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Tomorrowland has announced its long awaited arrival in Asia, confirming Thailand as the host country for its first full scale festival on the continent. Tomorrowland Thailand will take place from December 11 to 13, 2026, marking a major expansion for the Belgian festival brand and a defining moment for Asia’s electronic music scene.

Thailand chosen as the first Asian home of Tomorrowland

After evaluating multiple international locations, Tomorrowland partnered with the Thai Government and the Tourism Authority of Thailand to bring the festival to Thailand. The selection reflects the country’s strong global standing in tourism, cultural identity, and its ability to host large international events.

The Thailand edition is expected to attract visitors from across the globe and deliver substantial economic benefits to the local economy, particularly within hospitality, travel, and the creative industries.

Representatives from the Tourism Authority of Thailand described the project as a key step in strengthening the country’s position as a global destination for world class creative and tourism experiences.

Pattaya’s Wisdom Valley announced as venue

The festival will be held at Wisdom Valley in Pattaya, located in Chonburi Province, across a site covering approximately 237 acres. The location will host several immersive stage environments designed to reflect Tomorrowland’s signature production style.

For the first time in Asia, the festival will feature Tomorrowland’s internationally recognised CORE and Freedom stages, alongside newly developed stage designs created exclusively for the Thailand edition.

Organisers anticipate attendance to exceed 50,000 people per day over the three day event.

Ticket sales and accommodation details revealed

Tomorrowland Thailand will operate without DreamVille camping, instead offering official hotel packages that include shuttle transportation to and from the festival site.

Key sales dates have been confirmed as follows:

Hotel packages will go on sale on February 28, 2026, at 16:00 GMT+7 and 10:00 CET.

Worldwide ticket sales will begin on March 7, 2026, at 16:00 GMT+7 and 10:00 CET.

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

1f:T19d1,

Το Tomorrowland ανακοίνωσε επίσημα την είσοδό του στην ασιατική αγορά, επιβεβαιώνοντας την Ταϊλάνδη ως τη χώρα που θα φιλοξενήσει το πρώτο πλήρους κλίμακας Tomorrowland στην Ασία. Το Tomorrowland Thailand θα πραγματοποιηθεί από 11 έως 13 Δεκεμβρίου 2026, σηματοδοτώντας μια σημαντική επέκταση για το φεστιβάλ αλλά και μια ιστορική στιγμή για την ηλεκτρονική μουσική σκηνή της περιοχής.

Η Ταϊλάνδη ως ο πρώτος ασιατικός προορισμός του Tomorrowland

Ύστερα από εκτενή αξιολόγηση διεθνών τοποθεσιών, το Tomorrowland επέλεξε την Ταϊλάνδη σε συνεργασία με την Ταϊλανδική Κυβέρνηση και τον Οργανισμό Τουρισμού της Ταϊλάνδης. Η επιλογή αυτή αντικατοπτρίζει τη δυναμική της χώρας στον παγκόσμιο τουρισμό, τον πολιτισμό και τη διοργάνωση μεγάλων διεθνών εκδηλώσεων.

Οι διοργανωτές εκτιμούν ότι το φεστιβάλ θα προσελκύσει επισκέπτες από όλο τον κόσμο και θα ενισχύσει σημαντικά την τοπική οικονομία, με οφέλη στους τομείς της φιλοξενίας, των μεταφορών και των δημιουργικών βιομηχανιών.

Σύμφωνα με εκπροσώπους του Οργανισμού Τουρισμού της Ταϊλάνδης, η φιλοξενία του Tomorrowland αποτελεί καθοριστικό βήμα για την εδραίωση της χώρας ως παγκόσμιου προορισμού δημιουργικών και πολιτιστικών εμπειριών.

Το Wisdom Valley στην Pattaya θα φιλοξενήσει το φεστιβάλ

Το Tomorrowland Thailand θα πραγματοποιηθεί στο Wisdom Valley, στην περιοχή Pattaya της επαρχίας Chonburi, σε έναν χώρο έκτασης περίπου 237 στρεμμάτων. Ο χώρος θα φιλοξενήσει πολλαπλές θεματικές σκηνές με την υπογραφή της υψηλής παραγωγής του Tomorrowland.

Για πρώτη φορά στην Ασία, το κοινό θα έχει την ευκαιρία να ζήσει από κοντά τις εμβληματικές CORE και Freedom σκηνές, καθώς και νέες σκηνικές εγκαταστάσεις που θα σχεδιαστούν αποκλειστικά για την ταϊλανδέζικη έκδοση του φεστιβάλ.

Η προσέλευση αναμένεται να ξεπεράσει τους 50.000 επισκέπτες ημερησίως και τις τρεις ημέρες διεξαγωγής.

Πληροφορίες για εισιτήρια και διαμονή

Το Tomorrowland Thailand δεν θα περιλαμβάνει camping τύπου DreamVille. Αντ’ αυτού, θα προσφέρονται επίσημα πακέτα ξενοδοχείων με οργανωμένη μεταφορά προς και από τον χώρο του φεστιβάλ.

