathing exercises, seated micro-movements, standing movement, marching and eventually free dance.

Researchers monitored heart rate and heart rate variability, also known as HRV, to observe how the body responded in real time.

The findings are important because they move the conversation around electronic music away from vague emotional language and into measurable biological response. According to reports on the study, participants showed physiological changes associated with stress regulation within minutes.

In simple terms, the body appeared to calm, activate and recover in a structured way.

And that matters.

Because stress regulation is not only about “relaxing”. A healthy nervous system does not stay calm all the time. It moves between states. It can slow down. It can activate. It can handle intensity. And crucially, it can recover.

And this is where the AlphaTheta-backed study becomes especially relevant for electronic music culture. The increase in heart rate during the dance phase was not interpreted as a stress reaction. It was linked to movement intensity, similar to exercise. The body was not simply being pushed into chaos. It was being guided through a cycle: grounding, activation, peak and recovery.

For anyone who has spent real time on a dancefloor, this feels familiar.

The beginning of the night often feels like arrival. The body adjusts. The room becomes less external. The sound becomes more physical. Then comes the build. The rhythm becomes a guide. The bass becomes a reference point. Movement becomes less conscious.

At some point, people stop thinking about dancing and simply enter it.

Science may now be giving language to what club culture has always known instinctively.

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The DJ as more than a selector

One of the most interesting parts of the study is the role of the DJ.

The research suggests that different musical elements influenced the body at different moments. During calmer phases, tempo appeared to be the strongest predictor of heart rate. As the session built, loudness became more influential. During peak dance, however, no single audio feature could fully predict heart rate, because the body had already generated its own momentum.

And this is a powerful idea! Beacuse a DJ is not only controlling energy in an abstract sense. A DJ may be shaping the physiological environment of the room.

Every transition, every build-up, every breakdown, every moment of restraint or release can affect how bodies respond. The DJ is not simply playing tracks. In the right context, the DJ becomes a kind of nervous-system architect.

This does not mean every DJ set is automatically therapeutic. It does not mean every club night is healthy by default. Context matters. Intention matters. Environment matters. Safety, sound quality, crowd culture, substance use, rest, hydration and emotional state all matter too.

But the study opens a more serious conversation: electronic music is not only entertainment. It is rhythm, movement, collective synchronization and embodied experience.

And all these things have biological consequences.

Why rhythm matters to the body

Human beings have moved to rhythm for thousands of years.

Long before nightclubs, festivals, DJ booths and sound systems, people gathered around drums, chants, rituals and collective movement. Music was not only decoration. It was functional. It helped communities connect, mourn, celebrate, regulate fear, mark transitions and enter shared emotional states.

Electronic music can be seen as a modern continuation of that ancient human pattern.

The kick drum may be digital. The sound system may be engineered. The room may be industrial. But the core mechanism is deeply human: rhythm enters the body, the body responds, and movement becomes a bridge between internal state and external sound.

This is why electronic music can feel so physical. You do not only hear the low frequencies. You feel them. Bass gives the body a pulse outside itself. Repetition gives the mind something to hold onto. Gradual changes in tempo, intensity and texture create a sense of journey.

For people living under constant mental pressure, that matters.

Modern stress is often cognitive. We overthink. We scroll. We process endless information. We live in our heads. Dance brings the body back into the conversation.

It gives stress somewhere to go.

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Dance, mental health and its role as antidepressant

Actually, this is not something new, because there is already growing scientific evidence that dance can support mental health, especially when it is structured, repeated and socially engaging.

A 2024 systematic review and meta-analysis published in Sports Medicine found that structured dance programs can improve psychological and cognitive health outcomes. The review suggested that dance can be equal to, and sometimes more effective than, other forms of physical activity for areas such as emotional wellbeing, depression, motivation and social cognition.

The stronger viral claim — that dance is the “number one antidepressant” — comes mainly from a 2024 BMJ network meta-analysis on exercise for depression. That review analysed 218 trials involving more than 14,000 participants and found that exercise is an effective treatment for depression. Dance showed a particularly large effect compared with other interventions.

So, dance appears to be one of the most promising movement-based interventions for mood, depression symptoms and psychological wellbeing. But, of course, it should not be presented as a simple replacement for therapy, medication or professional mental health support.

Its power may come from the fact that it combines several mechanisms at once.

It is physical exercise. It is emotional expression. It is rhythm. It is music. It is social connection. It is play. It is identity. It is release.

This combination may explain why dance can feel different from simply going for a run or lifting weights. Those activities are also valuable for mental health, but dance adds something expressive and communal. You are not only training the body. You are translating feeling into movement.

The dancefloor as a social nervous system

One of the most important findings from the AlphaTheta-backed study was not only physiological. Participants also reported lower anxiety, higher joy and stronger feelings of connection after the sessions.

This is where electronic music culture becomes more than music.

Because a real dancefloor is a social system. People arrive separately, but for a few hours they move together. They follow the same pulse. They respond to the same drops. They share moments without needing language.

That kind of collective experience is rare in modern life.

Many people today are socially connected online but physically disconnected in real life. We communicate constantly, yet often feel isolated. The dancefloor reverses that pattern. It creates physical presence, shared attention and non-verbal connection.

Of course, that does not make every club a utopia. Nightlife has real problems, and they should not be romanticized. But it also has real value.

When done well, nightlife can offer belonging, expression, emotional processing and collective release. These are not minor things. They are part of human wellbeing.

Why this matters for the future of nightlife

This study arrives at a critical moment.

Across many cities, nightlife spaces are under pressure. Clubs are closing. Venues face rising costs, licensing challenges, noise complaints and cultural misunderstanding. Dance music is commercially bigger than ever, but the physical spaces that built its culture are often fragile.

This research gives the scene a new kind of language. It helps explain why clubs, festivals and music spaces should not be seen only as entertainment businesses. They can also function as cultural infrastructure. They are places where people gather, move, regulate, connect and recover.

That does not mean governments, councils or institutions should suddenly treat every rave as a medical intervention. But it does mean nightlife deserves a more serious place in conversations around public health, youth culture, urban life and community wellbeing.

For decades, the electronic music scene has defended itself mainly through culture: the music, the artists, the memories, the freedom, the feeling.

Now it may also be able to defend itself through evidence.

Electronic music was never “just escapism”

Perhaps the biggest takeaway is philosophical.

Escapism is often treated as something negative. But sometimes people do not go to the dancefloor to escape life. They go there to return to themselves. They go because the body knows something the mind has forgotten. They go because rhythm can quiet internal noise. They go because movement can process what words cannot. They go because being surrounded by people moving to the same pulse can make the world feel less fragmented for a while.

So, the AlphaTheta-backed study support something important:

That maybe the future of electronic music culture is not only about bigger stages, louder sound systems and more spectacular shows. Maybe it is also about understanding what the scene has always done at its best.

Helping people move. Helping people connect. Helping people feel alive again.

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.

23:T2739,

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

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

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

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

Welcome to the TikTokification of music.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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