Οι ημερομηνίες πώλησης έχουν ως εξής:

Τα πακέτα ξενοδοχείων θα διατεθούν στις 28 Φεβρουαρίου 2026, στις 16:00 (GMT+7) και 10:00 (CET).

Η παγκόσμια διάθεση εισιτηρίων θα ξεκινήσει στις 7 Μαρτίου 2026, στις 16:00 (GMT+7) και 10:00 (CET).

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

20:T15c8,

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

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

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

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

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

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

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

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

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

21:T37c2,

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

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

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

MAU P - The Breakthrough Has Become a Headline

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

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

CHRIS STASSY - When the Crowd Becomes the Vocal

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

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

CARL COX - The Name That Connects Generations

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

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

RÜFÜS DU SOL - The Scale of a Shared Feeling

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

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

KETTAMA - A Rave Favourite Growing Bigger

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

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

MICHAEL BIBI - A Following You Could Build a Night Around

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

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

TIËSTO - Back to the Trance Roots

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

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

PROSPA - The Momentum Has an Album Behind It

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

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

DOM DOLLA - House Music With a Bigger Reach

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

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

HALŌ - The Three Musketeers of Progressive

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

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

JOSEPH CAPRIATI B2B SOSA - A Pairing With Its Own Pull

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

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

Your Turn

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

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

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

22:T5d6,CHRIS STASSY is a producer and label boss who has spent the past decade building a world around his own approach to house music. What began in the underground has grown into a global project spanning music, events, a label and a community, still rooted in the clubs and culture that shaped him. In August 2026, Chris entered a new phase under the name CHRIS STASSY. One letter separates it from the name before, but little else changes - same mind, same music, same vibe. A continuation rather than a reset. That world took shape through Up The Stuss, the label he founded in 2020 and now one of house music's most recognisable independent imprints, home to his own productions and a wider roster of forward-thinking artists. The same instincts define Chris behind the decks, from underground institutions and 10-hour extended sets to Awakenings, Timewarp, Coachella, Pukkelpop and Alexandra Palace, with Ibiza central through Circoloco, Paradise and Solid Grooves. His productions and remixes - including his #1 flip of Moby's 'Go' - reflect an artist refining his own musical language rather than following a formula. In 2025 he launched USS, his own event series, alongside N.A.M.E., his free party concept. In 2026 came his debut album 'Lost, Found & Forgotten...', with headline shows beyond the club at the Eiffel Tower and Alexandra Palace, and his first AV show 'Linger' at Lowlands and Creamfields. Now, as CHRIS STASSY, the project moves forward with the same foundations intact.23:T52a,A name that resonates thoughts of quality and fresh flavours, Michael Bibi’s take on today's current electronic music environment has seen him flourish into a highly accomplished producer and DJ. The UK based new kid has stamped his mark with a string of musical successes, carving out and establishing a distinct signature sound that has translated into support from some of the industry’s biggest names, whilst his longstanding and instinctive love for the party provides a continued source of motivation and dedication. Bibi’s raw passion for music has been with him since childhood. His father, a touring artist within the Blues and Jazz scene, provided his first insight into the world of music, with Michael accompanying him on tour and exposing his eyes and ears to the scenes never-ending influences - and today it is these influences that he draws upon to combine with his slick, up-front and personal take upon house music. As of recent, Michael has been making a name for himself with his unique production style and off-the-wall vocals, releasing material on the likes of Snatch!, VIVa, Lost Records, and of course his own labels Solid Grooves and SG Raw. With a stock of unreleased productions and global dates on the horizon, look out for Michael Bibi coming to share a party a moment with you soon!24:T41f,Tiësto has consistently redefined, reshaped, and reignited electronic music, impacting popular culture in the process. Renowned for multiplatinum international anthems, history-making performances, and boundless creativity, it would be impossible to imagine the genre without his influence. The GRAMMY® Award-winning international icon effectively pioneered the “Las Vegas DJ residency” as we know it, emerged as “the first DJ to perform at the Olympics,” and delivered smashes across the last three decades. His career sales have surpassed 40 million albums, he has earned eight Billboard Hot 100 hits, amassed over 30 billion streams, and collected more than a dozen RIAA certifications for multiplatinum, platinum, and gold singles. This creative season has seen him triumphantly revisit the melodic deep house sound he helped innovate, bringing his career full circle. Enshrined as one of the most influential and inventive DJ/producers of all time, Tiësto continues to break boundaries and elevate electronic music to unparalleled heights.25:T50c6,

Two days left until one of the biggest electronic music weekends of the year takes over Athens.

Two days, two stages and enough musical territory between them to make choosing where to be one of the hardest parts of Zamna x Primer Music Festival 2026.

On September 4 and 5, PRIMER returns to OAKA for a special edition created together with ZAMNA, bringing the Mexican festival brand’s darker, immersive electronic identity into PRIMER’s large-scale Athens format. The Helios Stage operates as the outdoor festival arena, while the Lunar Stage takes the experience indoors and deep into the night, running until 06:00.

The lineup stretches from foundational house and festival EDM to melodic techno, indie dance and psytrance. So rather than attempting to see everything, these are the sets dancetoday believes deserve priority... not simply because of the names on the poster, but because of what each artist represents, what they currently sound like, and how difficult it may be to recreate the same experience another time.

FRIDAY

AFROJACK - Helios Stage

There is a difference between hearing the records that defined an era and hearing them played by one of the people who actually helped create that era. Afrojack belongs firmly in the second category. Nick van de Wall was one of the producers at the centre of electronic music’s explosion into global festival culture during the early 2010s, with a catalogue that helped establish the enormous, highly engineered mainstage sound that dominated that period. PRIMER itself describes him as one of the defining architects of festival-era EDM.

That history alone would make the set significant. But nostalgia is not really the reason to see Afrojack. His sets remain designed around scale: aggressive transitions, sudden changes in energy, enormous low-end and the ability to move between EDM, electro, house and more contemporary festival sounds without losing control of a huge crowd.

At a festival like PRIMER, that skill matters. If Friday’s Helios Stage is where you want the full-scale festival experience, Afrojack is one of its clearest expressions.

ARMAND VAN HELDEN - Helios Stage

If Afrojack represents one important chapter in electronic music history, Armand Van Helden represents something even deeper. Long before “EDM” became an industry category, Van Helden was helping reshape house music. From his 1990s productions and remixes to records such “You Don’t Know Me”, "I Want Your Soul" and his later work as half of Duck Sauce alongside A-Trak, his influence stretches through several generations of dance music. His career has also included two Grammy nominations and performances across institutions ranging from Glastonbury and Coachella to Fabric, DC10, Berghain, Ushuaïa and countless others.

And this is exactly why his PRIMER appearance deserves attention. Artists from this generation are not interchangeable with the current touring circuit. You are seeing someone whose records became part of the vocabulary DJs still use today.

Expect house music with personality rather than excessive ceremony: groove, vocals, classics, left turns and decades of dancefloor knowledge condensed into one set. For anyone interested in where contemporary house culture actually came from, this is not merely another name on the lineup.

MRAK - Lunar Stage

MRAK is Carmine Conte’s individual world outside Tale Of Us. And that distinction matters. As one half of Tale Of Us and a co-founder of Afterlife, Conte has helped shape one of electronic music’s most influential aesthetics of the past decade. MRAK allows him to move away from the duo format and expose a more personal musical identity built around emotion, synthesis, atmosphere and cinematic tension.

Afterlife itself describes MRAK as an extension of Conte’s artistic identity characterised by warmth, emotion and depth. The project has developed through releases such as One, Manifesto and the recent Smoke EP. The most important is that he announced his debut album is coming & will include 33 songs. Primer will got a taste of it!

That makes his Lunar appearance particularly interesting. You know the universe he helped build. This is the opportunity to hear what happens when one of its architects operates alone.

MISS MONIQUE - Lunar Stage

Miss Monique has become one of the most recognisable names in melodic house and techno, but her rise is particularly interesting because it was built as much through DJing as through records. Her long-form streamed sets helped establish an enormous international following before that visibility translated into increasingly major festival bookings and becoming the founder of Siona Records and one of melodic house and techno’s major contemporary forces.

Her strength behind the decks is accessibility without completely abandoning progression. Melody is prominent, but so are momentum and tension. That makes her particularly effective with large crowds: melodic enough to create emotional peaks, driving enough to keep the room moving.

On a Lunar lineup full of darker electronic music, she represents one of Friday’s most immediate crowd connections.

STEPHAN BODZIN Live - Lunar Stage

The important word here is not only “Stephan Bodzin". It is “Live”.

Bodzin occupies a very particular place in melodic techno. His music is instantly recognisable through its synth architecture: expressive lead lines, repetition, harmonic tension and the kind of analogue timbres that can turn surprisingly minimal musical material into something emotionally huge. He has spent decades developing that language, and even describes the sound design surrounding Boavista through the analogue instruments and Moog Sub37 patches that formed the album.

But a Bodzin live show is fundamentally different from simply hearing a DJ play Bodzin records. The performance places his own compositions and machines at the centre of the experience, turning tracks into material that can be manipulated rather than simply reproduced.

Among Friday’s choices, this may therefore be one of the easiest to justify: You can see many DJs. You get considerably fewer opportunities to experience Stephan Bodzin performing his music live.

HI PROFILE - Lunar Stage

There is also a homegrown reason not to overlook Friday’s Lunar Stage.

Athens-born Anastasios Antoniou, better known as Hi Profile, has built one of the most internationally established careers to emerge from Greece’s progressive trance and psytrance scene. His journey has taken him to major electronic music stages including Tomorrowland, Ultra, Airbeat One and Green Valley, while this summer he returned to Tomorrowland 2026 as part of the festival’s Planaxis lineup. In 2019, he was also recognised by UNESCO Greece for his contribution to promoting Greek heritage through electronic music.

Musically, Hi Profile brings something noticeably different to Friday’s Lunar lineup. His sound moves between progressive trance, psytrance and broader electronic influences, combining melodic elements with the faster propulsion and euphoric release associated with trance. Over the years, his music has also received support from artists including Armin van Buuren, Paul Oakenfold, Astrix, Vini Vici and Charlotte de Witte.

And for dancetoday, there is another reason this set belongs on the list. Supporting Greek artists does not mean lowering the bar; in this case, the international career already speaks for itself. Seeing one of Greece’s most established trance exports representing the local scene on a lineup of this scale makes Hi Profile a set worth prioritising.

SATURDAY

AXWELL - Helios Stage

If we had to choose one set across the entire weekend, this would be it! Axwell is dancetoday’s most anticipated performance of PRIMER 2026 edition.

Not simply because he is one third of Swedish House Mafia, or because of the enormous catalogue attached to his career, but because solo Axwell has always been something slightly different.

Axwell is fundamentally a DJ’s DJ.

Underneath the records, awards and Swedish House Mafia mythology sits an exceptional understanding of house music: phrasing, tension, release, vocals, groove and (perhaps most importantly) timing. His Axtone years also became inseparable from an era in which progressive house could simultaneously be emotional, technically sophisticated and enormous.

What makes this appearance even more valuable is scarcity. Swedish House Mafia performances naturally dominate much of the collective’s touring presence, while individual Axwell dates remain comparatively selective. Even the official Swedish House Mafia schedule currently shows only a small number of announced solo Axwell appearances around this period, including Athens, Karachi and Tokyo.

That changes the equation. This is not simply an opportunity to hear Swedish House Mafia records in Athens. It is an opportunity to hear Axwell construct a set as Axwell!

For longtime house listeners, producers and DJs - and for anyone who lived through progressive house’s defining years - this is the set around which we would build Saturday. Do NOT miss it!

INNELLEA B2B MORTEN - Helios Stage

This could be the weekend’s wildcard. On paper, Innellea and MORTEN come from two different ecosystems. MORTEN became synonymous with the Future Rave movement developed alongside David Guetta: enormous festival dynamics, dark synths, rave structures and mainstage pressure. Innellea traditionally arrived from the deeper melodic-techno spectrum, but his recent direction has widened considerably. Following The Belonging and 2025’s Finding Home, his 2026 releases including “Slave to the Hype” and “Bounce Music” point toward a less predictable, increasingly genre-fluid phase.

Put the two together and there is no obvious script. And that is exactly why their B2B is fascinating. The pairing is officially listed for September 5, making it one of the edition’s genuinely unusual collaborations.

Will Innellea pull MORTEN somewhere stranger and deeper? Will MORTEN drag Innellea into full festival-mode aggression? Or will they find a completely different middle ground. We do not know. And that is the point. This has all the ingredients to become one of PRIMER 2026’s most talked-about sets.

MIND AGAINST - Lunar Stage

Few acts understand the relationship between melancholy and club music quite like Mind Against. Alessandro and Federico Fognini have spent years developing a sound where techno propulsion meets deeply emotional synthesis and influences extending into IDM and cinematic electronic music. Alongside their long relationship with Afterlife, they have gradually expanded their own artistic ecosystem through HABITAT Records.

Their sets tend to reward patience. Rather than constantly searching for immediate drops, Mind Against are capable of letting atmosphere accumulate: dark passages, restrained melodies and long transitions eventually becoming much larger emotional releases.

At 02:00 or 03:00 inside Lunar, that approach makes substantially more sense than it does on a sunny afternoon. This is exactly the environment in which Mind Against should be heard.

ADAM TEN - Lunar Stage

Adam Ten represents another side of the current electronic landscape. Less cinematic than Mind Against and considerably more playful, his sets move through indie dance, house, melodic elements, unexpected vocals and elastic grooves. Through Maccabi House and releases across labels including Diynamic, Crosstown Rebels and Hot Creations, he has become closely associated with a new generation of dance music that refuses to sit comfortably inside one genre.

That unpredictability is precisely the attraction. Adam Ten sets can feel less like watching an artist reproduce a predefined aesthetic and more like following a DJ continuously test where the dancefloor is willing to go. For dancers rather than spectators, this is one to circle.

OMIKI - Lunar Stage

Omiki may be one of the most strategically interesting bookings on the entire lineup.

Originally rooted in psytrance, he has increasingly collided that world with the melodic-techno ecosystem. The evidence is already in the music: recent collaborations with Argy include “WIND,” “RITMO” and 2026’s “MANTRA,” while his catalogue continues to move between melodic house & techno and psytrance rather than choosing one side.

That crossover gives his sets a particular weapon. Psytrance can inject a level of speed, propulsion and rhythmic intensity that becomes dramatically different after hours of melodic techno.

And sometime deep into Saturday night (or technically Sunday morning) that may be exactly what Lunar needs.

If You Can Only Choose a Few…

Zamna x Primer 2026 has enough depth that there is no objectively correct route through the weekend. But there are performances whose context makes them harder to replace.

Armand Van Helden for the history.

Stephan Bodzin for the live format.

MRAK for the chance to enter Carmine Conte’s solo universe.

Innellea B2B MORTEN because nobody really knows what that collision will produce.

Omiki for the crossover between psytrance intensity and the melodic-techno world - and for the kind of high-energy late-night set that could completely change the character of Lunar.

And, of course, Axwell because opportunities to experience one of house music’s defining artists operating alone are simply not something we would take for granted.

If there is one piece of advice from dancetoday heading into Zamna x Primer Music Festival 2026, it is this: Don’t only chase the biggest drop. Choose the sets you may not be able to experience the same way again.

And one more thing: don’t overlook the Greek support acts. Kalamo on Friday’s Lunar Stage, and Da Mike and FILIPPOS on Saturday, deserve a proper crowd too. If you can, get there a little earlier, give them your energy and support the local scene instead of showing up only when the biggest names take over.

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

26:T4c0,Unquestionably one of South Africa’s brightest talents, Shimza (Ashley Raphala) has risen from Tembisa to become a leading force in global Afro House. A DJ, producer and promoter, he is the visionary behind the iconic One Man Show, launched in 2009 to raise funds for underprivileged children while driving community upliftment. On the world stage, Shimza has performed at some of the most prestigious platforms and festivals including Cercle, Tomorrowland, Burning Man and Ultra Music Festival. His Ibiza footprint is solidified through his residency at Chinois and past performances at Privilege, while his voice has been featured on industry panels at IMS Ibiza and Amsterdam Dance Event (ADE). In 2020, Shimza founded Kunye, a platform dedicated to showcasing African electronic music and connecting it to global audiences. His artistry has earned him nominations for both the South African Music Awards (SAMA) and the Ibiza DJ Awards. His latest single, “Fire Fire,” has taken his sound to new heights, gaining strong international support across clubs and festivals. From Tembisa to Ibiza and the world’s biggest stages, Shimza continues to push boundaries as an artist, curator and cultural leader.27:T1e57,

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

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

Nobody guessed Armin.

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

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

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

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

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

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

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

Of course, not everyone liked the message.

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

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

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

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

Because dance music has been having this conversation for decades.

Peace, Love, Unity, Respect.

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

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

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

People went to these clubs because they could be themselves.

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

That is why Armin’s appearance feels interesting.

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

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

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

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

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

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

Armin clearly knew there would be criticism.

He did it anyway.

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

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

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

Everyone should be able to be themselves.

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

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

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

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

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

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28: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 2017.29: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.

2a:T255b,

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Five artists. Fourteen months. The same message.

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

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

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

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

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

He died at 28.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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2d: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.

2e: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.

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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Renowned for his signature groovy, minimal tech-house sound and hypnotic beats, he first captured widespread international attention with his 2019 breakthrough club anthem \"DFCW\" released on Sola Records. His high-energy DJ sets and distinctive productions have earned backing from global electronic music tastemakers like Michael Bibi and The Martinez Brothers, landing his tracks on premier labels such as Hot Creations, Solid Grooves, and Ministry of Sound. 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In their teenage years, they gained an interest in electronic music production: Blumler started out by crafting dubstep inspired beats, whilst Smith was intent on making jazz-infused hip hop.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":601,"documentId":"jyqyo3c04cd0w7zyjch8aoas","Name":"Kettama","createdAt":"2025-11-26T17:12:57.227Z","updatedAt":"2025-11-26T17:14:40.497Z","publishedAt":"2025-11-26T17:14:40.922Z","locale":"en","slug":"kettama","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5eb3a3bd9f5a64b22b563bef87b","bio":"Galway-born producer KETTAMA burst onto the house and electro scene in recent years, with the release of his 2018 EP Bucklyn Bridge, which featured the track B O D Y giving him a significant break. \n\nOther tracks by KETTAMA include Kilt, Eastside Avenue, Temperature Rising and The Way You Feel. He released an EP titled G-TOWN 001 on his own label, G-TOWN RECORDS which he launched alongside his collaborator Shampain. Other EPs include Close Your Eyes and his latest 2023 release, G-TOWN 004.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":1182,"documentId":"mja6zl73zc9xktpgudxhdf8c","Name":"Michael Bibi","createdAt":"2026-09-23T15:14:10.114Z","updatedAt":"2026-09-23T15:14:46.235Z","publishedAt":"2026-09-23T15:14:46.480Z","locale":"en","slug":"michael-bibi","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5eb5da9a30b4ebb31ba1212adb9","bio":"$23","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":1185,"documentId":"vs4hkep04lit654bzg7d26if","Name":"Tiësto","createdAt":"2026-09-23T15:16:04.802Z","updatedAt":"2026-09-23T15:16:48.025Z","publishedAt":"2026-09-23T15:16:48.276Z","locale":"en","slug":"tiesto","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5ebf4973f7346a2f35e56b63d57","bio":"$24","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":654,"documentId":"ipvk3djsdxubp3j8ehndmx3s","Name":"Rüfüs Du Sol","createdAt":"2025-12-03T20:34:06.991Z","updatedAt":"2025-12-03T20:34:06.991Z","publishedAt":"2025-12-03T20:34:07.379Z","locale":"en","slug":"rufus-du-sol","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5eb14324c06b24ca79a0fea7aec","bio":"RÜFÜS DU SOL (formerly known as simply RÜFÜS in Australia and the rest of the world excluding the U.S.A. from 2010–2018) are an alternative dance/house group from Sydney, Australia, that consists of Tyrone Lindqvist, Jon George and James Hunt. Their debut album Atlas peaked at number 1 in Australia, while their second album Bloom debuted atop the Australian albums chart in early 2016. Their first album released under the moniker RÜFÜS DU SOL, Solace, reached number 2 on the ARIA charts in 2018.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":917,"documentId":"dtpo23rntzstxkpced6dxx8n","Name":"Carl Cox","createdAt":"2026-02-02T18:48:21.013Z","updatedAt":"2026-02-02T18:49:26.993Z","publishedAt":"2026-02-02T18:49:27.387Z","locale":"en","slug":"carl-cox","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5ebedb3ce2bc522e2abbf098083","bio":"A perennial favorite as the best DJ in the world according to fans as well as the major mixing magazines, Carl Cox has been a part of Britain's dance scene from the heady days of disco through to the global clubland of the new millennium, with temporary pit stops covering hip-hop, the rare groove movement, and the immense rave revolution of the late '80s. That large span of time has undoubtedly affected his choice of records, since Cox routinely detours through breakbeat","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null}]},{"id":885,"Date":"2026-09-02","documentId":"m2tg12z2sivob8dhh2rc5f6n","Title":"Zamna x Primer 2026: The Must-See Sets and Why You Shouldn’t Miss Them","createdAt":"2026-08-30T14:13:40.758Z","updatedAt":"2026-09-04T09:19:41.492Z","publishedAt":"2026-09-04T09:19:41.718Z","locale":"en","description":null,"slug":"zamna-x-primer-2026-the-must-see-sets-and-why-you-shouldn-t-miss-them","specialNews":null,"showInHome":null,"showInNavbar":null,"showInPages":null,"description2":"$25","Image":[{"id":898,"documentId":"br1tu8wbjp7habhsxvuu7fa7","name":"primer_2026_b2df7b0834.jpg","alternativeText":null,"caption":null,"width":1080,"height":720,"formats":{"large":{"ext":".jpg","url":"https://res.cloudinary.com/dwbgwlglo/image/upload/v1788100244/large_primer_2026_b2df7b0834_52324e6530.jpg","hash":"large_primer_2026_b2df7b0834_52324e6530","mime":"image/jpeg","name":"large_primer_2026_b2df7b0834.jpg","path":null,"size":135.78,"width":1000,"height":667,"sizeInBytes":135777,"provider_metadata":{"public_id":"large_primer_2026_b2df7b0834_52324e6530","resource_type":"image"}},"small":{"ext":".jpg","url":"https://res.cloudinary.com/dwbgwlglo/image/upload/v1788100244/small_primer_2026_b2df7b0834_52324e6530.jpg","hash":"small_primer_2026_b2df7b0834_52324e6530","mime":"image/jpeg","name":"small_primer_2026_b2df7b0834.jpg","path":null,"size":36.08,"width":500,"height":333,"sizeInBytes":36084,"provider_metadata":{"public_id":"small_primer_2026_b2df7b0834_52324e6530","resource_type":"image"}},"medium":{"ext":".jpg","url":"https://res.cloudinary.com/dwbgwlglo/image/upload/v1788100244/medium_primer_2026_b2df7b0834_52324e6530.jpg","hash":"medium_primer_2026_b2df7b0834_52324e6530","mime":"image/jpeg","name":"medium_primer_2026_b2df7b0834.jpg","path":null,"size":80.57,"width":750,"height":500,"sizeInBytes":80570,"provider_metadata":{"public_id":"medium_primer_2026_b2df7b0834_52324e6530","resource_type":"image"}},"thumbnail":{"ext":".jpg","url":"https://res.cloudinary.com/dwbgwlglo/image/upload/v1788100244/thumbnail_primer_2026_b2df7b0834_52324e6530.jpg","hash":"thumbnail_primer_2026_b2df7b0834_52324e6530","mime":"image/jpeg","name":"thumbnail_primer_2026_b2df7b0834.jpg","path":null,"size":7.7,"width":234,"height":156,"sizeInBytes":7704,"provider_metadata":{"public_id":"thumbnail_primer_2026_b2df7b0834_52324e6530","resource_type":"image"}}},"hash":"primer_2026_b2df7b0834_52324e6530","ext":".jpg","mime":"image/jpeg","size":145.07,"url":"https://res.cloudinary.com/dwbgwlglo/image/upload/v1788100244/primer_2026_b2df7b0834_52324e6530.jpg","previewUrl":null,"provider":"cloudinary","provider_metadata":{"public_id":"primer_2026_b2df7b0834_52324e6530","resource_type":"image"},"createdAt":"2026-08-30T14:30:45.048Z","updatedAt":"2026-08-30T14:30:45.048Z","publishedAt":"2026-08-30T14:30:45.048Z","focalPoint":null}],"author":{"id":6,"documentId":"qz3dglcinou4zfv3227xf25y","name":"Chris Christopoulos","email":null,"createdAt":"2025-09-11T07:19:28.547Z","updatedAt":"2025-09-30T20:21:24.637Z","publishedAt":"2025-09-30T20:21:24.492Z","locale":"en","bio":[{"type":"paragraph","children":[{"text":"Born and raised in Patras, my journey into electronic music began really early, at the age of 4, digging through my father’s cassette tapes filled with funk, disco, and house DJ sets. 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. My goal is to help grow a global, community-driven ecosystem that celebrates authenticity and pushes the culture of electronic music forward.","type":"text"}]}],"slug":"chris-christopoulos","role":"Editor"},"music_genres":[{"id":30,"documentId":"cbrk7z4nhv9kcs88uv1dkiys","name":"EDM","createdAt":"2025-06-04T18:47:51.871Z","updatedAt":"2025-07-05T11:30:43.727Z","publishedAt":"2025-07-05T11:30:43.797Z","locale":"en","slug":"edm","externalId":null},{"id":33,"documentId":"ijiardp3vwuh9odc0q7dv2vk","name":"Melodic House & Techno","createdAt":"2025-06-04T17:54:40.146Z","updatedAt":"2025-07-05T11:31:19.067Z","publishedAt":"2025-07-05T11:31:19.116Z","locale":"en","slug":"melodic-house-and-techno","externalId":null},{"id":32,"documentId":"pofqhezvnurg51mxbgzanum3","name":"House","createdAt":"2025-03-22T09:57:49.733Z","updatedAt":"2025-07-05T11:31:10.317Z","publishedAt":"2025-07-05T11:31:10.369Z","locale":"en","slug":"house","externalId":null},{"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},{"id":35,"documentId":"e3t7v7dg3jsq86uidgaorxg2","name":"Techno","createdAt":"2025-03-22T09:57:11.604Z","updatedAt":"2025-07-05T11:31:47.583Z","publishedAt":"2025-07-05T11:31:47.632Z","locale":"en","slug":"techno","externalId":null},{"id":36,"documentId":"s3xheab7w22rhpoc2hlramqe","name":"Trance","createdAt":"2025-06-04T18:06:53.749Z","updatedAt":"2025-07-05T11:31:55.457Z","publishedAt":"2025-07-05T11:31:55.503Z","locale":"en","slug":"trance","externalId":null},{"id":34,"documentId":"wd9wkezrokgosk7qo0lrpwyd","name":"Progressive House","createdAt":"2025-06-04T18:06:42.500Z","updatedAt":"2025-07-05T11:31:37.877Z","publishedAt":"2025-07-05T11:31:37.932Z","locale":"en","slug":"progressive-house","externalId":null}],"artists":[{"id":603,"documentId":"bx73v8lksdupuzplb8tnasqt","Name":"Axwell","createdAt":"2025-11-26T11:07:09.853Z","updatedAt":"2025-11-26T19:07:41.418Z","publishedAt":"2025-11-26T19:07:41.856Z","locale":"en","slug":"axwell","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5eb0c9ea880aff35b763cfecee1","bio":"Axwell, along with Sebastian Ingrosso, and Steve Angello is one-third of of what has become known as the Swedish House Mafia.\n\nAxwell, born Axel Hedfors in the Swedish countryside, found that music was in his system from a tender age. Playing the drums at the age of 9, he became frustrated with his fellow classmates who could not keep up; he traded his drums at the age of 13 for a computer so he could play all the instruments himself. \n\nAxwell released","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":1118,"documentId":"xdjg6q4oe4q54z0jj8mpjrnp","Name":"Afrojack","createdAt":"2026-04-05T21:46:06.787Z","updatedAt":"2026-08-30T14:20:06.171Z","publishedAt":"2026-08-30T14:20:06.402Z","locale":"en","slug":"afrojack","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5eb56591d5d8219e6e506096c41","bio":"Afrojack, aka Nick van de Wall is a Grammy Award-winning DJ from Spijkenisse, The Netherlands. He has gone from strength to strength since starting his own label Wall Recordings back in 2007 which soon accelerated a collection of quality releases from Don't Be to Proper Introduction and Thief. In his field, Afrojack soon became considered as a genius producer and embarked on a series of collaborations with international artists such as David Guetta, Diplo, Kid Cudi, Laidback Luke and Steve Angello to name but a few.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":1119,"documentId":"d2w055calsg9xigy8jjppo1v","Name":"Miss Monique","createdAt":"2025-11-28T13:00:28.628Z","updatedAt":"2026-08-30T14:20:24.470Z","publishedAt":"2026-08-30T14:20:24.710Z","locale":"en","slug":"miss-monique","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5ebb8028862eeb5ccaf303d71ce","bio":"Olesia Arkusha, better known in the world of electronic music by the nickname ''Miss Monique'', passed a thorny road from beginner to true DJ professional. 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Influenced by melodic trends in electronic music he combined the roots of Techno in a very creative way, and came up with his unique and abstract sound. He took the scene by storm and, having been amongst Groove Magazine’s best newcomers in 2017, left a dusty cloud in his wake.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":1121,"documentId":"hgf3ohay91pye33c43tahnco","Name":"Armand Van Helden","createdAt":"2026-02-02T19:04:42.117Z","updatedAt":"2026-08-30T14:21:12.543Z","publishedAt":"2026-08-30T14:21:12.773Z","locale":"en","slug":"armand-van-helden","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5ebb22d49b871ccbfa4b31331e8","bio":"Armand Van Helden is a house music artist and music remixer whose biggest commercial successes came from his remixes of the 1996 Tori Amos song \"Professional Widow\", which reached the top of the UK singles chart, and his own track \"You Don't Know Me\" which was Number 1 in the UK in January 1999.\n\nVan Helden was born in Boston on February 17, 1970 to a Dutch-Indonesian father and a French-Lebanese mother, but travelled around the world as a child spending time in the Netherlands, Turkey and Italy, as his father was a member of the US Air Force.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":1123,"documentId":"bd0mqgjt858zuvd9nx5mnw7j","Name":"MRAK","createdAt":"2026-08-30T14:11:29.320Z","updatedAt":"2026-08-30T14:21:28.203Z","publishedAt":"2026-08-30T14:21:28.432Z","locale":"en","slug":"mrak","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5ebedb2d6b16bd5d54073cf3a7a","bio":"1) Depressive black metal from Germany. They have 3 demos so far. Mrak is Russian for \"Darkness.\"\n\n2) Hip-hop group from Sivi dom, a juvenile hall in Kruševac, Serbia.\n\n3) Tech-House solo project of Tale of Us co-founder Carmine Conte","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":1114,"documentId":"av21eq0fu01un3u5yali3ftc","Name":"Stephan Bodzin","createdAt":"2026-08-30T14:13:15.937Z","updatedAt":"2026-08-30T14:19:17.805Z","publishedAt":"2026-08-30T14:19:18.033Z","locale":"en","slug":"stephan-bodzin","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5ebc8f97c697a730bf12b4bb89a","bio":"Stephan Bodzin (born August 4,1969 in Bremen) is a german DJ, techno-producer and owner of a Label. \nStephan Bodzin soon started getting into music, mostly influenced by his father, an artist and musician himself, whose studio contained all the magic sound-machines like ARP2600, Memorymoog, Polysix and many others. No wonder Stephan was heavily fascinated by the idea of electronic music as a little kid and soon founded his own projects as a piano and bass-player.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":1115,"documentId":"fvuiykn6awix6kpifu3sdjz8","Name":"Hi Profile","createdAt":"2026-08-30T14:14:42.759Z","updatedAt":"2026-08-30T14:19:31.358Z","publishedAt":"2026-08-30T14:19:31.598Z","locale":"en","slug":"hi-profile","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5ebc81eca5040d133d84c95308e","bio":"Music is an art form whose medium is sound organized in time. Common elements of music are pitch (which governs melody and harmony), rhythm (and its associated concepts: tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike), \"(art) of the Muses\".... Music is like the 4 elements. Slow or fast like the wind! 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Georgoulas","email":null,"createdAt":"2025-09-29T20:30:54.508Z","updatedAt":"2025-10-01T19:49:18.262Z","publishedAt":"2025-10-01T19:49:18.190Z","locale":"en","bio":[{"type":"paragraph","children":[{"text":"I was born and raised in Larissa, in the heart of Central Greece. Since I was a kid, music was always around me and I grew up surrounded by sounds and melodies, always searching for something new , something that speaks directly to the soul.","type":"text"}]},{"type":"paragraph","children":[{"text":"","type":"text"}]},{"type":"paragraph","children":[{"text":"In 2017, I took the leap and created my own online record label. I didn’t have big resources, but I had faith in the power of young artists and the need to give them a platform. It was a journey full of excitement, challenges, and lessons. In 2019, I joined the dancetoday team, where I discovered the true meaning of community: people from different backgrounds, all connected by a shared love for music. 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}]}]}],"$L2f","$L30"]}]